Hello I'm Karl Taylor welcome to Karl Taylor live on Facebook and YouTube
simultaneously because we have the technology to do that!
Now I am going to answer a few questions today so if you've got any questions
you'd like to fire in they will come through onto this iPad here and I will
read out the best ones and hopefully give you some answers to whatever it is
you want to ask now what do I want to talk to you about first of all while we
wait and see what questions you've got coming in I want to talk to you about a
photographer a photographer whose work I admire for many many years
he's an absolute master at what he does his name is Tim flak now if you haven't
heard of this guy you need to see a little bit about him I am going to play
you this video so you can see a little bit about Tim flack hopefully you're
gonna have sound with this let's take a look at this now this is Tim's work he's
an animal photographer and an amazing amazing photographer he is coming to our
studio hopefully not with that tiger and he's going to talk about his work he's
coming in on our talk show and you're going to get the opportunity to ask him
questions so this is a really great opportunity for you to engage with a
world-class photographer a top photographer let's take a look at some
of his images and why I think this is important for all types of photographers
it doesn't matter obviously if you're not an animal photographer it doesn't
matter if you you know are a different type of photographer there is a lot that
can be learnt from this guy if you're into photography let's take a look at
some of these some of these pictures here these are a few of his pictures
some of these are new some of these are these are older ones but we're talking
about an absolute master of his craft here a guy who shoots studio or location
studio based images of and he's just produced this new book
called endangered and in this book he's basically photographed some of the
world's most endangered species the ones that are close to extinction obviously
and documented them and and and got them all in this brand-new book so he's
coming on to talk about this book but we're also going to see some of his
amazing work and discuss some of his techniques I mean one of the things I
love about Tim's work is obviously the attention to detail is exquisite
the lighting is exquisite but it's also his post-production work because his
images take on a sort of old masters painting quality about them let's just
go back to that picture there look at the the detail in the tone and the
shadow and the highlights and the way everything is controlled and
interestingly what I find that Tim does is he actually shows amazing three
dimensionality and his work through very careful control of tone and contrast and
it's almost like he doesn't push the contrast too far he keeps the contrast
levels well within the blacks well within the whites and yet the mid-tone
contrast is really rich that gives the images a a real strong three
dimensionality and I've spoken to Tim before met him a couple of times at
different shows and things and I've asked him about his post-production work
and he's been very kind to talk about his techniques and give advice on onwe
he guides the eye through the use of burning and dodging and shading and
sharpening let's just go and have a look at a couple more of his shots here you
know look look at the exquisite detail look at the exquisite tonal range here
in these images look how he's not it not only that just the post-production work
but the the capture itself in choosing the right moment or at least choosing
the final image the right the you know the moment that depicts the animal
absolutely perfectly and and the animals take on these characteristics that we
sort of identify as human and one of his previous books was more than human
where you know we start to see human traits in
the animals that obviously aren't there but it's our perception of those traits
that we project onto the animals and we take a look again here you see we start
to see this throughout these pictures and it's just spectacular photography
with spectacular post-production work and I want to really delve into that
with Tim so when he's here on the show I'm gonna ask him a lot of questions
about his work we're gonna have about a one-hour one and a half hour talk show
this is gonna be live on KarlTaylorEducation.com on February the 22nd so
February the 22nd I'm not sure what the time is let me just go to my browser
here I've got it down here let's have a look
so February the 22nd so 1800 GMT that's six o'clock you take UK time p.m. that's
1300 est that's New York time live talk show with special guest Tim flack I hope
you can join us if you're into photography there is so much you can
learn from this guy I've learnt so much from this guy just studying his work
talking with him and you know admiring his work over the years he's published
loads of books he said countless exhibitions around the world if you'd
like to find out more head over to KarlTaylorEducation.com and click on this
light on the live shows page and that will take you through to this blog post
we've put together there about Tim coming on the live show we've also got a
video a more extensive video on on YouTube that we put up as well about Tim
coming on the show right we've got a couple of questions I don't know before
I move on to my next topic let's just take a couple of questions here first
one's from Wesley Langston says your favorite modifier my favorite lighting
modifier all round for beauty and portraits sort of fashion headshots
would be the power one three three that's the Brawn color power one three
three I just think it's a really good all-round
workhorse I also use it on product photography as well if I'm not getting a
reflective surface of the product because I
concentrate a spot of light that isolates the product quite nicely so
that's probably my single most favorite one Heba Ahmed says what is your thought
process planning before starting any new project
well it's quite interesting actually Heba because I did a talk about this for
Hasselblad at the SW pp convention in London a week or so ago and it was all
about pre-visualization and about my thought process I'm not going to go into
that in detail right now and I'll tell you why because I'm going to do a free
broadcast about a 40-minute broadcast on exactly that subject so I'm not going to
start chewing up now because I'm going to do a complete whole broadcast about
thought process planning pre-visualization and what it what it is
to sort of understand imagery and and how to think about it so we'll save that
for that one hopefully you can join us on that next question from Raffy can
says how can I get better contrast in evening shoot portraits well if it's
evening shots Raffy and the Sun is low in the sky you'll be having sort of side
lighting coming across the face and you would obviously have shadow on one side
if you didn't introduce a reflector on the other so your contrast should be
pretty good if the light is strong enough and contrasting if it's overcast
and it's cloudy you're gonna have low contrast because you've got large flat
light so basically large light sources give you flat light soft light and small
light sources like the Sun point light sources give you high contrast the
beauty at sunset is if you use the high contrast light of the Sun you also get
the Sun cutting through the Earth's atmosphere a low angle which diffuses
the light and often diffuses it with a red or orange tint and that softens that
harsh light just a bit that makes it more pleasing to look at so shooting at
sunset is quite a good time Geoffrey height says is there a formula
for how large a light source you should use to light a model head-to-toe my
instinct said bring my umbrella in nice and close for soft quality light but
then the top of the body gets lit much more than the bottom part
of the body instinct then says to consider inverse square law and move the
light back but then it's no longer soft quality what's your thoughts Jeffrey
that is very simple simple physics to answer I can understand why you might be
confused for it but there are so simple facts I'm going to stand up and go over
here so that I can see a full length right if we're talking about a full
length person and you need to illuminate them if you just put an umbrella which
way do I need to go I need to go this way if you put an umbrella just here and
of course that umbrella is only gonna light here there's no light down there
so there is only one way you can light a full length body and that is to have a
full length light that goes all the way down
from top to bottom now if you don't have a full length softbox like one of the
big 120 by 180 soft boxes then you can use a big roll of diffusion material and
shine the light through or you could use a big poly board what we call a we'll
use them in the studio poly boards or a mobile white wall or a white panel poly
boards are used for insulation and in building work you can put a poly board
or two big poly boards and shine a couple of lights into those but if you
want to illuminate a full body you need a light that's the same size it's that
simple that's the physics you cannot break the law of physics okay so that is
it that's what you have to do you have to have a full length light to match the
size of the object you're shooting if you want to get soft light because you
need that light to be close to them to get soft light and you're absolutely
right Jeffrey if you move the light further away it's going to be higher
contrast but moving it further away is just making the light smaller that's why
it becomes higher contrast because it's the apparent size of the light from the
subjects position that matters not the actual size of the light itself right
next one rays a two zero four eight what a name a name razor have you tried the
pixel shift feature on the Hasselblad h6 400 C no I haven't that that is a H six
100 C that I've just recently purchased and it's amazing absolutely amazing it
is 16 sixteen stops dynamic range I think but
the files are absolutely exquisite the H 6400 sees only just come out I believe
my friend fellow photographer Sean convoy architectural photographer who is
actually going to be a guest on our show soon where is he here he is here he is
there he's going to be on soon Sean I believe has tried that camera and he was
raving about it so yeah it's an amazing bit of kit but obviously it can only
shoot still images because nothing can move while the pixel shifting part is
happening they've got a demo of it on the Hasselblad website where you can
zoom in on like this beetle and the amount of detail looks incredible Adrian
Daffy says Karl mate g'day where do you buy those fake ice cubes
from actually I think we get them from the fête Ice Cube company calm there you
go nice and simple G como Kor Adela did I say that right
reckon that was right anyway that good I don't know if I said that right but
let's try let's have another go Giacomo cor della I don't even know if he's
Italian I don't know what he is but there we go hey Karl have you ever used
reflectors for high speed liquid photography would it make my lighting
slower no okay let's get back down to the physics of photography light travels
at one hundred and thirty six thousand miles every second okay that's how fast
light moves it can get to your reflector and back to your reflector before you
even had time to consider that it could do that before you had time to even do
anything it did that so light reflecting from your light source off a wall back
again is so instantaneous it won't slow down anything the only thing that will
ruin your liquid shots in using flash or a burst of flash is not how quick it'll
bounce off of something and back again because that's almost infinite in you
know in photography terms they're so fast it is not even worth thinking about
the thing that will slow it down is if the flash burst it
self lasts for too long so if you'll flash what we call flash duration burst
happens to be a long burst of light then you're recording the image for a longer
time so we use the the the braun color the cirrus or the scope acts which have
like an extremely fast flash duration of like one ten thousandth of a second at t
point one which is like a one twenty thousandth of a second at two point five
that's fast enough to freeze liquid flying in the air certainly don't have
to worry about reflected light slowing it down as a matter of fact you'll see
on one of our videos that we did with these paint flying and tins down ski
ramps you'll see there's some reflectors below the tins of paint so no you're
never going to compete with the speed of light so don't worry about that next one
Yaser ghulam is there a possibility that you will invite a newborn photographer
live on KarlTaylorEducation.com so a newbie photographer um I don't think so
yeah sir and the reason would be that what are they going to be able to offer
to the audience that's watching newborn oh okay okay like a newborn baby
photographer maybe one day there's the very famous one and Geddes very
successful newborn babies photographer if that's what the question means so if
Anne Geddes would like to come on the show one day then we'll be happy to
welcome her but while we're on the subject of new photographers let's take
a look at this right here we go Derya bellick / right absolutely amazing
photographer fashion photographer she is coming on the show in around about May
and she is an up-and-coming what we call an up-and-coming successful fashion
photographer we've got a blog post here on her she's gonna be coming on the show
in May I believed areas in New York at the moment working on some projects
there but she's going to be over to see us she's coming over to London and
coming to see us so this is this is Daria she's gonna be an amazing guest on
the show because she's an up-and-coming star in the world of fashion photography
and I'm really keen to it in what's the word
interviewer that's it interviewer because she seems miles ahead of her
game for her age okay unless of course she's 40 but she looks
25 which I don't think so I think she is still quite young based on what I've
read on a profile but I think that's gonna make a really interesting
interview because her work looks years ahead of her age if you see what I mean
in terms of I think it takes a long time to develop a photography sort of skill
set or a photography look or style and yet she's got quite a unique style that
I really really like so so she's a new up-and-coming star in fashion
photography I think so anyway Lynette, Will you be at the WPPI
Las Vegas this March? Lynette I'm afraid I won't and the reasons are is that I
have 10 million things to do at the moment and I've also possibly got
another commitment for a show here in March in the UK but I'm not even sure
I'm gonna be able to make that one with my schedule at the moment I'm keep
flying around all over the world doing bits and pieces and I just got back
weekend from somewhere and I have got tons of work to do so probably not but I
would love to be there one day Paul May says hi Karl is there much
difference between say the Nikon 850 or the Canon 5d s and a low-end medium
format camera such as the Hasselblad x1d thanks in advance
Paul the Nikon d80 from what I've heard is a spectacular camera so is the Canon
5d s but the again back to physics medium format is generally gonna win the
day I was gonna say it's always gonna win the day because it's a larger sensor
and a larger sensor that can record more tonal range just in the same way that
film could in the old days so medium format is pretty much gonna win all the
time Hasselblad has excellent optical quality
I did a test on YouTube recently of the Hasselblad h6 100 against Sony 42
megapixel full-frame camera and you'll see the difference in the results on
those files so your you the results speak for themselves I
would recommend though before you go down this route you got to think about
what you want to use the camera for because they've all got advantages the
35 mil cameras can shoot quicker they can shoot faster so if you're doing more
photojournalism or wildlife that might be a better option if you're looking for
pure image quality for landscapes or portraiture or some genre of photography
where you can speak slower speak slower shoot slower
I'm saying speak slower because I'm talking too fast where you can shoot
slower then medium format will suit your purpose better so Testim triumph
Wrentham do all that before you buy them right April Keller do you have internet
to run Lightroom do you have to have internet to run light I'm not sure I
think you can still buy Lightroom as a standalone copy but now it's on CC we
use it on CC which means that I think you pay like 9 pound a month or $10 a
month and you get Photoshop and Lightroom together but I think you can
still buy Lightroom as a standalone product Oh Ritchie Hall says hi Kyle
great to meet you at the SW pp in London last week
hello Ritchie now I know Ritchie's one of our members on Carl Taylor education
because I've seen his comments and I've answered him a few times
what location kit would you recommend I'm looking to buy so I can learn to
shoot locations well if you took talking about lighting location kits
I like the Serie cells the lithium battery Cirrus they are great location
lights powerful you get a lot of flashes out of that lithium battery the lamp
heads are maybe a bit heavy if you're trying to put them in powers you'd need
to sandbag them to stop them tip and over the other option is to go say move
pack and then you can use the pack with the smaller lamp heads so that they
don't tip over there are other portable lighting systems like what are they
called Profoto you can also use speed lights as well but then it's more
difficult to get different modifiers so you got to think about the whole system
and what you want to do whether you want to use what sort of lights and modifiers
and what sort of stuff you want to shoot on location to think about but certainly
check out the Serie cells see if they're within budget if they
not within budget then elinchrom also makes some location stuff as well I
believe right now I'm gonna take a couple more questions and then I'm gonna
move on to my next topic of whiskey photography alcohol or beverage
photography now what question have we got here Loic Mathis says hey Kyle
when is the next Chanel shop going to be online the first one was so awesome yes
it was and the next one is even better let's just go over to our website a
second into the product section ok I'm going into the products section
come on Internet come on here we go right so we got this product photography
section we got food photography we got all types of product photography in here
we got tons stuff you get all this for 12 pounds a month or $14 a month you get
portraiture you get fashion yep this is that one of the the recent Chanel shots
that we did this one here and I show you start to finish how that was captured we
also did the perfume bottle and we've got this other great new shot coming up
I'm going to show you it cuz I've got it here on my website on Carlton portfolio
comm so we got the tutorial for this shoot coming up very very soon we've got
a date for it as well and we have forgotten what the hell it was I think
it was the 13th of February so in answer to your question it is going to be
published on the 13th of February on Carl Taylor education calm now if you're
into photography any type of photography whether it's product photography whether
it's portrait photography whether it's whatever we've got it covered here look
we've got Carl Taylor education calm we got beginners stuff we've got advanced
amateurs enthusiasts we got portraiture with lighting with natural light we got
fashion modules we've got product photography we've got post-production
we've got the business we've got equipment we've got downloads we got
live shows every month we've got everything and it is amazing right our
audience let's get back to this camera ash let's get back she's lost the plot
right our audience is loving it our membership is growing dramatically we're
keeping it cheap so that we can courage new members we believe by offer
and a really good price and a really good deal 12 pound per month and giving
you access to every bit of training we've made in the last 10 years and
we're making new training courses every month new live shows every month we
believe it's a fantastic do if you haven't looked at it yet go and look at
it Carl Taylor education com sign up for a month and cancel we don't mind
we know you're gonna love it okay so just check it out and see but anyway as
that Loic comethis said he thought the last
one was awesome the next one's gonna be up February 13th Joseph Joseph E Carl
Taylor overpowering the Sun it's possible with continuous light no or
flash is it possible to make the same light as the Sun in the morning and
erase the shadows on the model with continuous light if it was early enough
in the day you could use continuous lights but you'd need very powerful
continuous lights you probably need hm eyes and they cost a fortune
so no flash gives you more power that's why we use flash because the amount of
light that comes out of a studio flash is massive but it's so brief that you
don't notice how bright is if it was on all the time at the power that it comes
out in that brief moment you wouldn't be able to look at it okay so that's how
much more powerful flash can be than continuous light which is why I find
flash far more versatile the other problem with continuous light and I do
use continuous light sometimes HM eyes you can use them on fashion and stuff
but for the model when you've got like a really bright HMI light in a power
shining on them the glare just gets too much and honest they get face ache from
using that level of continuous light flash burst doesn't bother them it's
just there and it's gone so that's why I prefer flash burst and also flash burst
has the advantage of fast flash duration for freezing moving fashion shots or
dancers or liquids flying or whatever whereas continuous light can't do that
you have to have then rely on the fastest shutter speed that you have in
the camera which then means you've got to shoot with a larger aperture which
then reduces your depth of field so the disadvantages of using continuous light
outweigh the advantages of being able to see what you're doing the advantages
using studio flash and the flash burst fast flash iteration more power outweigh
continuous light in my opinion and also the modeling lights that you get on the
flash allow you to see what you're doing anyway learning studio flash is easy I
mean especially if you I mean look at this course here let's see if Ashley's
on the ball getting the website up yes she is here she goes she's trying not to
laugh there in the background right I'm on the wrong section I'm gonna go to the
portrait section and I've pressed the wrong button I don't need a definition
of what portraiture is I dunno what it is right lighting theory these first 15
chapters in Carl Taylor education calm explain everything you need to know
about studio flash whether you've ever seen a studio flash turn one on pick one
up whatever it doesn't matter this takes you from the very beginnings of
understanding the fundamental physics of light to begin with to understand why
you would even need to use a studio flash and why you would need to modify
then we talked about the color purity then we talked about flash duration then
we talked about flush syncing then we talked about measuring light controlling
light using modifiers reflectors Flags lighting stands grips everything you
need to know about studio flash is accessible in that module there on the
website and as I say members with us love it 12 pound a month $14 a month
check it out for yourself it's worth 12 quid to just watch one of those modules
and then you can see if you like the rest okay let's take a couple more
questions before I'm gonna start talking about whiskey photography what does he
say here Ryan says if a mono light is to be used in studio only what would be the
lowest power what's accept I would say 400 joules I've never worked I've worked
with light sorry there are less than 400 joules and I've probably thought well
what's the point of that because a waste of time so 400 joules is the minimum I
would accept for a studio flash power to be useful to me
adesh jazz well any advice for beginner photographers for career in this awesome
field I think is what he's asking it's difficult I'm not gonna lie to you
becoming a professional photographer is very hard okay you need three main
things one you need to be good that's a given because if you're not good then
it's gonna become apparent sooner or later
- you need to be able to market yourself really really well because there is
competition and three you need to do all those things again okay
you got to be good you got to mark itself and you've got to be passionate
you've just gotta absolutely go for it and I know some photographers who are
amazing but aren't very good at marketing selves I know some
photographers are good but are good at marked themselves and they further their
career but I don't know anyone who's crap but good at marketing themselves
that succeeds and I don't know anyone who's good but doesn't market themselves
that succeed okay so it's those combination things I'm not going to lie
to you it's tough and it's got tougher in the last few years if I can offer
some advice again we've got a course on the business of photography where I show
my marketing tips where I explain what I did to succeed in photography and what I
do to retain my client base next one what I'm never gonna pronounce this word
this guy's name gold girls I don't know what he's one shit Tomic hi how you do
you use colorchecker passport with capture one to get colors correct for
product photography that's covered in our modules but basically I put a color
checker card in our product photography you have the gray values you can measure
the gray values so they should be neutral so you should know that if this
value will be 175 175 175 red green blue channels then you also can check the
color values of some of the given colors and you can check whether they should be
reading what they are but that isn't always the most accurate way of doing
things because your exposure will affect the color value as well so I generally
go with the gray card element and just make sure that the gray is neutral so
that the light is neutral but if you're not using full spectrum lighting so if
you were using nasty florescent lights with part of the spectrum missing then
even if you neutralize your colors aren't going to be ripe okay you need to
understand light really clearly before you can start
considering color because color is just a wavelength of light okay all the
colors that you can see are just wavelengths of light so basically this
pen is absorbing all the colors of light except the blue wavelength which is
getting reflected back now if the light source that you're putting on this pen
is missing part of the blue wavelength of light because the spectrum of that
light is bad then the blue won't be reflected properly okay so there are
lots of physical factors physic factors associated with light that are very
important to understand first right John Dawson says I'm really loving your Kyle
Taylor education platform how often do you or your staff reply to questions
asked in the course comment boxes they seemed to linger there on answer that is
not since I'm afraid John I just actually answered about 30 questions
last night and the only reason they hadn't been answered was because I was
overseas for five days because I am the one who answers them all there are some
of them are answered by the staff at the moment in our comment section there is
not one single unanswered question if there is let me know personally email me
through the website we answer everyone's questions we use it as our customer
support service so that every question gets answered and I don't believe there
are any unanswered questions in the comment sections as it stands at the
moment there was a period of four to five days where I didn't answer some
questions because I wasn't here but the team also endeavor to answer the
questions but the problem is they don't know all the answers to all the
questions so they'll answer the ones they can and I will answer any other
ones right Duncan says will the power 88 and the 133 with a cirrus produced the
magical 3d light quality or do you need to jump up to the - - - no you don't
need to jump up to the power 2 - - you only need the power 2 - - if you're
shooting more full-length 3/4 body shots let me show you an example so this one
is with the power - - - and you might have got away with that with a 1 3 3 but
probably not so at that sort of expanse of the image then the
to-to-to is an advantage this is shot with a two to two
so when you're talking about full-length figures you need the bigger light source
but if we look at let me find this one actually where is it I've lost it I'm
trying to find one here with the one this one's the 1 3 3 lovely light from
the 1 3 3 but the power of 2 2 2 is used more for and on having trouble getting
my gallery back to thumbnails here the para 2 2 2 is used more where you're
trying to illuminate a full figure from a long distance like this however in
saying that I've just noticed another shot in that Iceland series this one I
lit with 288 ok I only use 2 para 88's on that one so it's more about knowing
how to control the light para 88 1 3 3 2 2 2 they all worked really well they've
all got slightly different nuances and purposes I've got a great video on
YouTube actually where I compare lighting modifiers and show the
different results from each for them so Duncan head over to our YouTube channel
or head over to Carl Taylor education because we put the video on there as
well now I'm gonna take one more question
before I talk about whiskey photography or beverage photography
who's saying Nadia says do you have any competitions coming soon you bet we have
we always have competitions you know why because we're so goddamn generous and
amazing how generous we are let's take a look at this competition we gave away we
gave away a Canon 5d Mark 4 as a competition prize we actually we haven't
even posted about that it's on the blog let's take a look at the blog we never
tell anyone anything this is the problem here we go
on the blog where is there he is so this guy I presented him his prize I
presented his improv his prize at the SW PP show this was Mark II pearl on model
at the show lovely girl and we presented him his prize the 5d mark 4
there at the show he came to pick it up and we do competitions every quarter
let's jump back to the competition's page if I can find my way around here
competitions so our next competition is win a tripod 700 $800 tripod and then
after that it's when a cirrus lighting kit so we give we give tons away okay
we're competition mad we love our member so much that we give
these amazing prizes away we got to be a member to win so we're not gonna give it
to any old geezer off the street or we I'm gonna make sure you give it to one
of our members because we love our members right now what it's gonna do I
was gonna talk about whiskey photography let's take a look at this right live
shows our next live show although we spoke about Tim Flagg he's up on the
22nd of February before that on the 8th of February is this next week I believe
it's next week on the 8th of February that Ashley's grinning because she's
managed to figure out how to control the live deck so she's all chuffed Emma's
still firing questions through to me so I'm going to answer a couple more
questions right in a second let's talk about whisky photography right on the
8th of February I'm doing a live whisky shoot why am i doing a live whisky shoot
well because it's a popular area of photography and I'm going to show you
some examples here because I want to I want to bring this up this is this is
quite interesting let's take a look let me let me load this if I can load these
into focus software a second because this might yeah this could give us an
interesting comparison what I want to talk about right this picture here is
from one of our members it's a good shot this one was who was this one boy this
one was by andre andrew chiseler was a great great effort from andrew this is
another members shot they sent in and one of our critiques cuz we did
critiques as well this is by Daniel Swenson but what I wanted to do is to
show them how to improve these shots okay so I'm going to take shots like
this and I'm going to turn them into shots like this or this where the liquid
looks white there we go where the liquid looks
in the bottle now for some reason that JPEG has come out all wrong so I'm gonna
go to that one instead and hopefully this one all load in and no that one's
not loading in either what a disaster let's do it a different way let's bring
this up right so this is what we should be looking at we should be looking at
really vibrant liquids in our whiskey shots beautiful lighting on the bottles
and on the glass lovely elegant lighting on the label all of these things to
consider so we're going to shoot shots like these are shots that I've done in
the past whiskey shots beautiful liquids all about the what do you call it the
what's the word when something's delicious the desirability but they you
know what making you want to drink it or eat it what's the word I forgotten my
whole vocabularies going out the window right anyway we're gonna make that
liquid look really desirable because why notice with some of my members work that
they sent in like this one by Rico is the liquid isn't punching out here I
mean he's done a good shot there but the liquid isn't desirable this one's better
but still not amazing this one that great shot on the glass and the ice but
the liquid isn't desirable okay and in this one as well great composition good
angle on the bottle but not enough concentration on the liquid so I'm gonna
show you how we're gonna go from these shots that these members have sent in on
the last critique to this sort of shot okay
this quality of liquid and lighting these are some of the previous shots
have done for clients and for liquids and stuff here beverages whiskeys this
sort of thing and I'm gonna do a live show where we look in depth at the
techniques on how to do that we're gonna do a whisky shoot from start to finish
from backgrounds from base surface to bottle to preparation to the whole
shebang to color schemes to lighting and we're gonna nail an amazing shot in that
live show live on air for you to watch that is going to be on air on...
KarlTaylorEducation.com next week 8th February what day is 8
does anyone know Thursday is a to February 1839 est if you can't make it
live you can watch it on replay the benefit of watching it live is that our
members can ask questions why they while they watch it live okay so we answer the
questions while we're shooting if you miss it live you can still ask questions
afterwards because we have the comment section so you can ask questions and we
will answer those questions at a later time not too late as John Dawson was
worried about but we will answer them almost immediately so that's next
Thursday did you say next Thursday right not this Thursday next Thursday right
we're gonna finish up now with a couple of questions we've got one here says
just in holding hi Karl I know you don't like talking about gear too much but
what do you think of technology like the AI autofocus that some Sony bodies have
today really useful or just marketing hype they're not really useful to me
because I pretty much manual focus all the time in the studio because I got all
the time in the world to focus and check that shot tethered fine-tune the focus
manually that's etcetera etc if you're shooting
wildlife sports or events or things where you needed to respond really
quickly if an eye technology allows you to look to a certain spot in the
viewfinder and the camera can recognize where you're looking and then it focuses
on that point that could be really good and I think it would be really good for
things like sports wildlife and stuff like that
but I don't do that type of photography so I've never used it so I can't talk
about it honestly Justin in on the basis that I've never tried it all I could say
is that it sounds great in theory so if it works in practice then why not
hüseyin says light which light is better for automobile photography HMI or flash
well actually you could use both they're both equal this is one instance where
HMI is good because it's pure daylight colored light just like flash and it's
continuous and in-car photography the car is not
moving alright if the car's not moving then you can take all the time you like
light it with all the continuous light you want however my preference would
still be flash because you can still get more oomph out the flash and I'm used to
using flash so I would go for with flash Cedric Beasley says hey car before
starting commercial photography what lighting system are you using before
Braun collar um I used elinchrom for about 1214 years I think and I've rented
Profoto and I've rented Braun color and then when I started getting more into
fashion work and moving objects models spinning jumping clothes and then more
liquids flying around I needed faster flush duration that's when I switched to
braun color Ricci Hall what car what do you use for your website I use
Squarespace which is interesting because I should mention this is my Squarespace
website this is my gallery and I can put my Squarespace website together in
minutes I can add galleries I can add about pages information all this sort of
stuff and I love the quality that the
Squarespace website produces so I use Squarespace if you want to get a
Squarespace website and you want 10% discount off it use the offer code KARL
at checkout right next one final question Rick O'Neil Lightroom will
capture one for shooting tethered which is faster and better capture one will
definitely be better than Lightroom but I actually use focus spelt with a PP h
OC us which is the Hasselblad proprietary software that they use and
build for their cameras so that's the one I use I don't think at the moment
focus works as a tethered solution for other camera systems that may happen in
the future but capture one I would say if you're buying software to use for
tethered would be a better option than Lightroom I think that is it for the
questions so we're going to knock this on the head and say thank you for
joining me today live on Facebook and YouTube don't forget we've got the
amazing Tim flack wildlife photographer animal photographer coming on the show
I've learned a lot from just from looking at his work and
talking to him you'll have the opportunity to ask Tim questions live on
the show some amazing work from Tim as you can see here let me just bring this
up again this is some of his stuff look I just shot the thing or an idiot
right there we go this is a new book this is some of his
new work absolutely amazing stuff can't wait to interview Tim on the show
absolute brilliant stuff so you guys can ask him questions to live on the show on
the 22nd of February and next week on the 8th of February we're doing a live
whiskey product shoot from start to finish hope you can join us on
KarlTaylorEducation.com - I'm Karl Taylor, we'll see you next time
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