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Join photographer and teacher Ben Long as he describes the tools, creative options, and special considerations involved in shooting with a DSLR camera at night or in low-light conditions, such as sunset or candlelight. The course addresses exposure decisions such as choice of aperture and shutter speed and how they impact depth of field and the camera's ability to freeze motion.
Ben also shows how to obtain accurate color balance in tungsten and fluorescent lighting situations, and how to postprocess the images in Photoshop to remove noise caused by higher ISO settings. He also demonstrates accessories that can greatly expand your low-light photography options.
(Male speaker 1: Listen, Cromwell.) (Male speaker 2: Yes, Stanton?) (Male speaker 1: I invited you on this voyage for a reason.) (Male speaker 2: Oh, do tell.) (Male speaker 1: I have a business venture that I'd like to float your way.) The move to the back of the stage was not as successful as I'd hoped. I like the angle, I like being able to look down, my lens has enough reach that I was getting some nice things; what hadn't counted on was there were a bunch of other people in the audience.
I was having trouble seeing over heads. I was losing feet. They were being blocked by people's heads, so I didn't like where I was cropping people's bodies. So I decided to give up on shooting full bodies and try to simply go in tighter, get medium close-ups. My lens wasn't quite long enough to do that, so I decided it's time to leave the back of the house and I moved to a point about halfway down. Now this is a somewhat raucous performance. It's not like being at the symphony or at a staged play where there are quiet moments and people really need to hear.
People are laughing and so on and so forth, so I'm not too worried about shutter noise and I wasn't too worried about creating too big of an audio disturbance; I just didn't want to be in anyone's way. There's an aisle here that I had checked with ahead of time, I had permission to move down it. So I did that. I got a little bit closer. That helped. That got me because I was standing up above the audience's heads, so I was able to get more stuff. I still didn't have a lens that was quite long enough to really get a lot of nice close-ups from this higher altitude. So if I come here again, I know I'm going to bring a longer lens.
My exposure strategy still worked. Because of what I was finding with the framing that I was getting, I decided, all right, I can't get in real tight, so it's time to adapt and decide what can I do here. And what I can do here is rather than get real intimate pictures of the actors alone on stage, I can get pictures of the venue with the actors in it. So I pulled out and started to take some shots including the audience. One of the reasons that I'm doing this shoot is Theatresports is looking for-- Theatresports, the company--is looking for PR photos and things that they can use.
So shots with the audience in them are good. Even if I didn't have a specific goal, it's a nice way of recording exactly what's going on here and what the evening is like. So I think the takeaway for me from the second half was I need a longer lens if I'm going to move to the back of the house. And for those times when you can't get what you think you're going to get, you've got to look around and figure out what you can get. And in this case, it was scenes that included the audience and included more in the stage picture, and are more a record of the event rather than the action that's going on on stage.
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