Lessons

Lesson Info

Camera Controls: Shutter

Shutter four minutes ok I'm not going to go through every step of the way but I know also that everything being reciprocal right four minutes the next shutter speed would be if we're headed faster what would it be? Two minutes, four minutes documents everything gets help uh okay so four minutes start trails patagonia cameras on a tripod obviously right notice how long start trails are kind of a cool function if you're gonna shoot the sartorial something you should know star shells at sixteen millimeters what happens four minutes we're shooting four minutes here what happens? They're sort of focal length so it's the same exposure four minutes stars were moving the same distance unless they will always move the same distance in four minutes regardless right yes there's going to be a catastrophic event here uh telephoto lens compressing the scene gives me longer star trails sixteen millimeter wide angle seen un compressing the scenario for minutes start trails look shorter so little trick...

you want longer start trails zuman if you can hear you could because the subject matter would be there okay goblin valley number the shot we showed about scale yesterday hung out you know the deserts awesome for shooting stars this is in the middle of nowhere there's no towns in sight people go down through through the goblins at night and they do start trails and they do kind of like painting on all these crazy forms I'm standing at the top of the entrance of walking down there and they're walking in forman exposure with getting stars probably more like thirty five millimeters here for the lens because knows the starters there a little longer than where we're at at sixteen we saw this yesterday moonrise four minutes this is the coast of monterey foreman exposure look at how milky and soft the waves come right there so many waves going in out in that four minute timeframe it's just very ethereal I love that kind of stuff now why would we put a person on one of these rocks what we could but what would happen in four minutes? Yeah, because it's impossible at that at this kind of exposure early for me to illustrate any person in a shop you know think about hurting cats you cannot physically stay stable enough to really keep a person in your shot you thirty seconds is kind of your limit zone, right? Two minutes sitting on a street corner cars going by off the balcony and the hotel I'm staying at the house from staying in mexico what's with the stars really hard equator middle of the planet right my beach and o'connor in the development that I lived in shooting out towards this is where all the muscles come from what's uh not would be island there's a specific muscle penn cove and could muscles so this is shooting out towards penn cove at sunset two minutes notice how flat the water is right? So just becomes about this wash of color in that scenario ok, thirty seconds here's your e blocking the late enough so that the fire is not just blowing out my frame, right? How do we control exposure when we can't control exposure? We put the assistant right in front of the fire. So this was the leavenworth project that we worked on. I wanted that the family had a fire pit down on the water. We got them all down there, put the bikes out after riding that night and, you know, got this kind of shot and this is what this is calling it kind of our culture, you know, hang out, drink beer, light a fire talk about things got some stars in here lightly kind of heavy atmosphere that night mount rainier pouring rain when I got there sunset things started clearing wash thirty second wash of the clouds were moving that fast they cleared that fast star start coming out boom I take the shop shanghai, china some crazy bus with all these weird lights on it drives by flashing blinking I'm taking the shot thirty seconds comes in, the circle goes out of the circle there he is right there oh, and this building here is the pearl this is where I shot the apple store which is like somewhere over here so I was up in this building shooting down on the city it's kind of cool and the bottle cap building I think is behind me just kind of pretty famous goblin valley me okay pocket wizard well wasn't a pocket wizard there is like a little fifty dollars thank you get it to work so you enduring the exposure you don't I could walk out there as long as I didn't use the headlamp you know you don't have the pocket was there go out there and walk out there you have the pocket was there go out there and then take the shot that's my headlamp right there that's amusing for like so I just did it like four, five times to make sure that amount of time I was holding the light on was sufficient to not totally blow me out but also make me kind of ghostly right remember the shot we showed of the bike on the car? Well, I was standing on the corner and I'm like and it would be so awesome fivesome if some riders just showed up and I'm not kidding and just like the deer they popped into the frame thirty seconds for the light look at all the cars going like there that these air the cars turning right so I'm getting the streets of the cars they're waiting for the light to change so they can ride across okay, the cool thing about jackson is a lot of people we ride our bikes around, especially if we're going to go drink like there's just no it's everything within a mile distance so let's, get some exercise and then go have some beers so then we're not driving, you know, and plus we don't need to find parking spots and all that kind of stuff in the summer. It's crazy, crazy, busy and it's it's kind of difficult. So it I was like, man, it would be awesome, and they showed up and I was like, stay stay one light cycle I need one light cycle in there, like looking at this guy like, who the hell are you again? What are we? What? I'm taking a photo? Just stay there so they did ok? Camping. Remember the hut from the other side? Well, this is after dark things where things were kind of, you know, like I'm losing too much light, they turn on the light inside their little shelter. I use that to my advantage. Um, there's, another shot that I actually liked better than this, but I just kind of wanted to illustrate that this was the light source coming out so what I after I took this shop I made him move over to block the like so it didn't become this beacon in the frame and that's kind of the usable shot, but I needed to illustrate this how we're using so no flashes or anything main light source fire main light source their cabin lantern or whatever you know, eight seconds there's that shot eight seconds bus is not going anywhere tripod again. Why eight seconds? Because that's probably keeping one hundred so two hundred I so somewhere in there was probably need second exposure, but the apertura chose probably chose f eleven just so things like the mirror and stuff like that we're in in focus how to do this yeah is move my camera and the reason I did that it was a very static shot and I was just trying to create something different, so I'm like, ok, well here's the truck parks you know the teton range beyond yeah, this looks like the tourist shot but how do I go beyond the tour shot? The one thing I was thinking about is, well, how do I get you know, be great if like a car drove through and gave me kind of trails, but I didn't there's nobody else in the parking lot and this is low season snow started to fall like well let's just try moving the camera and I like the shot it works for me the other one that I did that I like to I put my daughter on the roof with the iphone taking a picture so kids like to climb a little and climb eight seconds for that puppy that signs no longer there I made my assistant cut it down so no no actually somebody did cut it down I went back there last year and I'm like the sign is gone yes I got the sign nobody else could get it somebody probably took it and put its hanging in the room right now you know, notice how these clouds air really moving right up draft on the mountains all this stuff is kind of really still campaign attention of how things are moving in my frame picking a shutter speed that illustrates motion wife and son many, many years ago actually before we moved here sitting in the field winds blowing winds blowing through clouds ok so what's going to be the most terror firmer thing in the shot to make our eyes go to first rock is not going anywhere so that becomes I'm on a tripod that's not moving grass is blowing look at my wife's hair being parted by the wind so it's pretty windy l my son's hairs you know son he's just he doesn't ever stop moving so he's moving a little blurry, but I've got that element of static clarity in the shop. Ok, one second walking through fax fox factory this is like the end of the shift, all the police were walking out, I'm just walking with him rampant off shots pick the one that I like that illustrates enough of a point, fishermen this even though remember we talked about internal external viewpoint he's friend of mine I'm away from him is the one second exposure I need you to stay still just pick the camera driving driving the truck ok, I didn't know the guy, so I had to time it this fall is so huge it's in yellowstone that the amount of water he couldn't hear me regardless if I tried to yell at him so I just timed it I watched the way they work, right he's doing this he's doing is casting soon as he lets it go, he kind of hangs here for a second one second exposure I take it he's, fairly sharp look at the poll, though not sure right, but doesn't matter. You get the point tourists in iceland, I like the way you know their rain jackets and stuff all blowing in the winds here I blurred in post we'll show you that little trick so daughter moving one second was enough to get her illustrated but also allow you to see that she's actually moving too right a friend of mine brendan he's travels with me a lot too I like the shot he was kneeling down and during the exposure he stood up and like, come on man, you ruined it and then I looked at it and I was like maybe he actually made it better I like it more so he got up but that's kind of cool, right? We're using that mistake as something successful, so paying attention and before and after is even even still, you know, you kind of you can take what you didn't want originally if you like it more quarter second getting faster again at the olympics in vancouver walking with my friend in front of me trying to pace him want to get this just sharp enough so that we get that there's a person there we get that they were surrounded by people the's air just lights on the trees like christmas tree lights right it's kind of ghostly but bobsleigh ninety miles an hour at this point this guy crashed so he's coming in the frame I'm panning with him but because he crashes his speed changes and during the exposure I screw up right because I'm not going the same speed anymore, but I kind of like that welcome to market in thailand again just the pace my son eating breakfast there was a good point in our time in our lives where he and I were painting our nails together he was into it added teacher told him you know boys shouldn't paint her nails so you know what dad's doing? I'm sorry we're going to paint him pink and I'm gonna paint mind pink two I just I just don't think you know you should put those kind of limitations on kids so everything sharp remember I'm leaning up against the wall really tight there walking through nobody's really moving don't need super fashion or speed fisher one of the twenty four hour moab races I did where it was the absolute mid most miserable race four foot deep lake at the finish line destroyed all of our bikes laundry in the campground in iceland is blowing in the winds tripod you know? So all this stuff is sharp picking the shutter speed that allows that wind to be illustrated and this is thea parade a right here in seattle. Um fremont fremont fair, right? Yeah. So I'm just painting with those subjects going by fifteenth getting faster darkness hold enough to hold destabilized lens fifteen to the second probably twenty four one of five women in the market panning fifteenth of a second again make that connection right here mounting the camera onto my front fork fisheye lens the cameras like right here on the side of my handlebars we're just riding through grass you know these are the three alpine right outside of jackson in the summertime lean against the truck get the interior yes you were I don't think you went away and you're good the brackets that to use to put amount your cameras on the side of bikes or whatever what do you is that in the gear list? Also I do not believe that bracket is but it's made by bogan bogan yeah, and I retrofitted it again with a little swiss arca plate clamp so I could just click my camera right into it and it's an arctic I think it's called the bogan articulating arm and it has a joint where it lock where the clamp locks onto something it has a joint in the middle and then a joint where you mount the camera so you can like and it's only like this big so it folds up make one of the writers carry that thing and then I can mounted on to anything panting with my subjects so sixtieth of the second things were starting to happen monkey in china does this every time he does that sixty second is enough to stop the tea to get the shot you know but notice sixtieth of the second is not fast enough to stop a writer cruising really fast happy plane was sixties with second sixties of a second taking with an iphone no the shallow depth of field here making sure the focus is the right place cameras mounted on the bike mounted on an angle I watched him right through a couple of times he's like I'm going to be at this angle we're about the camera essentially at that angle so why trees or vertical he's in focus because the camera's moving with him okay to fiftieth now you stop start stopping things that's no bone to fiftieth of the second remember the fence land? I shot it from over here now shot it from here. He's now from a sixtieth to to fiftieth now he's stopped. I put one of them there flashes on the top of my hot shoe and just let it go. So what it did is he had just enough power to illuminate the snow falling right in front of me made that brighter in the scene. So adding a little bit of texture something within a very white out environment it's kind of cool and if you gel that you could change the color on two. Fifty of the second notice head is typically still in a skier kind of the rodeo thing noticed the tips of his skis or vibrating so to fiftieth of a second is not fast enough to get that out to fiftieth of the second is enough to stop him when he's here but what happens when he's down there closer to me he's blurry okay he's also going faster at that point right five hundredth now look at the snow completely round stopped very abstract for pacific pacific north northwest pacific rainforests snow big flakes right lots of moisture same here so sideways movements into a frame depending on speed you know five hundredth of the second I could stop that action now two fifty if we saw that there are times when it doesn't actually work sixtieth no way right sideways movement in your frame you need a lot faster shutter speed coming at you you could you probably get away with the sixtieth or one hundred twenty fifth etcetera so it's a pretty low light situations sideways shot what happens when you get air everything sloughs down then you want then you take off you know fast so to uh five hundred enough to stop that right I think we're at five hundred thirty so she rode from here down to there to there I stood up on iraq above her okay so he's coming at me but look at how fast he's coming and there's still a little bit of blur to him that's focused tracking for sure stopping the pieces of snow that are going to hit me in the head before they hit me in the head they fell out of the way. Out of the chair having yeah he's doing a back flip and all these people on this year like so I'm tucked kind of in below the cliff here's I'm really not getting hit by anything but because I have a fish eye lens I'm accentuating the curve of the line of the snow how that snow scallops around the cliff we're stopping little bits and pieces stuff getting getting kicked in the air thousands stylists on above everything you're stopped in motion here sideways typically as well race cars probably not in a thousand but they never shot a race car so film these could do this I love all that look it is it is like flip is like all twisted and stuff that's what rapids look like from kind of an aerials perspective out of thousands thousands of a second you have to do like to thousands of the second so I can actually say it next time so pieces it's no kind of flying up right? I'm just laying on the ground there coming over me I just released the trigger that's more than enough speed to stop them so there's the water going he's gone in that in that frame right and you couldn't see this flame so it picked it up with that shutter speed so just kind of something interesting that I realized when I took it now look at individual flakes of snow coming down pretty much any motion is going to be taken out. So, you know, those kind of body positions and self are very important in the center like that.