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Rim Lighting

Photography TipsHave you ever tried to use rim lighting? It's a great thing to know if you haven't learned yet, and here's a short refresher if you already know. When there's a light on the far side of someone, the light leaks through right around their head illuminating their hair or hat. Sometimes the line can be so crisp that it looks as though they're being cut out. Rim light is beautiful, and it adds a ton of visual interest to a photo. The real win here is taking an extra second to try and look around your environment for some kind of rim lighting. Don't settle for the light you're given, find better light. And also plan to show up during golden hour, instead of trying to do photoshop later and add in something fake. More about rim lighting from New York Institute Of Photography: https://www.nyip.edu/photo-articles/cameras-and-gear/what-is-rim-lighting

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How Does Exposure Work? – QPT 033

Don’t trust your camera to think for you. It’s not that hard to figure out how your camera’s brain works! I’ll explain it to you. Your camera is ALWAYS looking and aiming for a middle gray tone. Not a black, not a white, but a medium gray. When it thinks in auto, it’s trying to figure out whether it needs to be turned up or down, and it aims for that average gray to make that decision. Here’s the problem: if you shoot something that is mostly black, the camera is going to say “OH! It’s too dark. Turn it up” to aim for that middle gray but that’s not always the best decision because if the scene is mostly dark, you want it to show up as dark in the photo, you don’t want it turned up bright! If you shoot something that’s white or mostly white, your camera will want to turn it DOWN/DARKER, because again it’s aiming for that middle gray tone and thinks it’s too bright. EXPOSURE COMPENSATION is adding a bit of your own thought to the way the camera works. You’re telling the camera, do what you do automatically BUT I need you to aim a little brighter or darker. Don’t aim for that middle gray: aim higher, or aim lower. Here’s an example: bride on an altar in a dark church. She’s wearing bright white in the middle of a dark scene. The camera will see MOSTLY DARK, and think it needs to make the photo BRIGHTER, but that’s WRONG because then the bride will be too bright and you’ll lose detail and information and might not be able to distinguish her features any more. Here’s another example: shooting outside on a snowy day — bright bright bright, and reflecty-white everywhere. The camera […]

QPT 020 – Back. Button. Autofocus.

Back-button auto-focus is where it’s at. You really really really need to learn about it. The main reason why you want back-button auto-focus is so that the shutter button will ALWAYS take a photo when you press it And then, you focus by pressing a different button on the back of the camera. Instead of the shutter button BOTH focusing and taking a photo. Especially with weddings, this is essential. Here’s a blog on improvephotography.com on how to set up back-button auto-focus! I use the AF-ON button. Some people use the exposure lock button. Styles of focus: One-Shot, AI-Servo, AI-Focus One-Shot means: The camera will focus on something once and then will never try to focus on anything else AI-Servo means: The camera will keep searching for focus continually. Focus doesn’t lock and stop. Focus keeps changing and tracking the subject. AI-Focus means: It will give you focus confirmation like One-Shot to tell you that you hit focus, but allows focus change if the subject moves. I use AI-Servo when people walk down the aisle, so that my focus is always tracking the moving subject. I use AI-Focus in most circumstances, when the people I’m shooting aren’t moving much. Also! You can set up your focus to respond differently. If you want your focus to react more slowly and not react immediately if something else comes in front of your subject, you can set that up. If you want the focus to react immediately when something new comes into frame, you can choose that as well.

Envisioning Before Shooting

Why do you need to envision your shot EVEN BEFORE you pick up your camera? Michelangelo and the statue David –when you’re carving with marble you don’t have a second chance He had to know what he was aiming for. So when he took something off, he knew ahead of time that it was the exact right thing I waste less space on my cards when I imagine the shot before I take the shot. Don’t depend on spray and pray. Crop the shot before you in your mind. Then put your camera up to your eye and match that vision Don’t be afraid to take time. Take 10-15 seconds to just think and envision. It’s important and it helps your client get the best images. This was a short one! Thanks for joining me. Please give me some feedback on the podcast! Either tweet me or put a review up on iTunes. Y’all are the best.