The Practicing Photographer

Reviewing the egg shot images


The Practicing Photographer

with Ben Long

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Video: Reviewing the egg shot images

Photography, of course, is entirely about light, and you're going to spend the rest of your photographic life just continuing to explore light and, and always learning more and more about it. In the first part of this installment of the Practicing Photographer, I gave you a challenge, for a particular way of exploring and investigating light and that was shoot an egg. It seemed like a very simple assignment to when you just say it as, go shoot an egg. But if you tried it, I am sure you found it to be a little bit challenging, especially when I said to try to get some emotional response and to try to do it through a manipulating light.
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  1. 4m 47s
    1. Shooting a slow-shutter zoom-and-spin shot for light effect NEW
      4m 47s
  2. 1m 35s
    1. Introducing The Practicing Photographer
      1m 35s
  3. 11h 46m
    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 56s
    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
    52. Switching to Lightroom from another application
      9m 48s
    53. Photographing animals in wildlife refuges
      6m 41s
    54. Shooting level
      2m 42s
    55. Photoshop and Automator
      8m 54s
    56. Shooting when the light is flat
      3m 23s
    57. Discussing the business of stock photography
      9m 48s
    58. Shooting tethered to a monitor
      3m 21s
    59. Making a 360 degree panorama on the iPhone
      4m 45s
    60. Understanding the three flash setup
      3m 34s
    61. Shooting a three flash portrait
      4m 6s
    62. Understanding the differences with third party lenses
      4m 43s
    63. Understanding why files look different on depending on device
      5m 25s
    64. Working with a geotagging app on the iPhone
      4m 43s
    65. Using high speed flash sync to dim ambient light
      7m 29s
    66. Using your iPad as a second monitor
      5m 46s
    67. Understanding exposure with a leaf shutter camera
      3m 28s
    68. Photography practice through mimicry
      8m 8s
    69. Canon wireless flash with built in radio control
      5m 59s
    70. Posing and shooting pairs of people
      5m 35s
    71. Shooting with a shape in mind
      3m 15s
    72. Shooting tethered to a laptop
      4m 40s
    73. Softboxes vs. umbrellas
      2m 55s
    74. Getting your project out into the world
      6m 25s
    75. Exploring how to think about shooting a new environment
      3m 56s
    76. Discussing the book "The Passionate Photographer" with Steve Simon
      6m 4s
    77. Highlighting iOS 8 updates on the iPhone5S
      10m 46s
    78. Exploring manual controls with iOS 8 and ProCamera
      5m 30s
    79. Understanding how to compose with an empty sky
      4m 54s
    80. Using an iPhone to make a print in the darkroom
      7m 16s
    81. How to use glycerin as a photography tool
      2m 16s
    82. Understanding micro focus adjustment and Lens Align
      11m 19s
    83. Working with hair in post
      3m 28s
    84. Taking a quick portrait and directing a subject
      5m 50s
    85. Getting inspired through the work of others
      11m 22s
    86. Taking a flattering portrait with flash
      4m 21s
    87. Creating an unaligned HDR image
      3m 3s
    88. Exploring how to use Bokeh
      5m 38s
    89. Shooting stills from a drone
      6m 57s
    90. Using a monitor to get a first person view of the aerial camera
      8m 0s
    91. Understanding lens profile correction
      5m 33s
    92. Working with models
      2m 40s
    93. Understanding the labels on SD cards
      10m 32s
    94. Setting up a macro time lapse of a flower
      6m 18s
    95. Taking a portrait that's tightly cropped or slightly obscured
      3m 24s
    96. Tips for shooting panoramas
      7m 16s
    97. Carrying a point-and-shoot camera
      4m 44s
    98. Adjusting the color of shadows in an image
      5m 35s
    99. Evaluating camera-strap options
      4m 42s
    100. The 100th Practicing Photographer
      3m 31s
    101. Using light-pollution maps for planning night shoots
      3m 26s
    102. Shooting a series of star shots for a stack
      8m 32s
    103. Stitching together stacks of stars
      8m 59s
    104. Understanding how to clean sensor dust
      10m 27s
    105. Dry sensor cleaning
      6m 23s
    106. Cleaning the sensor with moisture
      7m 32s
    107. Composing in the center
      2m 48s
    108. Working with an electronic shutter control
      2m 50s
    109. Understanding how to use the Wi-Fi feature in some cameras
      2m 56s
    110. Exploring the software equivalent to graduated ND (neutral density) filters
      7m 8s
    111. Don't be predictable in your framing
      10m 21s
    112. Shooting with ND filter and flash to balance subject and background exposure
      2m 42s
    113. Understanding when to go low contrast
      3m 15s
    114. Reasons for shooting images alone
      4m 5s
    115. Working with colored lens filters and converting to black and white
      14m 4s
    116. Waiting for a subject when the light is good
      5m 2s
    117. Understanding options for tripod heads
      7m 23s

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Watch the Online Video Course The Practicing Photographer
11h 52m Appropriate for all May 16, 2013 Updated Jul 30, 2015

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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.

Ben Long

Reviewing the egg shot images

Photography, of course, is entirely about light, and you're going to spend the rest of your photographic life just continuing to explore light and, and always learning more and more about it. In the first part of this installment of the Practicing Photographer, I gave you a challenge, for a particular way of exploring and investigating light and that was shoot an egg. It seemed like a very simple assignment to when you just say it as, go shoot an egg. But if you tried it, I am sure you found it to be a little bit challenging, especially when I said to try to get some emotional response and to try to do it through a manipulating light.

We gave the same assignment to a group of high school photography students here at the Oklahoma Summer Arts Institute, and after they were finished with it we had a group critique. We're going to take a look at some of that now, you're going to hear me, the photographers, Troy Word and Konrad Eek, as we look at what these students came up with when tasked with trying to draw emotion from an egg. >> So who's, who's this? Chris, alright, good. Well I think you achieved it really well. I mean, I, I like you know? The use of your light and, you know, repeating, choosing to backlight it like that. I think it's really effective.

And it actually, backlight is like amazing for opening things up and, and you know? Giving it a kind of glow. I think you totally feel that, I mean, that's what I get from it. It's like, sort of a forgotten little corner of decay somewhere, you know. I mean maybe the bug hasn't forgotten it. There, you know, there, I guess you could say it's hopeful the bug has found a giant egg that's going to feed him for the next, you know, hundred years basically. But, well done. I mean, I think that's exactly the exercise, is like, you know, use the shape of the egg, create an emotion, and I think you achieved that, so good job.

I mean, I think it has an emotional resonance, I don't know what exactly emotion it is, but I think it's very beautiful. And it certainly, there's something to the repeating. Circles, and you know, even just this, actually, funny enough, really I think, makes it. If that was just a black field, I think it would be less interesting. I would love to see a black and this, in black and white would probably be stunning. You know, and maybe to look. You know, this is another situation with your raw capture where there will be a ton of range in here and if you convert it to black and white.

You can play with your grayscale a lot and, you know, you could really get something that just looks like a, it's almost, you know, similar to some work that, that's done by early photographers you know, and I think it has a real classic, feel to it. And just the way you composed it, to the left I think really works, if it was centered it wouldn't work. And again that's something, you know, Photoshop, you could go in and you could lift that. You know, if you wanted to emphasize it if you want to do that. You know, obviously the, for me the problem with Photoshop is you have so many possibilities, sometimes you're tempted to use them when you shouldn't.

Sometimes less is, I mean most of time less is more, and just because you can do it, doesn't mean you should, but you, you know, the great thing about raw capture is you can go back in and then rework it, you know. Anybody else have any thoughts, or? Ooh. I think it's fabulous. You know, I love, it's a very surreal, you don't quite understand what's happening. But it almost you know, seems like you know, the alien egg that they discover in the cave, you know, as they're, they're exploring in the, in the fit, the sci-fi film or something, And this is fantastic.

The way it almost looks like it's levitating. And you don't understand what that is, it's like a, strange waterfall of something or, you know, smoke or. But I think, you know, that really provokes a strong emotion that shot, I think, and it's really, beaut, you know, beautifully done with the light, I think it's excellent. >> Yeah, it's all about the light. >> Who, okay, good. >> These might come together. >> So repeating the, the shape of backlight, and, good, it's very, you know, well composed and exposed, and it sort of has a strange, almost, you know.

Google Maps kind of thing, it's like a tiny landscape, but in a way, almost like a giant satellite image, you know, at the same time, it kind of has a couple of things going on. >> I like the light against dark here, mirrored with the dark against light here. This is a really cool symmetry here, I think that's why I want a little tighter crop in here to really bring the eye right in there. >> Good. Well done. Ooh, whose is this? Alright, good. I think if you just put this on a wall and ask people what it was, they'd think it's an astronomy picture of a planet, and again, it's all about the light, it's a great use of light, the side light, you know where light can create shape, you know, even in the texture, you know, I mean.

Texture really is revealed by the way you use the light and by taking it to the side, you always get more texture which is exactly why in portraits a lot of times you want the light, right in front because you don't want texture. You want to texture away. So that's great. I mean it looks like a, I don't know. There's like a little bumpiness there and everything which is really interesting. Again, this maybe one where you go into RAW, and if you, you may be able to bring more texture into it. So that would be interesting to, to look at.

And same thing, I mean this is perfect situation where you want to be shooting RAW or JPEG, that would be it. In RAW you can You may be able to find even more in it, so, good. I know that Conrad, Troy and I were surprised by the quality of the work that the students produced. Also, I want you to know that they did that in about an hour and a half, two hours. This was not a long assignment, they had an early afternoon to do it, an early afternoon in, in kind of the worst light of the day. Still, they were using natural light. They were using a couple of light sources that we provided and they were using a lot of creativity and ingenuity.

So if you haven't done the assignment yet, if you're kind of cheating and watching the second part first, hopefully this was a little inspiring for you. If you want to make it easier for yourself, remember this is an exercise. You don't have to come out with. Photos that you wouldn't show anyone else, just as a musician doesn't worry about performing scales for somebody. This is not about trying to get a, a really fantastic image for a show. In fact, honestly it's a weird exercise admittedly. You don't really need to know how to shoot an egg. But again an egg is a round shape a lot like a human head or a human body, it's a really good exercise in understanding how.

Light works. So if you haven't tried it, give it a try don't put too much pressure on yourself, give yourself about an hour and a half and work with whatever light you can find.

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