Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Wake up to your world in 2 minutes.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Hey, what is up everybody I am Clarissa Santiago, some of you might know me from the pageant direct of Latina New York, USA. Others might know me from the being the American princess on the official reality show American princess on week TV all of you can find me at Clarissa-Santiago.net. Today we are here at john ricard studio and I am going to talk to you about lightings. Now of course John knows way more about lighting than I do but what you rather see me telling you about it. Well, first we are going to start with lighting as I mentioned Stevens’s big old thing here this lighting is use by live photographers where special types of lighting can be technical we are going to try it today. But, this cost thousands of dollars and you do not need this to get the type of effect that we are going to show you today. So get ready because it is about to get real hot in here and we are back and what we have here today are three on camera flashes. We are going to be using this today to get the lighting effect that you would get from the big thousands of lights so you will see the effects that we are about to do.
The thing about it is that a lot of you probably have this right in your own house. What we are going to show you are how to use the unicameral flash technique at home why you are listening, that is right no what is first. Now you might be wondering why we have three flashes well each one serves it purpose. The master flash is the one that we are going to use to slide right on to the camera. The master flash is going to control the power in our remote flashes. The first thing that we want to do is take our master flash and put in wireless mode. To do this all we have to do is turn it on once it is on hold down the middle key. Once you are at this screen select master and holds until you are in wireless mode so now that we have our wireless master ready to go we want to change it to manual mode in order to do that we are going to select the mode button and keep pressing it until you get the M for manual.
So know that our master flash is set we want to go ahead and set our remote flashes in order to do that all you have to do is hold down the select button. Hold down the select button to this screen once you are here push it again and now we are going to scroll down to the word remote hold down the middle button again so now the slash gives in remote mode. Now we are going to set our second flash so again we are going to hold down the middle button until we get this screen. Once we are here we are going to hold it down again we are going to select remote mode push down the middle button and now both of our flashes are in remote mode. You might wonder why this flashes are in manual mode well that is because each flashes operating manual mode and not TTO. So we make this flash manual mode as well so now that our camera is set up and we got our master flash set on here we want to pull the bounce part so that we make the lighting really soft. Then we want to put remote flashes on both sides of our cam this year. We are going to take our remote flash, we are going to direct it towards the wall so that it keeps the wall nice and quite, and there are no any shadows. Now I am going to change let us take some pictures.
John Ricard: All right, can we do this I am going to camera to your own for a minute, just do as you possible to you I am not going to over direct you, are you ready?
Clarissa Santiago: Okay, sounds great.
John Ricard: Wait, shoot something this side on. Give me some more clouds there. One more time. Okay.
Okay, thank you so much for hanging out with me remember I am Clarissa Santiago Clarissa-Santiago.net or of course the wonderful world of myspace.com/csfvmpref. So that concludes our show today our three light set up. Now you know how to do this lighting so go and do a good job make sure you let us know how it looks we want to see okay and that was on set with John Ricard. So I will make sure you tune in next time and we will talk about this wire here that is basically never mind we will leave it for the next show take care, bye.
So I am here at NYBJJ this is were I train in Brazilian jujitsu in New York city ad I am doing some pictures for him today and I am going to actually be using the same system that Clarissa showed a few minutes ago. So what we have here is our Nikon D3 and our SE800 flash and then we have another flash here, which is going to be bounce on to our white sealing and we have a second waterless flash set up here. And this is all we are going to be using to take these pictures so those are rather interesting mode on this flash that I like to use sometimes. So this is going to be the main flash that when it is mounted on the camera, I am going to put it on the wireless mode now. And I am going to tell the flash that it is the master and you see this little doted line here what that means is that this master flash is going to trigger my A flash and my B flash but it is not going to add any light to the picture. I cannot light that mode because if I want to move closer to the subject or move further away I am not adding any light from my flash because if I did each time I move closer I be putting up more light when I back up I been putting out I been putting put less light.
So this gives me the freedom to move with any worrying how much light I am putting out with the flash that is on the camera. All of the lighting is coming from my A flash here and my B flash here and I am going to start the light checks right now as Mark goes and Vita work out the techniques. So let us just break the first technique down into four to six steps. Mark just let me know like step one and two and this--.
That is good that is going to work so that is going to be the first sequence so just keep reminding me just go a little bit slow because I am using battery CSI if we are going to wait from the recycle. It will be little slower, right I will count. You are going to go one picture then I am going to say go to two. So you notice this system by having this flash set to the dashes here, I do not know if we see in that on the camera. Hopefully, we are again this flash is not putting out any light. All it is doing is triggering use two flashes and that made me closer or further back with out any light from this flash. You know the other thing you have to be careful of when you are bouncing light like this you have a bouncing of the white wall. I am getting the proper because the wall is not real white and it is producing kind a orange tent usually I would have use the expo disk attachment. You are going to look up online, I guess you put the expo disk on the lens and do a test shot for you white balance. So it gives you the correct colors I did not do that today so what I did instead was I left the expo disk by mistake. So, I am shooting on a row mode down here and in row I can put it in light room or something and make a few adjustments to the color and get the skin a little bit feather. But, and hold that two shots, now stay there good try the other side the this right, okay, good.