Getting it Right in Camera: Ep 235: Digital Photography 1 on 1: Adorama Photography TV
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- čas přidán 25. 03. 2012
- AdoramaTV Presents Digital Photography One on One. In this episode Mark Wallace boldly declares that it is not possible to get a perfect exposure in camera, then sets out to prove it. He guides us through his creative process to demonstrate why it's not possible to get it right in camera. Join Mark in the studio for a hands-on demonstration that shows how he uses photography fundamentals to achieve his final images. Does he get what he wants? After watching this video, do you agree with him or not?
Go here for related articles and videos, and to learn more about the products Mark used in this video: www.adorama.com/alc/article/Ca...
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Send your questions to: AskMark@Adorama.com
Nothing gives me more pleasure than to receive high praise for a shot I took straight out of camera with no post processing.
Mark is awesome... His explanations and way of teaching is very clear and easy to undertand, + he has the resources for it as he's backed by Adorama. Look up Mike Browne, this man is one great teacher too!
I think people confuse the ability to create an effective image with creating a technically perfect image. Post production enables you to achieve the technical perfection that your camera just can't, but creating the effective image in the first place is down to you and your camera. Combine an effective image with good post production and you have something stunning.
Fantastic lesson! I always learn so much from this channel! Thanks for your efforts and please keep it up!
this has been the best episode till now. Cheers.
Excellent explanation as usual. Well done Mark!
Mark, you are the best teacher on youtube!!! What brand tripod do you use?
This is an awesome video. Thank you!
This is why I still like to use my Minolta Alpha 9 film camera. No white balance or post production issues. :) ... {That was a great presentation - Thanks Mark }
You don't need a computer to do "post production". Pushing (under-exposing and over-developing) and pulling (over-exposing and under-developing) film changes the dynamic range of the film; one chose a film for its colour response and dynamic range; you could print with different contrast grades of paper, etc.--and that's leaving out filtration, burning and dodging and so forth. Digital doesn't change the game completely, it just makes it easier in a lot of ways.
Excellent video. Thx Mark.
Great explanation!!!
I love taking the pictures but at the end of the day, sitting down and doing the post production is half the fun!
You can get a correct exposure in camera and once you have that, post production is simpler, quicker and more straightforward. Get the exposure wrong and you can spend hours in post production.
Spot on, as usual.
Even if you shoot jpeg only, post work being done - by the camera and its designers. If you tweak the picture styles in camera, you are being limited by what the designers THINK you need to adjust. That may be fine but why not take the same image data (RAW) and put YOUR stamp on it, not the engineers from Japan or Germany? Certainly you still have to get the basics right before you click the shutter (Exposure, composition, etc) but post production allows for full potential.
I think it comes down to "you can't get it TECHNICALLY" perfect in camera, but you can get it "visually perfect". Unless you're trying to capture the high dynamic range.
Please bring back 240P resolution.
I know it is old, but some of us still have very poor internet connections! :(
Mark is illustrating the fact that even the best cameras have poor jpeg workflows. It's something I struggle with on the job. The client often wants me to just "burn a disc" of the jpgs at the location. I have to talk the client out of it because the jpgs look awful compared to the jpgs made from RAWs. I learned to shoot by the zone system, and it's extremely aggravating that modern cameras render jpgs inaccurately. Mark, @adoramatv, can you recommend the best cameras for jpg workflows?
I want to upgrade my laptop for post production purposes. What are the technical specs of that Mac used in the tutorial, or will any mac do.
any mac is okay
very good
My questions: is the meter calibrated?, how about the camera?...it's difficult to compare the two because they are using slightly different algorithms. The camera is 'programmed' to capture a certain latitude. It is not metering for 0-255. I also learned the digital calibration is way less precise than I'd hoped. Also, why are the targets being lit with tungsten instead of white balanced light sources?
Could you please post this video to iTunes podcast?
name one and link to a source where they prove/say that they don't do any post production.
You still have to do some post work in MF whether in camera or software. The dynamic range is greater but you will still the same issues to a lesser degree.
With film, whether 35mm or MF, the exposure constraints are much tighter (+/- 1/2 stop) but u were also limited by the film stock and lab processing choices you made (jpeg and picture styles). Ansel Adams the masters got it right in camera but made it great in the darkroom (post processing). No different today.
Just my .02
Post is where the real creativity of Photography begins. I have to wonder about the creative ability of people who brag about never editing their images.
Post is where the line between photography and visual art gets crossed. Not saying it's wrong to cross it; you just need to be honest with yourself about where you stand.
jsm666 You might as well say photography has never existed then, since heavy post-processing has been a part of the photographic process from the very beginning. If anything, heavy processing was even more common during the film era.
You mean "daylight balanced"? To which standard? 5000K? 5500K? 6500K? The camera's white balance was set for neutral at the tungsten temperature (note that some of the grey values were very slightly cool while others were very slightly warm in the same image). The ISO values for a calibrated environment are not there for the optical equipment, they're there for consistent human visual response to the working gamut; colorimeters and cameras are not adversely affected by a tungsten environment.
Personaly i think you can :)
I'm sorry, but I think I have to laugh or maybe revisit my Black - n White rules of the ZONE System...
You have way more than 60% of your screen taking a photo of a WHITE background and so it's going to come back 18% Gray, being that is what cameras "Meter" to.
I would believe that you would need to FILL THE FRAME of the lens with the 3 shades, Black, Gray, White to get a True Balance of Blk, Gray, Wht / 18% over all. and NOT 60% white form board.
so in overwords your expensive light meter does not do the job you pay for
It does not know the camera and lens. The f-number is a good indicator about how much light you will get, but the actual amount of light still varies. That is because the f-number tells you how much light gets in, but not how much will reach the sensor (lenses reflect a small part of light, more lenses means less light to the sensor). And in cinematography that's a much bigger issue, which is why they use T-stop. It tells you pretty exactly how much light will reach the sensor. Now the light meter could theoretically tell you that, but then you would have to know the T-stop of your lenses, which gets more difficult. In every day use that does not even matter, because the f-number is close enough for almost any type of photography. It does however explain why it's still off even with the expensive light meter.
Just ask Ansel Adam & Dean Collins if they if they did not make a Perfect PHOTO without post-production.... MASTER is a MASTER.. TOP 10 MASTER ALL TIME...
Ansel Adams DID make his photos perfect with post processing. The only difference was his post was in a darkroom, while ours is in a lightroom.
TRUE !! and a little thing called the ZONE System. He was not filling the frame with the full image...
60% was white and there for it was too bright for the scene and was OVER exposed
the video image is too poor, you need to fix it more
The moral of the story.. expensive light meters are useless.. use the histogram lol
Ya, Ansel Adams isn't great because he liked to dodge and burn.
a photo can not be perfect without post-production? many of the REAL master photgrapher dont! NEED post production...