How To Work It Series: Class 3- ISO & White Balance | Lissabeth Anglin | Skillshare

How To Work It Series: Class 3- ISO & White Balance

Lissabeth Anglin, Doing all the things, coffee in hand.

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4 Lessons (18m)
    • 1. Intro

      0:56
    • 2. ISO

      6:39
    • 3. White Balance

      6:20
    • 4. Assignment

      3:46

About This Class

This is the 3rd course in the How To Work It Series. To start from the beginning, check out

How To Work It Series- Class 1: Aperture

How To Work It Series: Class 2- Shutter Speed

This How To Work It Series is for the beginner who would like to learn to harness all the power of their DSLR camera and shoot in MANUAL mode. I explain it all simply and easily- and with a Texas accent, of course. :)

ISO & White Balance are two sidekicks that take your images to a more professional level. These two will influence the look and feel of your photos and give you that extra boost you're needing! 

A few recommendations before you get started...

For the most effective learning, I recommend doing each lesson in order, with your camera nearby so that you are able to locate functions/controls as they are mentioned. It's also very effective to take the time to PAUSE the video while you practice or find the button you're looking for- this may be obvious, but I've learned that a hands-on technique is the BEST way to learn.  Of course, you are welcome to revisit lessons in any order you choose- but they do build on each other, so that is why I recommend starting with this class. :) Also, please make an effort to DO YOUR HOMEWORK and post it for us in the project section. Being able to interact with other attendees and me will allow us to really help each other in specific areas and also tell you how awesome you are doing. 

Transcripts

1. Intro: how to Hey, guys, mining Melissa, England and I'm so excited that you have joined us on this house work. Of course, I can't wait to see to work your fancy camera. And so I'm so glad you joined us, and I have been a wedding attire for for nine years now, going on 10 and I love my job. I really never thought there would be such a job where I got cake and be there on people's best day of their lives on. But because of the way darker, I've really learned how to use my camera in almost any situation. And it's really taught me to utilize exactly what I have and travel lightly on and really get the fetters that I want in a non fussy, not too technical fashion. So that's how I like to teach classes, and that's really what I'm here to do for you is to help you learn how to shoot your camera manual and really utilize the equipment that you already have 2. ISO: how to Hey, everybody, Today we're going to talk about two very essential parts of making a great picture. I s o y balance on these air to things that don't get a lot of attention, obviously, because you don't necessarily need to know about them to make an exposure. But they are really going to amp up the quality of your images, if you can understand that. So the person that we are going to talk about, I s so sometimes you'll see you pronounce I so. But I believe the correct terminologies eso from where I so comes from is the old school filled days on usedto have to buy your different rolls of film Different I s O levels, depending on what she would be shooting and how dark the situation would be. Andi, you didn't have the ability to change your eyes. So until you changed your roll of film Now a digital we get to change our so with every inventory take which is so, so nice on dso basically and the way I understand it best. When I was first learning about eso waas I have said it was kind of like a platform that you give yourself while you're shooting in order to be able to see to take the right exposure. So I don't have this a week since. But I'm gonna give you the example that made sense to me when I first learned So pretend and you're standing in front of a really tell if it's and you want to see over that fence, but on where you're standing, it's just you don't have the capability, you're too short. You can see on Find it Super Dark. Let's pretend there's some amazing fireworks going on over that fence. It's dark at night, and so that would be like shooting at eso 100 the lowest I so you could be on your You're not telling enough to see over the fence, and it's really dark, so we're going to go ahead and up our eyes. So let's pretend we take a giant brick or a box or whatever, and we throw it on their remove up to 200 eyes or it's a little bit brighter. We could sort of see the fireworks, but it's still not quite enough for us, so we're gonna say, OK, let's double it. Let's put two more blocks, and now we're at 400. So I'm getting closer and closer to being able to see over that fence cause I'm getting taller and the lights giving a little bit brighter. But it's still not quite enough, so let's double that. Let's go ahead and have four more blocks on it. And so I climb all the way up I as a white 100 on all of a sudden, I can see the full picture, and I'm able to capture all of that light and get the whole thing. It's like a platform I am literally standing on in ableto look over, overcome that darkness and see the sea, the life that I want to see. That's kind of how I s O works with with your camera. And then it's It's something that can help you when you're in a really dark situation and you're already dialed down to the lowest temperature you can get. And you can put your shutter speed any lower because it will start making things really blurry. That's when you can adjust your eyes. A lot of photographers will walk into a room and, depending on how dark it is, that's the first thing that they change. And I think that's really wise. If you know that you're going into a situation on, you know it's gonna be dark inside a hotel room or your bedroom or wherever you are. You can go ahead and change. Your I said I said, is measured in members a minute ranges from 100 all the way up to 3200 plus for general range. I think most his heart first probably shoot anywhere from 2 to 800 just depending on where they're shooting. But you want to stay down this low of I s O as you possibly can because that's going to give you a better quality image. But knowing that you're gonna be in a darker situation, go ahead and and changing your S O to a higher number is gonna help you out a lot because it's just going automatically allow your camera to absorb more light. So let's go ahead and find that function on your camera. My I s O is right here on a button on the very top, and all I do is press it down and then adjust my dial. Um to see what I s So I'm shooting at on. This Keenan camera is very similar. There's an I S o but right here. So you push that down and then adjust the dial as needed. So go ahead and just stop where you're at. Taker came around on whatever exposure you're at, Just play with messing with your eyes so you can see how all the sudden you get the ability Teoh see, just a little bit more like with the higher number of I said that you're shooting at. So that was basically what I so does. Now you have to be careful because, like I said, the lower the number. I said that you're at higher quality image you're gonna get. Don't have you've ever I remember having appointed shoot when I was like high school and we were on vacation somewhere. I wanted to take pictures of all the pretty night lights. Well, I whipped out my point into, snapped a few pictures and then got those pictures back, and they were so pixelated and grainy that I could hardly even tell what I was photographing. It was just a terrible quality photo. Well, that's what happens on my camera at that time was on auto sf. So it was trying to figure out okay, what I said I need to be yet in order to capture all of this darkness and brighten it all up. And so the camera was deciding that for me, for those images, what happened was it was saying, Oh, my access Was this so dark? We need a jack that ice that way out. What happens when you do that is you get just tons of grain and tons of just mess and angry like in the Film Days and Greg Inglis, the graininess of the film. And sometimes that looked really cool. That's kind of become popular again. But unfortunately with digital for tired feet, the grain is not so great on if you get super super high. I s o. So you have to be really careful because you don't want Teoh overdo it with your eyes so and shoot to have a nice Oh, because you're gonna lose some quality and get some more brain in your images. You just don't have the death that you need because it's going to go ahead and automatically raise your your expression, so be careful with that. There's a graph in your net store. You can kind of see how some of the green starts to start happening once you lift that. I so so just why that is there for you. 3. White Balance: And then the second thing we're talking about say is, Why balance? Why balance, I feel like, is one of the things that really distinguishes a professional from an amateur photographer . And it's something that most people don't realize that I'm looking at until you make a point to go see it and why balance is what your camera reads us. What? And I wonder if you guys have ever seen those commercials where it's like a time commercial where there's two socks on this wet ward and they go up and ask people which one is the cleaner sought? And really, if you look at that, there's one sock. It's always a little bit more blue, one that's a little bit more yellow. For some reason, everyone picks the blue soft or the blue or soft. And that's just what reads in our minds is cleaner. And the truth is, is they're both wine, but you know works for that commercial because what you're seeing is a difference in white balance on really truthfully, there is no true white on your camera is going to read variations of all of the different types of lights in the room and even on a white wall like this And the difference in you know, the the white that's above my life back here is gonna change because of that light bulb in that land. It's gonna give it a different cast. Then maybe the wife that's over here. You know, that's got window light reflecting off, and those different colors of those different light sources are gonna give up different colors of light. And so, therefore, it's going to change my wife and what balance? So what? You're white bounces. Get up in your camera is going to determine what your camera sees is true white, and you get to control that. It really doesn't matter. There's several different presets on your white balance, and my balance button is also right here on the very top right here. I just push WB and then I adjust with my dial. Same on Cannon. There's a WB, but that's for white balance. Process down. Justus. Well, I mean, like I said, if you guys don't have dials on the outside of your cameras, it's likely inside the menu and seeing you need to stop in a region manual to figure out how to adjust those things because we're in a mess with them later. So you're gonna wanna see that, But there are lots of great presets on your camera on that. Like I said, I'm in the earlier Listen, what really matters is not with the preset set were made to do. It's what you like the best. What Look you're going for. So I heard you just kind of think out of the box as faras my balance and colors go and we're gonna get there. A few of the camera presets as's faras white balances Go. And I'm gonna tell you a little bit about what I think. All of the different ones at your opinion can vary, but the person will talk about is a little light bulb with little bits of light coming off of it. Not your tungsten preset on that is typically for like, incandescent light works really well in bathrooms or we have really warm light bulbs on, you know, in a living room. Maybe if you have. If you have a bunch of those warm light light bulbs, it's gonna make the the lighting very orange very warm, and sometimes it's too warm. It makes people start kind of orange on, so that's a great preset to use. If you're in a room that is got a lot incandescent light, and the 2nd 1 is fluorescent, it's got the long bar with light coming off of it on. This is by far my least favorite type of life. Fluorescent light. It makes people look sick, and they give them this lime green tint that just really is so unattractive. And so sometimes I will use the fluorescent lining. For some reason, best fluorescents are making people look like they're about to die, but takes engine to your skin tones and you'll start to see you know the difference of you . If you see fluorescent like I have a baby switcher, fluorescent white balance. And so that counteracts that ugly green kind of warm up a little bit on the daylight. Is the sun preset? And honestly, I do not like this one. It is too cold for me. It adds a lot of blues to the image for some reason, and it almost is, too. You would think they would make it like nice and sunny, but sometimes it just makes it way too cold for me, so I typically don't use daylight on the flash symbol is for flash white balance. I do use this one occasionally, and when I havent off camera flash going like a wedding reception and you may see that you prefer to use that when you're using flash on your camera as well. It's pretty self explanatory. Cloudy. This for what it's cloudy on, and I really I like this in a bad Don't really use it that much, and it has a little bit more. Read the flash, but that's really about it. Shade. I have a shade icon with like a house and a some lines by the house. Shake is obviously used for when you're shooting in the shade and the shade does cool down the image quite a bit. Just because of this type of line it is on. I have a friend that loves to shoot the shame in the sunlight because she feels like ads like this warm green greenish red tint to it. But I don't really it's a little too warm for me on, And to be honest, I typically use the auto white balance. Just the good ole this is pretty much the only time I'm gonna say, Go ahead and shoot an auto our cameras to a pretty darn good job of sensing the wet balance . But for some reason, you find yourself in a situation where you go. This is just super green or super orange on. Then you can go in and a gesture. What about usually one of those presets? And it works really well. Now, if you want to get really particular, you can move your what bounds over to the K on that is Kelvin's. That's what that stands for us. Kelvin on. I guess Calvin is the guy that decided Teoh measure color in numbers, and so color can be measured in numbers and you can move your the numbers. They're usually in the thousands, just your Web pounds fare. Very specifically. If you would like to go in and do that regular people like me just like the presets. And honestly, I just like the auto, the best in the works pretty well. So we're gonna want to go ahead and check that out for yourself and see what you really truly like 4. Assignment: And now what? The The most important thing that you could do right now is go ahead and experiment with both of those things because they're really going to impact the quality of your of your exposure in your image. So I want you to practice with I s O first, find a dark room for yourself. You're gonna need something to focus on this again. Turn on a lamp or something like that. Just so that you you're not shooting around in the darkness of your cameras trying to focus on the nothingness. This there. So go in, Turn on maybe one little lamp or something like that on. Just start out at on. You know, a decent exposure really doesn't matter what you expose that because we're not gonna mess with aperture or shutter speed. We're literally going toe only mess with your eyes up so you can see kind of the difference it makes on your turn your eyes. So all the way down, Thank you. Must go all the way down to 100. Some go to 200. Uh, must go to seal turned down 200 take your exposure, then move it up again. take your exposure and move it up again and take your exposure. Just watch and see how much brighter and brighter, brighter the image gets simply by changing just your eyes. So and what I want to sink in for you is when you move to a different room or a different space, you can go ahead and change your S O so that you will later. You know, I said something that you change one time when you move into a new environment. So when I step into a dark room, say, You know, brides getting getting dressed in in an ugly old church bathroom is usually what happens on those air pretty dark typically. So Okay, it's dark in here. I need to go ahead and change my I said 800 so I'll go ahead and make that switch. And then from that point on, I leave my eso at 800 until I'm gonna switch environments. And then I mess with my shutter speed and aperture to get exactly what I'm wanting from that specific image. Now, with that same example, I'm also gonna change my wife balance because it is likely in that dark little bathroom that they're a bunch of those big orange bowl lights that are making everyone's face looks super orange and super red. So I'll go ahead and change my white balance to liken incandescent white balance. At that point to said, those are both really good times to check your white balance in your eyes. So when you're moving into a new environment and you know you're gonna have some specific changes to be made, So I went down first, and then a gesture, shutter speed and aperture. So try the eyes. So dark, dark room experiment and up your exposure. I grew up your eyes, so and then I want you to get find something that's white. Eliminate all of the extra light sources in the room if you can, and try to keep it just one overhead light, one lamp glide like a window so that you don't have combating different white balances, and you can really see the changes that you make. And I just want you to shoot and go through all your presets and just to see kind of like I did with that example with flowers on the first page, just so you could see what happens when you change your white balance on. Even better. If you could get a human t pose for you because it does, it does change the way that skin looks. Just so you can kind of better understand what each one of those do and how how it affects the look of your image on. So those are two things I want you to experiment with. And now that you have learned aperture shutter speed, I s O in white balance, You should be giving a few decent photos on. Tell us what your settings were. Tell us what you're apertura your shutter speed. You know? Why about it? I s o Any of that information you can include will be super helpful to all of us. Because more we share, the more we're gonna learn from each other. So enjoy shooting today.