Natural Light Photography | Angel David Weatherston | Skillshare
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21 Lessons (1h 14m)
    • 1. 1 Natural Light vs Flash Photography

    • 2. 2 Benefits of Natural Light Photography

    • 3. 3 Negatives of Natural Light Photography

    • 4. 4 Location

    • 5. 5 Time of Day

    • 6. 6 Cloudy vs Sunny Days

    • 7. 7 Location of The Sun

    • 8. 8 Shaded Areas

    • 9. 9 White Balance

    • 10. 10 Set the mood

    • 11. 11 Iso

    • 12. 12 Different Cameras Iso

    • 13. 13 Shutter Speed

    • 14. 14 Low Shutter

    • 15. 15 Aperture

    • 16. 16 Cameras

    • 17. 17 Prime Lenses

    • 18. 18 Zoom Lenses

    • 19. Window Light

    • 20. Clear Sky Hard Sun

    • 21. Shooting in Shaded Trees


About This Class

In this class you are going to learn about taking portraits using natural light. We are going to talk about using the sun effectively to light your subjects. We will talk about all the camera settings, White Balance, ISO, Shutter Speed, and Aperture. Lastly you will see some live examples of shoots outside and how to use the sun for better lighting. 


1. 1 Natural Light vs Flash Photography: So this section will be talking about what natural itis versus flash photography is so natural. Light is when you use the sun or lights in your environment to light up a subject and then flash photography is where you use your own lights in either a combination with the natural light or just mainly on lee your flashes to light up the subject. So in this whole course, we're gonna be talking about just natural lights versus using any flash or any other external light source. And then when we talk about the benefits and the negative of using natural life versus flesh, So in the next section we're gonna be talking about the benefits of using natural light for your photography. 2. 2 Benefits of Natural Light Photography: in this section, we're gonna be talking about the benefits of using natural light for your photography. One of the biggest benefits is that you don't need any other equipment. If you're just starting out and you only have your camera, you're probably gonna be starting out with natural life photography, just using the sun and the outside light sources to light up your subjects. It's a really great starting point with your photography. And if you can master using natural life for your photography, then is gonna be easier to transition to using flash if you're gonna go that route where you could just stick to using natural light when it comes to natural life photography. One of the other benefits is that you can shoot a lot of pictures and a lot faster with natural light using flash, because flashes need to recycle and it kills battery and Thea. Other benefit is the shutter speed. When it comes to shutter speed. Flash is there's only a certain amount of shutter speed you can get to before the flash light won't be shown in the picture. With natural life, you can have the shutter speed as high as you want, and the good thing about that is you get sharper images. And also the main thing is that you can shoot a low apertures. The reason why that's important. Because when you shoot with the aperture setting to the lowest and you get really shallow depth of field, it makes the picture look very bright. And to fix that, you raise your shutter. We're gonna talk about that more when we talk about your settings, but basically it's a lot easier to get shallow depth of field when you have full control off your shutter speed. So you can only really do that when you do in natural light, and I have to worry about adding flash to it. So there's a lot of benefits to to using natural light. It's a lot easier to do. Sometimes you don't have time to set up flash when you're shooting an event or something, and you have to know how to use natural light than if you're really good at that. You could just figure out okay, this is the best file for the light available. I'm gonna shoot here and then just get a great picture right there on the spot. So that's the benefits of using natural lights, and now we're gonna move on to the next section 3. 3 Negatives of Natural Light Photography: so the negatives of shooting with natural light photography is that when you using only natural light, you're really dependent on mainly the sun. The sun is the main source that we use for natural light, and the sun could sometimes really give us really bad lighting. Or, like certain days give you less light than others based on time of the year. So if you're only affected by the time of day, you could be really limited in your photography. Because of that, I also like if the Iranians are very cloudy and dark like that could really affect it, too. So when it comes to natural life photography, one of the things I always look for is somewhat of a cloudy day, where clouds can cover the sun and give me a nice soft light on the subject. If I got no clouds in the sky and just have direct sun is really gonna make it hard for me to shoot. So there's a lot of things that can go wrong, and then night time. It's almost impossible to use natural light for your photography, so you can't even shoot at night. So there's a lot of negatives which is why a lot of people add flash to their photography. But for this course, we're just talking about natural life photography. I just want you to know ahead of time that you can't shoot 24 hours a day with natural light. And even when it's daytime, things like direct light or it's raining outside could really affect you when using natural light for your photography. So that's it when it comes to the negatives and natural life photography, and now we're gonna move on to the next section. 4. 4 Location: in this section, we're gonna be talking about location. Location is very important when using natural life photography and is one of the most common questions I get from photographers on. Where should I shoot if I'm not using flashes? So when it comes to, um, shooting with natural light, one of the things you want to avoid is not having shaded areas. If you go in the middle of nowhere and there's not a tree inside, not a building inside, not a shape anywhere, and it's just very hard light. Then you're gonna have a very difficult time shooting because you want to use a shade as much as you can. So places like in the middle of a field were like trees are all the way in the back and you're not using any of the trees or or like in the middle of parking lot. You know why we should there? But another basketball would be like this really tough to shoot. It is in the beach. When you're in the beach, you're all you have is the beach sand, the water and direct sun, and that could be really hard sometimes. So you got to think about when we get to the next section, talk about cloudy versus direct sun. You'll know what what I mean, but just think about like do I have shade in this area? Another thing that we want to think about. What thinking about your location is my shooting with shade and direct sun at the same image. So sometimes, like somebody will want to shoot in a certain spot where the background it's all shaded. It might look good in person because your eyes have nice range of light When you shoot it with your camera, the subject that they're in direct sunlight could be nicely exposed, but anything in the shade will go completely dark or vice versa. If you shoot the subject in the shade and then the backgrounds in direct sunlight, they might be perfectly exposed. But the background could be all blown out because if one thing is very bright, nearly things very dark. Either you make the dark thing exposed and the other thing just gets all white or you make the breaking exposed, and then this girl's all black. So what you want to do is make sure that everything in the picture is either in the shade or indirect sunlight. You don't want to mix those two when you're using that, If you're gonna be shooting indoors, your best friend is the window, and the sun comes in through the window. You don't want to just be using lamps and the lights in the room window. Life is one of the most beautiful lights you can get. When using natural lights of your shooting inside, find the spot that has the biggest windows of most like coming in from Windows and use that to light up your subject. So that's it when it comes to using location and mine with natural light, and now we're gonna move on to the next section. 5. 5 Time of Day: and this. Actually, we're gonna be talking about the time of day. I like to think that there's like three or four stages of the day. You have the morning sun rice you have the middle of the day, you have the end of the day with a sunset and you have the night time. So when you talk about natural life photography, the one you really can't shoot it is the night time. So now I'm just talking about the other two. When you're talking about sunrise and sunset, those are almost identical. It is a sun coming down, and in the first hour of the day, when the sun is coming up in the last hour of the days called the Golden Hour. The reason is called The Golden Hour, is because the sun class, this golden glow in the background that makes everything look nice and golden, and it looks very beautiful in a lot of different types of photography. Whether you're shooting brides or couples or almost anything, you could use a golden hour to get this beautiful light in the background. Now, if you were to put those two together, then you really have to parts of the day. You have the golden hour, and then the rest of the day were the sons above you. Now, if you're shooting when the sun's about above you, then you need to really note if it's where the location of the sun, this if it's at an angle from you or if it's right above you. The worst worst time to shoot it is when the sun is right up. Love you when the sun is right above us, casting ugly shadows coming straight down, and it's casting the shadow underneath your nose and underneath your chip that no matter where you go, you can avoid if it's at an angle. You can avoid it because if the sun is behind you, your face covers the sun hitting and won't cast those ugly shadows. So if it's at any angle, you can have the sun behind you. If it's right above you, you can't avoid it. So the worst time if you have to shoot in the daytime is right above you, and you can really tell when that time is based on what the middle of the day is. If you know when sunrises and when the sunset is just cut it in half of whatever time that lies you have about 0123 hour window where the sun's gonna be right above you And you want to avoid that time to shoot. If you were to shoot all day, I was shoot from the morning, take a break in the middle and then keep shooting after the sun's hit. Another angle. So that's it when it comes to time of day and now we're gonna move on to the next section. 6. 6 Cloudy vs Sunny Days: in this section, we will be talking about cloudy days versus sunny days. So when I'm shooting photography, I think that the best time to shoot is when it's cloudy. Some people try to avoid minutes very cloudy outside because they feel like it looks ugly. But when you're taking a picture, a lot of the times you're not really shooting up and looking up at the clouds. Your shooting more straight than having something in the background and what cloudy natural life does, is a cast this nice soft light on the subject that has very little to no shadows at all, which looks very beautiful. That is what we're doing when we add big soft boxes and soft like modifiers to our flashes were trying to emulate a cloudy day that natural like this, hit by a cloud. So the cloud becomes like this nice diffuser over the sun, making it like the giant soft box in this guy, hitting down on the subject at a almost perfect angle that cast the most beautiful light. That's why, when it's cloudy outside to take a picture with your phone, it looks almost perfect, like the subject looks great when There's no clouds in the sky in this direct sun, you get this ugly picture with really hard shadows, so I'm always looking for some what of a cloudy day to take pictures of my subject if I had a choice to pick. So when you're looking at the weather for the week and you're picking a day, the day this is cloudy versus just sunny is the day that you want to shoot for if you can if you have a sunny day. But there's some clouds in this guy. You can play the game that I play, where I'm looking up at the clouds, trying to calculate when the cloud is gonna cover the sun, and that's when I shoot us. Fastest can. So you want to have if you can cloud cover the sun to give you a nice soft light, unless you're going for something more dramatic. But for the most part, you want self light on the subject of your using natural light, and that's when you're using the clouds in the sky. So when you're shooting with heart light and using just the son, you have to really position your subject in a way that you don't get these hard shadows. One of the best positions is to have the sun behind the subject because it's avoid shadows are shadows in the face. There's other reasons to avoid having the light in the face, which we're gonna talk about later on. But the main thing is, look for clouds over direct sunlight and you'll be a right. So that's when it comes to this section. Now we're gonna want to the next one. 7. 7 Location of The Sun: in this section, we would be talking about the son position when using natural light using the sun. So when it comes to using the sun, there's two types of really son like that. You're using your either using the wrecks on, like using the cloudy ones using a cloudy day. It doesn't matter where the Sinus the sun could be in front of you or behind you. The clouds were really wrapped the light around and get you to shoot really nice off light , no matter where the sun is. If using direct sunlight then and really matters where the sun this So there's three positions where the sun could be facing a subject. They can either be facing straight on either from the left, right or directly in front, but they're basically hitting the face. They could be right behind and just hitting straight on from behind. And then they could be to you that the left or the right side, but from behind. And I'm gonna talk about those three positions. So when first I'm gonna talk about straight in front. If you have the light straight in front, you're gonna have a lot of problems. If you're using direct sunlight. The 1st 1 is the shadows. You're gonna have really hard shadows in the face and that's gonna look are really ugly. A lot of the times. Sometimes you can pull it off. You know, you have your your sunglasses and you have this cool look and the shadow looks really good if you can pull it off if it looks good, shoe with it. But for the most part, I try to avoid that no matter if it's right in front or from either left or right side. The other reason I avoided is because it casts makes the ice squint when the sun is in front of them and the sun is setting them right in their face and makes the subjects ice quit and squinting eyes look really back. And then you're doing this thing where you're telling them to close their eyes and right before the picture, open it as wide as they can and then relax, arise. And that's a terrible game to be playing with your subject. It just seems easier to have the sun behind them to relax their eyes and the more natural eyes in the pictures. So shooting with the sun behind. I think it's a lot better most of the time when you have direct sunlight. Now, when you're shooting with the sun behind you, you have two options. You have it straight behind or you have it to the left. Direct. First, I want to talk about straight behind. When you have it straight behind, you're avoiding any light spilling over to the front and hitting your face, which is good. None of the shadows air there. You can block the sun with the head or can be right above, and it just doesn't hit the subject. Another good thing about the late being behind is the cast was called hair light on the hair eso above the hat and on the shoulders. You have this rim of light that separates the subject and makes them look like they're the focus of the picture. So that separation from them and the background making them pop is something that photographers look for, which is why, when they have flashes, they had a second flesh behind them to just make the pop so that rim of lighter along the edges looks really good and photography. And when you could start distinguishing that and seeing that in your pictures, you're gonna end up realizing that those are the ones that look the best. So having like this just from the back, that being the sun cast, that room light looks really good. No matter how bright this. Now, when you're shooting from the angles, you really have to see if any of it is hitting the face and if is touching, casting the shadow anywhere. If it's casting the shadow that you want to turn your subject a bit to avoid that shadow, it's not bad to be where the light comes diagonally from one of the two sides behind you. The only thing you want to avoid is glare, glares, one of the things that you get a lot. If the sun is coming from behind towards the camera, you mind Lee only get it if you shoot from diagonal. If the Sinus, either toe left direct. This glare is this light that hits the lens and causes a picture to look like like a glare . Little that's the subject is not completely lit up perfectly. You have, like this fogginess between the camera and the subject One of the ways to avoid that glare is to have a lens cap, a lense put on your lens, which protects the light coming from the angles to get rid of that glare if you don't have one, what I do is that grab either my wallet or my hand, and I put it above the lens and that a voice of light hitting it. And then I just move my hand to kind of cast a shadow into my lengths. And then I get a glare less picture. So play with that. If you're getting a glare in your camera, the other main thing you want avoid at all costs is make sure the sun is not seen in the picture. If the sun is right here and you can see it with your lens, you're gonna have the worst glare that you can avoid no matter what you want to make sure that the sun is out of frame. So if it's if you have to, like, angle yourself or the subject in a way to avoid the sun being in the picture, it is what you have to do, what you have to do to make sure that the sun doesn't hit the lens because of this. If the sun is visible by you as a photographer is going to cast this ugly light and glare in the picture. So that's it when it comes to the location of the sun and now we're gonna move on to the next section. 8. 8 Shaded Areas: in this section will be talking about shaded areas when I'm doing natural life photography . One of the main things I'm looking for when I'm outside is where is all the shaded areas. So I'm always looking for anything that's like blocking the sun from which, like trees, buildings, walls, anything that can cast a big enough shadow that put my subject in and also have a good background to it. So I'm always looking for shaded areas outside and everywhere I go. And that's one of my go twos, because when you shoot with direct sunlight without a shade, you get these really hard Shadows look really bad. If you have a cloudy day, you don't have to really worried about shaded areas, but if you have hard light, you want to find the shaded areas. Regardless of the situation shaded areas, it's equivalent to shooting with a cloudy day. You get soft light because shape it's a soft light. Now when you are shooting and shade, one of the things you want to focus on is your white balance. Because white balance always seems to be affected with shade and use just auto white balance or even they liked you gonna and realizing that it could be two blue or two to warm . And that's why the sheeted section of white balance is therefore for the shape you really want to play with all your white balance and see what each one looks like. Wishful looks, most natural. And when you can just shoot and raw and then fix your white balance later in post, but in shade you're gonna have one of the most affected white balances. So that's something I want you to really look for when you're shooting and then editing. So besides that, you get really nice soft light on your subject from any position, even if I'm in the shape because tree behind me and the sunset was there, some of the sunlight hits me but is not direct. And I'm little perfectly and the shade of casting no shadows to hit me, so it looks really good. So whenever you have a chance, look fresh shaded area where you're at and try to take pictures there and see what that looks like. Vs, you're shooting outside of the shape you're gonna see that shaded area looks a lot better. So that's it. With the section we move onto the next one 9. 9 White Balance: in this section, we're gonna be talking about white balance now. The first thing you want to know about white balance is this thing called color temperature . What color temperature does is makes an image that looks a little bit yellowish warm. Add a little bit of blue and cool tones to make it look natural and perfect. Color temperature and then the opposite. If it's warm and cool at a little bit of warmth and orange to make a look natural, the right color is supposed to be because the temperature of the light sources all have different color temperatures warm and cool and is really messing up the color in your pictures. So you have to offset that by making it warmer or cooler. So when it comes to color temperature, then you need to know when it comes to. The actual temperature number is that the higher numbers is like varying heights. The higher numbers are warm and hot, and lower temperatures are cool and cold, so cool, meaning blue and warm meaning like orange. So once you know that the high numbers means warm and the Lord numbers means cool, you know that if you were to set the temperature yourself and you were to go down. You're gonna make the picture look more blue and cool. And if you were just set the temperature up, you're going to make it look warmer. So why does this matter is because when you're shooting with natural light, different situations are gonna make the picture either warmer or cooler. So I want to talk about briefly some of that when you're shooting and just regular daylight and everything is perfect. There's a daylight setting That's 5500 Kelvin. That is right in the middle because the skill you think of 1000 set of hundreds, almost 10,000 would be the top and 5500 right in the middle. So 5500 has been set for the middle, and they said it for daylight. So you have, if you want to know the most natural light they light is set for the most natural, so set in the middle. So daylights, the first setting you're gonna see in your camera aside from auto white balance. So if you're not sure where you're at, you want to start a day light and then see if it's warmer or cooler based on your pictures . No certain situations will make the picture cooler, and then you're gonna have to make it warmer by raising that temperature 5500 up. The 1st 1 is if you have clouds, clouds blocking the sun, make the temperature cooler and to make the picture offset that you want to raise the temperature off that Calvin scale in your white balance settings up to make up for it. So the lightest cool. You want the camera to white balance to be warm so that it meets in the middle, and it's almost equivalent to daylight balance. So this is setting in your camera called cloudy. When you go to the cloudy one, you're going to see that it has 6000 Kelvin. It went up a little bit to make it warmer and because when you have a cloudy day that lights a little bit cooler, so hopefully you're following along, and you can watch this over again to recap. But if you're using clouds, just know that your image might be a little bit cool, so you want to raise it up by either switching to cloudy or raising the scale yourself up higher than 5500 to make the image warmer. And once you get it warm enough, you're good. No, if you're in the shade, there's a whole section for that in your white balance. You It's called shade, and that number is 7000. Company with the shade does is at even mawr cool tones to the image. It's cooler in the shade Dan and a cloudy day so in the shape of the image, might look a little blue. So to offset that you could swish it to shade. It will be a 7000 kelvin, adding more warmth to the image and making a closer that they like balanced. Now, if it's not enough, you can adjust yourself. You can hope that white balance does its job, or if it's just too cool oven image. You can just shoot and raw. Leave it at any white balance, setting shade or auto white balance and then in post production. Fix it yourself because you have full control when you shoot and rock to adjust your white balance. So, um, in the other direction. If you were to shoot indoors and you have light bulbs that shoot this warm tone that is called tungsten light, so the bulbs are either white, balanced or tungsten. White balance looks blue and kind of white to you, makes the room look a little blue, or it makes the room look like perfectly all white and tungsten. Makes the room look orange warm. If you have tungsten lights and the room that you're shooting it, the image is gonna look very warm. So to fix that, you want to shoot in either the tungsten setting, which is a very low temperature somewhere around 3000. It's just adding a lot of cool to the white balance temperature scale because going down a school and my making it cool, you're making light that is warm, cooler and making it go to be daylight balance. So right in the middle, the light is very warm, the temperatures in the bottom and meets in the middle. When it's mixed together. That's why they have tungsten setting. If when you set the tongues and it's still too warm, you can adjust manually. If it's if it's too cool, you can adjust manually. Just play with it to get the right temperature or hope. Auto white balance US, Tibet, the job or shooting raw and adjusted later in post production. So that's just a little internal. White balance is very complex. There's so much more to learn. But hopefully this helped you out. If you're shooting natural light that you shooting endured yet and you have tungsten lights , you might want to use tungsten. If you have a cloudy day, you might want to use cloudy here to show you my one of his shade or to be safe, just shooting raw. Leavitt Auto, white balance and adjusted later in post production. So that's a when it comes to a white balance and now we're gonna move on to the next section. 10. 10 Set the mood: So now that we talked about white balance in this section, we're gonna be talking about how you want to adjust your white balance to fit the mood off the image. So when you're shooting outside and it's a sunny day out and you get the picture to be perfectly white, balance is not gonna look natural because a sunny day is supposed to make the image look warmer. So you end up realizing that if you adjust your white balance to make the image look a little bit warmer, is gonna look better because it fits the scene. If you're in areas with water and and you just have like or in the snow, anything wet? Um, sometimes cooler looks more natural, so I would not make a winter picture look warm because the setting is cold, so cool tones look better in the image to fit the mood better. So things like that you gotta think about you don't just want to make it perfectly white balance. You also want to make it fit the setting, so if it's warm out and you're trying to represent a summer day making warmer, if it's cold out and it has no out and the person wearing a jacket. You might want to make it cool the certain time for you want to make it perfectly delight balance. Sometimes you want to make it pool or something. You want to make a warmer Make sure you know what looks better based on your setting, and you're gonna end up getting better looking pictures. So that's it. When it comes to setting the mood with white balance. Now we're gonna move on to the next section. 11. 11 Iso: in this section, we wouldn't be talking about your eyes. So setting on your camera in your camera you have your aperture. You have your shutter. Speed your eyes so that all effect the amount of exposure in the image. Your white balance is also very important. But you're white balance. Is it going to make the picture brighter or darker? I esos first I'm going to talk about because is one of the easiest ones to control and understand that rules would I s. So if you're gonna just it manually, is that the Lord? The I s o setting this the brighter, the darker the images, the higher that I have so setting it's the brighter, the images and the eyes. So doubles in light by doubling the isso number, so starts usually at 100. And that's the darkest the image will get when controlling the ice up. When you get to 200 you're making it twice as bright. And, um, it just racing it up was called one stop up. Another stop up would be 400 which will double the amount of light again and will make the picture even brighter. Now most people will think. I'm just gonna raise it as high as I need to to make the picture bright enough, and that's it. The problem that happened when you raise the eyes so very high is that you get what's called a grainy image and grainy takes away the quality of the image. It makes it look really back. So here's some examples of a grainy image versus one that isn't greeny. So the one that isn't grainy was shot with a low I so, and the one that is grainy was shot with a higher. So you want avoid greeny images, as most of you can. Sometimes you have no choice but to raise your eyes. So but whenever you can leave it at the lowest setting possible. I'm always I'm almost always shooting at 100 isa when shooting outside, using natural light. So with this course with natural life photography, my main advice is stick at 100 eyes, so but go up to 400 if you have to. And on Lee, go to 816 100 if you must, but when you can shoot a wider image if you close up on the subject, and you're shooting in those higher. ISOS, you're gonna really tell the green on the subject. If you're shooting a bigger image, you can almost blurred the grain out. And you won't tell any of the green on the subject because the subjects really far away in the image the closer directed the subject. If you're doing that very close up and shooting a high idea, so she's gonna look really ugly. So I tried to zoom out and get a bigger picture. If I have to shoot would hire eso settings, usually 400 lower You want almost tell any rain at all is that's called almost a safe zone . 800 to 1600 is in the middle, and anything over 1600 is in the danger zone. You just don't want to shoot over 1600 eyes up certain situations where I do shoot in that higher eso is less am shooting wedding and I'm in the church and it's very dark in there, and I just all my settings and I still can't get the image bright enough. Then I shoot a 32 100 those are the types of images that even with some grain. Um, the customers don't really notice that and care that much versus if you were to shoot something more professional for, like a model's portfolio. So, based on the situation, how important is that image in the quality of the image? Will you determine if you can raise your eye sore? Not so. That's just some tips. What I So when you can start at the lowest and work your way up based on after adjusting all the other settings once you're just shutter speed to make it as bright as possible in your aperture to make it as bright as possible. If it's still not bright enough, then raise your eyes. Oh, so that's it when it comes to I s. So now we're gonna move on to the next section. 12. 12 Different Cameras Iso: Now we're gonna be talking about how different cameras can affect the ISO performance. So there's so many different cameras in the market, and sometimes some of these cameras look like they'll perform the same. You look at things like how many megapixels it has, and if it's crop sensor full frame, you look at all the different things. But a lot of times we don't look at how it performs with different eyes, so settings. So sometimes some cameras can shoot at higher ISO's and not get great. But what you really want to determine if your camera's gonna be affected by green at higher ISOS is usually two things. One is testing it, which is the main thing. Test it out and see what the pictures look like when you zoom in. The second thing is, how much did you spend on that camera? If you didn't spend that much money on the camera, chances are higher eso or really destroy the quality of the image. If you spend 34 $5000 or even more, chances are you could shoot a little bit higher I eso and get away with that much greater any green at all. So some of the rules we talked about earlier our for, like, standard cameras that you might own. But if you went ahead and bought it mawr expensive camera, you can get away with a higher I S O setting and a wood green. So that's just a little extra want to talk about based on camera models that you may have just tested out. Maybe check out reviews on YouTube on your camera's quality with different isil settings, and you'll see and know I understand your camera better when it comes to Isil. So that's it when it comes to that section, and now we're gonna move onto the next one. 13. 13 Shutter Speed: in this section, we will be talking about shutter speed when it comes to shutter speed. What you want to do is make sure that the shutter speed is shooting fast enough to create a sharp image that is your main priority. When using shutter speed. Make sure that the emissions sharp How do you get a sharp image is by shooting faster when you're shooting at 11 hundreds, 1 1/60 your and kind of like the middle safe zone to shoot images. If you shoot slower than that and you go toe 1 88 1/60 or anything slower than that, you're shooting to slow oven image. And just holding your camera up can cost some shake and make the image look a little blurry . Another thing is that the subject is moving, and then your shutter speed, if it's not fast enough, will cause it to look a little blurry. So shooting with faster shutter speeds will cost image to look sharper. Now let's talk about exposure and shutter speed when it comes to how much light you get in the image, the slower the shutter speed ISS, which might cost blurry images, the more like you're gonna get the faster the shutter speed, which will give you really sharp images. The darker the image is gonna be. Usually with most of these settings. You sacrifice light for quality of image. If you get the image to be darker, you get a better image. But sometimes them it's just too dark. So what you want to do is this I said you set your I S o r ready to 100. Okay, You set your aperture to the perfect aperture. Usually the one that gives you the most light gives you shallow depth of field. Then you're just messing with your shutter speed up. Now, to get the image to be perfectly lit, you get the perfect exposure that you want. So let's say I said my eye soda 100. I said my aperture to 2.8. And then I'm messing with my shutter. Speak. I started 1 200 then I see that the picture is too bright, which means I can go higher. And then I go toe 1 400 which is faster, sharper. And then it's dark enough to to the right exposures. I could take the picture anything past like 200 looks the same when you get to 1 200 higher and almost all looks the same. So you don't really have to worry about trying to get to the thousands of shutter speed and just shooting really fast pictures to get it to look sharp. The only time when you want to raise it higher than 200 is if you have moving subjects. If you re shooting something like sports or anything, thats moving. You want to raise it as high as you can and maybe mess with the other settings to make sure the pictures that sharpest possible. But if you have a model that standing still anything over 200 it's good now. Another rule with shutter speeds you might wanna use is the one that has to do with focal lengths, so focal lengths is affected by your lens askew. Zoom in and Alex your a different focal lengths on a full frame camera. Let's say the lens of using now is 2040 70. If I'm assumed then all the way to 70. What happens is I'm further away from on the subject and by being further away from the subject and what I'm looking at movement could cause a blurry picture if I'm zoomed out all the way. Probably closer or the subject is so small that you can't tell the blurriness that you can use slower shutter speeds. So the rule is this. Once you know what focal lecture in, you want to have at least double the shutter speed in order to not have a blurry image on a subject. This standing still. Okay, this is blurriness that might come from you moving the camera. So let's run some examples. If you're shooting with a 50 millimeter lens on a full frame camera, you want to be shooting at least 100 shutter speed or faster. So 1 100 shutter speed or faster will cost the picture not to look blurry when shooting a subject that standing still, If he shoots slower than that, you run a risk off getting a blurry picture. If you're shooting on a tripod, then it doesn't matter because the tripod will hold a camera. Still, if you're doing it, hand hell who want to go 1 100 or higher from shooting with this 70 millimeter. All the way at 70 I can go to somewhere around 1 60 it or hire anything that's double so what, 40 it or higher. And I will be fine. If I'm shooting telescopic and I have this leads to go all the way to 200 millimeter, then I have to shoot a 400 of a second or faster to not, oh, avoid tow. Avoid a blurry picture on a subject of standing still. And that 200 millimeters usually standing really far away. And I'm shaking. The less is heavy, and I'm causing a lot of movement, which is why I need something like 400 or faster to shoot. Now, if you're shooting in a crop sensor camera, note that lens focal lengths are actually about 1.5 higher. So ah, 50 millimeter. It's actually equivalent toe somewhere around 75 or 80 on a full frame camera, which means if I'm shooting on a 50 millimeter lens on a crop sensor camera, I need to now go toe 1 51 60 it rather than 100. Because of the conversion rate on focal lengths to crop sensor cameras, it's a lot of information, but all you really need to know is just try to stick to 200 or higher on most Lance's. Unless you're zoomed in a lot of 200 you're gonna be fine. I shoot somewhere around 200 no matter what the situation is. And I get really sharp images, I only should lower than that. It is really dark outside. And then in most cases, I'm using a tripod to keep the camera steady. So that's it when it comes to shutter speeds and now we're gonna move on to the next section. 14. 14 Low Shutter: and this section wouldn't be talking about Lois shutter speed photography and what that is and why people would shoot with low shutter speeds. So the reason people shoot with low shutter speeds is to shoot. When is very dark outside and sometimes some of the light coming in? It's enough to light up the scene, but the camera needs extra time for the light to enter the image for it, too. Look fully lit the way that you want it, sometimes even brighter. When you see with your own eyes, your eyes can adjust to darkness very well. Cameras can't. You can raise your eyes so really high and hope that it will get to what you're seeing, but to avoid raising your eyes. So to the highest settings, some people just shoot were very, very low shutter speeds, sometimes in the seconds, and that causes enough like to comment to get a beautiful image. People do it of scenery, where the scene is almost dark, but like from this stars in the sky, give it enough, like to light up the whole scene. But you need to shutter speed to keep going for like 10 2030 seconds So that's a little introduction to what shutters low shutter speed photography is. One day I'll make a course on it. When you need to note is that what's happening to the camera is that when you're adjusting the shutter speed, you are letting more light coming for longer. When the shutter speeds had a lower setting because those fractions that you see in your cameras are equivalent to time in a second. So 1 60 it it means that it is gonna take the picture in 1 60 it off a second. So if it could take continuous pictures, it would take 60 pictures in one second. So it's going 1/60 of a second. And some people take pictures for leaving the camera shutter open for a whole 2nd 2nd or longer, and to get enough light it now for motion like we talked about in the last section, you need to the camera to open and close his shutter and roughly 1 200 off a second to get really sharp images. That's how fast shutter needs to open and close and record the information in order for it to not look blurry because basically, movement is so fast that in less than a fraction of a second movement is happening, and the camera could catch that and make the image be blurry. So you want to take a really fast picture in order for it to not be blurry. So this is a little introduction of what of how it works. So when you're thinking about shutter speed, just think about is taking a picture in a fraction of a second and low shutter speed is taking a picture and probably longer than a second to get a lot of light in. But nothing needs to move in the image. It's usually of scenery and stuff like that. If stuff doesn't move, it creates a nice blur and a streak of light. Also light that came from the movie subject will create a streak. It looks really nice. And, ah, low shutter photography looks beautiful sometimes. So that's it. If you really want to get into that, you will learn more about that in other courses. So that's it with low shutter speed photography. Now we're gonna move on to the next section 15. 15 Aperture: and this actually wouldn't be talking about aperture. That is 1/3 setting when it comes to exposure that you need to focus on when it comes to aperture. There's different settings that are more complicated to understand the number system behind it when it comes to shutter speed. And I s so the numbers really just go up in double. When it comes to aperture, they go and ran them numbers that look like 1.21 point 41.82 There just in this decimal numbers. And basically all you really need to know is that when that number is very low, you have what's called a wider aperture, meaning that the lens is opening up its pupil and it's causing a lot of light to come in. So those low numbers is bringing in a lot of light. Those high numbers are closing and is bringing in less light. So to get the most light, you want the lowest number. Now, with those low numbers and the lengths being white open, you have was called a wider aperture, and when you have a wider aperture, you have what's called a shallow depth of field What that means is that you have something in focus, and then everything behind and in front of it becomes blurry. Which makes the thing and focus stand out in the image and look really nice. Which is why a lot of people spend a lot of money on these expensive, less is lenses that can go into wide aperture settings. Those really low numbers to make sure that the background looks really blurry and nice. So when it comes to natural life photography, the great thing is that you can raise your shutter speed to make the image darker. Because if you shoot with those low setting numbers, a wider aperture, the pictures too bright for for daylight outside. If you shoot outside and you're shooting at 2.81 point eight, what's gonna happen is that the images to Brett you have this nice, blurry background, but the images too bright. The good thing about natural itis you can raise your shutter speed really high up, which you want to do anyway, so you make the image shoot faster, and then it Mrs Sharp and it's perfectly exposed and you have a blurry background. That's something that you can do with natural light that you can't really do with flash photography. Because if I shoot with the low apertures lo aperture setting, so the wider aperture, um, then the images too bright. And then I can't raise my shutter speed high enough because my flash can only reach a certain shutter speed. So natural light allows me to get blurry backgrounds a lot easier than I can with flash photography. So what you want to do with the shooting natural like photography is if you have a subject , you want everything else blurry, which caused a really nice picture shoot at the Lowes aperture number that you can't the widest aperture you could get with the lens that you have. If you have a lot of things that you wanted focus like a lot of people or some of the background you want and focus, then you want to go the opposite direction and shoot like 5.67 point 089 Anything like that will get you enough things in focus so that everything's have focused, so really think about that. What you want to do is you take a picture, zoom in on the picture and see wasn't focused on what's not in focus. Make sure that you're focusing on the correct parts of the image when you're using aperture . So I'm shooting, Let's say at 1.8 and my focus is on my hand, standing right here. My face could be blurry even though the distance between my hand in my face is very small. One point natives so white that it can cost my face to be blurry if this is in focus. So really, make sure that everything that matters mainly the face on a subject is in focus. If you're gonna be shooting with those wider apertures, those alone number sex. So that's a brief introduction into aperture. Really, look into this more what different settings look like so that you become more of an expert on it. But if you're shooting Emanuel, just shoot at the lowest one you can and you would be fine. So that said, when it comes to aperture now, we're gonna move on to the next section 16. 16 Cameras: in this section will be talking about cameras. We've talked a lot about different settings and locations and all these different things with natural life photography. But some of you will be using a whole variety of cameras. And you want to really know the difference between using this camera versus this camera. And the main things that you really want to know when it comes to different cameras is can you switch lenses right? Can you adjust it from focal lengths to get nicer looking images? Can you adjust settings like aperture? I s o shutter speed? And can you just a white balance? Are you set to just pretty sensor? Can you just actual Calvins scales and can you shoot it raw so that you could fix everything in post production? All of that matters. Most deal. Sell our cameras that you buy, you can switch lenses. You can adjust all these settings you can adjust to Calvin. You can shoot and raw and fix the white balance and exposure in post production. And and then the more the better. Cameras would just be able to shoot faster and a little bit darker settings and slightly bigger pictures for prints, but most cameras will get almost the same quality and the image, so you don't really need to buy a super expensive camera. Um, when you go to something like a phone, for example, your very limited like iPhones, you can just almost any settings on there and exposure. You can just go up and down, and that's it. So it's a lot better to shoot with a camera that you can just all these things settings for . So that's it when it comes to cameras, just a little bit of like, make sure you can adjust the settings and that you can tell that you won't be able to tell much of the quality difference versus, like a 600 on camera. This is a $2000 camera, but, um, and then the phones. You're very limited with the settings, and that's what could make a difference in your image. So that's it. And now we're gonna move on to the next section 17. 17 Prime Lenses: in this section, we're gonna be talking about prime lenses as we talked about earlier with aperture. If you have a wider aperture, you get a shallow that the field, meaning that the background looks very blurry when you have the subject and focus. The reason people by prime lenses is because prevalence is allows you to have those wider apertures. People really want white apertures to get really blurry backgrounds in their images. The main thing that makes a prime lands of prevalence is you get a white aperture and you can zoom in or out so you're stuck at certain Focal lets you can get one at 35 millimeters 50 85 105 All these different apertures, all these different focal lengths. You're said at that focal length, but you can get a low aperture. For example, Zoom lands a really nice good one could go all the way as wide as 2.8 and then a prime lance. A good one could go all the way as wide as 1.2. So that's a slightly big different between the two. If you look at pictures at 2.8 versus 1.21 point to make the background look almost lan. Exit six assistant makes it really blurry. It's hard to see what the background this while at 2.8, you could still distinguish what the background looks like. Exhumed that. So that's something to really look out for when it comes to lenses. You might start out with a zoom Lins because of more affordable and gives you more options of zooming in and out as you get to one up your photography game and get blurry backgrounds when shooting with natural light. Then you might want to get a prevalence different focal lengths just so that you can really get to those really low numbers 1.8 or lower and have really nice and blurry backgrounds. The lower the number, the more expensive the lens is gonna be so you can find the same lens. At White of 1.81 is wise, 1.4 and one is white as 1.2, and each one has slightly drastically different price tags. So by the one you could afford play with it. If you want upgrade, you can sell your lens and get the next one up and just see how that makes a difference in your photography. My favorite focal length that I use my photography is an 85 millimeter, 85 less me get really tight shots. And then, if I step back still white enough, a lot of people go with the 50. But 50 is not good with close ups because of distortion and them having to get really close to a subject to get a close up. So 85 seems to be a really good one for me. So that's it when it comes to prime lenses, and now we're gonna move on to the next section. 18. 18 Zoom Lenses: in this section, we're gonna be talking about zoom lenses and focal links when it comes to zoom lenses. The great thing about them is they get to zoom in and out, and that's great for everybody. When it comes to focal lengths, what you want to note is that when you zoom in a lot, you have a higher focal length on your image. You get a few different effects. That looks really cool. The first thing is that by zooming in a lot, you could make the background look like it's closer to the subject. When you zoom out a lot, the background looks like it's really far away. The reason why that might look good is because there's a lot of times where there's something in the background that looks really cool, but by zooming out, it's so far away you can't even tell what it ISS. When you zoom in a lot, it gets right next to the subject, and it looks really cool. You could do that with a fountain of building a court tree. Cool whatever this in the background. Another good thing about zooming in a lot is that if you want to avoid distortion by having a longer focal length. So anything over 70 or 100 you can avoid distortion and things and people. A lot of the times that things that we focus on is the face making sure that the face doesn't look distorted. Sometimes you do full body making sure the full body is in the story. What I mean by distorted is that sometimes the shape could be affected by your focal length , and then you don't have the natural shape that the subject is. Or the thing is that you're taking a picture off, so a lot of times a face could look really different. If I'm using a 24 millimeter versus 100 and five, it'll look a lot better at 105 then 24 28. So you want to have a longer focal length A lot of times when you're shooting people, so zoom lenses allow you to zoom in if you're taking a picture of our subject or zoom out of your taking a picture of a landscape, so that's the great thing about a zoom lens. You might not get those wide apertures where you get shallow that the field, but you have variety, and it's a lot easier to zoom in and out in the moment that having to keep switch lenses if you only have prime lenses off. One of the favorites that a lot of people have is a 72 200 millimeter. They feel that 200 is long enough to be able to get all the cool effects that come from shooting at a higher focal length, and 70 is wide enough for them to still get a full body. If they step back, I'd like my 24 to 70. That allows me to get a really wide picture and 70 like, close up. So based on whatever you have, which you at your disposal soon lenses are very effective. The other thing to know when it comes to zoom lenses is that there's really two types of zoom lenses. There is the standard one that you're gonna see that gives you an aperture of about 3.55 point six, meaning that if you zoom in all the way, it is as wide as 5.6. And if you zoom out all the way, says Wide, s 3.5. But there's some really nice lenses, which is the other class of lenses that allows you to be as white as 2.8, no matter how zoomed in our house. And now you are. Those are more expensive lenses in the once that I have not as wide apertures, um, so sometimes you might want to get the ones that can shoot at 2.8, because when it's dark out, 2.8 is good and 2.8 also gives you some sort of shallow depth of field. So besides, just Shalit up to feel with blurry backgrounds one low aperture white apertures so that you can get enough light in the image if it's dark out. So that's things to look out for with picking outlets is really research websites that review lenses, YouTube videos, review lenses, that picture camera to figure out the best one for you. So that's it when it comes to zoom lenses, and now we're gonna move on to the next section 19. Window Light: Okay, so for this out of right here, we're using these two windows at window light. What you want to do is open all your shades, get us much win the lightest. You Can you do this on a cloudy day, Sunny day? Anything fine as long as the sun's not like pointing and hitting hard Light A cloudy day class like nice soft light on the subject. So cloudy days look better right now is completely cloudy day. So I'm getting beautiful light on her Now. The other thing you want to take into account this If you have the subjects sitting, make sure they're sitting up and their face is as far forward as you can. If they said back went up happening is that the body that's closer to the window is brighter than her face. And you want the face to be the brightest part of the image. So for this case, I'm gonna have her, like supposed we're doing a second ago. There you go. And I just turn this way. Put your arm forward like that. So right here we have her face forward, her arms forward and anything that one illuminating is leaning forward, So that's good. She's facing the window and then I have this couch here, just a set up for her to life. I looked for it to look natural that she's by the window and then I could stand in front of the window and take this picture. I'm shooting this at I s 08 800 aperture 2.8. And at 100 shutter speed. I don't try to go any slower than that, because then it might get a blurry image. So my white balance is set to daylight because that's what I have here. So I shoot this now and there we go says, you see, here you have this beautiful light on her. I tried to crop out almost anything in the background because all of that's irrelevant and it's a little dark back there because all the light is only on her. So I have this nice close up of her looks great. So you can see here. That light looks really good on her. You couldn't make it a little bit warmer. To do that. All you have to do is switch your white balance too cloudy. That switches it from 5200 and 6000. And when you do that, you get a warmer image. So I'm gonna do that again. And now it's a little bit warmer. And now you have a warmer image in a cooler image to choose what works best for you straight off camera. And so that's it when it comes to using a window as your main light. Uh, that's one of the best natural light set up that you can use at home. It's just that you have the window to accommodate that. So that's it with the section now, we're gonna move on to the next one. 20. Clear Sky Hard Sun: Okay, So for this set of right here, where we're doing is I'm shooting natural light with her. I'm using my 50 millimeter lens. My studies that I have is I'm shooting at 1.8. Ah, the reason I'm shooting 1.8 is to get a really nice, shallow depth of field, making the background really blurry. I'm also shooting at I s a 100 because we have a a clear sky day with the sun right above us. So it's very bright outside. And then, um, I'm also shooting at 15 hundreds shutter speed because that is the shutter speed I needed to get exposure on the face. The way I want it, the way that I have her position is I have the sun almost die Agnelli from her hitting the back of her head. And the goal with that is to create a nice rim light around her head. So it's light that's hitting behind her head all around and into her shoulders, and you'll see that in the final image. I also have, um, the front of her face going almost completely dark because there's no light hitting her. So I have to expose higher than what? My cameras telling me the exposures for just to expose for the face I want to face nice and bright, even in the BRAC background goes really bright. And because I'm blurring the background, it doesn't matter that it's the background goes in, becomes very bright. So originally, um, I had my shutter speed around 1600. Um, and you can see what that looks like versus a overexposed face so you can see the difference because your camera might tell you to raise the shutter speed to be exposed correctly. So first I'm gonna shoot us, which is when my camera was telling me was proper exposure so you can see what that looks like. Okay, the camera was telling me to put my shutter speed at 1600 which made the picture really dark. As you see in this picture here, the background might be exposed well, but she goes completely, almost completely dark. She is very dark. And then when I set my shutter speed too 15 hundreds, I get ah much brighter face and I get the exposure I want on the face. Also, I have my white balance right now to daylight, And then I'm gonna change us and you can see the difference. Because at daylight, even though we're using daylight or even at auto white balance, it makes her face be a little bit cooler because she's in the shadow. So I'm gonna show you what that looks like. So right here we have a nice exposure on her. The explosion looks great, and a lot of people might stop here and say that this is a great image and they're done and fix everything in post. But I want it to be warmer because it is a sunny day. And if you look at her face, the face looks a little cool. So to make it warmer, what I'm gonna do is I'm gonna change Mike's white balance too cloudy, which goes from 5200 Calvin to 6000 Kelvin. And that is going to make everything warmer. So now it looks like look at what the image looks like. There we go. We have everything just right. You have nice rim light hitting her head. She's exposed perfectly. The backgrounds a little bright, but that's fine. It's all blurry and is a warm which is the main thing. It goes well with the image. So basically, to do this image in natural daylight, where you have the sun right above you want it behind her, hitting her in the back of the head. And even though she's dark, you just raise your lower your shutter speed to make the picture brighter. And then, um, make sure you're shooting and cloudy, even though it's not cloudy just to make the picture warmer to match the scene. So that's it. This is the final image, and now we're gonna move on to the next section. 21. Shooting in Shaded Trees: So for this set of right here, we're shooting in front of this tree and a lot of people when they're shooting natural, like goto, where the shaded area is by by a big tree and what they don't think about is their background. So she might look great. But the background could look really dark and ugly because the tree behind her is not being hit by the sun. So I'm gonna be shooting a picture here so you can see the background. And then I'm going to shoot somewhere where the sun can actually go through the trees or the sun is hitting the trees so you can see the nice green tree that looks really nice as a background versus this. So right now, Um, right here. There we go. So I'm shooting 1.8 again where the ninth shall owed up to feel the background looks really blurry. Ah, 100. I s O. And at about 400 shutter speed. So as you see in the picture, she looks great. Like the exposure on her is perfect because she has, uh, she's in the shade. So there's no hard son, but the background is this ugly black green, barely. Green tree Dutch is very dark. So now we're gonna move Teoh, an area where the tree is hit by the sun so you can see the difference. Now, I've moved to this location because, uh, trees behind her have gaps in between. So the sun is hitting it. So this is going to look a lot better than with the darker tree. Okay, so now how could you go up on your knees just because I needed It's so as you see in these pictures you have more sun hitting the background. You have some of the green in there That looks really good. So that's what I mean with the background. You want to focus on your background, so it looks really good. So that's a when it comes to shooting natural light wit trees in the background. These are some of the final images with the tree that has like shooting through it. It looks way better than when I shot the ones with the trees not being lit up. Make sure that you're focusing on that so that the background looks really good. Even if we do naturally photography something brighter, like this could look a lot better than something dead and dark. Which trees? If you're shooting in the shade. So that's a when it comes to the section and now we're gonna move on to the next one.