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Video tags
Subtitles
Russian
00:00:08
Hi there. My name is Anastasia Maximova00:00:10
I am a subject photographer00:00:11
And, I specialise in creating smm and promotional content for brands00:00:15
My journey as a photographer started in 201600:00:18
I didn't have any equipment.
Just a little smartphone and a big desire to take pictures.00:00:23
It's been a long time since then.00:00:24
And, I've got my own studio to shoot subjects in.00:00:26
But I still really, really love shooting with my iPhone.
And what's more, I teach people how to shoot with an iPhone.00:00:33
Today, I'm going to try to show you that the camera isn't important
to create cool or even high-tech footage.00:00:41
You just have to know your technique, know the basics of lighting,
have a little idea in hand and enough time to prepare00:00:50
In today's tutorial, we take a look at all the camera options of the iPhone00:00:55
Work with artificial light and macro lenses00:00:58
Let's take some fast action shots.
And, I will show you how you can freeze the movement00:01:04
And, let's assemble a classic still life if you want to practice composition00:01:09
Let's go shoot00:01:10
The very first and most important part of taking great photos is getting to know your technique00:01:15
Because you can have any camera you want.
An iPhone camera is no different from any other camera, cropped or full frame00:01:22
When I got my first iPhone, it was iPhone 7+00:01:27
I was trying to take pictures with low contrast00:01:31
Because the dynamic range on my iPhone is relatively low00:01:37
That's why it was impossible to capture black on white00:01:39
But, modern iPhones, iPhone 11, 12 and 1300:01:44
The sensor has a very good dynamic range,
so high-contrast images can be shot with these iPhones00:01:52
I bought iPhone 13 Pro Max because of the macro lens00:01:56
Macro lens is for photographer, in general every new lens is for photographer,
is an opportunity to change the brush00:02:02
Because we, as artists, paint with the lens brush00:02:06
So much content has been created in recent years00:02:09
And everyone has tried all sorts of lighting schemes, props and so on00:02:14
That's why lately.00:02:17
Interesting optics are popular.
And Apple is a powerful trendsetter here00:02:23
Which, with their new lenses, set the trend for certain geometries00:02:28
As it did with the ultra wide angle lens00:02:31
And, then, we saw the wide angle in the company of Tim Walker at Louis Vuitton00:02:36
Now it's gaining momentum, and the whole luxury segment is shooting with wide angle optics00:02:41
And, now, the same story is repeating with the macro lens00:02:46
One of the trends for next year is tactility and sensuality,
which is conveyed by close up and ultra-close up perspectives.00:02:54
If you're talking about macro, if you're talking about professional cameras with removable optics00:02:59
It's a very complicated, technically, story.00:03:02
Because macro lenses work with very little depth of field00:03:07
Plus most macro lenses have a pretty big problem with correct focus00:03:14
The iPhone does not have this problem00:03:16
We are dealing with a highly detailed image00:03:20
Very sharp depth of field and perfect autofocus00:03:24
But, if we use good light to take pictures00:03:29
I'll explain why.00:03:30
Because of the very small distance between the lens and the subject00:03:35
The lens itself, begins to block the light beam to the subject00:03:40
So we must, in addition, the subject that we shoot with the macro lens00:03:45
Light up with a beam of directional light00:03:48
And for this, I am always aided by my trusty companion: the Profoto mobile flash units.00:03:53
I'm holding my C1+ mobile flash at the moment.00:03:56
It is a very compact and very powerful light source.00:03:59
which can be used as a pulsed or constant light source00:04:04
And, it can handle absolutely any scene, in absolutely any location00:04:08
So, we have the photo area where our subject is lying in front of our macro lens00:04:13
It's a black glass shelf from Ikea, Besto.00:04:17
Subject photographers love to use it as a background,
because it gives a very beautiful reflection.00:04:23
Plus, as a backdrop, we have Touche cover paper hanging00:04:27
You can use any heavy colored paper to experiment.00:04:31
You don't need a lot of space or a lot of subjects for object photography.00:04:36
Note that my camera is now positioned upside down.
This is no accident.00:04:42
At a wide angle, a lower point of view, gives a more correct geometry00:04:47
And what's more, I want to say that I've found in practice that the lower shooting point
gives you the right rays coming into the lens.00:04:55
Because it's not the rays that are coming from our source that we're interested in.00:05:01
Artificial or natural source to an object00:05:04
But, those rays which are reflected by the object and come into the lens of our camera00:05:09
Newbies usually have a hard time finding the lowest point of the subject.00:05:12
So just try flipping your iPhone camera upside down.00:05:17
And, shoot upside down.00:05:20
Next. In order to avoid severe geometric distortion.00:05:25
We will use the zoom, at a value of 200:05:28
If you have an iPhone camera 12, 1100:05:32
Then, value 2 is the zoom setting which allows you to shoot without much loss of detail00:05:38
If you have a recent generation iPhone, you can safely zoom to value 300:05:44
But, even a value of 2 is more than enough to get a more correct geometry00:05:49
If you've been shooting with the prime lens, I think you've noticed00:05:52
That when you place objects on the edges of the camera, you see very large distortions,
which is called distortion.00:05:59
Well, to avoid it, we usually use the zoom.00:06:03
So it doesn't really matter if you're doing macro or not.00:06:07
But, just put your subject in front of the camera.00:06:13
And, take a directional light source.00:06:16
Absolutely no matter if you haven't got your mobile flash yet.
You can take, just a torch.00:06:21
And, look.00:06:24
Observe00:06:26
How the light will draw glare on the subject. And how shadows appear in the frame.00:06:34
Remember in art class? When we talked about how to make the light and shadows in the frame as three-dimensional as possible?00:06:38
What, we have to have a glare on the subject, we have to have a zone of light,
we must have a zone of penumbra, a zone of our own shadow.00:06:47
It's not right to place an artificial light source close to the camera.00:06:52
Because this positioning of the source removes its own shadows from the subject.
and makes the frame look flat.00:06:59
So if you're just starting to experiment with artificial light00:07:03
You have to put the source on the side of your subject. Sometimes you can even back it up to the side of your subject.00:07:10
You'll see that the outline changes, the position of the light area changes00:07:15
And the position of the shadow zone changes00:07:19
The further your source moves away from the camera00:07:23
Into what's called a rear-side position.00:07:24
The more shadows you'll get on the front surface of your subject00:07:29
To take a macro picture on an iPhone00:07:31
We don't need sophisticated focus stacking software.00:07:35
We don't need to calculate the depth of field, the DOF calculator00:07:39
We just put the iPhone in.00:07:41
I prefer to fix it, in my old, subject habit.00:07:46
We can put our light source00:07:49
We can put it right next to our object00:07:53
In order to reduce the exposure a little bit.00:07:57
Because our source is very powerful right now. You get too much light in the highlights.00:08:02
Tap on the screen, lower our exposure a little bit.00:08:05
In order to return black to true black.00:08:09
And actually, for me, it's a thrill.00:08:11
Because on previous iPhones, we used to get deep black,
only in post-production.00:08:17
On the newer model, because of the wide dynamic range,
we get deep black already in the process of shooting, without any extra processing.00:08:25
Plus, the easiest light modifier photographers use00:08:29
I have this tinfoil left over from a brownie I ate in the night.00:08:34
It could be any piece of mirror foil, or any mirror,
that you would use on the opposite side from where the rays hit00:08:45
In order to reflect our rays and light up the opposite side a little bit on the contour.00:08:53
To leave our own shadow on the object, but to separate it from the black outline.00:09:00
And, the fact that the iPhone camera gives this stunning silver glare00:09:06
That makes me very happy. Because the picture looks as three-dimensional and realistic as possible00:09:10
Moving on to fast motion capture00:09:12
You see, we changed the setup00:09:14
We left the black background, took the acrylic rod, fixed it00:09:18
And, on the rod, we have half a lime.00:09:21
The plot of this shot is that the lime half will levitate in midair.00:09:26
And water will be splashed in different directions.00:09:31
The movements of the water, right now, we're going to freeze00:09:33
We have two light sources in the frame.00:09:37
This is the Profoto OCF soft box.00:09:41
And, just a hard source on the opposite side00:09:45
If you only have 1 light source00:09:47
Then, in principle, instead of using a second light source,
you could try using a silver reflector.00:09:53
So, for this shot, we need Profoto Camera.00:09:58
In fact, if you want to experiment with motion freezing,
you can just do it with your iPhone camera.00:10:04
It's just that your substance that you're going to freeze
has to be very, very light.00:10:10
We used to do tricks like this, with my students, through an iPhone camera.00:10:16
When we were freezing the movement of the powder.00:10:18
If you have a good directional light source00:10:22
Your iPhone will be held very securely in place on a tripod.00:10:26
Then, the very strong light will be compensated in the automatic mode of the camera,
with an extra short shutter speed.00:10:33
So some light substance like sugar or powder,
you can freeze through the iPhone camera.00:10:39
But, we do have the option of working through the app
to make the shutter speed extra short.00:10:45
And, in the Profoto Camera app, we can select the settings manually00:10:49
In order to adjust the exposure of the light from our frame00:10:53
And we will now select the shutter speed.00:10:57
1/2000, that's a very fast shutter speed.00:11:00
Which just helps to freeze the movement.00:11:03
To compensate for exposure if there's not enough light00:11:07
We can increase the light sensitivity slightly00:11:10
But, in this case, we see an imitation of exposure00:11:13
So, after running the sources, we get exactly this kind of picture00:11:17
So we don't want to increase the light sensitivity yet.00:11:22
We are now going to work with constant light as we did with the macro lens.00:11:26
And we are going to work with impulse light because it is more powerful than steady light.00:11:31
And, it's what helps us, in over-short exposure mode, to get the freeze00:11:36
Now my assistant, on my command, will pour water over our lime.00:11:41
We're gonna get a series of sprinkles.00:11:43
which we then process and overlay on the main frame.00:11:49
If we're talking about complicated shots.00:11:51
Under the name of compositing and so on00:11:55
That is, photographers tend to glue multiple layers of images together00:11:59
And, here, we'll be doing this in a mobile app00:12:03
So what we have now is a background shot, it's a shot without any processes.00:12:07
Because if you're shooting some kind of unstable substance,
you have to have as clean a picture as possible.00:12:14
With which you can recover the image if, in the process of shooting, your scene gets damaged00:12:20
Okay. On the count of 3, here we go. The process is quite time-consuming.00:12:23
So it doesn't usually work right the first time.00:12:27
Our goal is to get a few splashes in different directions.00:12:29
Which we will then connect.00:12:32
Three00:12:35
Stop00:12:37
Yep, got it.00:12:55
In order to process this image.00:12:57
We need Adobe Photoshop Express00:13:00
Open "Mix" and load our image layer by layer00:13:04
The background image we shot before all the fast processes00:13:08
Ideally, of course, take another separate shot without the acrylic stick00:13:12
From which the information could have been recovered, but we forgot to do so00:13:15
Basically, it's not that complicated, we can clean it up later in the editor.00:13:18
And, at the top, through the + sign, we load our splatter,
that we're going to cut into our master layer.00:13:25
You can see that the process is quite messy so neat splatters,
we'll collect from the different layers.00:13:32
So, here we need an appliqué section.00:13:35
The program will give us a selection, but we're going to discard it.00:13:39
We press the "Add" button, select the area
which you want to cut into a new layer.00:13:45
If you are happy with the selection that the software gives you, click "OK00:13:50
If you want to add or correct anything00:13:52
You can go into the Brush section, and for example, zoom in, select the splashes00:13:58
Since we haven't had much of a change in the light pattern.00:14:01
So we can cut with a margin, not exactly along the contour00:14:10
Now, if you like the result, you can press the "Edit" button.00:14:16
And, if you want to cut another splash from another image, click on the +00:14:22
next layer00:14:23
Look where we had a nice splash on the other side of our lime00:14:29
Downloading00:14:30
"Appliqué" again, cut out the splatter we want.00:14:34
Add" button.00:14:38
And when you are satisfied with the result, click "Edit".00:14:43
And after a few minutes of manipulation, you end up with the following picture00:14:59
So, we've changed the setup again.00:15:00
And, now, we're going to work with you on the composition.00:15:03
You can see that the preparations for our shoot were quite extensive.00:15:06
Remember, a good shoot starts with preparation.00:15:10
We took a photo area in a monochrome colour, but different in texture00:15:14
We have a textureless bottom background.00:15:17
Which is represented by Touche Cover paper.00:15:18
And, back textured background, textile00:15:21
Textiles are on trend right now.00:15:23
So if you've got any non-colored, non-striped textiles,
you could use them as first backgrounds, too, to experiment.00:15:34
And, in order to work on the composition.00:15:37
You can open your iPhone camera and find the grid mode00:15:50
It's a grid, it's the rule of thirds.00:15:52
It's the simplest rule of composition.00:15:56
A frame is said to be divided vertically and horizontally by two equal lines00:16:02
And, the most interesting objects in the frame must be placed on the axes and on the points of intersection of the thirds00:16:09
It's a basic rule of harmony00:16:11
But as far as composition is concerned.00:16:13
Initially, you can take the subject that you're going to shoot00:16:17
Fix your camera00:16:19
Because when you put the subject in first and then pick up your iPhone00:16:23
And you're constantly changing your point of view.00:16:26
This process, it doesn't positively affect the way you begin to see the composition.00:16:31
So you can fix the camera on a tripod00:16:34
If you do not have a tripod, you can use any light stand as a tripod.00:16:38
Or, whatever you fix your iPhone to00:16:41
And on a stack of books, and on slats that attach to an ironing board.00:16:46
My very first tripod was an ironing board.00:16:49
That's why the camera was set up.00:16:52
pointed it at your photo area.00:16:54
I'm immediately looking at the geometry of the frame, it's very important.00:16:59
So, initially, we approximate our shot to a zoom value of 200:17:06
And, if you want to build a simple composition00:17:09
You can take some interesting, textured object00:17:12
Right now, it's a vase with a flower in it.00:17:14
I think you can find it in any house.00:17:17
And, put her in the centre of the frame.00:17:19
This is the most balanced and harmonious central arrangement00:17:25
But if you want to make the composition more interesting00:17:28
Then, the object from the centre should be shifted to the right or left axis of the third00:17:33
And that's where the compositional swings come in.00:17:36
When large objects begin to be balanced by smaller objects00:17:41
Remember that larger objects are best placed closer to the centre00:17:46
And the smaller ones, in order to balance these larger objects00:17:50
It's better to be a little bit further away from the centre.00:17:52
So we'll take our vase00:17:54
And, uh, move it, uh, a little bit to the right side of the frame.00:17:58
Furthermore, let's add a second vase to our frame. Katyusha, let's build up the composition.00:18:04
So, the main core of our composition will be two vases with different flowers in them.00:18:11
And, in order to balance these two vases, you see,
that they take up now, the whole right side of the frame.00:18:17
We, on the opposite side of the frame, put a fairly light object00:18:22
That's our lemonade glass.00:18:25
But, a little further away from the centre than our vases are positioned.
So that our glass balances them out.00:18:32
Actually, I'm not used to doing it on either side of the camera anymore.00:18:36
Because the photographer is on the side of the camera.00:18:42
Everything that happens in the centre is usually done by stylists or lighting designers00:18:46
Because that's the order in which you can fully,
from both a technical and compositional point of view, to make a stronger shot00:18:54
So I will now turn to our assistant:
Katyusha, please, the glass, a little further into the frame.00:19:00
More00:19:04
So we have now built a basic compositional swing00:19:07
Our glass, a little more to the left, to balance our vases00:19:12
And, in terms of colour accents, we can add some more elements in the frame00:19:16
Which will help to saturate it in terms of colour and texture00:19:24
So we put, and chose for this shot, another melon00:19:27
Now, we have this, a 100% classic still life.00:19:31
Which is used from everyday objects that most of you have in your home00:19:36
A classic still life involves some kind of interior element00:19:40
Or kitchen utensils that a person uses00:19:43
Plus, some vegetables, fruit and other food that you can find in the fridge00:19:51
So now we put the melon00:19:54
Here00:19:55
A little farther away00:20:04
И00:20:08
Next to the melon, we put a grapefruit.00:20:14
Since there were so many round elements in the frame,
we decided to make it more geometric. So we cropped it around the edges.00:20:26
And, put in, added, a peeled tangerine.00:20:32
I think this one's a little small, let's replace it with a bigger tangerine.00:20:39
Plus, there's a couple of accents left, because the right side, we have, right now, is very massive00:20:45
In order to balance it out.00:20:46
We need to add a couple of highlights to the right side of the frame.00:20:51
We'll put a couple of raspberries in the background.00:21:03
After the preliminary assembly of the composition, the light work comes to the forefront00:21:10
We, here, will use the simplest scheme of light00:21:12
We will have 1 hard light source00:21:14
Hard light is now used primarily
to shoot conceptual still lifes.00:21:19
And that's where it's really good for, you know, lighting up the liquid.00:21:23
Plus, very well, due to the focused beam.00:21:27
Draws us in, the texture of our vase.00:21:30
And, will cast a very clear light and shadow pattern00:21:32
So we're going to use it as the primary for the scene.00:21:36
Plus, we'll be using a separate source to highlight our drapery.00:21:40
Since we have a distance between the drapery and the main photo area00:21:44
And, there's often not enough power from one source
to fully do the job of illuminating the main stage.00:21:52
And, to illuminate the background00:21:53
Background light in object photography, one of the most requested00:21:58
So00:21:59
In order to soften the shadows on the opposite side a little bit,
we can use a reflector.00:22:08
Just a little, on the front side, to illuminate the vase and keep it out of the frame00:22:15
To illuminate our shadows.00:22:17
So, basically, our still life is ready.00:22:20
But, it would be boring if we left it like this.00:22:23
Basically, if you're just starting out, a picture like this would be a work of art.00:22:29
There are, however, simple ways to make photos more lifelike.00:22:34
What tricks do we photographers have
to put a certain twist on a photograph?00:22:41
Remember our master class? I started off by saying that, now, photographers,
they're trying to find some kind of interesting lens pattern.00:22:47
In order for the shots to be more memorable.00:22:51
That's why film filters were very often used in the past for processing.00:22:56
Now, you can do it while you're shooting00:22:58
We take a plastic bag00:23:00
Which, we put on the lens tightly enough00:23:04
And if we make these movements00:23:09
Which will, this polyethylene, will be a little bit of a clunker00:23:12
The key is to dispose of it properly.00:23:14
We, in different parts of the frame, first of all,
you might get a little soft focus pattern, a soft focus pattern00:23:23
Plus, we'll get a blur, in certain parts of the frame.00:23:27
Which gives it the feel of a film photograph. But that's not all.00:23:32
We have this little thing called a star filter.00:23:36
It's a ray filter that wraps around the lens00:23:38
It's got a grid on it that allows the raster dots to be in place00:23:45
This is where we get starbursts in the frame00:23:50
And, in order to make our frame shine even more00:23:53
We can bring a star filter to the lens and get a very nice dot on the flare00:24:02
That's why we left the hard light source here00:24:05
Even though we tested different variants.00:24:07
That's because it makes a very pretty star on the glass,
which you can leave here.00:24:16
Well, and for absolute effect, we can combine these two techniques00:24:23
To get the effect of a film photograph as well.00:24:27
And, to get a star like this in our highlights00:24:49
It seems to me that a photograph that's taken in this way
is very clean in light and colour.00:24:55
And, with special effects like this, doesn't even need any additional correction00:24:58
Although, you could add a little saturation or contrast00:25:03
Nevertheless, and in the process of shooting, we already get a very interesting result00:25:10
One camera, but so many possibilities00:25:13
You and I experimented with the macro lens and realised that with the iPhone00:25:21
In order to get a three-dimensional light and shadow pattern00:25:23
You and I, freeze motion.00:25:25
You and I, we put together a full, classic still life.00:25:29
And if my experiments have inspired you
to examine your iPhone camera.00:25:34
Or, put together some interesting compositions.00:25:37
I think it'd be great if you could share the result with me.00:25:40
My instagram, will be here, in the description below the video00:25:43
Oh, and don't forget to subscribe to the re:Store academy.00:25:46
Because they're going to have a lot of interesting and
useful master classes on iPhone photography.00:25:52
Thank you for watching this masterclass to the end.
We'd love your likes and comments. Bye-byeDescription:
How to shoot macro photography and subject photography on the iPhone 13 Pro is shown by subject photographer Anastasia Maksimova (https://www.instagram.com/mama_uragana) #macro #macro #iphone13pro Profoto light: https://profoto.com/en Subscribe to re:Store Academy channel: https://vk.cc/7ujPgS Up-to-date information about upcoming lectures/master classes and registration are available in the VK group and on the website: https://vk.com/reacademy https://www.re-store.ru/academy/ re:Store chain of stores in social networks: Facebook: https://www.facebook.com/restore.ru Instagram: https://www.instagram.com/restore_ru/ VKontakte: https://vk.com/re_store Blog : https://www.re-store.ru/blog Useful articles on Yandex.Zen: https://vk.cc/bYHbPg Articles on vc.ru: https://vk.cc/bYHbWa
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UDL Lite is a really convenient way to access a website from your mobile device. With its help, you can easily download videos directly to your smartphone.
Which format of "Product photography and macro photography on the iPhone 13 Pro" video should I choose?
The best quality formats are FullHD (1080p), 2K (1440p), 4K (2160p) and 8K (4320p). The higher the resolution of your screen, the higher the video quality should be. However, there are other factors to consider: download speed, amount of free space, and device performance during playback.
Why does my computer freeze when loading a "Product photography and macro photography on the iPhone 13 Pro" video?
The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.
How can I download "Product photography and macro photography on the iPhone 13 Pro" video to my phone?
You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.
How can I download an audio track (music) to MP3 "Product photography and macro photography on the iPhone 13 Pro"?
The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.
How can I save a frame from a video "Product photography and macro photography on the iPhone 13 Pro"?
This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.
What's the price of all this stuff?
It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.