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Taking fisheye further

From: Foundations of Photography: Specialty Lenses

Video: Taking fisheye further

Your fisheye lens is great for cramming a really big space into your frame. I am facing a boiler on Alcatraz. And I really want it all because the ceiling has beautiful texture on it, the boilers are really interesting thing, there's all sorts of decay all the way around. And with my fisheye lens, I can very easily turn that huge field of view onto the subject, and I get this. So compositionally, this is not going to win any awards, but it's a really nice document of the scene, and it is showing me everything that's in the frame.

Taking fisheye further

Your fisheye lens is great for cramming a really big space into your frame. I am facing a boiler on Alcatraz. And I really want it all because the ceiling has beautiful texture on it, the boilers are really interesting thing, there's all sorts of decay all the way around. And with my fisheye lens, I can very easily turn that huge field of view onto the subject, and I get this. So compositionally, this is not going to win any awards, but it's a really nice document of the scene, and it is showing me everything that's in the frame.

That's what I was hoping to get. But check out the exposure, the exposure is really off. Now, this is an absolute way, something you're going to run into when you shoot with a fisheye, particularly in a situation like this where we've got a really varied lighting situation. We've got a big dark shadowy boiler in the middle of the frame and then I've got these bright lights on the edge through the open doorways. That's what's messing up my meter. The fisheye is wide enough that it's picking up the doors which you can see on the edge of the frame and the brightness of the floor, but it's also tall enough that it's trying to reach into the shadows. It has metered overall pretty well.

Actually, I've got good shadow detail, and I've got pretty good detail on the floor and the bright highlights, but there's still a little hot. This is something you're going to run into the first minute you put your fisheye lens on, it's just so wide your meter can get confused. Now, you've got a few options for how to deal with this. You could switch to spot metering and meter off of the floor to get it properly exposed. So I'm going to meter here, and I'm going to lock in that exposure, reframe my shot, and I get this. Now, the floor is metered properly now, but everything else is gone way too dark.

I could try to brighten that up in my image editor, but anytime you head towards brightening up something, particularly something as dark as this, you're going to run the risk of introducing more noise into your image. That's also kind of a drag of a way to shoot. I'm having a meter here, and reframe, and make sure that I don't lose focus, and make sure that I've locked my metering and all that kind of stuff. So I'm really not a fan of spot metering in this instance. Instead, I'm going to try something else. I'm going to make sure that I'm on my full matrix metering or evaluative metering, depending on what your camera calls it.

This is it where it's going to analyze the entire frame and come up with a good overall metering. This is what I think I was doing before. I wasn't really paying attention obviously, so let's take a look at this. Yes, that is a matrix-metered shot. It's done a good job overall, but things are a little over-exposed on the foreground. I'm simply going to tell it to under expose using Exposure Compensation. I'm going to dial in one stop of under-exposure. I'm shooting on Aperture Priority mode, so I know that it's going to hold the aperture that I want as it does this under-exposure.

So that's going to ensure that I continue to get a depth of field. And now, I'm starting to get some more detail back on my floor. I think I'm going to go a little bit further, though. I'm going to go two stops under, and it's fine to just experiment like this until you get something that looks like it's a little better exposed. So, now I've got more detail on the floor. I don't have to worry about those highlights. I haven't compromise too much of my shadows. Finally, there's one other approach I can take, and that is to go to an HDR approach, that's shooting three frames metered differently that I'm then going to combine later using HDR software.

If you're not familiar with HDR, check out my HDR course. It will walk you through this whole process. So when I do that, I get something. It's a little dark in here, so shooting HDR handheld is a little bit tricky. I'm going to bump my ISO up. I'm actually going to go ahead and dial in some under-exposure because I don't think I need super bright highlights in here, and because it will keep my shutter speeds up, and that will give me easier handheld shooting. So these are my three RAW shots. And if I merge those together I get this, so this is another approach.

So lots of different options here for getting my exposure right in a situation like this. The important thing to take away from this movie is an understanding that when you're working with a fisheye, you're pulling in such a wide field of view that you're going to have a variety of lights sources that may confuse your metering, so you're going to have to pay very close attention to your highlights, check the Histogram on your camera, and employ some kind of strategy for getting that exposure under control.

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This video is part of

Image for Foundations of Photography: Specialty Lenses
Foundations of Photography: Specialty Lenses

50 video lessons · 17185 viewers

Ben Long
Author

 
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  1. 4m 10s
    1. Welcome
      1m 46s
    2. Roadmap of the course
      2m 24s
  2. 3m 53s
    1. Words about focal length
      2m 6s
    2. Understanding camera position
      1m 47s
  3. 39m 19s
    1. What filters are for
      2m 37s
    2. Shopping for filters
      3m 55s
    3. Understanding neutral density filters
      4m 53s
    4. Applying neutral density filters
      3m 55s
    5. Polarizing filters
      3m 4s
    6. Some shooting tips for working with a polarizing filter
      2m 32s
    7. Using infrared filters
      9m 15s
    8. Processing the infrared image
      6m 7s
    9. Handling stuck filters
      3m 1s
  4. 38m 37s
    1. Working with ultra-wide lenses
      7m 19s
    2. Using a wide-angle lens
      4m 43s
    3. Understanding fisheye lenses
      4m 2s
    4. Working with fisheye lenses
      3m 59s
    5. Understanding fisheye exposure
      3m 3s
    6. Taking fisheye further
      4m 16s
    7. Processing fisheye and wide-angle images
      7m 38s
    8. Correcting tone in fisheye images
      3m 37s
  5. 35m 37s
    1. Understanding super telephoto
      6m 21s
    2. Shooting distant subjects
      8m 26s
    3. Compressing the sense of depth
      7m 53s
    4. Working with shallow depth of field
      5m 35s
    5. Working with teleconverters
      2m 38s
    6. Editing telephoto images
      4m 44s
  6. 16m 47s
    1. Understanding macro basics
      2m 47s
    2. Shooting close
      4m 52s
    3. Shooting macro
      5m 20s
    4. Working with a point-and-shoot for macro
      1m 58s
    5. Using a two-lens strategy
      1m 50s
  7. 16m 39s
    1. Understanding tilt shift
      3m 37s
    2. Correcting perspective
      4m 29s
    3. Creating the toy effect
      4m 41s
    4. Deepening depth of field
      3m 52s
  8. 32m 39s
    1. Working with specialty lenses
      2m 43s
    2. Using the Lensbaby
      9m 13s
    3. Working with the Lensbaby Macro attachment
      3m 50s
    4. Shooting with a Holga attachment
      3m 4s
    5. Using an alternative mount lens
      2m 18s
    6. Using super-fast lenses
      1m 47s
    7. Correcting Lensbaby images
      9m 44s
  9. 39m 48s
    1. Correcting perspective
      10m 41s
    2. Creating the toy effect
      6m 31s
    3. Getting the lo-fi Holga look
      11m 17s
    4. Reproducing the effect of a Lensbaby
      8m 17s
    5. Cropping and enlarging images
      3m 2s
  10. 2m 47s
    1. Choosing whether to borrow or buy
      2m 0s
    2. Goodbye
      47s

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