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Act II: moving to the back of the house

From: Foundations of Photography: Night and Low Light

Video: Act II: moving to the back of the house

(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.

Act II: moving to the back of the house

(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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Image for Foundations of Photography: Night and Low Light
Foundations of Photography: Night and Low Light

55 video lessons · 36753 viewers

Ben Long
Author

 
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  1. 2m 27s
    1. Welcome
      2m 27s
  2. 6m 20s
    1. What can you shoot in low light?
      2m 17s
    2. What you need for this course
      4m 3s
  3. 28m 54s
    1. Working with exposure parameters in low light
      1m 13s
    2. Working with image sensors in low light
      4m 35s
    3. Working with shutter speed in low light
      3m 3s
    4. Considering motion blur
      1m 14s
    5. Working with ISO in low light
      2m 29s
    6. Assessing your camera's high ISO capability
      4m 52s
    7. Working with in-camera noise reduction
      2m 4s
    8. Working with aperture in low light
      2m 10s
    9. Understanding dynamic range
      2m 2s
    10. Working with color temperature and white balance
      1m 11s
    11. Exposing to the right
      4m 1s
  4. 34m 39s
    1. Introduction
      1m 36s
    2. Talking with Steve Simon about low-light photography
      13m 46s
    3. Shooting by candlelight
      1m 55s
    4. Choosing a mode
      4m 34s
    5. Exploring the role of lens stabilization
      3m 1s
    6. White balance considerations
      3m 27s
    7. Flash considerations
      1m 18s
    8. Problem solving
      1m 35s
    9. Understanding aesthetics and composition
      3m 27s
  5. 30m 4s
    1. Introduction
      2m 20s
    2. Preparing for the shoot
      5m 25s
    3. Act I: adjusting to the light
      3m 48s
    4. Intermission: reviewing the strategy
      1m 53s
    5. Act II: moving to the back of the house
      2m 35s
    6. After the show: lessons learned
      1m 18s
    7. Reviewing the performance images
      12m 45s
  6. 19m 18s
    1. Shooting in the shade
      2m 55s
    2. Street shooting
      2m 52s
    3. Shooting flash portraits at night
      4m 5s
    4. Controlling flash color temperature
      2m 50s
    5. Adjusting exposure to preserve the mood
      2m 34s
    6. Dynamic range considerations
      4m 2s
  7. 41m 0s
    1. Shooting lingering sunsets
      1m 42s
    2. Exploring focusing strategies
      5m 17s
    3. Composing and focusing at night
      10m 42s
    4. Shooting the stars
      9m 27s
    5. Practicing low-light landscape shooting
      9m 55s
    6. Focusing on the horizon in low light
      3m 57s
  8. 13m 4s
    1. Light painting: behind the camera
      7m 34s
    2. Light painting: in front of the camera
      2m 13s
    3. Manipulating long shutter speeds
      3m 17s
  9. 1h 4m
    1. Correcting white balance
      8m 49s
    2. Correcting white balance with a gray card
      3m 50s
    3. Correcting white balance of JPEG images
      2m 0s
    4. Blending exposures with different white balances
      7m 13s
    5. Brightening shadows
      9m 8s
    6. Reducing noise
      7m 44s
    7. Sharpening
      9m 14s
    8. Correcting depth-of-field issues
      9m 32s
    9. Correcting night skies
      6m 39s
  10. 53s
    1. Goodbye
      53s

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