If you’re not using the paint can tool in Lightroom to help you keep your photos organized, you could be wasting a lot of time. Pro photographer and all around Photoshop champion, Jared Platt, will show you all the details in the quick sub 2 1/2-minute long clip, above.
If you are shooting a video with someone who is not accustomed to getting videos that part where you attach a Lavalier mic to their clothes can be kinda awkward. If you are wiring up an actor, there is a good chance they did this before and they maybe even done this enough time to help you. But with documentaries or interviews it may be your talent’s first time where someone approaches them to run a cable through their shirt.
If you do it wrong (and there is definitely a wrong way of doing this) not only you look like a PITA you may also take from your talents confidence which you want to be high for the actual interview.
The Location Crew came up with a short 10 minutes tutorial that explains how to do this right. Interestingly enough, an important part of the process is not even related to connecting a microphone, it is connected to gaining your talent’s trust and breaking that personal barrier to make them feel comfy.
Tim Grey took the time to provide 10 killer tips on enhancing your photos in Lightroom. Unsurprisingly, you can get a lot done to your photo in Lightroom and move from an OK photo (not that Tim’s photos are “OK”) to a much more refined photo.
Since 90 minutes are way too much time for just 10 tips, each tip is broken to mini-tips and those are broken again probably making “10 tips for optimizing photos in lightroom” a more suitable title.
“Love your photos! What kind of camera do you have?”
Look, I get it. I’ve been there. Being an amateur photographer is tough for a lot of reasons, but a large one is having to humbly ask questions you desperately wish you didn’t have to say out loud. At some point in our lives, every professional has started out as an amateur. We’ve all been on the other side of the coin, secretly trying to make sense of all the photo technical jargon while still trying to appear like a coherent adult that deserves to own a camera.
Photographers are irritated by this question because when someone asks this, they are essentially reducing their entire profession to what they are currently holding in their hand. It happens a lot, and the insult is literally always on accident, but that doesn’t mean hearing it gets any easier. But while my blood boils every time I get asked this, I just have to tell myself to chill the eff out. It’s my fault for being annoyed, not yours. I know you don’t mean to be insulting; you just want to learn. You’re simply trying to figure out a little more about the process, and asking about the camera is your go-to step one. And that’s what everyone does! Hell I did the same thing as a newbie – upon observing the fact that my point-and-shoot just wasn’t achieving the same effect as a pro, the question out of my mouth to any photographer that would listen was, “What kind of camera do you have?” I was naive and stupid and I didn’t know any better.
But now I do know better. It’s not that it’s a stupid question, it’s just that it’s not the best question, and sometimes rewording things just a bit can get you a much more useful answer. It’s not that pros are mean or anything, they’re just human beings, and human beings respond differently to different questions. So in the spirit of helping new photographers get the information they’re actually after (while at the same time avoiding pissing off every established photographer they ever hope to learn from one day), lets lay down a few ground rules.
I read the article by Martin Gillman about moving back from mirrorless to DSLRs which was published on DIYP a while back and had to respond.
To get some background on me, I am amateur photographer, in the original meaning of the word (lover of) and also in the sense, that I don’t shoot paid gigs anymore. I used to work as a concert, event photographer, shooting around 20 gigs a week. For seven years, I’ve been a staff photographer at Prague based tattoo and body mod studio Hell.cz again shooting gigs and shows, at current time I am working with few pantomime theater groups besides doing my own stuff that ranges from building pinholes to shooting and developing 4×5 slide film with a view camera. (see murhaaya.com for yourself)
I mentioned the gigs to give you some idea, that I’ve sort of been around the block and I am not blabbing about something I don’t know anything about. My main workhorse now is still a Canon 5D Mark II with a four prime lenses ranging from 24/1.4 to 85/1.8. No zooms, that’s how I roll. You roll however you like.
A lot of time when you start at something you feel that you suck at it. And there is a good chance that you are right. We were all beginners at one point and we all made stupid and cliche photos. Here is an interesting view on what separates the artists who break through to create significant work and the ones who stay behind.
It is the ability to be persistent at your work and keep producing work until your skills match your taste (or your vision).
Actually, having a strong vision may be just the thing that drive you to be disappointed with your initial work.
If you have not made any 2015 resolutions yet, here is an idea, complete a project each week of 2015, the volume of work will help bridge the gap between your skills and your vision.
Jazz with a camera… quick, can you answer these questions instantly or do you have to think about them… thinking means you need more work. If you were playing a solo you cannot ‘think’ about how to make an f# cause that moment is passed, man… blowin’ by. Just sayin’… You should be able to answer these questions instantly: [Read more…]
I’m a convert.
Not to any particular religion, but instead to the idea that a field monitor is the most important piece of equipment you can have on a video shoot after the camera, a lens and some kind of support.
This represents a sea change in my worldview. As a still photographer for decades, until recently I thought the bane of my video production existence was audio. But a Zoom H4n, a shotgun, a couple of lavs and a wireless system later, I’ve changed my mind.
And that’s because while I took for granted my ability to obtain tack-sharp focus every time, I’ve learned the hard way once again that assumptions are the mother of all screw-ups.
Turns out it was easier to focus in the good old days of film, manual lenses, split image rangefinders, and coarse microprisms on ground glass than it is today through on-board electronic viewfinders (EVFs) and LCDs.
There’s a reason why third party EVF’s and monitors are so popular.
I recently had the opportunity to review a 7.7” diagonal field monitor, and it was a revelation (no religious undercurrent intended).
As someone who, admittedly, still hasn’t entirely accepted the Creative Cloud (and as someone who prefers their editing programs to be desktop based), I confess that I’ve been moonlighting with the Capture One Pro software as a potential replacement for when/if I’m ever ready to branch away from Adobe. I also admit that I’ve been a little lazy when it comes to taking the time to learn and establish a workflow using the Photoshop alternative. Needless to say, I was pleased as punch to see Michael Woloszynowicz from FStoppers do a full walk through video of his post production process using only Capture One Pro 8.
Even if you’re not interested in the Capture One software, the video still provides you with an excellent tutorial on non-destructive fashion and beauty editing, so be sure to jot down some notes!