image quality again. I use this a lot to this is to set my Ron versus JPEG versus whatever that I'm shooting. If I am shooting all to say this, Roberts's medium rough, anything with the potential to be blown up versus anything with the potential to kind of stay smaller sizes. So when we shoot wrong, we shoot rot in every situation. Doesn't matter whether it's raw or medium. Robert were always shooting. Ron will explain why in just a second, but when we're shooting in situations where we have the potential to blow up a shot, for example, Family formals, right? Family formals, wedding party, the couple session. I'm talking about pieces of a wedding day, for example, but let's talk about outside of the wedding. Let's talk about just general stuff like if you're taking pictures of your kids, if you are doing landscape photos, these are all things that you might put in a 12 by 20 by 30 40 by 60. I mean, these are all sizes that you might do on this side, right with these kind of images tha...

t you're taking these artistic images of the family and so forth, you're gonna blow these up. But if you're shooting your family's barbecue, if you're going in, you're doing something. Maybe for the church that you're with and you're taking just images of whatever event that they're having or you're doing general journalistic stuff at a wedding like, let's say we're doing reception. Candids and ceremony candids were just kind of capturing people, laughing and talking to each other. What is the likelihood that someone's gonna blow one of those images up to a 12 by 18 2030 40 by 60? Not very high, right? It's not gonna happen really at all. I don't think I've ever seen it happen. Usually, if someone's having a good time chatting and stuff like that and it does get printed, it gets printed a little square inside of an album as part of a bigger story. Correct. So why are we shooting full 24 to 24 megapixel files? Most cameras are going to be somewhere in this range 2024 megapixels. This is roughly 10 megapixels, and you have cameras now, like the five DS that are going or like the D 800 was up to like 36 34 36. Somewhere around there, the five DS is now doing 50 megapixels. So we have a lot of pixels. Why are we using all that if we don't necessarily need to? So if it's going to be a four by six and eight by these kind of sizes, we'll just shoot it in medium raw. So as we're going through the wedding day, were actually flipping back and forth. The whole reason is a we shoot about. We're getting up towards 400 weddings a year. Right now, they're they're large boutique weddings that we didn't have a big studio. So we're talking tons of space. Okay, our servers are roughly 100 terabytes servers. And so you can imagine that if every one of the shooters is conserving space when needed, then it actually adds up to quite a bit over a year. Right now, if you're shooting on your own, that's not necessarily as big of an issue. Space is pretty cheap. The other thing that you probably won't consider, though, is that light room is going to get choked up with larger files. So if you're using light room to edit when you're dealing with 50 megapixel files, 25 megapixel files. I think the larger the file, the slower it's gonna go when you're basically editing. Okay, so if you can preserve a little bit of space insanity So all I do is if I'm walking into the ceremony, for example and I know I'm gonna be shooting the entire ceremony. And most likely, none of this stuff is going to blown up. I'll just flip this writer to medium Ron Press. OK, that's in my menu so I can get there quickly. Okay, keep in mind to one thing. 10 megapixels. If someone doesn't want to take a file and blow it up to a 20 by 30 totally fine. You can take that one image and blow it up to it. You can enlarge it in photo shop really easily and blow it up. No problem. But we treat that more is a one off thing than making it the rule just to shoot every single thing in full rock exposure, compensation, auto exposure, bracketing We use this for again when we're doing flash. When we're doing dynamic range stuff we're dealing with high dynamic range scenes will use this. Don't have that set right here. We'll go up to two stops either way and then mirror lock up. This guy's awesome. Most of us don't realize that your cameras potential to show detail is so far beyond what you think it iss. Okay, The problem is, we never actually get to that point because we're not doing certain things to increase sharpness. And what not one of those things is getting your camera onto a tripod when you can. You're not gonna walk around a portrait session with a family with a tripod on all the time, right? That's weird. So mirror lock up, though. What this does is by turning this on, you'll hear a soon as I'm ready to go. I'm in my live you. So as soon as I'm ready to take a shot and I press the button a little bit, you'll hear the mirror flip up. Now I haven't actually taken a photograph. What happened was the mere flipped up. Now, when I want to take the photograph, I press the button and then it finishes the image by opening the shutter and then closing it. And then it closed the mirror and everything. The reason Why we What? Did I just take a picture of? Awesome. I should have done. Kenna. There we go. That's in focus. Surprisingly like that. I call this the Statue of Liberty. This pose. We actually do this a lot of weddings, that statute. Is it on the screen? I didn't even know these were going on the screen. That's fantastic. Wow. I mean, I impress myself with that one, but that's cool. Statue of Liberty dance floor. We do this all the time. This is the Statue of Liberty. If you want, accentuate that, you can put a hand up on the hip. I could brace the back. Okay. So what were we talking about? We're talking totally less. Okay, Mirror lock up. So when you get this thing onto a tripod, why do we use mere lock of anybody? Know why we would use mirror lock up Simon? Um, because the mirror flipping up causes movement. Yes. So there's actually like when you feel the mirror moving in your camera, you can feel a vibration, right? You can actually feel it with your hand. Um, that vibration is actually gonna reduce amid sharpness. Kind of crazy, right? Considering that most of us will always shoot without a tripod. In almost every situation, we're automatically introducing a little bit of shake into every single photograph. Now, the faster your shutter speed, the less of that is Bron into the photograph. Right? But if you're doing landscape imagery, you might be bringing the shutter down pretty slow because you need to shoot it at 14 in a ref, whatever number you want to go at, but you're getting depth of field, and so you might be 1 100 of a second. So that's actually gonna introduce a little bit of motion, which decreases sharpness in are images for most stuff that we're shooting like for a portrait for things like that, we're not gonna notice it as much. But that's one of things that we do. So on our whenever we set up on a tripod mirror, lock up. If you are shooting hand held, do you need mirror lock up? Why would you not use mirror lock up if you're going handheld because your hands shake? Yes, your hands are introducing more motion than the scent than the mirror would, right, So your hand is the biggest factor in a less sharp image. So really, unless you put it onto a tripod, you don't need it. But we do a lot of our clients photographs on tripods, hence mere lockup is the last of my item. It's not used a ton, but I do use it now and then. So those are my five, my six items.

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Pye Jirsa

Pye Jirsa is a lifelong learner who has made a career out of creating frameworks.  These frameworks have helped millions learn languages, develop creativity, master photography, succeed in business, and even improve their communication within personal relationships.

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Lighting Portrait Photography Fundamentals Beginner Free Photography Classes

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RAW vs JPG and Mirror Lockup Function

RAW vs JPG and Mirror Lockup Function

Lesson Info

3. RAW vs JPG and Mirror Lockup Function

Lessons

Class Introduction

Highlight Alert, White Balance, and Bracketing