Shooting Photos & Video with the Mavic Pro Drone with Scott Kelby and Terry White The Mavic Pro may be small, but its packed with power. Learn how to shoot great photos and capture beautiful video with Scott Kelby and Terry White, as they take you through everything you need to know to get up and flying safely. In this class you’ll learn what you must do before you take your first flight, how to operate the drone safely, all the key settings to use for still and video capture, how to perform a pre-flight check, how to safely land, and a whole lot more. Don’t forget to download the accompanying PDF to take that pre-flight checklist with you everywhere you go.
In Case You Missed It Get ready to fly with the DJI Phantom 3! Join Mia McCormick and John McQuiston as they show you what you need to know to get off the ground with the DJI Phantom 3. John and Mia start off by explaining the differences between the three versions of the DJI Phantom 3, before moving on to highlighting the main rules and regulations you need to understand before you take to the air. From there, you’ll get an in-depth look at the controller, a lesson on how to use the DJI Go app on your mobile device, how to prepare for and execute your first flight, helpful practice tips, and more. By the end of the class you will feel confident using the controller, the aircraft, and the app, and you’ll be ready to safely fly your DJI Phantom while capturing great photos and videos.
Your Questions & My Answers Hi and welcome to Scott’s blog … It is an honor to be asked to write a Guest blog for Scott … many thanks Scott for the opportunity.
I receive dozens of questions via my website’s Contact Dave page every month from passionate photographers eager to learn, and so this guest blog will be Your Questions and My Answers to a variety of my Instagram and Portfolio images.
Q: Hi Mr. Black, Greetings from Switzerland. I really enjoy your Instagram pictures/mini photo lessons each day, and in particular the Alpine Shadow picture from Switzerland. Please can you elaborate with some backstory? Kind Regards. Francois – Zermatt, Switzerland
A: Hi Francois. So glad that you are enjoying my Instagram posts @daveblackphoto and the mini photo lessons that often accompany each IG picture.
As mentioned in the IG post, Rotenboden Station is a familiar location for those who are climbing, hiking or photographing the alpine sunrise at the Matterhorn in Switzerland.
The backstory is an exercise in patience. I had completed making my sunrise image of the Matterhorn from a location about 1 kilometer away from the Rotenboden Station and had just hiked back to the alpine railway station.
While I was waiting for the train to return and continue my journey up the mountains the sunlight and shadows on the station were beautiful and seemed to be begging for a human element to enter the scene.
The train arrived and I let it go without me. Then, after about 15 minutes, the shadow moved to reveal the cross and a minute later a fellow hiker (with backpack) approached the railway platform and his shadow was cast onto the station wall … thus offering a “different” image of the Matterhorn.
We often go out “looking” for a picture, but we must always be aware of the changing light and shadows around us… and be ready to capture a “moment” when it happens along.
Thanks for your question Francois, hope the backstory is helpful. Cheers. Dave
Q: Hi, Dave! I always check out your three portfolios on your website to see what’s new. Thanks for adding new pics each month. Can you explain where you placed your Speedlights for the Red Rythmic gymnastics image in your Creative Lighting Portfolio on your website? Thanks. Kevin – London.
A…Hi Kevin. Glad you are enjoying my portfolios. I really enjoy adding new images each month to the three collections!
I purposely underexposed the scene by -2.0 stops and then illuminated my subject with FLASH. I used 4 NEW Nikon SB-5000 Speedlights with Radio Control, all of which were in High Speed Sync mode.
The main SB-5000 had a Grid to help spotlight my athlete and was set to FULL power and placed high on a light stand 15 feet away.
I placed a second SB-5000 on a small rock about 20 feet out in front of the athlete and about one foot above the ground cover. This SB-5000 was set to 1/2 power and illuminated the foreground vegetation and the tail ends of the red ribbons.
Because of the uneven terrain, I had an assistant hand hold two SB-5000 Speedlights about 35 feet behind the subject. These two Speedlights, each set to FULL power illuminated some of the vegetation behind her, but not the forest background which I wanted to remain dark.
The subject was an Olympic athlete who was amazing to work with. She performed multiple leaps on the boulder despite it being a very cold, early morning shoot in the Yamanashi Forest of Northern Japan.
Thanks for a great question Kevin. Cheers. Dave
Q: Dear Dave, I’m a longtime fan and very much looking forward to attending your classes at Photoshop World in Orlando this April. I just love the Winter Coyote picture in your Planet Portfolio. Can you tell me the how you captured this picture. Thank you. Debbie – Jacksonville, FL.
A: Hi Debbie. Gad you like the “Winter Coyote,” and please come up and say hello during Photoshop World Orlando. Your question fits into one of my favorite classes at PSW 2017: THINK Before You Press the Shuttera class teaching pre-visualization.
We had been slowly cruising around the park photographing elk when Doug saw four coyotes way off in the distance, braving the winter storm on a small ridge about 150 yards from the road. With the snow storm and the long distance to the coyotes, I sensed this could be an opportunity for a very special picture.
Let me emphasis that, before I stepped out of the vehicle, I set the in-camera Set Picture Control menu of the D500 to standard and also reduced the contrast and saturation levels slightly. Then I increased the clarity level to help define the snow flakes and Coyote.
I kept my distance on purpose as I wanted to shoot through more volume of the falling snow. The camera-lens combination of the Nikon D500 cropped sensor and 200-500mm f/5.6 lens (at 500mm) with a 1.4x teleconverter gave me a visual lens length of about 1,050mm.
All these preparations: 1,050mm, Set Picture Control adjustments and keep my distance from the coyotes in order to shoot through as much falling snow as possible, but still see my subject clearly… were “pre-visualized” in my mind in just a few seconds. THEN I stepped out of the vehicle onto the snow.
I used manual exposure and chose to nearly overexpose the snow, but not quite. Once this single coyote moved away from the pack and ventured out onto the ridge with the falling snow and head-down posture, the “click” of the shutter was all that was left to do… Voila! “Winter Coyote.”
This process of creating the scene and technical scenario in my mind first is called “pre-visualization” and is what I believe to be the “key” missing component for many photographers trying to make the memorable pictures they want.
Hope this answer is helpful and I look forward to meeting you at PSW. -Dave
Q: Hi Dave, Your sports portfolio has an insane moto shot with one guy flying and another guy upside-down. Can you tell me what flash was used and how you pulled this picture off? Brandon – Louisiana.
A…Hi Brandon. Thanks for a great question, glad you like the shot.
This Freestyle Motocross image of Team FMX stars Travis Willis (white) and Ed Rossi (blue) was a commercial project that was quite an undertaking for myself and my #1 assistant, Julio Aguilar to accomplish.
I typically use my Nikon SB-5000 Speedlights with radio control for about 90% of my flash work as they are small-portable and have High Speed Sync. But occasionally I need a BIGGER blast of FLASH from a long distance to override the bright ambient sunshine and illuminate my athletes against the underexposed background or sky… so I bring in the Profoto B1 Air strobes.
As mentioned in the image caption above, I used three Profoto B1 Air strobes in High Speed Sync. Each is equipped with Profoto Tele-Zoom Reflector and Clear Glass Protection Plate (instead of the factory frosted plate).
These two modifications that I’ve incorporated with my B1 strobe system have helped make the factory 500 watt second power of a B1 illuminate my subjects more like a 1200 watt second power pack. That’s a HUGE increase in illumination simply by using the Tele-Zoom Reflector and clear protection plate on each B1 unit.
To get up where my athletes perform, I used an Articulating Boom Lift (king size Cherry Picker) to have maximum stability in the bucket, and to access my athletes at about 70 feet in the air for this particular shot.
Travis and Ed made a dozen “tandem” jumps, but this jump in particular was performed with them only a few feet apart and nearly on top of each other at the landing area… CRAZY and AMAZING skill. The icing on the cake was the full moon rising in the upper right corner in front of the lead rider’s boot.
A really awesome photo shoot and a blast to pull off … Thanks for asking.
Q: Hello Dave, I am a student looking for a direction to take my life. I was very interested in photography which I really enjoyed and achieved high grades. As an enthusiastic sportsman, I was considering merging the two and becoming a sports photographer. Would you recommend this, and do you have any advice? Gavin – Houston
A: Hi Gavin. The road to being a professional SPORTS photographer who makes their entire living from their craft is not usually achieved overnight, but is an extremely rewarding occupation to pursue.
If you are currently enrolled at a university, or if you have graduated, consider assisting a local sports photographer as a way to learn the profession. Some assistants make good money assisting someone until they are ready to set out on their own business.
Just so you know, the notion that all a SPORTS photographer does is go to a game for three hours, take pictures, and collect a check is far from accurate. “Speedy” computer skills and business savvy are just as important as photographic skills if one is to “make it” in today’s sports photography market place.
The SPORTS photography industry is highly competitive, and your degree of passion should demand a great deal from you, but if you persevere and make GREAT pictures you can have a fine living.
So, do I recommend having a career as a SPORTS photographer….YES, absolutely! It’s the greatest job on the planet. And when you “make it,” you are truly on top of the world each and every time you arrive at the event.
Best to you Gavin. -Dave
Q: Hey Dave, love your light painting portraits. I read your instructional blog about the “soft focus” technique for your portraits but I don’t get it??? Can you explain it. Thanks, Jeromy – Chicago
A: Hi Jeromy. Whether you use Photoshop’s Gaussian Blur tool or my “soft focus” technique with camera and lens, the purpose is to create selected areas in the scene that are soft looking so as to draw attention more directly to the subject’s face which is in focus.
This light painting portrait of a female fire fighter makes use of a manual exposure time of 30 seconds. I used seven seconds to light paint her face, helmet, ax and torso using a small white LED penlight.
For the next 12 seconds of exposure time, I turned off my flashlight, walked to the camera, and manually unfocused the lens to infinity, then walked back to the subject to resume light painting using a small red LED penlight to “soft focus” areas of her arms and helmet.
Finally, with about 11 seconds remaining in the 30 seconds exposure and with my lens still unfocused to infinity, I light painted the backdrop with red LED flashlight while the backdrop was being “fluttered” by an assistant, thus creating a “soft focus” & motion blur… I’m always experimenting.
Beginners Start Here with Scott Kelby Imagine going out shooting with Scott Kelby at your side giving you tips, advice, and strategies for using your camera the same way he does, and that’s what this class is all about. Scott’s goal is to help beginners go beyond auto mode, be in control, and make great photographs. It’s as simple as that, and it doesn’t even matter what brand of camera you are using, as these lessons apply to all cameras. Scott shares his favorite camera settings, tips for getting tack-sharp photos, favorite lenses for different situations, and so much more. Once you start putting these concepts into practice you’re going to see an immediate improvement in your work.
In Case You Missed It Join landscape and wildlife photographer Moose Peterson as he gets his first chance to shoot the beauty of Monument Valley. Moose talks about his preferences for camera gear and how he composes landscape shots. He shares some tips for predicting what the weather is going to do, and goes through the entire workflow for creating a time lapse video to share the experience of a changing landscape. Follow Moose as he photographs one of the most impressive landscapes in America.
Inspiration for the Sport Grit Look I’ve had the incredible opportunity of attending every Photoshop World (except for one) since Photoshop World started in 1999. The amount of knowledge taught in a short time is worth more than countless hours trying to learn on your own. Imagine hanging out and collaborating with instructors who have written books on the different styles you want to learn or fellow students that are top in their field. Collaboration and an image Scott took of me inspired me to create the Sport Grit look that I will teach for the first time at Photoshop World this year.
The Sport Grit Look’s Secret Ingredient The secret ingredient to produce the sports-grit look is to light the subject with harsh light. Harsh light produces strong shadows for a powerful photo. It sculptures the subject in such a way that when applying the Lightroom preset, the grit look is achieved.
Style The Shoot To Change The Mood I’ve been happy with the look for the past few years, but I felt it was time for a slight change. I wanted to create a different mood. I collaborated with my buddy, Photoshop World and KelbyOne instructorMike Kubeisy. We came up with adding tape to the athlete’s fingers and wrist to symbolize injuries. Applying eye black added to the tough look.
At this point, the athlete looked like he was preparing for a game. Although it looked good, it didn’t capture the mood I was after. I wanted to show what the athlete would look like after the game. By adding dirt to his face and arms and making sure the white tape got dirty, the style was completed and the mood was set. He looked like he just walked off the field, working through his pain and injuries to capture a hard-fought victory.
Pulling emotion out of the athlete Athletes are known for being intense when they play. To capture this emotion, have the athlete relive one of their favorite memories from a game, or create a do-or-die game winning moment. The goal is make them look intense. This short video demonstrates how I pull emotions out of an athlete during a shoot.
Finishing the look in Lightroom To finish the look, use Lightroom to desaturate the colors, over sharpen the image, and change the color temperature along with the tint. To make life easier, you can download my Lightroom Sports Grit preset or you can learn how I created it an article I wrote Shooting Awesome Sports Portraits.
Now you have the lighting foundation and the Lightroom preset for how I create my Sport Grit Look. The final step is to practice and tweak the workflow to make it your own.
Camera Essentials: Canon 1DX Mark II If a Canon 1DX Mark II is in your future or already in your camera bag, then this class is for you! Join Larry Becker as he gets you up to speed on everything you need to know to get started on the right foot with Canon’s flagship camera. This is a pro-level camera, so Larry skips the basics and focuses on getting you oriented to the layout of the camera, teaching you the quickest ways to do the tasks you’ll want to do, and how to customize the camera to suit your workflow. By the end of the class you’ll have a solid grasp of what this camera is capable of doing, and where to go to make any needed changes.
In Case You Missed It Get the most out of your Nikon D5! Join Larry Becker as he walks you through the important things you’ll want to know about your new D5. This is not a class for seeing every menu option and obscure function, but instead Larry focuses on the things you need to know to get the camera to do what you want it to do, as if a good friend was showing you how. You’ll learn the basics of navigating the camera, how to access various shooting modes, where to find key settings, and along the way Larry shares a wealth of tips, recommendations, and insights to help you feel like a master user by the end of the class.
Firstly I would like to thank Scott and Brad for this opportunity to talk a little about my life in the world of interior, architectural and location based photography.
I am based out of London in the UK, and specialize in taking images for a wide range of clients, ranging from architects, interior designers, kitchen designers, cabinet makers, hotels, resorts, and, not forgetting the ‘bread and butter,’ high-end real estate agents for their editorial, advertising and social media needs.
Potted History I am one of those photographers that started in a black and white darkroom.
Way back when I was sixteen years old, I lucked out and got a job with a company called ‘Brook-Tella.’ They were exhibition printers and possibly the oldest photographic company in the UK back then in the 1980’s.
We hand printed enormous photos and hand developed them in huge vats of developer and fixer. Then the photos were mounted ready for the clients exhibition needs.
The enlargers ran on rails on the floor, and we worked in enormous hanger sized dark-rooms. The enlarging wall was made of metal as we needed to hang large strips of paper with magnets, and often a print was made up of three to four strips of paper 56” deep and up to 15-20’ feet across. Sorry, I’m still not a metric head being British. These huge images adorned massive trade shows, such as the like of the Major Motor and trade shows in the UK, Europe and America.
This takes me back to how I remember being given a 4”x5” black and white negative and was told to print it day in day out for a week. I can tell you I was ready to walk out after day one, printing the same negative repeatedly; I saw no reason for it. The senior printer explained to me why I was printing this same image time and time again. His name was John, a really nice man, an absolute expert in the darkroom. He sat me down later in the week as I was close to tears and clearly feeling like the rise was being taken out of me.
This is what he said: “Murray, you still don’t know the skills of how to read a negative, the exposure, the grade of paper, what you will get when you burn and dodge different areas. In turn it will give each and every print a different look,” (think Ansel Adams). I swallowed my teenage pride and continued. That lesson has never left me. So, ‘there are many ways to skin a cat!’
I went on to be a fine art printer and then a photographer in my early twenties. Which takes us to date. The reason I tell you about that early experience is that we need to have a lateral and creative mind to get the best out of any situation and each image we create. What we may think is a good way or the best way to get the image isn’t the only way, sometimes it’s just a very simple solution – good clean light.
On Location When I arrive at a shoot, I never know what will be happening with the light that day or what I may face in terms of logistics of the shoot. It doesn’t always play out as I think it will; all I know is that my clients are expecting quality results.
So I always go with an open mind, a mind that has many solutions to get the results.
First Things First Each and every one of us has different approach to how we deal with lighting situations. When I give a talk or train anyone I always say that we have to try and make our post work as easy as possible, which means it’s all about getting right in camera first, at least most of it. Not all our clients are happy to pay for expensive post-production work, so workflow is king.
I can tell you that I probably do more post than most photographers in my field, so I am ahead on the learning curve. Down side is that if you start working out your hourly rate you could be earning not a great deal per hour. But as I said in my heading, ‘There is more than one way to skin a cat.’ So with that in mind, you should approach each shoot with that attitude.
I believe in getting one exposure images when you can. I know many of you go to HDR style stacking, and occasionally it’s the only way. But making it look like a normal image is the difficult part of that style.
Recently when I met a few real estate photographers, I asked them how they went about getting their photos. Here is what shocked me. I heard one say, “I shoot two frames and use HDR.” That’s without anything more than available lighting. So if you think about it, most households and businesses have lighting around 2600Kelvin if you are lucky.
The colour grading in your post is going to be hard work at best with deep brown light mixed in with winter spectrum of blue daylight as we are now in the Northern hemisphere.. Trying to clean up bad light is nearly impossible if you want your client to be happy with your colour grading. So, what do you need to do? Add quality light! I use continuous LED lighting these days, but I have also used speed-lights and studio flash in the past.
Regardless of what you use, you need to add quality light to your interiors, and I promise you, you will be so much happier when you come to your post work.
Stacking, HDR, or one-framers, whatever your poison, just remember that if you want to create a great master file you still need to incorporate some clean light.
Having set workflow routines means you can create a style and know that the results will be scientifically based, giving you confidence in producing high quality work.
In the past I have always had to get my images right on one piece of colour transparency or film, including filtering for different light sources. It was a very methodical way of shooting that has put me in good stead right up to today.
My behind the camera work-flow goes something like this:
In the first instance, I choose my angle looking for the dynamic lines in the shot to get the room or space balanced in my viewfinder.
With the camera locked down I then look at what needs moving, redressing, tweaking etc.
Then I think about the light I am working with or against. I will normally hide some lights out of frame and hidden in frame, all just a soft helping of light, so you can’t see the images have been lit with extra lighting, which is the best way to light a space – subtly. Architects and interior designers often want to see true colour grading and the proper intensity of how lighting plays in a space to be rendered very accurately. Thus, burnt out lights and dirty colors are not an option.
It’s at this point that I decide how the post production will go. Often there will be additions of compositing and blending if need be. So always get a few extra frames exposing for any troublesome areas such as windows and views.
I would very much like to go into the post production side of my work, but that is a whole topic on it’s own, all I want to say is that as photographers we need to own the light.
If you need to go down the route of stacking or HDR, make sure you take images ranging from what looks like a burnt out frame with little detail through to the darkest exposed frame in 1-stop intervals. Two frames just won’t do it. Again, adding your own subtle clean light improves your chances of finishing with a nicely graded photograph.
I’ve got my workflows and I stick to them as I know what I will get, architecture and interiors are less about creative flamboyancy and more about methodical work practice. Knowing the right workflow that works in a certain situation is what we need in our tool kit as interior and architectural photographers.
One size does not fit all. As I said in my heading, ‘There is more than one way to skin a cat.’
You can see more of Murray’s work at RealFocus.co.uk. Murray works out of London, UK. He is considered one of the UK’s leading interior and architectural photographers. His work is published regularly and he is often found riding around London on his motorbike or flying out of the country for international assignments. He can be reached at RealFocusPhotography@gmail.com or you can follow him on Facebook, Instagram, and Twitter.