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Contrast & In Field Examples Part 3

Lesson 9 from: Creative Wow: Shape the Why and How

Jack Davis

Contrast & In Field Examples Part 3

Lesson 9 from: Creative Wow: Shape the Why and How

Jack Davis

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Lesson Info

9. Contrast & In Field Examples Part 3

Lesson Info

Contrast & In Field Examples Part 3

this one. I wanted a longer exposure. This is probably a second probably a second exposure on this one. Uhm and ah, but it's too much light. I couldn't I couldn't saying Dude, my slight. Now, I'm not blowing out any highlights on here. This is would probably be fine, but it almost makes me sick because anybody that was on that would be going help. You know, that's not the story. I want to tell if you're going that fast. That would not be fun. That is giving me the idea of motion. And it's still giving me a full latitude. It's darker than I'd like. But again, considering everything that was going on, I know I can pull out. A huge amount of information will pull this out as well. Now, the thing to remember and I'll do this in a second with another motion blur because I'm doing handheld if we look down here, Okay, this shot at hand, held at maybe 5/100 of a second is fine. This one with my maybe 30th of a second, I'm starting to get soft. I would not use this image. It's too soft. So what...

am I gonna dio. I'm gonna combine this shot and this shot into one in photo shop so my foreground can be razor sharp handheld with no tripod. And yet my subject matter can have the softness to it that I want, especially if you know that auto a line has been in photo shop for over a decade. How many people don't know that photo shop will automatically take different images and bringing them into what's known as pin registration? Doing a head swap glass glare removal? Don't get me started. It's awesome. It's built into photo shop. So this sort of stuff of being able to do handheld This is how I did that coconut on the shoreline where I mentioned that the coconut is razor sharp, the waves air soft, didn't have a tripod. Don't have the time to lazy. Take the two shots two different exposures to different shutter speeds and then combined them in post literally. You'll see that we'll just take two seconds and that will be the same thing with this here. And so you saw that video. This is thieve video for, um this shot here, speaking about motion blur No, that is close to that one. So here again, we've got the backlit sunset water for Santa Monica. There's actually is big surf for Santa Monica Bay area, and we're getting the waves glistening underneath the pilings so in and of themselves, I'm not crazy about it. But I know as you guys know, like with waterfalls and things like that, what you can do with a slow shutter speed. But again, I don't have my tripod with me purposely do that for teaching purposes. Would never not have a tripod would always, never, rarely do I have a tripod with me? That's my joke is I don't even know what a tripod is. Oh, that's what it is. Thank you. Um, But what I'm gonna be able to do in terms of this scene is take some shots at full speed. This is actually handheld, so you can see that once you get used to it. I'm sure you guys know the taking a deep breath. Hold it. Holding the camera up tight to your chest. Okay. This is your you know, using your face as a portion like a tripod. You know, your two hands and your face. So I'm actually pressing it, enforcing it into my forehead and with my hands on either side. So they're now touching my torso. That right there with a VR lens vibration reduction lens. You should be able to shoot at 1/30 of a second or less, depending upon your lens and get rock solid, especially if you combine it with the new anti blur built in the photo shoot. How many people don't know that? What happened with Sisi? Yes, it's a filter. It's not a sharpening. Its a D blurring filter. Actually used for forensics were pulling out those license plates and all the C s. I that you go. Come on. You know Blade Runner. Remember? The guy found the stakes scale in the Yeah. In photo shop now? Yeah. You didn't know it. I'll show you. But anyway, um, this is allowing me to get these vortexes in the water. Absolutely different stories. So there it is at regular shutter speed. I can use this frame to get my you know, um would work in here. Is this loads up here? I can get my sharp would here and then I can use that in concert with like this to pull out the information so again, we'll do this after we're coming up to a break in a bit. But what I'm gonna be able to do with both clarity and vibrance and little shadow my seasoning to taste on the raw file, it's gonna be be very different story and again. I didn't have a tripod, but I'm not limited by that. I could have done the same thing with an IPhone with using something like Slow Shutter Cam, where it'll take a bunch of different exposures or average cam is another one, and that you'd probably would want a tripod because it's doing 30 different shots. It doesn't have an auto line capability, and you can get some great slow shutters with that. Okay, let's see what else. And there's other ones like this where I could do the same thing. Here. You'll see the shoreline in the background. There it is in focus. It would be very easy for me to combine that with that and get both the combination. Justus, if I had had a tripod go Dude, why don't you just carry a tripod? You're done. I should. I didn't, but I can. It's cool coming some slack, but you're absolutely right. I mean, once you get used to motion Blur, that probably is something where you're going to say it's worthwhile for me to carry at least some little tripod or something that's gonna let me do some more work to it. Because Motion Blur is one of the most exciting things in terms of storytelling. That's when I probably won't show. But this is the same situation where handheld, the moon. That's what I would need to with hand held in order to freeze this shot of the moon. That is the shot handheld with my camera with my walk around lens the same you can see the numbering. I'm not cheating. So that is what I shot by zooming in on it. But obviously I'm not getting any detail of the moon. Can I drop that in? Yes, I can. There's no reason why I can't. Is it the same moon at the same place? And I'm not really cheating? Yes, I'm cheating a little bit, but I want my story will be more potent with that. Is it a physically impossible shot to do that? Um, short of an exposure in order to get or that under exposed image to pull out the detail in the moon and yet still maintain all this detail in here? Yes. Will I lose sleep? No, over there. And it literally will take two seconds because basically, I remove this moon drop in this moon and screen mode and set the opacity to whatever I want in half a second, I will have the real moon in that location. White as I'd like it. But with this much detail as I want tack sharp. Okay, just saying we'll probably save this panel. Here is a pan. Oh, that was taken. But I think we'll save on that one. I won't bother showing you the video clip on that one. Let me see if there is another video clip before I think that in terms of a pattern, looking for, uh, patterns in this case, I showed you some shots from Dubai that had some wonderful sand patterns. We've got this dramatic sidelight because the sun is right on the horizon line, so it's gonna be skimming across the surface of the sand. And what we're seeing here is the pattern of both the fence as well, so the geometric shapes of the fence with the organic shapes of the little sand dunes really fun, the shape, the resulting image there for that, which again we will tweak after our break is going to be these sorts of shots. We're getting the combination of the organic and the inorganic together. Love that, love it. Graphic again. My background was in addition to being in the dark room back in the seventies. Back in yearbook staff, my career was in graphic design. My five college degrees were in graphic design and advertising. So this sort of very graphic image I just love. I could get off on this all day because again, I love graphic design in the very graphic nature of it. Some other rounds in that same one, these kind of patterns. I love it. They will give us a lot of room. Another thing that will talk about throughout the Siri's will be this idea of reflections telling stories not by shooting the subject by, as we mentioned the shadow, but also the reflection in water on whether that's excuse me, with or without the subject matter. Sometimes it's the reflection is just as a powerful or more powerful than the subject itself. This is what was shot here in Seattle. This is, um, wonderful producer, I said. Here, here's the IPhone and this is May shooting motion blur. We have wonderful backlit trees wherever you see a backlit tree close to the highway, close enough so you can use a wide angle lens to grab to fill the frame with the trees. Do it. You'll look like an absolute idiot, and you'll annoy everybody in the car cause you're going. Click click, click, click, click, click, click, click, click, click, click, click. Um, the greatest story I have about about motion Blur is again. I work with these wonderful National Geographic photographers, and they had seen this one specific friend with Jones, it seemed, May do motion blurs for a while. A hole that's kind of neat and cool, but it's against the law for National Geographic photographer to press the shutter without looking through the viewfinder. You just can't do it because you notice that I'm doing this. That's just completely wrong to press the shutter and not look what you're shooting. Can't do it. I'd love what you're doing. That's for you. God bless you. Keep going with the mushrooms and the smoking. He's in your 70 on the floor, Yosemite in the fall. Colors are going off. He's driving around the floor of the valley. Quite okay, takes it. Sets it up third of a second or so. Like that 30th of a second. Yeah, and as he says that it's God's taking the picture because he's really not. Of course he is. He's following and tracking with it, So he goes again. I spent two days driving around the floor of Yosemite, taking blurry pictures. Became an entire gallery exhibition of his motion blur work gorgeous. I'm getting chicken skin just thinking about it. So and, of course, people behind him going camera out the window, cling like this, you know, honking their horn. Anyway, motion blurs ridiculously fun. And as you hopefully saw some images, the images that I got just with what you were looking at, just there, which isn't great. But I love them because of the fact of, um, of that color and tone is things like this. Let's see if we can find and zoom up on it, what you have, what I love about it is you have these air going this way, these air going this way. You go ahead and explain that to me when there's no wind, what is going on and why these air going this way, these air going this way? What's going on? Is there a different depths between the distance of the camera? What's going on is how well you are. Tracking with your subject is the basis of what's in focus and how much is in blurry and how much is not. It's not distance. It's tracking its synchronization of the camera and being able to hit that subject matter. It's a completely different way of blurring and kind of doing a depth of field hasam. It's fantastic, and in the right situation you get these wonderful vortex. So what's going to be going on down here in the bottom is a circle underneath the subject matter. That's razor sharp, because I was able to track on that area. So I'm not only do I have things going in all different directions, but you also have Thies. I mean, it's just awesome. It's God taking the picture. We'll tweak undamaged from that, so especially backlit close up to the street with no police around. You're not driving the car is I highly recommend you playing around with it. Speaking of Julian, cause she's got an entire book, she did her window seat. I mentioned it was shooting out of Jets. She has another entire book coming out called Passenger Seat, which is her shooting motion blurs from cars, and it's gonna be amazing. Yes, there's our friends over there. You're wondering when they were going to show up. Ox. Yes, I think these air IPhone shots with our seal in the background. Let's do I wanted to do and HD are to do a little tag on that. We did do motion blurs. This is a little lens, baby. We've got a range of macros. I'm going on here with, um, macro shot with the macro lens on my SLR. And also Mac Rose shot with the point and shoot. That's with the lens, baby. Um, this is with the ah, Olympus TG. So let me bring up this one. So for me to get a wide angle, this kind of detail and yet you'll notice that the scope of the image is the full field is because of shooting with the point point and shoot camera that has this ability to keep a white angle and a very close, Um, focusing point in this case, one centimeter. You can, you know, literally press the glass up against something and take a picture of it while maintaining wide angle. Okay, you don't need a video of me laying on my stomach shooting that, but that's what I was doing. What I did want to do is show the environment for, um shooting. Uh, hdr. And specifically, we'll start with this waas the environment. This is gasworks here in Seattle, if you've not been there. Ah, wonderful old processing plant that's been reconditioned and painted within an inch of its life and just beautiful. It's incredible place to shoot. Like I can't imagine not taking advantage of that on a regular basis, especially for things like this grunge retro. You know, um, all different ways of shooting, and in this case, I shot it both with an SLR as well as in my point and shoot. But this right here is, um shut it with that, uh, bracket mode app which shot bracketed pairs and then I'm using HDR pro and it's gonna ask me, would you please choose the shots, the different bracketed exposures that you did? So here We've obviously got an incorrect white balance on video shoot. So it's loading up the cameras. It's going to take the two different exposures, one that is basically pure black and one that's pure light. And it instantly allowed me to maintain the shadow detail as well as the highlight detail. So let's take a look at those images again. I'm inside looking out, and yes, you do have it here. So there is the under exposed, overexposed and the HDR. So if you haven't been shooting bracketed shots to extend your capabilities in terms of dynamic range, especially in those environments, we will do that after the break. And that is basically here is our shot exposed for ah highlights. Here is the same shot exposed for the for the shadows. And here is the combined shot, um, with both those images and one, this is an IPhone shot. We're going to take it combined from the SLR, So probably here is first I did it these air two shots so you can see that range. That's just being greedy for you to have that transition and trying to get that to match your asking for trouble. So this one has got less, Um, of the shadow detail is necessary, but this one right here will combine that, and we'll do it with just two exposures. Normally within HDR, you're gonna be shooting bracketed pairs that are probably five arm or stops again if your camera has that set up, and there's no reason for you not to do these full stops of information. Typically again, it's what's known as metered exposure, and then two exposures under and two exposures over that will give you this huge dynamic range. If a 14 bit per channel single image has trillions. When you're shooting in HD are you're now using floating point mathematics, which goes astronomical, toe another galaxy and very, very cool. This also is our little gear that you guys have already seen. But you guys don't need a video clip of that the macro again. We've got a class coming up. This is a panel from that area taken with the IPhone straight out of the camera with, you know, again, our detail on our foreground. This is with an app called Photosynth, which is great. The one thing that you are limited with with the built in app is it's one single row of images. You do tilt it up, which gives you the greatest range this way, so you get the most range by shooting in the portrait mode. Or if you're shooting a vertical one again, you're in basically, what would be a portrait mode, Um, but you can't shoot up and down. You can't do a multi row, so one the benefit of shooting with the big board cameras. Obviously, you can shoot what would be known as a checkerboard panorama K a whole range of images, which Photoshopped panels very well. Or you can use something like Photosynth, which is a Microsoft piece of software. God bless Microsoft, and it's wonderful piece of technology, similar to what Google's using for all their mapping where they can, you know, shoot These amazing panorama is in a car going down the road at a 1,000,000 miles an hour, and it does allow you to shoot in this sort of scenario, and when we get into the panorama class, we're gonna be talking about the nodal point and rotating around. If you can, an individual point specifically where your sensor is, or the center of the lands, we'll talk about it. So this I'm doing this right here to get this shot in this environment here, up and down, which is obviously giving me a very different story by being able to look up and down. This is a app that I just wanted to try that is geared toward that Moto called sphere, and it's allowed. It's able to do quick time VR is and what it did here. Rather than show the edges that are all scalloped, it blurs it because it's made to shoot quick time VR. So when you shoot directly straight down rather than get your feet, it doesn't blur when you shoot straight up so it shoots everything. It doesn't not shoot it and doesn't leave it blank. It just kind of blurs it, which I thought was an interesting way of handling those edges. But it's what's used with in conjunction with that motor motor Galileo. So it's an app that can be automated to shoot a process. In this case, I was just hand holding it. Basically, you paint the image and it will automatically combine it. It literally is like a paintbrush. And then it complains that okay. And let's anything else that I wanted Teoh that specifically related to, you know, creative When we get into things later on, this is over there at the Gasworks Gas Works. This is an HDR, so combining different exposures to pull out that dynamic range and then coming up with tryingto get a black and white. I liked blowing out that sky, not having any of it. So again, just experimenting with coming up with a high key image, by contrast, similar to what I did with shooting out of the window of Mount Hood and then purposely under exposing it to get this very harsh Loki dark image. But that had the details that I needed again from the IPhone. So taking advantage of this case of the blues in the file where I could tell it, Teoh isolate blues from reds and greens. So rather than just darkening the entire image, I can use the colors inherent in the file, and there are movies of me shooting little teeny cute macro stuff. But I don't think you guys have probably shot enough macro. I don't think we need to to do that there. I think those motion blurs is what? Well, have fun with afterward. HDR motion blur Those will be teasers for our class going into tomorrow. Let's see if there's one other thing related to Gino and his portrait's with his beautiful kids, which will tweak I talked about, you know, shooting backlit in terms of flowers. We've got our front lit, okay, shot not nearly as interesting. And here, shaded again, not interesting, the backlit. And as we move into more dramatic backlit, I actually liked those backlit images better, especially once the tweak ified speaking about motion blur again down on the boardwalk. There, being able to pan with subject matter. If you're do stock photography. Obviously, these air fantastic cause you don't need the model releases depending upon recognizable. The person is it gives you the story about commuting Baikal bicycle energy. I mean, this could be used for 50 different stock images. So if you do want to make some money motion Blur done right can be a neck Solent way of telling a story and also just happens to fit in really well with, um, the rights of taking a shot. Okay, lets see if there's anything else related. We've got a few. I will pull up those images. So we are set beforehand. Do you take use other black and white software like Knicks off next silver affects pro, which is a great piece of software and again, very affordable. Now, the Google bought Nic is a great piece of software if you understand how black and white works, especially in terms of the channels, what you have available through the red, green and blue channels. Um, super fix pro is nice because it has framing and noise and texture and a 1,000,000 other of the grunge ing effects all in one fell swoop if what you want. It was a really good black and white. I think that you have the vast majority of that capability built into a CR in light room. It would just be understanding as an example, the h s L panel B. H s L panel in a CR and light room. And I keep using these terms interchangeably cause they're the same engine. Adobe camera raw is exactly the same engine as the develop module in light room, and we'll be using both of those. But if you understand they shoes saturation and luminous, it's not hue, saturation and likeness, which is intruder shop, which is that lightness part is useless as you've probably found. How you saturation and luminous in a raw converter like a C R in light room is mind bendingly powerful. And what you can do with a black and white conversion using HS L is every bit as good as what I think you can do with other programs and in some ways better because of how accessible it is. So we'll be doing black and white conversions using. But it's a great piece of software, and like I said, because it throws in all the grunge ification and framing in all those effects, it's great.

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