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Hi, I'm Murat.
At Fotolia, I'm in charge of marketing and PR.
Welcome to the Fotolia Academy Fussball 2010 Photo Workshop
'K(L)ICK IT LIKE A PRO'.
We're here at a mirco stock soccer shooting,
shooting typical stock photography
with the topic soccer in the run-up to the World Cup.
Today, we've brought together 35 photographers
and 20 models here on this soccer field.
The workshop is held by Berlin pro photographer Marc Brinkmeier.
He's today's tutor and will direct the workshop
which has three main parts:
Planning, shooting, post-production.
Here we go, go, go!
Everybody here? -Yup.
We're shooting raw files with pre-set white balance
at 5600ø Kelvin and in the Adobe-RGB color space.
Now set those camera conditions. Adobe AGB has a greater color space.
Raw files can be edited better.
And we use a pre-set white balance
in order to have a standardized white
which can be changed in the post-production.
I'm Jens, hair and makeup artist.
With make-up, it's important that you don't do too much,
especially with a life style shooting.
The skin should be alive, not caked with make-up.
I always prefer a foundation to powder
because foundation makes the skin look more even.
It lets it look more alive.
This is a very good example of lighting technique.
The photographer uses flash to shoot Kassandra
lighting up the shadows when shooting contre-jour.
This is possible with a clip on flash or alternatively...
with a reflector.
May I place the reflector in your picture?
A reflector like this costs about 50 to 70 euros.
This really blinds the model.
Or you go to a hardware store
and buy a styrofoam panel for about 50 cents.
Then you come from underneath and fill up the shadows.
It produces terrific lighting
and the model isn't blinded and doesn't blink - great!
When shooting sports you need a steady hand.
And if there's no tripod handy...
Take a sandbag and place it on a ladder or a chair,
and ready is your tripod.
Who knows how to use a light meter?
We work with it,
especially when it comes to mixing flash and daylight.
To measure both the flash and the sunlight
and then find a compromise.
First I'll set the light meter to ISO 100.
Then I'll measure the daylight.
It registers the direct sunlight.
Now I've got it half in the sun, half shade. What does it say?
f/8.4 and 1/250 sec.
In the shade...
I have one and a half f-stops less.
Cameras with middle integral measurement
will tell you the same thing.
A mean value between the bright and the dark parts of the picture.
Now I'll measure the flash light.
f/16 and 1/125 sec.
Explain to them what you're about to do.
f/16 brightens up the shadows.
When the sun comes out again we'll have sharp-edged shadows.
Your eyes are like slits now.
To see more of your eyes,
to avoid high contrast, I would use flash.
Otherwise the face really turns out dark.
To fill up the shadows,
don't position the flash in the same direction as the sun.
Put it at a slightly different angle than the sun,
otherwise you wouldn't need the sun.
f/16? -Yes, it can't have changed that fast.
Look at the picture, you can see here that the contrast is too high.
The shadows are also very dark,
you can hardly see any detail here in this section.
The histogram shows this, too:
You have a high proportion of shadows.
Shadows are on the left, lights on the right.
The photo is underexposed.
You should have opened up the f-stop or used a longer shutter speed.
If you drag it here you get this result.
But now there's too much contrast. You lose the detail here.
It's not yet pure white, but only little detail left.
So you reverse what you did and you go on to exposure.
So the shadows again become brighter.
You don't have to change the contrast, I think it's fine.
You can make it a bit brighter.
I wouldn't change the saturation.
If you raise it the red explodes if you lower it the faces become pale
and we don't want that.
Hi, I'm Robert Kneschke, professional photographer from Cologne
I mostly do stock photography for different photo agencies,
such as Fotolia, who is hosting this workshop.
In order to get different pictures
even of the same motif,
I alternate horizontal and vertical shots,
different focal lengths, for example wide-angle, 50 mm or telephoto,
or I experiment with space: I shoot the models with lots of sky,
or I place them in the upper part of the picture,
then in the middle, with different expressions, smiling or serious.
That way with the same setting, models and props
you can shoot many different variations of the same motif.
I'm Martin Ruge, Director German Operations at Fotolia.
All models at the shooting receive clothing from us.
You have to be careful
that no brand names or logos are visible on the clothes and shoes.
Here we simply use gaffer tape to hide the logos.
This way you get a nice black shoe with no logo of any kind.
Now we're going to shoot a big group picture.
It will be a fan group with over 20 models in the picture.
It's very important
to have each model sign a model release before the shooting.
Because photos with recognizable persons
can only be used if you have a signed model release.
If you take care of the necessary formalities
ideally before the shooting, you can go out and shoot
and then upload the photos to Fotolia.
Supported by westcott
SUBTITLES BY ANKA BELZ AND ELENA POLZER