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Contrast & In Field Examples Part 2

I do have a sample here, which is a good question. Where? And we'll bring up the video clip of that where I'm using, Um ah, Kong A combination of different, um, shooting methods. This one right here and the kind of comparing contrast. So here I've got a you different things going on here. First off, um, I've got my assistant over here on the side, which you're going to see in a second. Let's come over. There is the professional Teagan with that little same a little reflected that you just saw over here, bouncing light off to do a little Phil to our lovely model Dakota. And it's such a strong day. It's middle of the day now, So I'm getting quite a strong light on here. Um, you'll notice that I'm using. He's using the silver on here. Probably should have used the white side of that, which is more of a matte white. So you're getting a less dramatic, reflective surface than the silver. Um, and as you're going to see here, it really is too harsh of a light. Especially here is doing it. So h...

e started off just because he's a shorter person he's actually down below and giving us almost this theatrical monster, you know, below you. So here I'm gonna have him come up and do it from above and which is gonna be more of a natural direction. So I'm getting a nice fill from, you know, no light here. You can see as the light goes over it what we're getting. So that certainly is one way to do a little Phil. And basically, any time that you're doing a portrait, you're trying to get away from the start distinctions of puddles of light on the surface, it's up to you. You already saw through those samples that I just showed you dramatic light onto a portrait, were purposely allowing a portion of the face to go into shadow and actually using the shape of the shadow to define the face, like when it went across the model's nose and across the lips. That purpose sure dark, pure light without the Phil was the story. That was the drama that was the positive negative. The ying and yang of the image. That was the story. Typically, though, when you're going for a mawr, you know, head shot something I'm gonna use on Facebook as my profile picture. We're gonna want something a little bit Mawr softer and filling in our shadow area is with the bounce is gonna be a great way of doing it. The other way is what you're seeing. What's in my hand right now. Let's see if we can if we've got that image on it and it is a bank, which I don't have with me. But it is something that you can get on E Bay. It's basically a bank very much like that little duck Dynasty led bank that I have. But this has got, I think 64 l e ds. And there dirt cheap there, 20 bucks or something on eBay. They come with a balanced tent on it for either warm or cool light, depending upon what the ambient light is in the area. But it's throwing out a huge amount of light as you saw that little duck dynasty one. And in this case, the closeness of what I'm working on, where the portrait lens fairly close up to the subject matter. I can throughout this nice ambiente l e d light without the use of a strobe the thing, Of course, with a strobe flash. When you have one instant, a blight is you're not meeting off that and you're not seeing the result you have. Take the shot and look at it. Take the shot and look at it to see what you're going to get. So just as I like natural light, I like using the banks of led s and often times I'll have these off camera. And actually, I think in another shot, you'll see I've got a splitter that goes off my hot shoe that has to banks. So nothing is directly on the camera there, slightly offset. Actually, one is a little bit higher than the other to get a little bit of a more organic look to it. I like the always on light because I'm actually seeing what I'm going to get with scene. There are also excellent because they're the only way you're gonna shoot video. Of course, you can't use your strobes when you're shooting video. So always on L E d lights one. There now cheap. They have a way higher volume than what they had before in terms of the amount of light that the kick out there Wonderful for a little soft fill light. If you're shooting video with USL ours or other little cameras. Um, I don't have my pocket, little one, but I have a small little bank of l E ds for your IPhone That actually goes into your audio, Jack, you've probably seen him. Photo Joe, Joe, Joe, Joe joe dot com is the site that has Ah, great little store. The little bank of led is probably 20 or little led. Ease with the audio, Jack. Just so it sticks in your phone and you actually, you have a little soft always on feel like led zor Great way to go and let's see if we've got here. This turned on. So here, right now, this is the light coming directly from my camera and I'll show you the resulting image in the second coming from the l e. D. So you can notice that it is doing a little fill light to the image there's before. That's the harsh light coming from the bounce. This is the soft light coming from my led bank. If it was mawr, this if it wasn't a midday light setting where it was Mawr less ambient filter light coming from the tree. You'd probably see a more pronounced thing coming from the led bank. The other thing is going to be and let's see if I've got that on this shot or maybe the next one. And that is going to be this one here where I used the fill flash. I think this is gonna be the sample here. So that is that that's showing you the amount of light that's kicking out. You see it on my own face. So again, 2030 bucks on eBay, the dirt cheap. This one happens to have. I have the batteries, the double A batteries in there. But you actually could buy the lithium polymer for the background, which I got. So I've got multiple sets and I did not take this off and I've got another one. I'll say that the final image where it took that often used to fill flash, which again would be basically is a strobe where you're going to use the on board flash to basically fill in your little shadow area. So this is very directional. This is relatively harsh. You can obviously get a little filters that go along with this. You've seen the real extenders that come up and extend your built in flash to soften it. Little boxes that come up also make it less directional in the sense that they're coming from the camera. That's why I actually like both The bounce or the L E. D s is. You can obviously pull them away from your cameras. Any time you're directly in front of the camera, your flattening out the picture, you're flattening out the person's face because you're lighting it up. So the nose is not gonna have any shadow on either side because the lights coming from dead on. So being able to use a bounce off to the side, a window from the side, or in the case of something where you're able to move your led bank, Okay, you get that idea the result of that shot and again, This was earlier, Dakota, but that was more filtered. Let us find those samples. Like I said, this is where the um, having both the video and the stills gets to be a little bit more challenging in terms of our proximity, especially if for some reason I don't have that particular shot, which, after all that video clip if I don't have shot of Dakota, that wonderful shots of Dakota, but I will have to dig that one out. I still have it, but I'll have to dig that one out to show you those samples. But you kind of could see that from the video clip, the softness of it. What you didn't see is the strobe from it, what was actually being shot with the camera when I shot with the onboard flash, but again having some sort of fill when you're out in the field, whether it's a little bounce on your hip or whether it's your onboard flash or whether it's something like a little bank of L E D s, I think it's gonna be very, very, very helpful. And I figured that out. I'm speaking up. Let's actually go ahead toe one that I do know that I have because we're talking about that portrait. This was the PYY a king Ah were able to go to a, um, fantastic. This one will just because it's not the shot. So this is the if you've ever had high. It's just the most amazing stuff. And this is £500 of pious. That is just absolutely amazing and perfect. I didn't know how in the world this guy was gonna pull it off, but he did. And he's known as the pie a king in Los Angeles and amazing, um, work. But he also waas a fantastic character. Here's mawr of him with his creation that obviously takes, you know, days of preparation and doing. And it was wonderful. Shoot, um, to shoot him, and I did. We're gonna stitch a pano of him, um, during our panorama class and will optimize some images of him that we shot for that there is his piety a panorama. But it's him that I want Teoh showcase in terms of the the portrait. And this is basically I shot him a bunch of different ways. Um, here you're going to see him. He's just a classic characters also a Hollywood actor as well, because when you're Hollywood actor, you better be making by you on the side or else you'll go hungry. But he was just fantastic, so you can see the range here between spot meeting on him, which is appropriate and meet during a matrix metering where I'm getting the entire scene around here so you can see there's actually wonderful detail I'm shooting down. There was another building across the way. I actually like the shape in the background and did some bracketing. So here's them actually bracketing, which is another really good tip, especially with the advent of digital is when you're shooting in their challenging light and you don't have I can't. He's in the middle of cooking. It was very hard for me to say, Could you stop and posed for me? That's just rude. So I literally had a second when he's in the midst of something. And so, um, experimenting with my meeting and things like that. But in when push comes to shove turning on bracketing, which the default setting for bracketing is going to be changing your f stop, you've turned on exposure to people with setting your cameras in but exposure bracketing and set it up for how many stops of information you want between it, usually 1/2 or 3/4 or full stop between exposures. In this case, you'll see here that I've got how this is how most bracketing works in most cameras. You have the metered exposure. This is what the camera thought was the best exposure. This is what my camera was set up for. Then it's going to start. So that's exposure one. Then it's going to start at the low end. So this is going to be two stops down a full stop between each exposure. This is gonna be one stop below. This is gonna be one stop above, and this is gonna be and I don't have it here. That would be a one more stop above that. So five stops is gonna be metered two under and two over. In other words, I just go quickly. Click. It automatically stops after the five. In this case, I've got on my normal camera. I've got a little bracket, but you're SLR is usually have a little bracket button where you can turn it on simply on the outside of the camera, as opposed to going into your camera. Your point in shoots or pocket cameras would have a setting in your menu, probably for bracketing turning it on and off. But most sl ours will have that as an external option. Actually Or you can set up one of your function buttons. If you have foot function buttons over on the right hand side, these air usually programmable. Also, you can usually program these buttons on the back of your SLR. If you're not using them, you can program them to have a different function. It's certainly set one up for bracketing if you if you have the ability to set up bracketing than by an external control, I would, because in this case I knew that I had the shot. The great thing about bracketing you're under challenging very challenging light conditions. Very bright background, very dark foreground with five stops of latitude meter, two under and two over. I know I've got it. There's no chance I don't have a shot, especially if I'm shooting raw. Why, no, I have that extra latitude when I get into adobe Camera Raw are light room a five shot bracket. I got it. I don't have to chip, I don't go. Excuse me and then check to make sure I got it. I know I got it because I gave myself five stops of latitude, so shooting bracketing when you're shooting in a challenging lighting condition is just going to mean that, you know, you've got the shot. A lot of points shoots have it. Even your IPhone, um, has the ability to set it. You a zai mentioned, you can use your thumb to set whatever the exposure is. Whatever you click on before you take the shot, you can also have that HDR setting in something like an IPhone. I would recommend that you go into the settings for the camera and turn on save original as well as the HDR. That means whenever it thinks that needs an HDR, it'll take two shots. One will be the HDR, the combined shot that has excuse me, a greater dynamic range and then what it considered the metered shot a single shot so you'll end up with two shots in your camera. You've probably seen that one has a little tag, says HDR on it, so that would give you two shots of latitude every time you take a picture that's under challenging light, or you can use an app like bracket mode, there's an app on the IPhone. I take it for Android as well called bracket mode, and when you take it. It automatically takes two shots, one for the shadows and one for the highlights. And then you could either combine that as an HDR or just choose which one you like. You can also set up the range. It will always as a default choose the brightest spot in the darkest spot. We'll see that when we get after our break. I was doing hdr that we shot at Gasworks here in Seattle using bracket mode. But that would also give you this idea of shooting a wider dynamic range so you don't have to spend time figuring out if you got the shot. But it certainly in terms of your SLR or your pocket cameras that support bracket shooting. It's wonderful for this sort of situation. In this case, I went with a one of the darker exposures because of his expression. This will be a case where that's not an optical exposure by any way, shape or form. I did. I was able to keep the background in here, but it was the most beautiful expression, and like I said, I'm my priority is this story. So even though I may be trying to pull out some shatter detail, kicking and screaming like I'm doing here. I'm able to get the shot because I know of the latitude that I'm able to get where the dhobi can roll in, like you can get away with murder. The other thing that we're also doing here, which is a sneak peek toe, what we're gonna be doing. You noticed something else that's going on in this shot. He's also lighter. He has less weight. He looks thinner. And that's another thing that you have built into both light room. And it became a raw what I called identify. Okay, you have the ability to basically take off weight. There's too little tricks for doing that one by doing what's known as a pin cushion distortion, which means you just kind of get rid of the do the opposite of a wide angle. Bigger knows you pin cushion it and you're actually can small. I don't know anybody that doesn't gun like that. The other thing is that you can change your vertical now aspect ratio. You can actually squish that 5 10% and actually identify you go well, but that's cheating. Yeah, cheater, Low pirate. Great reference to Pirates of the Caribbean. Hello, Pirate. Okay, you need Teoh anyway. So here is our energy. And then we're gonna after the break. We'll actually tweet this shot. Two. It's a very simple one. With the new radio fill filter into ah, like room and adobe camera. It's very easy to dio next to a little pop to the eyes to pull out some detail and lighting up the teeth a little bit. Get rid of a few stains on the teeth. Okay, So that would be similar to what we did with shot with Dakota. But in this case, we did it again in post. This will be the panorama that I'll get with our friend here later on. But there we go. OK. Back to our conference grounds in terms of Gino and are shooting question Yes. When you actually head out to go to whatever. Do you know what concept you're gonna use before you walk out of house? So I know you said you like to grab all your gear and look like a tourist when you go out. But do you know exactly what you're going to shoot before you go out a lot of time is just like any meaning money. This is what I grabbed first and start going on that concept or it's a very good question that do I know what I'm gonna do. In this case, I had everything I was loaded for, bear because I was going to go out and I wanted to teach the toys. My crate, my crayon box was full. Had all 70 64 colors with sharpener built in. Had everything with me, I was ready for it. Um, the other thing that I always happens have always got this. And again, I know enough toys, including that I can shoot even a checkerboard Pano click, click, click, click, click, click, click, click, click that allows me to zoom in so I can actually get, you know, even do that. So I've got a quite a range of stuff that I could do with this, plus the panels and everything else. Um, if I'm going out in the middle of the day, if I'm shooting and I'm traveling, then normally I will pick up that infrared camera just because I can get away with murder. Even in the middle of the day, I can get that beautiful jet black sky. I can get the beautiful tonal range within things like architecture. I can get things like my foliage. So there's all sorts of ways I confined stories in the middle of the day with a new infrared camera. If I know that I'm shooting cause I'm in a beautiful location, then obviously my SLR is gonna be with me as well, often times like I've got on this one. This is the bracket that I used with the holster that goes on my hip. So if I'm not being too obnoxious than this actually is without the camera strap is on my hip and you'll see that's actually how I'm worrying it in all these videos. So that is very quick and easy and it's accessible. And yet it's not around my neck. It's not bouncing around. Um, depending upon how covert I want to be. It's so that's a nice way of doing it. The holster aspect. There's different companies that make holsters for it. Um, if I'm obviously gonna be around anywhere, water is an issue that I'm gonna bring a little point shoot that's waterproof, like the Olympus TG. They're just great in that way. I don't have to worry about it, whether it's a fountain or waterfall of the ocean or wet sand or something like that. So, you know, I do think about that. It really depends. In this case, I'm all over the the, um, rain share of I'm shooting Portrait's This one as an example. Here is a little Pano again in this little canyon area. This is the shot that I ended up once tweaking it. It got a little funky with my panel. This is again as an IPhone shot where I'm going down and then looking up this tree, so I'm not able to use that bottom portion of it. But I'm able to get the the drama of the vanishing point looking up as well as the sun filtering through the trees, doing enough little exaggerating to kind of, you know, get the sky where I wanted it. That's just that would have been hard for me to shoot with anything other than the IPhone because of that nature of how it grabs, you know, panoramas. So sometimes, like I said, I'm using the The panorama is for previous on an IPhone and then I shoot it with a big boy camera, cause I know I'll get better quality because of the resolution. But sometimes, like on here, this is the shot taken with the IPhone. Got a little funky at the top here, and then this is how it's cropped and tweaked. So in that case, I've got plenty of resolution, not the sharpness that I would like. You can see it's actually focused more on the background because I didn't set the focus before I made the pen. Oh, which, by the way, you can on the IPhone before you start a Pano click. Hold press and wait, and you'll do an exposure and focus lock recomposed to start the Pano and then sweep up. And it will be focused on your subject matter rather than where I started. In this case, it's focused on the floor, and as I swept up, it didn't follow focus. So there's a little tip related Spano's, which will be our panel class coming up. So yes, noticing your, um, negative space looks like, for the most part, you're facing into the negative. I always want my subject to be facing into the negative space into the frame as opposed out of the frame. Yeah, and that goes into some of the things related to we could do a whole Siris on. I like Here's I'm gonna give you a book. A great book that has nothing to do with photography. But it is a great book called, uh Note. Notes on graphic design By Greg Behrman Notes on graphic design and visual communication By Greg Burim In Be er y m a N at Chico State is one of the head instructors at Chico State. He hand wrote out a 40 page book for his students on graphic design principles, and one of the chapters he spends time on is gestalt pattern recognition, gestalt, visual psychology and Gaston is. The studies came in the twenties German psychology about how the mind perceives, um, relationship of one item to another gestalt, meaning unified or whole group. And that brings up things like proximity, how we're always wanting toe have something. If it's next to something, we're going to consider it a unit or group or associated with each other. It will do similarity. This is square. This is square. This has a connection to it. You know, this is circle, circle, whatever color form all the zeros of contrast, basically what I was talking about, its this idea of contrast and consistency that those are the two areas, something fights another thing or it's the same as the other thing, right? So those are these two things that were playing with these things are in conflict with each other, or these things aren't in conflict there, there in harmony with each other. So the that book has a great chapter on this concept of finding unified holes in an image by how on their visually organized and I usually talk about it in terms of contrast and playing one element off another that talks about unifying elements by things like making sure that they're close enough to each other or their similar shaped. Or they have similar colors, intensity and things like that. That whole book is it, as the name implies is related to graphic design and logo work and composition and layout and things like that. So it's not really related to photography, but it's wonderful because that's what artists do. Forget whether you're a painter or photographer or grab a designer we shaped space is based upon how we look at something, especially when we're talking about this. Two d world were shaping a to D space. So back to what you're talking about here. The idea of the subject matter facing into the frame, as opposed to facing out of the frame, is just a standard compositional trick. Just because are I will follow wherever the eyes of our subject matter is. If our eyes looking out of the frame we go out of the frame are a case in point, your shot of the cat. Yes, where the negative space, a cath looking to the left and that's where all your negative spaces acts to the left shows. It's looking out, I'm looking in. Even in things like this, I'm gonna have Herp looking in. If she was standing here looking this way, it would be totally wrong. Hate to have those sorts of absolute rules, but that would be totally wrong. Medication point was your shadow with a man shadow became the main point in the man off. On the negative side was the It would depend upon which man your time. Oh, the chef. No, the drag standing with the shadow and, um, lighted him on the right side. Okay. Yeah. So, um, making making the shadow of the main part. He's in the negative space. Yeah. I mean, I use a shadow in this case as an example. This is a musician, and his shadow here, especially with a great little mustache here, is much the story as he is here. As a matter of fact, I could even, you know, crop out a portion of it and just have that be part of the story. So, um, the light, the shadow and where the person is looking in the scene absolutely is what you're responsible for here. Is that a pano of our wonderful pie A king, You know, coming up. And, uh, we'll play around with that tomorrow. Okay, But back to our Gino shoot and the quick time video. I know I have got some other things here in terms of, um, in this shoot in the canyon here before we get to, um, our beach town, Actually. Let's do it in terms of our creative stuff. Let's let's let's jump over to the pier because of what I'm looking at here because This is something we're gonna post after we go into our break. And this brings up that idea of motion blur or using a slow shutter speed. So here we've got ah, a Ferris wheel that we're all Seattle here. You had a wonderful shot of the fierce whale that you'd shot here very hard to get it as a static shot and do it justice. It certainly doesn't have any drama associated with it with aesthetic shot that's done at regular speed. Here is another shot from that scene where I'm trying to figure out the best way how to get this good cacophony of light and color and tone. And good thing that we are muting the sound because my cinematographer, of course, is swearing like a sailor. Hence they smiling because he's marking me, Um and, ah, the images from that in terms of trying to, um, capture are seeing here, and we're gonna come back to some still lives, um is our static shot and basically, there's our our static shot again exposed in this case to keep the blueness of this guy. Wanted to keep that by it exposed for my foreground here the sky would have gone real light. I wouldn't have gotten that kind of late afternoon twilight knowing I could cheat. I'm gonna, in this case, emphasised the highlight. I don't want to blow out my highlight. That's a standard rule in terms of exposure is exposed for your highlights, especially in digital. Back in the old day, if you were shooting slide you the tip would be to expose for your shadows because you wouldn't be able to pull that information if it was plugged up. Nowadays with Digital, typically, the idea is exposed for your highlights. Knowing that you can work miracles in pulling out shadow detail, I wouldn't automatically under expose all your images to make sure you don't blow out your highlight. That gets into another whole range here of everybody automatically under exposing every picture. You ever take 1/3 of a stop knowing that a CR and light room can save your posterior that I don't recommend because you're actually degrading your image. The majority of the information and an image is in that upper quarter range of the tonal spectrum. So if you under expose all your images, your purposely throwing away Mawr information than you'd like. You really don't want to have to pull information out of shadows if you don't need to. You just don't want to blow out that highlight by under exposing all of your shots because you never want to clip a highlight that is actually degrading the quality of your image. It's really only in those situations where the highlight is a part of the story where you want to make sure that you get it, no matter what. And again I would bracket before I would under expose all my images. Okay. The other thing that you can do related to that exposure, which is another tip. As you probably know when you look at the back of your camera you're looking at your history, Graham. Or maybe you've got the blinking highlights. The blinky is turned on to check your exposure, which I think is excellent. Um, the thing to remember about, um, the back of your camera in the blink ease. What you're looking at is a J pig and is if you had shot your images of J peg Well, im shooting raw. Well, you're not. You're actually shooting a raw and a J peg even if your cameras not set to save that J. Peg, it is actually shooting at J Peg at the same time. Just because it can't process that raw and show you raw, raw image actually doesn't even contain pixels. It's sensor data doesn't hasn't been turned into pixels yet, so it makes a little J peg. And those J pegs are based upon the settings in the menu setting of your camera, not based upon your settings for your exposure, your shutter speed, your F Stop your eyes. So all those things at the top of your camera, your typical SLR. Those are setting the exposure and actually changing your riel image. Everything in your menu if you're shooting raw, is actually just metadata and can change after the fact. If you shoot J peg than all those settings and those settings happen to be your color space, your contrast your, um ah, vibrancy of your color and your sharpening all of those color space. Contrast saturation and sharpening all of those air. Variable and white balance are all variable when you shoot raw when you shoot J peg and what you see on the back of the camera is cooked into that file permanently cooked in that file. So if you're shooting raw, your camera is probably set to auto contrast unless you've changed it. And what is auto contrast? We all like nice contrast the images. It's automatically lightning the lights and darkening the darks on each one of your images. The Wait a minute. I spent my entire life not plugging up shadows and not blowing out highlights. You're telling me my camera is purposely lightning lights and darkening darts to make it more contrast? Yes, Why? Because you haven't said on auto contrast and we all like nice contrast, punchy images. So you're hissed a gram and your blinky zehr not accurate. That's why you shoot a shot and has blink. Ease and you go. I hope I can recover that you're going to run. You go. Wait. There's still highly detailed there. Was there really highlight detail there? No, on what you saw in the back of your camera was the J pay. It really was blown out. That was accurate. It's just that's not what you're shooting. You're not shooting J pig. You happen to have your camera on raw and so things Like contrast, it is a piece of meta data. It's a variable that is not permanently applied to your file. All of this is to say, if you are shooting under challenging lighting conditions rather than under, expose all your images of third of a stop or more or even bracket, go into your camera and change the contrast, setting down to its lowest possible option. Your images will be muddier, but that's what you shoot when you shoot raw. Your image actually has no contrast. Curve applied to the raw file, the raw and hence the term raw. It's not cooked. It has no contrast, has no color space, has no white balance, has no sharpening and has no saturation permanently applied to it. That's just the settings you have in the back of the camera, and it rides along with the actual file itself. What determines how that actual files record It is your shutter speed aperture and I s O. Those things are actually changed. The image, everything in your menu sitting in the back of the camera is variable in Sparta meta data. All of that was to say, to talk about this area of not blowing out highlights. What I do is on my sl ours. You normally have water known as banks or presets, of how you can set up your camera. I want I like this. I like my portrait's with this kind of set up on here, and I like my, you know, weddings. I like this way and my landscapes. I punch up the saturation I use vibrant or vivid. Some of your cameras have vivid settings, so you can set up all the parameters in your menu in your camera and then save it as a preset. I'd recommend that one of your presets is set to your contrast all the way down to the lowest setting. I'd also make sure that's also set toe adobe rgb that srg because s RGB is more contrast in more saturated meaning. What you see on the back of your camera will not be accurate. When you shoot raw, there's no contrast. It's less saturated and it's less contrast e. So by shooting in adobe rgb one, it will be more accurate because that's what you're gonna see. Setting your contrast all the way down will be more accurate. That's really closer to what you're shooting when you shoot raw. In other words, you won't get the blink ease, and you won't be tempted to reshoot or under exposed all your images. A lot of information I'm looking at that they're the topic here is contrast and the difference between shooting raw and JPEG When you look at the back of your camera, it's what you would get if you would shot J. Peg. Everything in your menu setting is being cooked into the file. That's what you got. If you're shooting raw, it's not what you're getting your you're seeing what you shot in your menu. You want your image on the back to be as accurate as possible. That's why we dial down all these settings in the menu. So what you see on the back of the camera is accurate. You can also always shoot your if your camera supports that shoot Raw and J peg and you'll see the difference between the menu settings cooked into the file and you're resulting raw file. Yes, it was a question. Would you You'd set up this preset so that you would use it when you were in very contrast, ing light situations. You just you save it for that. That's right, because we don't mean all your images will be muddier if you left it on that. If you go well, I'm posted. I'm processing everything imposed. Anyway, I don't mind. I know what I'm gonna get. I've got enough experience with my set up where I can see something that maybe muddier. But I know once I bring that into light room in a cr will be magic. I'm more concerned with an accurate history, Graham, and knowing that I don't have to reshoot it because the bride's gown was blinking white. But in reality, there was detail in my highlights. Motorcycles had all these speculum highlights blown out, flashing all over the place when really there was plenty of detailed shooting a landscape in all these nice puffy clouds are now blinking white when in reality there's all the detail that I need there. When I go into light room where a cr the one that is the benefit of that goes back to our question. God bless our IPhones can't shoot raw. What you see is what you get. OK, point and shoots that can't shoot raw. Fantastic awesome. What you see is what you get any camera that can shoot raw, uh, flexibility. Okay, because what you see is not necessarily what you get. And that's because of this magic of sensor data and metadata on top of it that gives you more flexibility than shooting raw shooting J pic. When you shoot JPEG, it's if we're going to use our cooking scenario raw and is you can season to taste a J peg, but it's already been cooked. But in the oven it is out. It's done. It's ready There, your napkin set. Season to taste fine, raw. You can re cook it. Take it back in, change the ingredients, put it back in the oven, cook it, bring it out. It's a very different latitude you can do with the raw, and I'll give you another example in a second. But why? That's powerful. Yes, also with the raw versus J pig tonal values we were talking about earlier. That's just about what I was gonna mention is that when you shoot rock, most of your SL, ours are shooting 10 12 14 some even 16 bits of information, as you all know to to the 10th Power is just go ahead and do that in your in your mind. I'll wait is 1000 1000 shades to the 10th power to to the 12th powers. 4000 goes up each time 4000 shades into the 12 power. That's how many bits of information are per each one of the channels that make up your image of red, green and blue. So when you're shooting raw, your at least getting in most cameras 12 bits of information per channel, 4000 shades of red, 4000 shades of green, 4000 shades of blue we all know 4000 times 4000 times 4000 is I don't know. You don't know it because you're an artist, right? That's why you went into photography. So you wouldn't have to answer that question right? If you knew that question, you should be in a different class down the hallway. 60 billion potential tones in that raw file. Of that, 12 bits of information per channel Ah jpeg is cooked down to eight bits of information per channel two to the eighth power, as we all know to to the eighth power is 256 tones 256 shades of red, green and blue, This blue sky with all this red and yellow and stuff like that. I want to do a big print. You run out of 256 shades of blue pretty quick when you spread it over a couple feet of a print awaken get banding on a J peg. You try and tweak that where you want to take that blue sky and pull out some information you're gonna be throwing away information. You can't create information that didn't exist in your original image. It actually you just rear mapping it and it actually throws information away. So to 56 of red to 56 of green to 56 of blue combined those you have 16 million potential colors in a J pick, which seems like a lot if the role in the exact right range that you want, that actually is great. Most prints most your printers and everything are only doing a bits of information. Your desktop printers, you're going out to your Costco's and whatever. Those are basically locked down to eight bits. That Presupposes though that 16 million colors are exactly where you want him. If not, and you're needing to tweak it. That's 16 million just continues to go down, as opposed to 60 billion possible colors in a raw. And if your camera, which brings up another SEC subject. A lot of your cameras now can shoot high bit depth raw, so they're like 14 bits of information per channel, and each time it goes up, it goes up exponentially. So a bit of information per channel is trillions of colors. Potentially, the sensor can't grab that. It's just it's a potential almost theoretical at some point, but you're tonal range on a raw file is dramatically more so than a J pic. So all that was to say as an inside shit Roth, you can't that is, with the big the big benefit of the Big Boy cameras in our micro 4/3 and everything else is shoot raw. Even the point shoot cameras like the canon to concede raw. It will give you a greater latitude, and you can change your contrast or saturation your color space, your white balance and you're sharpening. All five of those could be changed after you take the picture J. Peg all of those air stuck, which goes back to another setting in your camera. Make sure that you're sharpening its set Really low in camera. Sharpening is notoriously bad just cause it has to do it so quickly, as opposed to an algorithm like built into a CR light room which now has sharpening built into it. All those air built into export within those files right now.