0:00:29 > 0:00:31- Hiya. Can I take your photo?- Yes.
0:00:31 > 0:00:34Here we go. That's it - pose for me. Say, "Cheese!"
0:00:34 > 0:00:35Cheese.
0:00:35 > 0:00:37Oh, that's lovely.
0:00:37 > 0:00:41- They're very strange, aren't they? Tweedle... Oh, sorry! - Sorry.- Sorry about that.
0:00:41 > 0:00:45I'm just trying to take Tweedledum and Tweedledee's picture.
0:00:45 > 0:00:49- That's what I've taken.- Try taking some of people when they're unaware.
0:00:49 > 0:00:52'Lucky thing I've bumped into Stuart, who's a press photographer.'
0:00:52 > 0:00:55I've been getting people to pose. Is that not right?
0:00:55 > 0:00:58If they're unaware you get better face expressions.
0:00:58 > 0:01:01- They're not looking now. Shall we see what we can get?- Yeah.
0:01:04 > 0:01:08- You could give me some tips! - If we go up the High Street we'll get some good pictures.
0:01:08 > 0:01:11- We could compare our shots. - We could, later on.
0:01:11 > 0:01:16Get to know your camera - how to press the buttons, to take a picture, turn on and off the flash.
0:01:16 > 0:01:20And ALWAYS carry your camera - you never know when an opportunity might arise.
0:01:20 > 0:01:25- OK.- Let's go over here and see what we can get.- Yeah! Is it on?
0:01:28 > 0:01:32The main thing to look for is, do you want to shoot as a landscape or a portrait.
0:01:32 > 0:01:35- Right, so portrait's long ways... - And maybe zoom in slightly,
0:01:35 > 0:01:38just to get a little bit closer.
0:01:38 > 0:01:43Decide what you want left in and out of the picture - so compose the picture and then press the button.
0:01:43 > 0:01:48- You're using your height. - I'm just using you as a little tripod for a steady shot.- Ha-ha!
0:01:48 > 0:01:52Sometimes it's better even if you lie on the floor.
0:01:52 > 0:01:55- LIE on the floor?!- Lie on the floor. - Ugh!
0:01:56 > 0:01:58CAMERAS CLICK
0:02:00 > 0:02:04- And if you can be more or less in the centre and...- What's he up to?
0:02:06 > 0:02:07Go up a bit.
0:02:07 > 0:02:10- Up higher.- Oh, yeah.
0:02:10 > 0:02:13CAMERA CLICKS
0:02:13 > 0:02:17- Excellent.- Lovely! Good composition!
0:02:18 > 0:02:21Make sure there's nothing sticking out of people's heads.
0:02:21 > 0:02:23I've mucked that up!
0:02:25 > 0:02:29- I think you've got plenty there. - I'm dying to see what they look like!
0:02:30 > 0:02:36I'm a bit nervous about downloading all of my photographs against yours.
0:02:36 > 0:02:41- They're in now. I usually take a look and pick the best ones. - Out of the trillions I've shot!
0:02:41 > 0:02:43Out of the hundreds, one or two.
0:02:44 > 0:02:47- I think we'll keep that one.- Yeah.
0:02:47 > 0:02:51- I think the legs.- I quite like the faces.- Yeah, I like the faces.
0:02:51 > 0:02:53That monkey one's brilliant.
0:02:55 > 0:02:58These are the two pictures we did of Tweedledum and Tweedledee.
0:02:58 > 0:03:04I've put the people slightly to the left hand side, leaving a bit of space at one side, to look into.
0:03:04 > 0:03:09You've shot yours in the centre, which works fine here because the background is pretty natural.
0:03:09 > 0:03:11I don't know whose I prefer, there.
0:03:13 > 0:03:18- When we took this one, we went quite close to the floor. Just quite lucky that he jumped off.- Yeah.
0:03:19 > 0:03:20Hmm.
0:03:20 > 0:03:24In this picture, we've got a pole sticking out the back of the person.
0:03:24 > 0:03:29- You've just got to be a bit careful of composition. - No, I've embarrassed myself.
0:03:30 > 0:03:36With this photograph, we both did it as a portrait shape. Quite similar but I had a zoom lens on.
0:03:36 > 0:03:38It meant I could get a little bit closer in,
0:03:38 > 0:03:41which meant people who walked past in the foreground were blurred.
0:03:41 > 0:03:44It just separates them a little bit more,
0:03:44 > 0:03:48and leads the person into the photograph to the subject, which is the violinist.
0:03:48 > 0:03:51- I think they both work really well. - Yeah, they do.
0:03:52 > 0:03:56- The landscape shape for the trainers works really well.- Mm.
0:03:56 > 0:03:59It's a really graphic shot - really good. Really nice colours.
0:03:59 > 0:04:05It shows you're looking at not just the subject. You're looking at other things, taking in your environment.
0:04:05 > 0:04:07Your eye's drawn into this first person.
0:04:07 > 0:04:12Everybody's looking in one direction and one guy's peeking through to look back at the camera.
0:04:12 > 0:04:14It takes your eye through a story -
0:04:14 > 0:04:19you're looking at the picture, it takes you round the picture then back out again. I do like that one.
0:04:19 > 0:04:21- That's probably the shot of the day. - Is it?- Yeah.
0:04:27 > 0:04:29We're gonna show you how to take trick photos
0:04:29 > 0:04:31that will amaze your friends.
0:04:31 > 0:04:33- All you need is a camera. - Not even a decent one.
0:04:36 > 0:04:39No-one in their right mind could climb this wall.
0:04:39 > 0:04:41Could they?
0:04:44 > 0:04:47All you need for this one is a friend,
0:04:47 > 0:04:49and a driveway.
0:04:49 > 0:04:52Arrange your friend so it looks like they're clinging onto the bricks.
0:04:54 > 0:04:57Make sure the photograph looks convincing.
0:05:00 > 0:05:03But remember - only show the driveway or it won't work.
0:05:05 > 0:05:07One, two, three.
0:05:09 > 0:05:12Here's how to make your friend look headless.
0:05:12 > 0:05:13Aaaargh!
0:05:14 > 0:05:17For this trick, all you need is a wall
0:05:17 > 0:05:19and two mates.
0:05:19 > 0:05:22Get one mate to sit on the wall with their chin touching their chest.
0:05:22 > 0:05:26Get your other friend to rest his chin on the wall.
0:05:26 > 0:05:29Make sure their necks aren't showing,
0:05:29 > 0:05:31and when you're happy with the shot, snap.
0:05:31 > 0:05:34One, two, three.
0:05:34 > 0:05:35Aaaaargh!
0:05:42 > 0:05:47Have you ever taken several photos in a continuous line to get a 360 degree view of a single room?
0:05:47 > 0:05:53- I'd have to be lying to you, Mike, if I said that I had. No, I haven't. - Well, today's you lucky day, buddy.
0:05:53 > 0:05:57- All right, let's start! We need...- Woah, woah! Hang on! - I knew you'd get in on this.
0:05:57 > 0:06:01No, but I've had cu... a cunning plan. I'm so excited I can't even say it!
0:06:01 > 0:06:06- If we were in every shot doing something different, there'd be loads of us popping up.- Good idea.
0:06:06 > 0:06:08- I'll go with that.- Ready? Start normal.
0:06:08 > 0:06:12- All right, let's get started.- OK.
0:06:12 > 0:06:17- Starting normal.- First, I'm going to frame you up just at that window. I'll have to remember that mark.
0:06:17 > 0:06:22- Ready?- Yeah.- Wow - you guys look really normal(!) Ha-ha.
0:06:22 > 0:06:27Move! Come on! What would we be doing next? Let's mess around with being near the lens and away from the lens.
0:06:27 > 0:06:31- If we keep the window in shot... You come foreground.- I'll be serious.
0:06:31 > 0:06:35- And Ben...- Am I all right there? - Just a bit farther over. That's it!
0:06:35 > 0:06:36Oh, that's gonna be good.
0:06:36 > 0:06:40All right, my edge point is now the window so I'm gonna take it. Go!
0:06:40 > 0:06:46- All right. Fast one - go, go, go! - Right, next.- So we've got the hat. - I might go really far back.
0:06:46 > 0:06:48- Right, OK.- What about if I go here?
0:06:48 > 0:06:50- You all right there?- Yes.- Perfect!
0:06:50 > 0:06:52OK. Take it, go!
0:06:52 > 0:06:53All right, next photo!
0:06:53 > 0:06:57- Hey! There's some crew!- They're supposed to be working at this point!
0:06:57 > 0:07:01There's Piers, our AP - he writes the scripts. Ben painting the floor.
0:07:01 > 0:07:03All right, take it. OK.
0:07:03 > 0:07:07I got the steps in shot so you can go just past the steps there.
0:07:07 > 0:07:11What if I just show a leg or something here, not all of me.
0:07:11 > 0:07:14There's the lighting guy and Bob. How you doing?
0:07:14 > 0:07:15Excellent. Take it!
0:07:16 > 0:07:18Done.
0:07:18 > 0:07:20- Hi, everyone!- Hi.
0:07:20 > 0:07:26- All right. Posing for the camera, everyone? Give me good smiles!- Am I on the edge?- Yes, perfect. Ready?
0:07:26 > 0:07:27Go!
0:07:27 > 0:07:28Excellent, excellent!
0:07:28 > 0:07:32- Come on, come on!- Where now? - Vanessa, stay still - you're my edge of frame.
0:07:32 > 0:07:36- Er, some more camera dudes. I'll go right far back by Richard. Hi, Richard!- Hi.
0:07:36 > 0:07:41Hey, Simon, how you doing? Give us a smile. There you go!
0:07:41 > 0:07:42Excellent!
0:07:42 > 0:07:46- We're nearly back round.- Yeah.- Where now?- Er, let's take it from there.
0:07:46 > 0:07:49Hey, one of you pick his nose!
0:07:49 > 0:07:50Ha-ha - nice!
0:07:50 > 0:07:52- Take it!- Breathe.
0:07:52 > 0:07:54Hey, very good.
0:07:54 > 0:07:57- Ben, will you go by the paint cans? Second last one.- Down here?
0:07:57 > 0:07:59That's it!
0:07:59 > 0:08:01Perfect. Take it.
0:08:01 > 0:08:04Right, last photo. Back to your original positions.
0:08:04 > 0:08:06But let's mix it up by swapping over.
0:08:06 > 0:08:08- Good idea.- No, you don't want that. - Ready?
0:08:08 > 0:08:10Three, two, one. Big smiles!
0:08:10 > 0:08:13All right!
0:08:13 > 0:08:15- We've gotta plug it in!- OK.
0:08:15 > 0:08:17We're just gonna print those out.
0:08:17 > 0:08:19Done!
0:08:19 > 0:08:23- Right, let's bring them down here. - That was the start point, wasn't it?
0:08:23 > 0:08:26Let's splay them all out and you can match them up as we go.
0:08:26 > 0:08:32- If you start at that end.- OK. - There we go, line them all up. - I'm just edging backwards!
0:08:32 > 0:08:35- OK.- Shall I get back here? - You can start that way.
0:08:35 > 0:08:39- I'll start in the middle.- So that window would line up with the table.
0:08:39 > 0:08:44- These paint cans.- That's gonna go about there.- Ha! Look at you!
0:08:44 > 0:08:46I'll shunt this way - running out of space.
0:08:46 > 0:08:50- That fits really well.- Looking good. - That matches perfectly.
0:08:50 > 0:08:53- Or it did until Major got hold of it!- Ha-ha!
0:08:53 > 0:08:55Sorry about that, Kirsten.
0:08:55 > 0:09:01- Look at you in that hat!- Looking good.- You should wear a bowler - that's the new you.- It suits you.
0:09:01 > 0:09:04No pressure, Mike - it's all hanging on your one photograph.
0:09:04 > 0:09:08- I think we put it in this way and match yours up on that edge.- OK.
0:09:08 > 0:09:09Have you matched that one up?
0:09:09 > 0:09:13- Maybe just overlap it this way. - Yeah, overlap it the other way.
0:09:13 > 0:09:16- That's it.- Cos you can decide to go under or over with each photo.
0:09:18 > 0:09:21- I love that.- Those are excellent! - That is cool, isn't it?
0:09:21 > 0:09:24Look - you can see the whole entire SMart studio in one shot!
0:09:24 > 0:09:26That is amazing, isn't it?
0:09:33 > 0:09:34Hi, I'm Mark Hamilton.
0:09:34 > 0:09:37I've been a photographer for 15 years now.
0:09:37 > 0:09:41Though I shoot pretty well anything, we're going to talk about landscape.
0:09:41 > 0:09:44Landscape doesn't have to be fields or countryside -
0:09:44 > 0:09:47it could be a cityscape, it could be the seaside, it could be anything.
0:09:47 > 0:09:51The UK has got some of the most beautiful and diverse landscapes in the world.
0:09:51 > 0:09:55And to find it, all you've got to do is step outside and look around.
0:09:55 > 0:10:00All you need to get started is a camera, a steady hand and a good eye for a shot.
0:10:00 > 0:10:02Today I'm going to use my digital camera
0:10:02 > 0:10:06but you could just as easily use your disposable, or even your cell phone.
0:10:06 > 0:10:09So come with me and let's go and take some good shots.
0:10:09 > 0:10:14The first thing you need to do is decide what kind of landscape you want to take a picture of.
0:10:14 > 0:10:15It could be here,
0:10:15 > 0:10:17or here,
0:10:17 > 0:10:18or here!
0:10:18 > 0:10:21Remember to look at your scene from all points of view.
0:10:21 > 0:10:24If I shoot over here,
0:10:24 > 0:10:26I get the bin and the pylons in the background.
0:10:26 > 0:10:29Now if I crouch down and shoot over here,
0:10:29 > 0:10:32I get a clear shot of the village and the fields
0:10:32 > 0:10:34and that's a much better picture.
0:10:34 > 0:10:36If you want to get a better shot,
0:10:36 > 0:10:39try and avoid those objects that will ruin your picture.
0:10:39 > 0:10:43The great thing about working in the city is there's a lot of activity.
0:10:43 > 0:10:45It's a fantastic place to be a photographer.
0:10:45 > 0:10:48Look at the first picture - there's not much going on.
0:10:48 > 0:10:52Now look at that - a lot more activity with a guy walking straight through the shot.
0:10:52 > 0:10:57Take your time - absorb the mood of where you are and it'll show up in your pictures.
0:10:57 > 0:11:00The beach is a great place to be creative!
0:11:00 > 0:11:04Shoot your subject from different angles and see what it looks like.
0:11:08 > 0:11:14Try a panoramic shot - keep the camera as close to the same level as possible whilst rotating.
0:11:14 > 0:11:17Have each frame overlapped to ensure against gaps.
0:11:17 > 0:11:20Once you've developed them, paste the prints together.
0:11:25 > 0:11:27I'm in the middle of making my own mini movie.
0:11:27 > 0:11:31You know when you watch films like Chicken Run and Wallace And Gromit?
0:11:31 > 0:11:36They're made by Nick Park and his team at Aardman using a technique called stop-frame animation.
0:11:36 > 0:11:39I'll show you what I mean. I've got my own Shaun the Sheep here.
0:11:39 > 0:11:41He's made from sponges,
0:11:41 > 0:11:45then he's got chicken-wire legs with some modelling clay wrapped round, the same on the ears,
0:11:45 > 0:11:48and the head is a deodorant lid that I've painted brown,
0:11:48 > 0:11:50with some googly eyes.
0:11:50 > 0:11:54Then the set - again, very simple but in scale with Shaun.
0:11:54 > 0:12:00I've got little curtains, some wrapping paper background and a nice plant that I made.
0:12:00 > 0:12:05For my movie, I'm gonna make Shaun trot in here and read the paper. I've done a tiny little newspaper.
0:12:05 > 0:12:10So I've got a digital camera, and then what I'm gonna do... Let's just switch it on.
0:12:10 > 0:12:11I've propped it up on these books
0:12:11 > 0:12:16so that so that I can have it at exactly the right height to be able to see Shaun.
0:12:16 > 0:12:18There he is, just peeping in there.
0:12:18 > 0:12:20And I've decided... There we go.
0:12:20 > 0:12:23Let's just mark that
0:12:23 > 0:12:25because one danger here is that I'll nudge the camera
0:12:25 > 0:12:28and it's quite important to keep it still.
0:12:28 > 0:12:31If I mark the edges I know, if I do knock it, where I can get it back to.
0:12:31 > 0:12:34All you need to do is take a picture, like that,
0:12:34 > 0:12:40and then move your character on a little bit, so let's just trot him in a tiny little bit.
0:12:40 > 0:12:43And then take it again.
0:12:43 > 0:12:48And then the tiniest little bit again because you don't want any sort of sudden movements in your animation.
0:12:48 > 0:12:51If you think about how your arm would move down,
0:12:51 > 0:12:53slowly it would go like that, wouldn't it?
0:12:53 > 0:12:58So you need to capture all of that in photos, or frames, if you're using the technical term.
0:12:58 > 0:13:02Let's just move it again, like that, and another photo.
0:13:02 > 0:13:04Now, my mini movie is done in 26 frames,
0:13:04 > 0:13:11which seems like a lot but actually that only make 5-10 SECONDS worth of animation!
0:13:11 > 0:13:15So Nick Park and his gang are there for a very long time making those movies.
0:13:15 > 0:13:20Now what I'm doing is, I've uploaded all of those photos onto the computer using one of these USB leads,
0:13:20 > 0:13:23and I'm using a movie-maker package, so I've put them all in.
0:13:23 > 0:13:29What's that done is put them in order so the sequence should hopefully run and bring my film to life.
0:13:34 > 0:13:35If you've got the patience,
0:13:35 > 0:13:39you can make your own home animations. Isn't it brilliant fun?
0:13:47 > 0:13:50Subtitles by Laura Donald Red Bee Media Ltd
0:13:50 > 0:13:53E-mail subtiling@bbc.co.uk