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In this digital photography tutorial we see the basics to set up a camera.
Tags:Setting Up the Camera,digital photo tips,digital photography training,digital photography tutorials,prophotoinsights,simon plant
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Setting up the Camera
Alright, welcome back! We complete the shoots and the storm that was forecast coming and it was actually bad. But luckily, I at least quite stayed on the trees but I got my shots so I wasn’t overly worried. I’ve roll, I must get this three locations in the end and I'm going to show you one of the shots that there are the following images we went with at the tutorial. I just should go to the camera setup, okay the lens is 70-200 millimeter and the shot is able to go with a shot at 78 millimeter. And as I mentioned before I might as well do with one of the compressive spec there a little bit. And I'm going to show you a little bit more detail about that in a second.
Exposure 1/4th at F16, shot camera raw, 100 ISO, manually focus. Again the old focus is very good but on landscapes to support that. There is no reason to use the old focus. I will be more worried about switching on the focus on and it’s moving the image for your shots and we’re having a shot focus in a place that doesn’t want it to. But first in mind you can setup the way you want it to and then just leave it so that’s the reason for that.
Tripod yeah, quite important, and there is no way I can handheld for a second and sharply so definitely the tripod and get it tightened up, nice and secure. And also, the reason I did this shot was I use a self timer run two second delay or you could use a cable release. I've got cable release but I'm a bit lazy sometimes to put the timer on and that help gives the camera chances little down as you press the shutter button. It just lets the camera a little done a little bit otherwise it’s still wobbling slightly and again on a pull of a second I get a bit of camera shake on that and you don’t want that.
So lens choices is okay, I'm going to go little bit more to lens choices for you and another chart. Okay so we’re just going to try some new. I've got a little bit of kind of the highlighting gear a bit of software so that it can help destroy what’s going on. And this was shot with the same lens 70-200. And basically, we just said before it just helps a compressed perspective so it will bring the foreground and background. I just kind of compress it together and saying it was not the trees here. I just put everything together.
Also with longer lenses the very good feel like headshots because you can just focus on the images quite easily and for instance if you shot at five six on a shot like this, the background would drop off quite quickly at focus at the same shot anc a wide angle would look much sharper. So that’s either everything to use and the longer lenses just enables you to drop the focus on the background more easily.
The next shot I want to show you is a wide angle shot so just bring that one up. So with this one shot as one of the wide angle, the 28 millimeter lens that start working on a full frame sensor 325 millimeter type format. And here you got quite a bit distortion on this picture. I got very, very large gradient here and these covers as much larger in frame. They’ve got a little bit of skew with it with a lot of distortion. She nearly come here and then as it drops off they get smaller very much quicker. And also notice that what you call same here is again a little bit skew with it. It’s kind of almost looming over especially here. It’s got a lot of the shoots with the ships at bow and distortion on it. If I was there photographing buildings for say architects then you wouldn’t necessarily know these are 28 mm lens. You totally rather go for a longer lens which gives you much more not to look too bordered. I say not with five or four cameras you could use a wide angle on that if you need to and you can also use the back of the cameras but let’s stop confusing matter so that really exaggerates perspectives.
And as a bit of dynamics, usually it just exposes about drama and it just exaggerates the perspectives. I know so in our things but pretty much smaller in frame as a triple thought so that is all turn the other one. We might remember this one when you saw and end up in profile or insights so I gave you a free book about photo from the Age of Darkness and these are the images that we covered in the book. This was shot on the longer lens. Now the reason we shot this from our longer lens was again it has to do that kind of looming over that you get with wider shots. I decided to get fall back from the top of the tower in the shot as I could and use slightly longer, longer lens again. And that gave me a more natural look to the tower. It’s still pretty looming a little bit but if I come much further in with the wide angle it would have really been kind of stun to go, it’s up to me and I did want that of the shot.
So again here you can see, I'm just clear I'm going on there but then I want to do with the software and what I want to do with it. Here we go. Let’s start again and so these here are all again quite squash together and well much more than they were anyway as on the location again with the post, this has been compressed just from this distance between and the distance from here to here as all been squashed together as well. And you know basically all the tab is a good walk away from where I shoot in. It will probably a good 10 minutes walk, so it just shows you it reaches just four shortened distances in the images but more I like said it just gives you what if a tall buildings like this. It gives you a much nicer effects. Again if that’s you want you might want that picking looming over effect in which case you go for the wide angle.
Another here, here’s the last one as you say, okay this one again on stretching force into perspective with the wide angle lens. It’s kind of giving some drama to picture. This line here is much larger at the center much smaller there and it very quickly drops off and the just excitement and I think it will reach this image because it lot kind of fast flowing a sports car. Its board surfing and a smoke pour out that it’s there. You wouldn’t really get same kind of fact with a long lens on this. So again lens choices is very important and you need to learn what the effect they give and in general what is the wide angles tend to exaggerate the perspectives and the longer lens tend to give it a more of kind of normal perspective.
I mean otherwise if I remember rightly from the trying days of reading and stuff I believe on eyes are covered to about 55mm lens. So that’s why a 50-mm lens is regardless kind of standard. That’s kind of the closest today you get to the human vision. So you know it just sort of you know get the longer lenses and the shorter lenses and that’s generally the effect they give but there's more and let me just take you on a another step and tell you a little story.
Okay so I just want to summarize about the wide angles and the problems they might force you if you're not careful. First of all, some of the portraits, if you're going to photograph a headshot of you want male whoever and you shift to 28-mm or something like that in a face until the frame you got to make it look like an extra flow the rings since it doubles and it’s just like the noise is going to come like exploding in front of the face and you don’t give her a very flattering pictures. So I wouldn’t avoid that unless of course its’ the wife and then I think you might give it a go. And building again is the effect to you again. This is the shot of the coliseum again. As you can see the base of the coliseum appears bigger especially in this and it gives that kind of that falling over to have effect which is if you photograph buildings for architectures some of that you can need to show them in a normal kind of real well perspective you put one to avoid the wide angle lenses but otherwise go for it you know.
I've shot this and in some simple times so a lot of times if I quit so it’s really not that much to do this for yourself. It’s just fair also. It depends how close you are to the building and that effects how badly the building will be still so but as long as you know these things then you can make decisions for what matters in your images and that brings very neatly onto the next and final slide that I want to talk about it and this is not for shoo I did and again I just want to go to effects. It’s not a rule and other things I'm telling you here are the real wealth probably you get with lenses while you know you call them problems and they can be problems. It depends on what you want to do.
And but you know they're not rules, they’re just guides so you know you take the effects and you decide yourself whether it’s plenty or not. For instance I just want to tell up a story about this picture in 2006. I was in Rome. I went with the foundation for a weekend just sightseeing but as usual the camera is carried with me. At that time, I’ll shoot a lot of lifestyle. That’s the images they want. They want a lifestyle picture with their girlfriend, long beaches, and guys and all that sort of thing and the general was all dump over with occasional child talent fee you know. It’s over saturated and you know I just sale about wow you know just go in and shoot. Spending some lots of money to shoot unless on pictures.
But anyway I went to Rome and I have that in my mind and you know the coliseum is probably the most photograph buildings in the worlds. I thought they’ll put me trying to take pictures at the coliseum to put the stuff while I’ll just want to take them. However, I decided that I want to go out with there are no tourists in shot and just take some pictures. I just want to take some pictures of the coliseum so I decided when it’s five o’clock in the morning to get to the coliseum before the sun came up so that there were no people about, preferably street cleaners. I have to place one on my self and that’s what I did and I’ve got some quite nice shots and this one I was particularly you know light. I just put a little drama in it.
And when I returned, I've done the trip. It was certainly to be paid for and there's no harm in submitting these images into the library. They probably want to take them but you know it’s got to be one of my noise.
Anyway, I’ve got them to a show. I submit the image then and they decided to take two or three of the shots and the first month, I'm not posing here. I just want to explain the story in about the rules. The first month when they sell it sold the $28,000.00 and every month since then the last couple of years it’s sold for small amounts but it sells several times for very large amounts of money and I think the reason for that is it’s the most familiar location in the world.
But I also shot it in a very distinct way that haven’t been done before with fantastic lighting and I did not say a photograph of the familiar and unfamiliar way and the lot of impacts and it’s done very well now. I say not to pose, I’m just telling you that if I just stop that or now cut a wide angle on this because I will get a lot distortion and so forth then I wouldn’t shot it. I wouldn’t submit it and I wouldn’t revert the money.
So they’re not rules, they’re guides and if you're not worried about it you know all the marbles, face exploding to the camera then you know shoot to the wide angle but you know it’s not going to be flattering picture she has had done of her. But there are the facts and then you know if you got the facts and you know what you're doing then you can make decision whether you want that over effect or not but there we go and you will see it’s in the front of National Graphic which I think got a lot money for but it was nice. You don’t see a picture in front of there. And I think it’s another point or how to make it but I can't quite remember what it was now. But there you go, that’s the little story behind that and be it so. Yet go out, throw your lenses and so have of that. Don’t get stuck on many rules.