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Intermission: reviewing the strategy

From: Foundations of Photography: Night and Low Light

Video: Intermission: reviewing the strategy

It's intermission. I've come backstage here to kind of review my strategy and set up for the second half of the show. I figured out while I was shooting what seems to be a good exposure strategy, finding myself a little frustrated by my position in the audience. There on the front row in the corner, I'm only getting certain angles. I can't shoot the stage square, which means that I'm getting people really tall in the frame and receding to really small as I'm using my wide-angle lenses. If I go to a more telephoto lens, I'm only getting certain sides of people and only certain angles. I was finding as people came over to my side of the stage, I was able to get a little differentiation.

Intermission: reviewing the strategy

It's intermission. I've come backstage here to kind of review my strategy and set up for the second half of the show. I figured out while I was shooting what seems to be a good exposure strategy, finding myself a little frustrated by my position in the audience. There on the front row in the corner, I'm only getting certain angles. I can't shoot the stage square, which means that I'm getting people really tall in the frame and receding to really small as I'm using my wide-angle lenses. If I go to a more telephoto lens, I'm only getting certain sides of people and only certain angles. I was finding as people came over to my side of the stage, I was able to get a little differentiation.

For the most part, I kind of feel like I was taking the same shot over and over. So for the second half of this show, I'm going to keep my exposure strategy the same, but I'm going to try and change my position. Because we got here early, I had the good fortune to get permission to block off a few seats in the back. So I'm going to be able to go to the back of the house, work with my longer lenses, get some full stage picture, I'd be able to get some angles that I haven't been able to get here, and see if I can maybe break it up a little bit and get some variation. I'm going to keep my exposure strategy the same. One recommendation for shooting events. This is an improv show, so I don't have any idea what's going to happen at any given time.

If you're shooting something scripted, a ballet performance, a stage performance-- scripted theater performance, anything like that, if you can go to the show more than once, you are probably going to have an easier time at the later viewings, because you're going to know what's going to happen. You are going to be able to anticipate action and set up shots ahead of time. Because I can't do that, because things are unfolding in an unpredictable manner, I'm making sure that when I'm shooting, I'm keeping this eye open. So I'm watching the stage with both eyes and I'm trying to make sure that while I'm focused on something over here I'm not missing something better over there.

So that's a really good technique for situations that are unpredictable or unknown to you. So I'm going to go and get my seat, see what happens in the second half, and see if I can get some different things.

Show transcript

This video is part of

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

55 video lessons · 36724 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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