D I G I TA L P H O T O G R A P H YA D VA N C E D C O U R S E

U N I T O N E M O D U L E O N E

Off Camera Flash!!

Equipment!Triggers!Flash Guns!Light Meters ( Advanced )

O B J E C T I V E S

To provide the learner with a practical understanding of Flash equipment and!to be able to describe the functions and applications of the equipment in various!different shooting conditions. Moreover to provide the learner with a practical!understanding of the various flash and lighting techniques and how they!might be applied in a practical situation.

W H AT I S O F F C A M E R A F L A S H ?

• Off Camera Flash is exactly what the term suggests.

• It is placing the flash away from the camera to achieve various lighting effects

• Allows for greater flexibility in your lighting and composition.

W H AT I S O F F C A M E R A F L A S H ?

• Traditionally the flash would be triggered from the Hot Shoe on your camera.

• We can’t do this when the flash is placed away from the camera itself.

• When using off camera flash we need a different way of triggering the flash i.e.; making it fire when you press the shutter.

W H AT I S O F F C A M E R A F L A S H ?

• Currently the most popular way is by Radio Trigger.

• You can also use wi-fi but this is unreliable outside

• You can also use Infa-red which can be also unreliable due to Infa-red light outside.

E Q U I P M E N T

• Flash Brackets

• Sync Cables

• Flash Diffuser

• Flash Gun

• Triggers ( Infa Red, Radio )

T R I G G E R S R A D I O & I N FA - R E D

• Triggers come in two different types

• Radio ( Works from any angle or direction ) Generally more expensive

• Infa Red ( Needs Line of Sight and is subject to interference from other infra red sources such as other flash and sunlight) Cheaper to Buy

• Radio Triggers have multi channels

• Radio Triggers typically have a Transmitter and Receiver.

T R I G G E R S C O N N E C T I N G

• Receiver attaches to your flash via the hot shoe connection or by cable

• Transmitter is fitted to the hot shoe of your camera

• Set both the transmitter and receiver to the same channel

• Mount the receiver and flash on a stand and position accordingly

• Your good to go!

1 H R V I D E O L E S S O N C O M I N G U P

• Connecting the Trigger to the camera

• Connecting the trigger to the flash

• Setting the Channels

• Placing the flash

• Taking Photos

U N I T O N E M O D U L E O N E

Using A light Meter!Meter Principles

U S I N G A L I G H T M E T E R I M P O R TA N T F U N C T I O N S

• They read light being reflected from a subject. i.e.; the reflected light

• They read light falling on a scene or subject. i.e.; the incident light

• They read light from an electronic flash. i.e. studio flash or gun

U S I N G A L I G H T M E T E R R E F L E C T E D L I G H T

• All meters are programmed to assume the subjects in a scene are middle grey, which is to say that they reflect about 18% of the light that strikes them.

• If a subject is very light, like snow, or very dark like a man in a black suit standing close to the camera, the meter will be “ fooled” into providing an inaccurate exposure because the meter assumes the snow and the suit are grey.

U S I N G A L I G H T M E T E R R E F L E C T E D L I G H T

Built-in meters can fail to give you an accurate reading because they don’t allow you to read a very narrow portion of the composition. Even in spot mode, they read 3% to 5% of the scene, and that is not specific enough to take an accurate reading in many circumstances.

U S I N G A L I G H T M E T E R R E F L E C T E D L I G H T

A handheld meter reads the light in one degree, i.e., .05% of the composition. This means that you can choose the portion of the picture that you have identified as middle grey and obtain an accurate reading from it.

U S I N G A L I G H T M E T E R R E F L E C T E D L I G H T

When you use a handheld meter in reflected mode, you simply identify a middle-toned area of the scene and point the meter at that area. !

When you use a middle-toned portion of a scene as the basis for the meter reading, all of the other tones fall into place correctly.

U S I N G A L I G H T M E T E R R E F L E C T E D L I G H T

When you use a middle-toned portion of a scene as the basis for the meter reading, all of the other tones fall into place correctly. For example, in the shots opposite, I used the dark grey clouds as the middle tone, and in the picture of the lighthouse I had a choice between the dark rocks or the rich blue sky. Both of those areas are middle tone, and reading them allows the entire picture to be properly exposed.

U S I N G A L I G H T M E T E R I N C I D E N T L I G H T

The incident metering mode is not available on cameras. It is a function that is available only with a handheld light meter. In my opinion, this makes a handheld meter like any of the Sekonic models worth its weight in gold. !In incident mode, you use the lens covered by a white hemispherical dome (below) to read the light falling on your subject, instead of measuring the light reflected from it. The difference is that in reflected mode, the meter can be fooled because a white subject and a black subject reflect light very differently. When using incident mode, how light or dark the subject is doesn’t matter because the meter is reading the light emanating from the sky or from an artificial light source before it gets to the subject.

U S I N G A L I G H T M E T E R I N C I D E N T L I G H T

To use the incident mode, you select it on the meter and then hold the device in the light that is falling on the subject when you take a reading. If you and the subject are both in open sunlight, you can take a reading from where you’re standing, near the camera. However, if you are standing under the shade of a tree and your subject is being illuminated by direct sunlight, you must walk over to the subject–or at least into the sunlight–so that the meter detects the same level of light that is falling on the subject.

I N C I D E N T L I G H T T H I N G S T O R E M E M B E R

• The meter should be held so that the white dome faces the camera lens, not the light source.

• This will ensure that the light is falling upon the subject.

• For example, if you are photographing a face that is side lit, as with the young girl in the photo opposite, the light must hit the meter from the side. Hence, the dome must face the lens just like the subject’s face does. By positioning the meter correctly, you will allow it to calculate the exposure correctly, regardless of the colours or the reflectivity of the subject.

I N C I D E N T L I G H T T H I N G S T O R E M E M B E R

Incident mode can’t be used when you’re photographing backlit subjects. This includes shooting into a glowing sunrise or sunset sky or any situation in which the light can’t fall on the dome of the meter when it is pointed at the camera. In these situations, you have to switch back to reflected mode. The image on the right with a tree against the sky is a good example of a scene in which an incident reading won’t work.

U N I T O N E M O D U L E T W O

Off Camera Flash/Working with Models/Copyright !!

• Working with models, release forms.!• Working with Makeup Artists.!• Shooting Outdoors with a

professional model.( On Location video )!

• Shooting Indoors with a professional model. ( On Location Video )!

• Balancing Flash with Ambient Light.!• Using Built-in Flash.

O B J E C T I V E S

To provide the learner with a practical understanding of flash and off camera techniques and to be able to describe the functions and applications of the equipment in various different shooting conditions. Moreover to provide the learner with a practical understanding of working with models and MUA.

W O R K I N G W I T H M O D E L S M O D E L R E L E A S E F O R M S

• What is a Model release form?

• Why do I need one?

• Why does the Model need one?

• Copyright

M O D E L R E L E A S E F O R M S W H AT I S A M O D E L R E L E A S E F O R M ? • Before any shoot with a model you would ask

him/her to sign a release form.

• Because it give you the photographer permission to use the images in a manner outlined in the release form.

• It protects the Model against illegal use of the images outside the bounds of the release.

• It protects you ( the photographer) against any claim of ownership or payment for use of the images.

• How the images are used e.g.; who, what where, when, how and why should be outlined in the release.

M O D E L R E L E A S E F O R M S W H Y D O I N E E D O N E ?

• If you plan to use the images on your website you must obtain permission from the model by using a release form

• If you are going to sell the images you must obtain permission from the model and agree payment to the model for the sale of her image.

• Using any persons image for profit or not you must obtain permission from the model.

M O D E L R E L E A S E F O R M S W H Y D O E S T H E M O D E L N E E D O N E ? • The release protects the

models image and identity

• It outlines the proposed use of the images and any payment agreed.

• It gives piece of mind and establishes trust with the people you are working with.

M O D E L R E L E A S E F O R M S C O P Y R I G H T ©• A model release is a contract

• It is an agreement between you and the model

• It also protects copyright of your images and the models identity.

• From the moment you click the shutter you own the copyright to that image.

M O D E L R E L E A S E F O R M S C O P Y R I G H T ©• It cannot be altered or used or displayed by

anybody without your consent

• The copyright symbol is the letter C in a circle. ©

• Most photographers will watermark their images with their name and the © symbol

• eg; yourname©2014

• Nobody can take the copyright away from you unless you give it up by selling the rights to the photograph

• Most photographers will apply a charge for the use of images on a commercial basis.

S A M P L E M O D E L R E L E A S E F O R M

• Sample Release

• Lets take a closer look

• Prepared on Photographer Release App for iPad/iPhone

W O R K I N G W I T H M O D E L S S H O O T I N G O U T D O O R S W I T H A P R O F E S S I O N A L M O D E L

• Next video coming up

• Shooting outside with a Professional Model

• Real Shoot

• Real Location

U N I T O N E M O D U L E T H R E E

Introduction to Photoshop!!

• Interface!• Tools!• Editing!• Cropping!• Colour Correction!• Resizing!• Preparing Images for Print

O B J E C T I V E S

To provide the learner with a practical understanding of the basic functions and capabilities of Photoshop and to enhance the learners understanding of the process of non-destructive editing and colour correction and to provide the necessary skills to carry out basic editing and colour correction procedures consistent with industry standard practice.

I N T R O D U C T I O N T O P H O T O S H O P T H E I N T E R FA C E O V E R V I E W

• Toolbar

• Layers

• Menu

• Settings

• Colour Settings

I N T R O D U C T I O N T O P H O T O S H O P T H E T O O L B A R• Move Tool

• Selection Tool

• Lasso Tool

• Crop Tool

• Patch Tool

• Clone Tool

• Eraser Tool

• Dodge Tool

• Magnifier Tool

• Colour Selection Tool

I N T R O D U C T I O N T O P H O T O S H O P L AY E R S W I N D O W

• Histogram

• Layer Blend Mode

• Current Layer

• Layer on\off

• Opacity

I N T R O D U C T I O N T O P H O T O S H O P T H E T O P M E N U B A R

• File

• Edit

• Image

• Layer

• Select

• Filter

I N T R O D U C T I O N T O P H O T O S H O P S E T T I N G S & P R E F E R E N C E S

• General Settings

• Units & Rulers

• Preferences

I N T R O D U C T I O N T O P H O T O S H O P C O L O U R S E T T I N G S• Settings menu

• RGB Settings

• CMYK Settings

• Grey Point

• Spot

• Colour Management

• RGB

• CMYK

• GREY

I N T R O D U C T I O N T O P H O T O S H O P 5 H R S O F V I D E O L E S S O N S C O M I N G U P

• Editing.!• Cropping.!• Colour Correction.!• Resizing.!• Preparing Images for Print.!• Don’t forget you can stop

and rewind the video at any time.!

• Practice.!• And above all, enjoy and

relax yourself.

P R I N T I N G & C O L O U R P R O F I L I N G

• Screen Profile Sets The Colour For The Screen.!

• Print Profile Sets The Way The Printer sees Colour.!

• Print Media Profile Sets the way the colour is printed.

Screen & Print Profile

Media Profile

P R I N T I N G & C O L O U R P R O F I L I N G

• Important you use the same ink and printer manufacturer!

• eg: Epson Ink + Epson Printer.!• You can use different types of photo

paper but always make sure you have the paper profile for the brand and type of paper you are using. !

• Paper profiles can usually downloaded from the manufacturer website.!

• Paper profile must be installed on your system.!

• Paper Profile is selected in Photoshop or similar. Eg; Capture one, Lightroom.!

• Print Profile is selected in the print dialog of your computer.

U N I T T W O M O D U L E F O U R

Filters & Add-ons!!

• Polarising Filters!• Neutral Density Filters!• Filters for Black & White!• UV Filters!• Special Effect Filters!• Software Based Filters

O B J E C T I V E S

!

To provide the learner with a practical understanding of lighting setups and

techniques. To be able to describe the functions and applications of the lighting

setups in various different shooting conditions. Moreover to provide the learner

with a practical understanding of the various filters and how they might be

applied in a practical situation.

P O L A R I S I N G F I LT E R O V E R V I E WFilters come in basically two types. ! !•Circular Screw-on •Modular •Circular tend to be made of Glass with a metal frame but the glass can vary in quality.

•Modular tend to be made of high grade specially formulated plastic plates which fit into a holder attached to the lens of your camera.

•All filters come in a variety of sizes to fit all standard lens diameters.

•For example if the diameter of your lens is 43mm then you buy a 43mm filter to fit the thread on the front of the lens.

•A word of warning! •Avoid cheap filters! why? because the glass is usually of a lower grade than the glass in your lens.

•You should try and match the quality of the filter to the quality of the lens

•Why put a cheap €20.00 piece of glass in front of a €1000 euro lens.

•Expect to pay up to 100.00 € £ $ for a good quality filter. !!

P O L A R I S I N G F I LT E R O V E R V I E W

They allow you to remove unwanted reflections from non-metallic surfaces such as water, glass etc. They also enable colours to become more saturated and appear clearer, with better contrast. This effect is often used to increase the contrast and saturation in blue skies and white clouds. !Many of today's cameras use semi-silvered mirrors or prisms to split the light entering the viewfinder in order to calculate exposure and focusing distance. PL (Linear Polarising) filters can sometimes interact with these items to give unpredictable exposure or focusing. So be aware that you choose a PL-CIR filter unless you have a manual focus camera which has no beam splitter.

N E U T R A L D E N S I T Y F I LT E R O V E R V I E WNeutral density filters are designed to reduce the amount of light entering your camera lens and should not have any other effect on the image. Reducing the amount of light allows for the use of wider apertures or slower shutter speeds for creative and dramatic effect in bright lighting conditions. !They provide varying light reduction measured by F stops. !ND 2 = 1 STOP LIGHT REDUCTION ND 4 = 2 STOP LIGHT REDUCTION ND 8 = 3 STOP LIGHT REDUCTION ND16= 4 STOP LIGHT REDUCTION !THIS SEQUENCE CONTINUES UP TO ND 1000 WHICH IS A 10 STOP REDUCTION.

ND 4 FILTER

C O L O U R F I LT E R S O V E R V I E W

• Colour Filters are used for various different purposes.

• Increase Contrast ( Red ) • Balance light ( Blue) • Brighten Landscapes ( Blue Enhancer ) • Deepen Skin Tones ( Portrait ) • There are dozens of filters available on the market that can be used for creative photography.

• Specifically RED,YELLOW,GREEN for Black and White Photography.

Especial ly effective for increasing contrast. Ideal for dramatic cloud effects in landscapes. Can also be appl ied creat ive ly in co lour and in f rared photography.

Used primari ly for black and white photography. X1 is highly effective for indoor portraits under tungsten lighting.

Especially useful for clear contrast between blue sky with clouds and foreground. Provides a natural tonal rendition. Often used for subjects at intermediate distances.

S P E C I A L E F F E C T F I LT E R S O V E R V I E W

!• Special Effect Filters can be used to improve your creative photography.

• There are many different effects you can use.

• Be careful and do not over indulge using them.

• Some effects are more useful than others.

A close-up lens with a hole in the centre.The periphery of the picture is rendered a delicate, soft focus effect while the central image is sharply focused

Both are diffusion type filters but DIFFUSER gives a soft-focus effect due to its irregularly uneven surface DIFFUSER gives an overall soft-focus effect. !These are particularly effective in por t ra i tu re and commerc ia l photography.

STAR-6

Add a dramatic cross flare

N I K S O F T W A R E B A S E D P L U G - I N F I LT E R S F O R P H O T O S H O P O V E R V I E W

• Nik Software • On One Software • Plugins that work inside Photoshop, Lightroom, Aperture.

• Totally software based • Apply Effects on your computer • No need for expensive filters and attachments.

• Can look somewhat false. • Expensive to buy the full collection • Effect Suite For Colour, Black and White, Light Enhancement, Sharpening.

• Check out https://www.google.com/nikcollection/products/color-efex-pro/

O N O N E S O F T W A R E B A S E D P L U G - I N F I LT E R S F O R P H O T O S H O P O V E R V I E W

• On One Software • Effects Plugin For Photoshop, Lightroom, Aperture and Adobe Camera Raw.

• Similar to Nik Software • Wide Choice of Effects • Cheaper than Nik • Good Quality. • Note you need Photoshop, Photoshop Elements, Lightroom or Aperture to use both of these Suites.

• http://www.ononesoftware.com

M O D U L A R F I LT E R S Y S T E M S O V E R V I E W

• There are two market leaders in this form of Filter

• COKIN • LEE FILTERS • Both use a mounting system that can take any of their filter plates.

• It is made up of an adapter ring which screws onto the lens and the mounting system slides onto the ring.

• The filter plate is then inserted into the mounting

• See the picture to the right. • Both Manufacturers use a similar System. • There are many add-ons to the system including lens hoods.

M O D U L A R F I LT E R S Y S T E M S O V E R V I E W

• They offer the same selection of filters when you compare them to the circular filters already discussed.

• The plates can be stored in boxes which you can buy.

• However you need a different ring to fit every lens size you have.

• They are not any cheaper than their circular counterparts.

• It is a matter of personal Choice as to which system you use.

M O D U L A R F I LT E R S Y S T E M S O V E R V I E W

• Cokin have four types of holder to suit your camera and budget.

• The smaller holders will only take ring sizes up to 67mm

• The Z PRO AND X PRO are the ones to purchase

• Check these systems out at your local camera store.

Cokin Bellows Lens Hood

U N I T T W O M O D U L E F I V E

Shooting For Black & White!!

• Things to consider!• Shooting in colour for

B&W!• Shooting in B&W!• Processing for B&W!• Plugin Filters for B&W

O B J E C T I V E S

To provide the learner with a practical understanding of Black & White

Photography techniques. To be able to describe the process of shooting for

Black & White in different conditions. Moreover to provide the learner with a

practical understanding of the various filters and process techniques for Black &

White and how they might be applied in a practical situation.!

B L A C K & W H I T E P H O T O G R A P H Y T H I N G S T O C O N S I D E R B E F O R E Y O U S H O O T

Be aware of the scene you are about to photograph. !Make sure there are various shades of colour as this will help bring out the different shades of grey,white and black within the scene. !Some photos work very well in Black & White and others do not. !This can be as a result of composition, colour range and contrast. !Be patient and experiment it takes time and practice to get right. !Colour photos with too much of the same colour will produce poor Black & White when converted. ! !!!

B L A C K & W H I T E P H O T O G R A P H Y S H O O T I N G I N C O L O U R F O R B L A C K A N D W H I T E

Every colour within your scene when converted to B&W has a different shade of Black, Grey and White. !All the Dark colours will be varying shades of Black and Grey !All the bright colours will be varying shades of Grey and White. !Of course exposure will have a direct effect on the depth and brightness of these colours. Good exposure is important. !For good Black and White you need a wide variety of colours to achieve the various degrees of Black, White and Grey. !This is why some photos look better than others when converted to Black and White. !Colour photos that contain too much of one colour e.g. Green will look grey throughout the photo, which is not what you want. !Though it is fair to state that you will have various shades of green which will product various shades of grey and black. !However as will colour photo processing you can go overboard when processing B&W which will either produce a photo that is too dark or too bright. !This Shadow and Highlight clipping was covered in the Photoshop Module. ! !!!

B L A C K & W H I T E P H O T O G R A P H Y S H O O T I N G I N B L A C K & W H I T E

You can of course switch your camera to shoot in Black & White if you wish. !However it is widely accepted that this is not the best way to achieve good B&W results. !Because Digital Camera sensors do not seem to be able to record the dynamic range needed for good B&W. !This based on opinion after years of experience and Industry best practice. !There is nothing wrong shooting with camera set to B&W if you so wish. !Just because this feature is on your Camera does not make it the best way to produce good B&W. !Most Pro Photographers I know would not use B&W mode on their camera because there is a greater degree of flexibility in post production !However it is a fun way to experiment with Black & White and to get to know the dynamics of B&W ! !!!

B L A C K & W H I T E P H O T O G R A P H Y P O S T P R O D U C T I O N & P L U G I N F I LT E R S

Greater degree of flexibility !Better choice of variations !More Control !Control over the print setup !Better dynamic range !Better Results !Industry Standard Practice !!

!

B L A C K & W H I T E P H O T O G R A P H Y P O S T P R O D U C T I O N & P L U G I N F I LT E R S

!! Demo Video Coming up on Black & White conversion using Photoshop and Nik Silver FX Pro. !!

!

U N I T T W O M O D U L E S I X

Introduction to Studio Lighting & Equipment!!

•Studio Equipment!•Lighting Systems!•Add-ons

S T U D I O E Q U I P M E N T

•Lighting •Backgrounds •Stands •Filters •Softboxes •Triggers !!!!!

S T U D I O E Q U I P M E N T L I G H T I N G K I T S

•Come in various power outputs •EG; 250W 500W, AND ABOVE •Consist of a flash tube and modelling lamp

•Can be mounted on a stand or ceiling •Can be triggered using radio triggers •Can be expensive to buy •Several different brands on the market •Brand shown is Bowens •Can be purchased individually •Or in pre made kits including soft boxes,stands and brollies. !!!!

S T U D I O E Q U I P M E N T B A C K G R O U N D S

•Come in different lengths & widths •Available in Cloth, Paper, Vinyl and collapsable

•You need supports for the background •Available in many different colours, textures, and multi colour

•Cloth is easy to maintain •Paper tears easy •Some can be expensive to buy •Yes you could just use a bed sheet if you want.

!!!

!

S T U D I O E Q U I P M E N T S TA N D S

•Many different types and brands •For many different uses •Types of stand will depend on what you want to do and achieve

•Experiment •Find out what you like •Most light kits include the basic light stand.

•You will be limited to the space you are working in

•Stands are expensive so make sure it is the one you want !!!!

S T U D I O E Q U I P M E N T F I LT E R S & E F F E C T S

•Gels to add colour light to your shot

•Light Modifiers to soften light •Snoots to add small beams of light •Honeycomb to soften light •Gel Holders for you lights !!!!

!

S T U D I O E Q U I P M E N T S O F T B O X E S

•Different shapes and sizes •The bigger the soft box the better •Big boxes offer softer light •Simulate window light •Attaches to your lights •Narrow strip light is great for portrait •Use a big box for you fill light •Size and shape depends on the photography you are doing

!!!!

!

S T U D I O E Q U I P M E N T T R I G G E R S

•Radio or Infa Red •Transmitter & Receiver •Transmitter fits onto the camera •Receiver is connected to the light via a small cable

•Lights will then fire when you press the shutter

•Free to move around •Greater Flexibility •Radio Triggers can be expensive !!!!

!

S T U D I O E Q U I P M E N T A D D O N S / R E F L E C T O R S

•Can be used indoor or outdoor •More effective outdoor on bright days •Used to reflect light back to your subject •Come in different finishes such as white, silver and gold

•Gold gives a nice warm look •Small handheld ones are great for outdoor location shooting

•The bigger panel ones are more suited to studio

•Handheld ones collapse into a handy pack •Every photographer should have at least one •Great for Wedding and Portrait Photography !!!!!