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Understanding fisheye exposure


From:

Foundations of Photography: Specialty Lenses

with Ben Long

Video: Understanding fisheye exposure

I'm standing here inside C Block on Alcatraz, and you know, as photographers we spend a lot of time thinking about spatial relationships, about how one shape relates to another in a frame. And as I stand here right now looking in this teeny tiny jail cell, I am very glad about my relationship to the door. I am on this side, not that side, and I really hope it always stays that way. If you've never been to Alcatraz, it's really worth a trip. Now that may sound strange. Hey go have a great time at the prison, but it really is a fascinating piece of history and the park service has done an extraordinary job of presenting it.
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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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Watch the Online Video Course Foundations of Photography: Specialty Lenses
3h 50m Intermediate Dec 17, 2012

Viewers: in countries Watching now:

Join photographer, author, and teacher Ben Long on location in San Francisco as he explores the creative options provided by the kinds of lenses and lens accessories that don't always make it into most camera bags.

The course begins with a look at several common and inexpensive lens attachments, from polarizers to neutral density filters. The course then explores ultra-wide angle and fisheye lenses as well as ultra-long telephoto and macro lenses. The course concludes with a look at tilt-shift lenses, which are useful for architectural photography and special effects, and at offbeat lenses, such as Lensbaby and Holga attachments.

The course also contains Photoshop postproduction advice and examples that illustrate the creative possibilities that an expanded lens collection provides. And because some specialty lenses are extremely expensive, the course also contains advice on renting gear.

Subject:
Photography
Software:
Photoshop
Author:
Ben Long

Understanding fisheye exposure

I'm standing here inside C Block on Alcatraz, and you know, as photographers we spend a lot of time thinking about spatial relationships, about how one shape relates to another in a frame. And as I stand here right now looking in this teeny tiny jail cell, I am very glad about my relationship to the door. I am on this side, not that side, and I really hope it always stays that way. If you've never been to Alcatraz, it's really worth a trip. Now that may sound strange. Hey go have a great time at the prison, but it really is a fascinating piece of history and the park service has done an extraordinary job of presenting it.

The audio tour that you can do is really fascinating, and just being able to roam the grounds is really interesting. We're here today with a ranger who is guiding us around to a lot of places that you normally don't get to see. One of the things that's fascinating about Alcatraz is that there are several layers of history here. There's the Civil War era fort layer, there is of course the prison, there is the Native American occupation, there is just a lot going on here. And on top of that it's a very interesting piece of natural history, it's an island right in the middle of San Francisco Bay.

It gives you a vantage point of the city and the bridges that's very different than you'll get anywhere else. So we got the chance to go to this cool old boiler room, an underground tunnel, we ended up in the hospital, the original prison hospital. There's a lot of cool stuff that we've been provided access to. It's an interesting shooting situation here. I've brought all of my specialty lenses with me because I wasn't sure what we were going to find. And it's an interesting puzzle, you find yourself moving between, well, I want to document what I'm seeing here, the cells and things like that but there's also just a lot of great texture.

This place is rusting and peeling and falling apart, so there's a lot of fun detail and a lot of just atmospheric stuff you can shoot. So I was really glad I had a big assortment of lenses with me. Now this may not come as a surprise to you, but I'm finding lots of small enclosed spaces in this prison. So I'm finding my fisheye lens to be particularly useful for a couple of reasons. One, the extremely wide field of view is letting me capture the entire space.

Sticking a tighter lens in one of these cells, I maybe can't get all four walls or six walls, however many there are. And so the fisheye gives me a wider vantage point which is nice. But there's something else, one of the cells down on the floor, the door was open, and I stepped inside, and I'm normally not a claustrophobic person. In fact, I've never experienced claustrophobia before, but I got some weird kind of disorientation, these cells are very, very small. And the fisheye lens with its weird distortion and its weird abstract viewpoint gives me a chance to create kind of disorienting images which can be appropriate in a place like this.

When you're using a fisheye, though, you are very often going to encounter very difficult exposure problems, and I'm going to show you how to deal with that.

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