Lessons

Lesson Info

Camera Angles: Lens Choice

What makes lenses specific to what I'm trying to photograph? Why is it so important to select certain lenses? We discussed that way put a little a couple little tidbits and using the thirty five yesterday thin people out, but I used several other lens is not just a thirty five to do portrait photography or fashion photography. This is an arsenal of different lenses that I wanted abusing so my go to lenses my goto islands are the sum of thirty five one four I'm using the twenty four one oh five, seventy two hundred and then I'm using the signal one fifty macro, which is a two way those are my go to one's amends portrait photography we'll discuss why use each we're going to discuss what each does for the speaking specific image that I'm winding, abusing why use those things quick forward signal thirty five one four spoke a little bit about using compression and distortion how I use things too thin people out but why? What what other reasons can I use my thirty five my subject environment...

that thirty five being so wide? I conclude the environment within the shop I'm not just worried about photographing men we talked yesterday about doing the fashion photography and having to incorporate backgrounds and textures and lines and shapes into my photography I'm not just shooting let's a shallow depth of field it helps having the thirty five, but I need backgrounds and e need storytelling. I need somewhere to photograph if you guys are photographing environments and you're putting a subject in the senate environment, thirty five is a great way to include everything that's happening is if you're a wedding photographer, portrait photographer anyone include let's see the church or a little forced around around your subject? You want to be able to incorporate that thirty five where you want to go? Uh alternatively, it requires me to get closer to my subject that's thirty five and we're going to have something on set in a moment, but thirty five requires me to get extremely close. I can't shoot my thirty five and have a subject pretty far away because and I'm getting everything in my environment. So composition wise, I need to get up close and personal to that specific subject, which is great because that way incorporate the backgrounds being so wide and I could have my subject in the shop. So it's also a great lens for cinematography, which is another one of my passions. I used the thirty five if you guys are familiar with cinema graphs, which are moving images, I used a thirty five explicitly for cinema grass because I'm able to incorporate the environment I could do behind the scenes videos that way on just make a little looping sima graphs those of you that want to see those have a flexible account if you go to flix old dot com slash, I think stage your veg which is my name backwards uh, thirty five also extremely lightweight told you guys yesterday anything that I can do to make my job easier or like lighter work that's what I want to do sounds lazy but it's efficient whatever it takes to get my job done. Thirty five is one of those lenses that it's, extremely lightweight me actually just grabbed the lens here thirty five thirty five extremely, extremely lightweight there's not much weight to it a supposed to like in seventy, two hundred twenty four one. Five extra glass elements and better and fixtures this is so bad it's not it's, not the smallest lens in the world, but at least it's not heavy, bulky lens they need to carry me all the time. Thes, this is one of the two lenses that I wanted taking with me on vacation and a given point. They use a thirty five into twenty four one of five anytime I go on vacation only because a narrow the field longhand twenty four one of five aperture the minimum managers of four that's the wife's widest it'll go wider aperture depth of field you know want to see depth of field in certain aspects? I don't want trash and back, and I live in new york city like new york city's hustle and bustle backgrounds, trash like there's so many elements going on that I want avoid certain things when retouching I don't want to spend time retouching trash. I don't wantto spend time researching poles and fixtures and lights, and we talked about actually getting your subject in the background that you're looking for minimizing your editing process. Thirty five helps me do that that that one point for appa track and just focus on my subject and completely have a narrow down the field on that background, so I use that lens distortion. We discussed that to my advantage. I can thin subjects out aiken wide and subjects that feel a little self conscious about their weight if they're too thin or they feel they're too thin rather so I could be ableto essentially make them wider. We'll discuss that in about, um, used lens distortions to your advantage. That thirty five is extremely important to what I'm doing and with my photography specifically for people with difficult features we discussed yesterday what not to do in certain facial features like if you're running along in somebody's face. Use a thirty five you're trying not to look a lot so long it's somebody's face you probably don't want to use the thirty five just consider consider those aspects I'm actually going to ask michael can I borrow you? Thank you, sir michael are wonderful model today uh we're just gonna do generic lighting for now we're gonna discuss portrait lighting in a moment before we do anything and what I'm physically viewing two seconds you just stand, I would say four feet from the background from just four feet from the background that thank you, sir. Way could just have that enough too illuminate his entire body shot. Can I have you centered on the background? Perfect. I'm gonna have you just pulled it out ever so slightly. It's perfect. Okay, thirty five if I shoot from thirty five equal distance we're shooting yesterday was using a twenty for one five at one point. It's a little more versatile. He's won fifty. I used the seventy two hundred different capacities, but miss yu, just standard portrait if you want to call it with with us and distance it's uh secondly, do that I'm gonna shoot portrait styled porch it's orientation that's like my screen here, just make sure we're tethered perfect michael's extremely far away but, you know it's the first day um I'm elongating his body to certain capacity but I'm also tall it michaelson needs that kind of squat down in order to be even with him that's the first thing but how how how much distance we had twenty six feet seven feet very far but he looks extremely little in that photo for me to get up close and personal right now is to get his full body in that shop I need to get a little closer I need to get a little closer my subject now that's great if you're trying to create intimacy like you need to get up to next year subject to be ableto show emotion we discuss emotion yesterday being able to showcase different motions and space if I wanted to shoot a portrait how close do I have to get with that at thirty five if I need to be about four feet to get that we're going to show you how close I need to get that you were gonna be very close with one another perfect one two three how close was a foot and a half to his face? Very very intimate lens so this is one of those things that you're trying to capture motion on the subject and you guys want to be together and you find a way that you can exude emotion with your subject to be able to communicate with them like if you have a personal relationship with one of your husband, your wife or your kids and you're trying to get up close and personal because you want to show show their personalities great lengths for uh let's see, the only thing you have to worry about is that lens distortion I'm again whiting his face out, which isn't always the best in regards to certain face types, but that doesn't mean if somebody had a thinner face it be fine, but subjects that have any any wider face I'm gonna go ahead and have a little bit of distortion two seconds, same thing up close and personal human you're gonna be friends one, two, three thousand perfect how close was out of his face? Eight inches, ten inches I still have quite a bit of distance to his face if I wanted to make everything extremely close is extremely truman close to the lens I can essentially get I'm going to go as close as possible, so I can see I'm gonna have to get this this close to get his full face and crop, so I need to make sure that again is very, very intimate lunch it's great for being in the photograph, people but in certain dynamics so if you're not comfortable on your subject, you feel your subjects not comfortable with you you probably don't want to use the thirty five just because it makes people feel a little awkward a lot of men have suspected my boots so this is funny my my shoe laces are quote unquote indestructible I'm one of those guys that was like, oh my god that's cool they can't be cut or broken so I would probably trip and die before these actually broke. So anyway, when I'm photographing him I want to make sure that there is a sense of intimacy but if I'm not getting along with him or he has personal space issues or like personal space is obviously it's depending on the world where you are this certain demographics that it's okay new york city generally don't under somebody like you wanna be next to somebody that close this is this feels awkward me having to photograph from that way high way you know it's were okay because I know him but ultimately it's it can be a little weird and little next thank you you get prints on set how does that feel? Twenty four one oh five twenty four one one two fives running from all the way up to four it's not running any further than that it's not a very very shallow lens and regards to depth of field trying to switch the lands while it's on that switch over perfect versatility this lens I can either be extremely, extremely close to him and very, very intimate or I could be very, very far away from him so that twenty four it's close to have to get to you to you and I are gonna be friends want to throw a perfect that's it linds distortion obviously don't you twenty for anyone's face like that looks terrible merits a portion but look how close that looks like a fish eye but the point is you have to be very, very close that subject to photograph anything and alternatively face you that twenty four from far distance away that same twenty four even moving back to where we were before original with thirty five next photo that is a terrible photo you're fine that's scary distance how far my back I'm about six feet look out difference the distance is twenty four twenty four to one of five so we're gonna go towards the seventy side again compression just being able to have available compression to seventy twenty four as well as that one of five extremely helpful so I wanna move same position to seventy seventy next photo haven't really moved aside from a couple inches while I was speaking and next photo okay, one of five you're not going to be best friends again, but I don't have to be this close one of five on one five I haven't changed my distance everything has to do with the lens ultimately my goal when I'm selecting lenses my personal relationship with one photographing I don't like getting too close to certain subjects now that sounds really wrong like hygiene issues or something if they did have hygiene issues it's probably the best lines you want to use ultimately my relationship with persons going it's going kind of judge what lens choice I'm going to use what I'm using in regards to what I'm showcasing the background story what what my lead using ultimately so I love the twenty four one five first versatility I need to go on vacation again twenty four to one in five it's extreme range next what I want abusing its actually just hid this trigger with a blotting paper also grazed the trigger all of three seconds full length we can use it on location we discussed the way we can use it on location integrates the compression in different forms of compression let's go back and use the seventy two hundred we need a little bit of music we'll discuss that a little later regards to silence on set and how sometimes silence isn't as great as it seems especially when you're photographing man it's very awkward perfect it's a perfect towards the by using the one fifty macro that I really do that lens do we have the seventy two hundred my back no okay I'm going to skip the seventy two hundred I'll stick to the one fifty we'll skip ahead only because I left lens what do you do if you leave a lens at home? You make sure you have versus the lens like a twenty for one of five that's actually serious that's happened even on set that one fifty one I'm gonna use one fifty one fifty has a lot of detail we discussed just about compression also move the compressions very much like neutral what we're seeing in regards to our eye visually I'm also getting a lot of detail in texture and in the face so if you can face forward for me as straight as you can see one, two, three perfect those you they're here in the audience if you look at michael space, there isn't any distortion in regards to this image about seven seconds actually load is what michael's face looks like here, right? So if you're trying to compress somebody so they look natural and what they're trying to showcase if you're shooting portrait's too great lands I've also used a fifty one fifty from further away I'm not afraid to use that one again its versatility I can use this to report it like if I need to know if I need to move back if I forget something at home like we just discussed versatility of having several lenses on on set once again perfect it's a little further, so if you have a subject that's uh a little more closed minded they don't wanna be up close and personal that one fifty helps because I need to move all the way back so how far back do I need to go it's like fifteen twenty feet before I can actually take any image that's going to be at least that crop let's zoom into that was last two images see how much detail is in his face zuman perfect perfect take that shot one more time even at six one I get his nose in focus and his eyes out of focus we're gonna focus has very, very shallow depth of field twenty this one more time perfect too perfect connection so we look at how much detailed don't look at this photo ever this is from that far away I can see all the detail his eyebrows I can see all the detail even eyelashes I conceal the iris I can see all the texture in the scan it's relatively far away here's the cool thing it's a macro lens so if I need to know if I was photographing a man and I want to show body parts so if I want to show I for one should just the brow I should be able to photograph he's like no you're not you're not getting that close I can shoot relatively close to your face time how much details that one's gonna have come out oh my god there's a lot of detail that's in the in the, uh, in the image itself, I can shoot. I mean, you can see every little single imperfection in the scan, which is great if you're trying to showcase weathered skin. Andi is trying to show you somebody who's, a little older, let's, say the skin's a little softer, and we talked about the national national geographic look but there's great lens for that, because you get all that detail. Let's, go back! Sorry, presumed into your face compression, we're starting lighting, so I'm gonna go ahead and switch different lenses, so we're going to stick to the twenty four one oh five on ly so we can walk in this small set, and I don't have to judge distance. I don't have to judge anything else. Just versatility, wetlands.