The Practicing Photographer
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Using a lens hood


The Practicing Photographer

with Ben Long

Video: Using a lens hood

One of the great things about doing these Lynda lens flare problem, because the sun was behind me.
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  1. 4m 42s
    1. Evaluating camera-strap options NEW
      4m 42s
  2. 1m 35s
    1. Introducing The Practicing Photographer
      1m 35s
  3. 9h 50m
    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

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Watch the Online Video Course The Practicing Photographer
9h 56m Appropriate for all May 16, 2013 Updated Mar 26, 2015

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.

Ben Long

Using a lens hood

One of the great things about doing these Lynda courses is the feedback that I get from you guys. You send in really good questions and you often catch me on things that are worth explaining. And one of those things I got a lot of questions about after the Desert Road Trip Course was the lens shade. You saw that I had a lens shade on my camera and wasn't ever really using it. I always had it turned this way instead of actually on my lens this way. So I want to talk about that. I want to talk about what a lens shade is for and why I have a completely irrational fear of them.

So, a lens shade is here to prevent lens flare. Now, you probably have an idea of lens flare. Lens flare are those circles of contrast or brightness or just changing light that can come across your frame when you are pointed into the sun. Lens flares are caused by light reflecting around inside the lens in a way that the lens is not meant optically to handle. So, if I'm looking towards the sun, you should be able to see the an actual glare coming across the front of my lens. What that appears like, in camera, can be those circles.

But, the really treacherous thing about lens flares, it's not always a visible artifact like that. Sometimes it's just a big washing out of the image. Your blacks will go really weak, and so you'll lose contrast overall. That can affect color saturation, and can certainly give you an image with less pop. So, the danger of lens flare is that you don't always know it's there and so you don't always know to try to take action. That's where a lens shade can really help you. If you were using the shade that, that is designed specifically for your lens. And see, this one has these cut-outs.

This is a Canon 24 to 105. So, that means that the engineers have figured out for a typical situation, this should be blocking the angles of light that would cause flare. So, why don't I use this all time? Why don't I always leave this on my lens? Couple of reasons. First of all, if I'm just carrying this like this I, there's no spot in my bag for it, and if I'm carrying it like this, my lens is bulkier. A lot of times, particularly when I'm doing landscape work, I'm trying to really travel light and compact.

And I just find that my lens shades gets in, get in the way. What's more, if I know that I'm shooting into a situation where there's flare, I have a built-in lens shade in the form of my hand. I can actually do this, and in some courses you may have seen me doing this to try and stop flare. So, I often feel like, well I don't need the shade, I've got my hand. I also have enough experience to know when I'm potentially in a risky lens flare potentiality. So, I'm, I'm often on the lookout for them, and so I'm pretty good at about getting my hand in place.

This is always much worse when the sun is down low. A lot of the times I'll even just give up on a shot if the sun is very low on the horizon. Doesn't matter where your hand is or what kind of lens shade you have, you're going to get flare. The risk of a lens shade is that it's possible that it will cause vignetting in your image. Vignetting, a darkening of the corners. I had some bad experiences in my youth with lens shades causing vignetting and it scarred me. It's left me paranoid about lens shades. That's why you saw me with it turned around the whole time during the desert landscape, of course. A lot of times I knew that it was on backwards and I didn't care, because I was facing this way.

I knew that I was not in a risky lens flare problem, because the sun was behind me. When I'm shooting this way, there's no reason to have this on there at all, and so in my opinion, why risk the vignetting? I just take it off and turn it around. Now, as I said, these were problems that I had a long time ago. I shoot with higher quality lenses now, so I could probably lose this, this prejudice against lens shades. it's a good idea though, for you to find out for yourself, about your own lenses. So, if you're wondering, especially if you do a lot of outdoor landscape shooting. If you're wondering about whether your lens shade should be left on and off Take your lenses out, go to when the sun is low, not right on the horizon, maybe a little lower than it is now, late afternoon.

And shoot some images, and you don't even have to take the pictures if you don't want. But shoot some images towards the sun. And try them at different focal lengths and different apertures. Shoot wide open, shoot at F16, shoot at about eight and 11, eight or 11. Because the tendency to vignette is going to change at different focal lengths and different apertures. And that's what you're looking for. You want to find out if your lens shade, on your particular lens, causes vignetting at any focal lengths or apertures that you might have. If it does, then you know that, well maybe you want to be careful using that shade.

If it doesn't, then by all means put it on your camera and leave it there and you'll have full protection from lens flare. This is something, that actually I need to go do with my lenses, to see if I can get over this kind of PTSD that I have about lens shades, and vignetting.

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Q: Why can't I earn a Certificate of Completion for this course?
A: We publish a new tutorial or tutorials for this course on a regular basis. We are unable to offer a Certificate of Completion because it is an ever-evolving course that is not designed to be completed. Check back often for new movies.
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