since this is still kind of introductory topics I did want to get into the topic of lunch choice just so you know because I always get these questions so I wanted to take care of it but we have a couple already um len choice real quick the lenses that I prefer to use usually on location the lenses that I use most often are on the left this is personal preference I like shooting fixed fast lenses because that's what lets me get that this was shot with the signal fifty millimeter one point for art so it's their new lens which is like the sharpest fifty that's out there uh so when I shoot really wide open I'm able to get just melted away backgrounds really narrow depth of field you can still do this and still have nice blurt out background that two point eight but it's not quite the same it's just not as buttery melted away not as nice book hey or boca I hear both people say it and I've gotten corrected both ways so let's just it's funny okay so I usually shoot to stephen idea fifty for m...
id length and some full length shots not for close up I shoot my thirty five for full length shots and scenes um like that was shot with a thirty five over there um I shoot with the eighty five for head shots and close ups and this is random fact of the day russ what's my favorite after your favorite aperture is what was it two point oh remember it's to point to when it's totally made up there's no reason why there's no read I just like it there is no reason why so I'm cutting off the whole like there's no right afra chur to be like you could go technically yeah two stops closed down from the smallest aperture on your lens is the sharpest point of the lens eye saved don't care I like it to be wider open so I shoot way wider open than that because for most lenses that's a tow or five six I like when the backgrounds disappear so that's mike avea I shoot with these most austin on location but these were kind of a pain to shoot in events people are moving around if you got a fix vocal and cleanse your chasing them to be able to get the compositions you want so when I'm shooting events or in tight spaces where I just don't have the flexibility I want I will shoot zoom lenses but no matter what you choose if you want good uh you want location lighting pictures where you have the background under control as far as deaf the field if you want to be ableto have the background be blurry and not be distracting don't go for a four o five six lens variable because usually that doesn't give you that same control or don't go even like a three five if you if you could go to weights and one force that's going to give you those nice narrow depth the fields that I have in most of my pictures if you're somebody who loves having tax sharp focus front to back and all your images didn't this fine then whatever leads you want but I used to shoot a seventy eight two hundred and twenty four to seventy this is what my wedding kit once because then I'd have one camera with twenty four to seventy the other was seventy two hundred all at two point eight being able to go to wider apertures you'll see later in the speed lights and strobe section also gives you more flexibility with exposures actually gives you more flexibility with the apparent output of your strolled that's day two in three but that's what you wanna choose wider aperture lens if you can and if I can only have one lens for an event and can't change anything then I go to the twenty four two one o five because it just gives me a nice range like I was shooting in the desert um in dubai and it with windy and like little eddies of sand clouds everywhere I did not change my islands we stuck with the twenty four two one o five almost the entire time for that reason but maybe just could only have one lens on you all right so speaking of lenses okay so I'm bad and I basically lost or threw away every lens hood I ever had and then as I started shooting on location I had to go buy them or find them okay so let me just tell you a real quick video I wanted to take a minute to demonstrate the point of these things lens hood's um to be honest many times I've kind of just taking them off and gotten rid of them but I want to show you why when you're shooting on location that it becomes really important to use thes lens hood's what they allow you to dio is they allow you to prevent extraneous light from hitting your lens where that man is in a situation like this where I'm shooting backlit I put this hood on and it shades my lens from extra light and unwanted light from the sun hitting the lens what that'll dio is if the light does hit the lens is it decreases the contrast in my photograph so perhaps you've taken a photo kind of into the sun like this and you look at the result and it's just really hazy there's no real white point there's nowhere black point it's just muddy and just not a very pleasing looking photographs because what happened is when you're pointed back to the sun the light hits the lens it bounces around and it just muddies up the photograph when you put your lens hood on it protects your lens and then what you're able to do is shoot more or less into the sun without worrying about that loss of contrast so I want to show you real quick and example before and after in a simple situation of like this of helen's had makes a really big difference all right steven I'm gonna bring you in for a little bit of filet on the sun and I'm just going to scoot me do one more like this and I'm just going to shift a little bit this way okay okay greats would you move this way just a little great okay here we go ok let's shoot few more okay great so let me put my lens head on same shots great so when you look at my camera when I'm shooting there you actually see the light hitting the lens without the lens hood lens had blocks it out and if you look the before after shawn's there's just a lot more improved contrast not that kind of unpleasant haze over the shot with using a lens hood so long story short if you threw them away if you lost them might be time to buy a new one or go looking like I really did lose them all like I really did have because I didn't know what they were for when I started buying lenses and then I would just they were in the way so that I would move them and then I was like oh my pictures would look so much better without that little haze over top of the photo
Fashion photographer Lindsay Adler has risen to the top of her industry as both a photographer, educator, and Canon Explorer of Light. Based in New York City, her fashion editorials have appeared in numerous fashion and photography publications including Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. As a photographic educator, she is one of the most sought after speakers internationally, teaching on the industry's largest platforms and most prestigious events.
This class was amazing. Lindsay Adler is a great presenter...I learned so much.....I love that she spoke about natural light..strobes and speedlites. Wonderful information. I purchased this and I am glad I did. Great job Lindsay. Jean
Lindsey Adler is one of the best and most engaging photography instructors in the USA. I highly recommend this lighting course. It felt more like a 101 and a 102 course than just a basic course. She teaches in a way that makes learning alot of fun and the amount of time & effort that she puts into her video and class presentations are second to none. Her classes are well worth their weight in gold and you will walk away with a wealth of knowledge!
Lindsay is amazing , I love the way she explains everything!! This course is filled with GREAT information and helps you better understand natural lighting,strobe and flash. Thank You Lindsay, please keep your classes coming!