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The Practicing Photographer

Creating tiny worlds: Shooting technique


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The Practicing Photographer

with Ben Long

Video: Creating tiny worlds: Shooting technique

The spot I'm standing right now was, just a couple of years ago, deep underwater. In a technique like this, unless you're very practiced with it, the, the top and bottom of the frame is still filled with uniform texture.
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  1. 9m 48s
    1. Switching to Lightroom from another application
      9m 48s
  2. 1m 35s
    1. Introducing The Practicing Photographer
      1m 35s
  3. 5h 17m
    1. Choosing a camera
      5m 27s
    2. Looking at light as a subject
      2m 22s
    3. Using a small reflector to add fill light
      5m 45s
    4. Editing photo metadata with PhotosInfo Pro for iPad
      6m 30s
    5. Let your lens reshape you
      7m 26s
    6. Compositing street photography images with Photoshop
      7m 44s
    7. Expand your filter options with step-up and step-down rings
      3m 56s
    8. Shooting without a memory card
      3m 6s
    9. Give yourself a year-long assignment
      5m 28s
    10. Working with reflections
      1m 26s
    11. Exploring mirrorless cameras
      7m 25s
    12. Batch processing photos with the Adobe Image Processor
      7m 30s
    13. Limiting yourself to a fixed-focal-length lens
      2m 13s
    14. Creating tiny worlds: Shooting technique
      4m 15s
    15. Creating tiny worlds: Post-processing techniques
      11m 41s
    16. Shooting macro shots on an iPhone
      3m 18s
    17. Using a tripod
      3m 33s
    18. Wildlife and staying present
      5m 58s
    19. Batch exposure adjustments on raw files
      6m 52s
    20. Why Shoot Polaroid
      11m 12s
    21. Seizing an opportunity
      4m 4s
    22. Four photographers do a light-as-subject exercise
      12m 24s
    23. Shooting macro bug photos with a reversed lens
      4m 54s
    24. Varnishing a photo for a painterly effect
      13m 36s
    25. Shooting wildlife
      7m 24s
    26. Discussion on how to shoot architecture
      12m 27s
    27. Using a lens hood
      4m 48s
    28. Working with themes
      2m 48s
    29. Setting up an HDR time lapse
      7m 55s
    30. Processing an HDR time lapse
      7m 55s
    31. Two perspectives on travel photography
      12m 28s
    32. Scanning Photos
      5m 37s
    33. Photo assignment: shooting an egg
      3m 13s
    34. Reviewing the egg shot images
      6m 47s
    35. Shooting in your own backyard
      4m 38s
    36. Jpeg iPad import process
      3m 17s
    37. Shooting a product shot in open shade
      9m 34s
    38. Reviewing the product shot images
      4m 5s
    39. Warming up
      3m 26s
    40. Taking a panning action shot
      10m 17s
    41. Scanning polaroid negatives and processing in Photoshop
      8m 17s
    42. Shooting a silhouette
      3m 9s
    43. Going with an ultra-light gear configuration
      5m 29s
    44. Working with masks and calculations in Photoshop
      12m 38s
    45. Working with flash for macro photography
      4m 55s
    46. Colorizing a black and white photo in Photoshop
      5m 10s
    47. Using duct tape and zip ties in the field
      4m 14s
    48. When the on camera flash is casting a shadow
      3m 4s
    49. Using Lightroom on the road
      6m 28s
    50. Listening to your camera to get good exposure
      2m 20s
    51. Shooting a successful self portrait with a phone
      7m 18s

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The Practicing Photographer
5h 29m Appropriate for all May 16, 2013 Updated Apr 24, 2014

Viewers: in countries Watching now:

In The Practicing Photographer, photographer and teacher Ben Long shares a weekly serving of photographic instruction and inspiration. Each installment focuses on a photographic shooting scenario, a piece of gear, or a software technique. Each installment concludes with a call to action designed to inspire you to pick up your camera (or your mouse or smartphone) to try the technique for yourself.

Subject:
Photography
Author:
Ben Long

Creating tiny worlds: Shooting technique

The spot I'm standing right now was, just a couple of years ago, deep underwater. I am standing in what was formerly Lake Altus Lugert. There was a shot I wanted here, so the lynda.com corps of engineers drained the lake for me. And when they did that, they revealed this weird reef of tires. These tires were put here on purpose to create fish habitat. And as the water receded, these tires were revealed as was Greg, who's been standing on the tires the whole time, actually that part's a lie. we put Greg there to create this shot. Now, there are a lot of different ways that I could shoot this image.

But I want to show you a particularly weird one, a kind of fun effect that you can use anytime you've got a broad vista that you want to shoot. Take a look at this. I have warped this image in a particular way to create this tiny little planet with Greg poking up off the top of it. This is a, a fun thing to do any time you've got flat terrain with some tall objects on it. So I'm going to show you how I shot this. And then in the next Practicing Photographer, you're going to see how the post-production works to create this effect. So, I I have somewhat limited movement here, just because of the vegetation that's around.

So I need to try to think about what I need in my final framing. The shot that I need to shoot, needs to be twice as wide as it is tall. I need a two to one ratio. So that's going to determine, that's going to go into my focal length choice. that consideration. The other thing is, I need the upper 25% of the frame to be pretty uniform. Which is great, I've got an empty sky. I also need the lower 25% of the frame to be pretty uniform. I think that's going to end up just being this grassy mess here. It's not perfectly uniform, but I'm hoping when that the warp happens, it just turns into this kind of solid green texture.

The other thing I need is, the ends of my frame need to be able to butt up against each other. Because I'm going to take this rectangular frame and warp it into a circle, and so the two ends of the rectangle need to go together. So that's going to limit where I frame my shot. So with those things in mind, I'm going to stand here. Again I said my mobility is limited because there's all these bug filled plants around that I don't really want to be standing in and I found a clean spot here. So I'm not going to, I'm not going to choose my framing by camera position, I'm going to choose it by focal length. Again with those ideas in mind try to get that 25% at the top and bottom.

And now, I simply shoot a panorama, just as I always would. I've got the left end of the frame set so that I'm not picking up any of this mountain. Because that would create a nonuniform edge when it's butted up against the other side. So that's going to be the left side of my frame I'm focusing and my exposure is coming in at ISO 200 at a two hundredth of a second at F11. So, that's going to give me good depth of field and a good steady shot. With that in mind, I'm now going to lock my exposure using the exposure lock button on my camera.

And I'm just going to shoot my panorama here. I'm doing two or three frames here. And I'm only going as far as the vegetation over there. I don't want to pick up any of the lake. I'm trying very hard to keep the horizon perfectly flat. Now those three frames may not add up to an image that is perfectly two to one. I can always crop it later and do some filling if I need to fill in some of the sky. In a technique like this, unless you're very practiced with it, you don't know for sure if what you got is going to work. So it's worth it to get some extra coverage, shoot it at a few different focal lengths.

Try zooming in some more if you can keep that the, the top and bottom of the frame is still filled with uniform texture. Panoramas are always a difficult proposition when you're shooting handheld as far as getting the horizon straight. So try a few different things. I'm also going to try including some mountains and including some lake so that you can see why it doesn't work when you do that. And so that we can explore some ways of fixing that if you accidentally do it. So again I'm just panning my camera. Just as I would for any panorama. Notice that I'm not turning my body. I am not going like this.

Because when I do that, I'm rotating around a point right here. I'm holding the camera. Taking a shot, and then rotating the camera. That means that as I rotate, I'm having to pull my body around to the back of the camera. So those are my shots. I'm hoping it's going to work. Now I need to get to a computer and do some warping to turn Greg and these tires into a tiny little planet.

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