Photography Primary Class Clips

-Hiya. Can I take your photo?

-Yes.

Here we go. That's it - pose for me. Say, "Cheese!"

Cheese.

Oh, that's lovely.

-They're very strange, aren't they? Tweedle... Oh, sorry!

-Sorry.

-Sorry about that.

I'm just trying to take Tweedledum and Tweedledee's picture.

-That's what I've taken.

-Try taking some of people when they're unaware.

'Lucky thing I've bumped into Stuart, who's a press photographer.'

I've been getting people to pose. Is that not right?

If they're unaware you get better face expressions.

-They're not looking now. Shall we see what we can get?

-Yeah.

-You could give me some tips!

-If we go up the High Street we'll get some good pictures.

-We could compare our shots.

-We could, later on.

Get to know your camera - how to press the buttons, to take a picture, turn on and off the flash.

And ALWAYS carry your camera - you never know when an opportunity might arise.

-OK.

-Let's go over here and see what we can get.

-Yeah! Is it on?

The main thing to look for is, do you want to shoot as a landscape or a portrait.

-Right, so portrait's long ways...

-And maybe zoom in slightly,

just to get a little bit closer.

Decide what you want left in and out of the picture - so compose the picture and then press the button.

-You're using your height.

-I'm just using you as a little tripod for a steady shot.

-Ha-ha!

Sometimes it's better even if you lie on the floor.

-LIE on the floor?!

-Lie on the floor.

-Ugh!

CAMERAS CLICK

-And if you can be more or less in the centre and...

-What's he up to?

Go up a bit.

-Up higher.

-Oh, yeah.

CAMERA CLICKS

-Excellent.

-Lovely! Good composition!

Make sure there's nothing sticking out of people's heads.

I've mucked that up!

-I think you've got plenty there.

-I'm dying to see what they look like!

I'm a bit nervous about downloading all of my photographs against yours.

-They're in now. I usually take a look and pick the best ones.

-Out of the trillions I've shot!

Out of the hundreds, one or two.

-I think we'll keep that one.

-Yeah.

-I think the legs.

-I quite like the faces.

-Yeah, I like the faces.

That monkey one's brilliant.

These are the two pictures we did of Tweedledum and Tweedledee.

I've put the people slightly to the left hand side, leaving a bit of space at one side, to look into.

You've shot yours in the centre, which works fine here because the background is pretty natural.

I don't know whose I prefer, there.

-When we took this one, we went quite close to the floor. Just quite lucky that he jumped off.

-Yeah.

Hmm.

In this picture, we've got a pole sticking out the back of the person.

-You've just got to be a bit careful of composition.

-No, I've embarrassed myself.

With this photograph, we both did it as a portrait shape. Quite similar but I had a zoom lens on.

It meant I could get a little bit closer in,

which meant people who walked past in the foreground were blurred.

It just separates them a little bit more,

and leads the person into the photograph to the subject, which is the violinist.

-I think they both work really well.

-Yeah, they do.

-The landscape shape for the trainers works really well.

-Mm.

It's a really graphic shot - really good. Really nice colours.

It shows you're looking at not just the subject. You're looking at other things, taking in your environment.

Your eye's drawn into this first person.

Everybody's looking in one direction and one guy's peeking through to look back at the camera.

It takes your eye through a story -

you're looking at the picture, it takes you round the picture then back out again. I do like that one.

-That's probably the shot of the day.

-Is it?

-Yeah.

We're gonna show you how to take trick photos

that will amaze your friends.

-All you need is a camera.

-Not even a decent one.

No-one in their right mind could climb this wall.

Could they?

All you need for this one is a friend,

and a driveway.

Arrange your friend so it looks like they're clinging onto the bricks.

Make sure the photograph looks convincing.

But remember - only show the driveway or it won't work.

One, two, three.

Here's how to make your friend look headless.

Aaaargh!

For this trick, all you need is a wall

and two mates.

Get one mate to sit on the wall with their chin touching their chest.

Get your other friend to rest his chin on the wall.

Make sure their necks aren't showing,

and when you're happy with the shot, snap.

One, two, three.

Aaaaargh!

Have you ever taken several photos in a continuous line to get a 360 degree view of a single room?

-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.

-All right, let's start! We need...

-Woah, woah! Hang on!

-I knew you'd get in on this.

No, but I've had cu... a cunning plan. I'm so excited I can't even say it!

-If we were in every shot doing something different, there'd be loads of us popping up.

-Good idea.

-I'll go with that.

-Ready? Start normal.

-All right, let's get started.

-OK.

-Starting normal.

-First, I'm going to frame you up just at that window. I'll have to remember that mark.

-Ready?

-Yeah.

-Wow - you guys look really normal(!) Ha-ha.

Move! Come on! What would we be doing next? Let's mess around with being near the lens and away from the lens.

-If we keep the window in shot... You come foreground.

-I'll be serious.

-And Ben...

-Am I all right there?

-Just a bit farther over. That's it!

Oh, that's gonna be good.

All right, my edge point is now the window so I'm gonna take it. Go!

-All right. Fast one - go, go, go!

-Right, next.

-So we've got the hat.

-I might go really far back.

-Right, OK.

-What about if I go here?

-You all right there?

-Yes.

-Perfect!

OK. Take it, go!

All right, next photo!

-Hey! There's some crew!

-They're supposed to be working at this point!

There's Piers, our AP - he writes the scripts. Ben painting the floor.

All right, take it. OK.

I got the steps in shot so you can go just past the steps there.

What if I just show a leg or something here, not all of me.

There's the lighting guy and Bob. How you doing?

Excellent. Take it!

Done.

-Hi, everyone!

-Hi.

-All right. Posing for the camera, everyone? Give me good smiles!

-Am I on the edge?

-Yes, perfect. Ready?

Go!

Excellent, excellent!

-Come on, come on!

-Where now?

-Vanessa, stay still - you're my edge of frame.

-Er, some more camera dudes. I'll go right far back by Richard. Hi, Richard!

-Hi.

Hey, Simon, how you doing? Give us a smile. There you go!

Excellent!

-We're nearly back round.

-Yeah.

-Where now?

-Er, let's take it from there.

Hey, one of you pick his nose!

Ha-ha - nice!

-Take it!

-Breathe.

Hey, very good.

-Ben, will you go by the paint cans? Second last one.

-Down here?

That's it!

Perfect. Take it.

Right, last photo. Back to your original positions.

But let's mix it up by swapping over.

-Good idea.

-No, you don't want that.

-Ready?

Three, two, one. Big smiles!

All right!

-We've gotta plug it in!

-OK.

We're just gonna print those out.

Done!

-Right, let's bring them down here.

-That was the start point, wasn't it?

Let's splay them all out and you can match them up as we go.

-If you start at that end.

-OK.

-There we go, line them all up.

-I'm just edging backwards!

-OK.

-Shall I get back here?

-You can start that way.

-I'll start in the middle.

-So that window would line up with the table.

-These paint cans.

-That's gonna go about there.

-Ha! Look at you!

I'll shunt this way - running out of space.

-That fits really well.

-Looking good.

-That matches perfectly.

-Or it did until Major got hold of it!

-Ha-ha!

Sorry about that, Kirsten.

-Look at you in that hat!

-Looking good.

-You should wear a bowler - that's the new you.

-It suits you.

No pressure, Mike - it's all hanging on your one photograph.

-I think we put it in this way and match yours up on that edge.

-OK.

Have you matched that one up?

-Maybe just overlap it this way.

-Yeah, overlap it the other way.

-That's it.

-Cos you can decide to go under or over with each photo.

-I love that.

-Those are excellent!

-That is cool, isn't it?

Look - you can see the whole entire SMart studio in one shot!

That is amazing, isn't it?

Hi, I'm Mark Hamilton.

I've been a photographer for 15 years now.

Though I shoot pretty well anything, we're going to talk about landscape.

Landscape doesn't have to be fields or countryside -

it could be a cityscape, it could be the seaside, it could be anything.

The UK has got some of the most beautiful and diverse landscapes in the world.

And to find it, all you've got to do is step outside and look around.

All you need to get started is a camera, a steady hand and a good eye for a shot.

Today I'm going to use my digital camera

but you could just as easily use your disposable, or even your cell phone.

So come with me and let's go and take some good shots.

The first thing you need to do is decide what kind of landscape you want to take a picture of.

It could be here,

or here,

or here!

Remember to look at your scene from all points of view.

If I shoot over here,

I get the bin and the pylons in the background.

Now if I crouch down and shoot over here,

I get a clear shot of the village and the fields

and that's a much better picture.

If you want to get a better shot,

try and avoid those objects that will ruin your picture.

The great thing about working in the city is there's a lot of activity.

It's a fantastic place to be a photographer.

Look at the first picture - there's not much going on.

Now look at that - a lot more activity with a guy walking straight through the shot.

Take your time - absorb the mood of where you are and it'll show up in your pictures.

The beach is a great place to be creative!

Shoot your subject from different angles and see what it looks like.

Try a panoramic shot - keep the camera as close to the same level as possible whilst rotating.

Have each frame overlapped to ensure against gaps.

Once you've developed them, paste the prints together.

I'm in the middle of making my own mini movie.

You know when you watch films like Chicken Run and Wallace And Gromit?

They're made by Nick Park and his team at Aardman using a technique called stop-frame animation.

I'll show you what I mean. I've got my own Shaun the Sheep here.

He's made from sponges,

then he's got chicken-wire legs with some modelling clay wrapped round, the same on the ears,

and the head is a deodorant lid that I've painted brown,

with some googly eyes.

Then the set - again, very simple but in scale with Shaun.

I've got little curtains, some wrapping paper background and a nice plant that I made.

For my movie, I'm gonna make Shaun trot in here and read the paper. I've done a tiny little newspaper.

So I've got a digital camera, and then what I'm gonna do... Let's just switch it on.

I've propped it up on these books

so that so that I can have it at exactly the right height to be able to see Shaun.

There he is, just peeping in there.

And I've decided... There we go.

Let's just mark that

because one danger here is that I'll nudge the camera

and it's quite important to keep it still.

If I mark the edges I know, if I do knock it, where I can get it back to.

All you need to do is take a picture, like that,

and then move your character on a little bit, so let's just trot him in a tiny little bit.

And then take it again.

And then the tiniest little bit again because you don't want any sort of sudden movements in your animation.

If you think about how your arm would move down,

slowly it would go like that, wouldn't it?

So you need to capture all of that in photos, or frames, if you're using the technical term.

Let's just move it again, like that, and another photo.

Now, my mini movie is done in 26 frames,

which seems like a lot but actually that only make 5-10 SECONDS worth of animation!

So Nick Park and his gang are there for a very long time making those movies.

Now what I'm doing is, I've uploaded all of those photos onto the computer using one of these USB leads,

and I'm using a movie-maker package, so I've put them all in.

What's that done is put them in order so the sequence should hopefully run and bring my film to life.

If you've got the patience,

you can make your own home animations. Isn't it brilliant fun?

Subtitles by Laura Donald Red Bee Media Ltd

E-mail [email protected]