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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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What Is A Histogram? (Part 2): Differences Between Photos

Hey guys thanks for joining me! This is a video about Histograms (Part 2)

If you need an overview, check out the last video. This is going to be a quick trip from one photo to the next to be able to see the differences in the histograms.

Right away! Look over here and we can see that there’s a good handful of darks, even MORE mids, and then a huge spike over here for the highlights/brights.

Take a look at this image — this is mainly a bunch of darks and then mainly a bunch of brights. Even though we have mids in the middle, there’s a huge spike of these darks, and then a huge bunch of whites and not as many in the middle.

Come over here and look at this image: you can see this huge spike on the right side, it’s basically pegged to the right side — now what the heck does that tell me?

The thing is that the couple in the photo is pretty well properly exposed, but this histogram is telling me that it’s pegged to the right side which means there’s a bunch of brights!

“You can see this huge spike on the right side…now what the heck does that tell me?”

Well, the brights are high because of the huge area in the background. If I just select this area here, you can see it’s pegged to the right. When I pull the box down to the darker area, the histogram starts pulling more down towards the darks although it’s mainly still in the brights.

Now if I choose the couple mainly, I gets highs and lows but the histogram is more in the center, versus something like this which is pegged completely.

Or down here, I’m getting a little bit more, stretching all the way down to shadows, but the HUGE glut of it is in the highlights.

Now take a look at this image — look at this, between her arm, her dress, and his suit, what do you think the histogram is going to look like?

BOOM. A bunch of darks. And then we have her arm and then the dress.

Now I don’t know exactly where the dividing lines are, I just know based on this image, I’m splitting it up into three different sections. We have the super darks, the mids (her arm), and then the brights (her white dress).

Let’s try to prove that a little bit — let’s zoom in on the dress and BOOM. Look at that. This dress is ALL white. Now what about her arm? MIDS. A huge mountain right in the middle of the histogram. And then, darks. So as you can see, you know, breaking that image down into different components, you’re able to really get a handle on how you’re doing in an image.

If you see that you’re really trying not to overexpose the dress and you end up pegged all the way to the right, then you’re in trouble.

Now personally, we sometimes blow things out (make highlights brighter than is technically correct because we like it). If you’re making art, do whatever the heck you want!

But if you’re trying to really learn exposure and really be more ON technically, this is a great tool because you can take a look at where ACTUALLY the exposure is.

If you take a photo of a suit and this huge chunk right here ends up being way over here, that shouldn’t make any sense to you, because his suit is dark so the histogram should show more of a mountain on the left side, near the darks.

“We sometimes make the highlights brighter than we probably should because we like it. If you’re making art, do whatever the heck you want!”

If you have a huge amount of the area that is white, you should be seeing that mountain over on the right side. If you see the FARTHEST RIGHT mountain all the way down towards the shadows, instead of all the way up near where it should be in the brights, you know that you’ve underexposed.

If there is a mountain pegged all the way to the left side, I would know that I’m actually losing information because instead of it just being dark with a few grays and other stuff in it, it’s just COMPLETELY black, 100% black. And that’s not good because then I don’t have any detail, it’s just black. Like looking at a piece of printer paper (all white) or colored all in with permanent marker (all black), that’s not helpful. I need the DIFFERENCE of those low tones, I need grays and upper and lower blacks to get that detail in the suit.

You can see in his shoulder, you can see that I’ve got upper shadows or lower mids and then also it gets into the darks here.

Hope that was helpful! Watch the next video.