How to get Professional Photos with a Kit Lens: “Canon 80D” 5 Min Portrait

How to get Professional Photos with a Kit Lens: “Canon 80D” 5 Min Portrait

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Jared Polin,, here with
another 5-minute portrait/real world review. This time we are using the Canon 80D and 18-135
kit lens and this is a basic set up. But like I’ve said all along, we like to come
out here and shoot real world situations with actual cameras to see how they work out. So, my goal with this shoot like almost every
other shoot is tell an amazing photo story and this time we’re here at Norman Porter. We have Mike behind us. Mike, how is it going? They custom-make jeans here in Philadelphia. Go check them out at, because
they are pretty darn cool. So, what I want to get, I want to get the
wide shots. I want to get the tight shots. I want the medium shots and I want the detail
shots and this shop is made up of such awesome stuff that I think this camera is going to
do pretty well, giving me what I need. So, remember from time to time you may see
some other people pop into the frame, because we are filming this real photo shoot. So, I may just talk to them, say, hey, get
out of my frame. I want to get some cool shots. The goal, photos will transition into video
as well because this camera is a great starter point for shooting video, but I think it’s
time to get to shoot and here we go. Just follow us along. So, I’m just going to have you do your thing. Do your thing. I may occasionally just say, hey, hold that,
you know, hold that position, so I can get another shot, but other than that it’s really
just go about your day and I’m going to be here to capture it. Cool. So, my first thing is trying to figure out
what the setting should be. So I started at 1600 ISO because that’s what
felt right to me. And what I have to remember with this lens
being that it’s an 18-135, it’s variable aperture, at 18-135 and when I get out to 135, it’s
5.6. So I have to keep that into consideration. So, throughout the shoot I’m going to go ahead
and give you guys some input on my settings. So, I also have to compete with the back light
here, backlight meaning that the light is coming in through the windows there and I’m
shooting into it. Not the easiest situation to shoot in, you’ll
see later when I do some of the other photos is that I’m going to have my come over here
so that the light is going into his, basically shooting in the front and the light will be
at my back. That’s going to give me better pictures, but
so far shooting at 1/200th of a second at 35, I love the fact that I can pinch and zoom. That’s so good. Even the Canon 1DX Mark II doesn’t let you
pinch and zoom, but the 80D does and I like that. So, now you can be over here. All right, cool. So this gives me a chance to shoot over on
this side. I love this angle. I can get the – oh, this is super cool. I’m going to bump my ISO just a little bit
to 2000. Get my exposure where I want it. Basically simple tip for exposure. Line it up right in the middle because I’m
shooting in manual. You see the plus, the minus. If you start in the middle, you’re going to
get a good. It’s a good starting point to get your exposure
proper, then you can just simply take a look at it and make sure it’s close and go from
there and don’t forget always shoot RAW. I’m just going to lock my focus in. These are primarily tests right here. I want to see that my exposure is good. I love the light. The split light coming in from the window. This is going to be super cool. See, I did it again. I forgot that I go to the 3.5. It went from 4 to 3.5, but it wasn’t that
bad. So, I’m just working the zoom. Let’s check these out. All right. So, my aperture keeps changing. I was just zoomed out to f/5.6, so I had to
make the change to my exposure to compensate. Boom! Let’s take a look. Yeah, look at that. That’s super cool. I had to just ride the exposure. That’s just one of the things with a variable
aperture lens. You have to remember to ride the exposure,
like I said, at 18 3.5 all the way out 5.6. I have to make the changes or else my exposure
is going to be off, but that RAW is going to help me out. I just love this setup. I know I probably you need to move right here,
but you hear the beat because I’m locked in the single focus. I like the way. Yeah, hold that. I like the way you’re looking down to your
hand. Hold that real quick. Hopefully it’s not time-sensitive what you
were doing. Yeah, I like the way that I have the exposure
here. The lighting is super cool. So, I’m actually going to come over to this
side, so I can get some other shots, because I think I’ve done well with the shots. I love that I can still cycle through this
again. I said you can’t even do this on a $6000
body, the 1DX Mark II, but I can do it here on this body. Oh, steam, oh, there is steam. Oh, I’m going to have to get some steam
in a second. The low angle is so much nicer, plus I have
those Christmas lights that are going to be out of focus in the background. They are going to give me exactly what I want. Here is another thing that I’m thinking. I have to keep in mind the photo book. Don’t tell Mike. I may make a photo book or something. I have to keep in mind that some of those
images how they’re going to look on a 2-page spread. Mike, you didn’t hear that. You didn’t hear that, but maybe he did. Nice. Now I could probably switch into a continuous
focus at some point as well, but the colors and tones look pretty good and the sharpness
even at 2000 ISO looks pretty good. Now I’m at 1/400th of a second at f/4 at 2000
ISO. This camera should be able to handle that
ISO. What am I writing here in terms of the exposure
when I’m shooting? I basically have set the ISO. I have set the aperture even though it’s going
to be variable and I’m writing the shutter speed as I need it. If I’m zooming out, I know that I need to
let more light in. Why? Because as I zoom out, it goes from 3.5 to
5.6, which means the aperture is shutting down, closing the amount of light being let
in, because of that I need to compensate the first thing I compensate with as I compensate
with the shutter speed. It’s the easiest thing for me to click my
finger down on is to turn the shutter speed down, so that I let more light in, which is
going to give me a great shot. Also I don’t have to worry too much about
movement, though I would like to get some movement like this, if he was moving faster
or when we get over to the sewing machines, so that I can get some little bit of motion
blur with his face in focus. Let’s look at the details how we got the
hands. Let’s just zoom in and make sure we’re sharp. Here we go. I want to actually bump my ISO so down. I am going to go back to 1600. It means I’m going to drop my shutter speed
just a little bit to compensate for this. I love this. Yeah, I like the side shot as well. This works well. Oh, see, I just took a picture that cut off
just the edge of that denim right there. Now I want to keep that in there to keep it
uniform, so let me show you what I’ll do. I’m locking my focus right here on Mike, checking
my viewfinder coverage. I look around the edges to see where everything
is because I don’t want to cut off things that I shouldn’t be cutting off or I do want
to cut off things that I want to cut off. That’s why I look around the edges. Always checking my edge of the frame, so I
can get the stuff in it that I want. Boom! Exposure looks pretty good right here. You can actually go up look higher. Check my focus. That’s why I keep chimping. Chimping means I’m looking at the camera,
checking the exposure, checking to make sure that everything is right where I want it to
be. Just seeing what else we have hiding down
here under the table that could work. Oh, shears, right. We got scissors. Just for a second. All right. I want to get this. So, a lot of this is just seeing what’s happening
and capturing it. That’s what these candid photo shoots are
all about and I’ve always said this. It’s okay to say, ‘Hey, Mike, hold that
for a second to get the shot that you need, but that’s what it is. You get locked in. Generally speaking you’re not going to do
a photo shoot where you have to talk to the camera. Here I have to talk to the camera and worry
about getting good photos, but that’s why we share the stuff with you guys, so that
you can learn from it, so that you can go out in the world and do awesome photo shoots. And I’m seeing all this detail. We have all this fabric under here, which
I definitely have to get a shot of at some point, but this is cool. Let me show you. I’ll give you a quick look, so you can see
what we’re doing. That’s more of the tighter detailed shots. But as you go through, you can see this type
of stuff. All right. Cool. So, another thing I want to say is I would
love to throw the 2.8 lenses on here. That’s just me personally. But if this is what you had to work with,
you can get professional results with this all day long. All right. Okay. So again my exposure is going to change over
here, actually it’s pretty close. I am just going to quickly check it. I’m trying to shoot at the widest aperture
possible to get that background to blow out. Even with the 18-135 I can still blow the
background out. I just have to zoom out further. Remember that. I’m getting good stuff. Back here for another minute or two. How long does it take to go through full pairs
from start to finish if you are going straight through? Mike: About three hours. Jared Polin: Right. Mike: Give or take. Now they were cut out, maybe less. Jared Polin: Okay. This is kind of where I wish I would have
had a pole to shoot straight down, but what we can do is use Live View with this camera
and I can do it, get to 18 millimeters, touch where I want to focus, so I just realize something. I went into Live View, but there is a different
Live View. You switch the button back here to go to red
to do Live View for video. I simply just need to press this button to
turn Live View on for photos. I was trying to figure out why isn’t it
wide enough and why isn’t it doing what I wanted to do. Trying to get my angles as straight as possible. So, we got that. Switch back out of that by hitting the button. Another cool thing about the Canon 80D is
the fact that you hit the Q button and you can access just about everything you need
from the RAW, how many frames, do I want to shoot single? I don’t want to shoot multiple frames now. I can just turn this button. Now I am on single frame shooting, so I’m
not going to shoot the seven frames a second. Everything else here, I can change the focus,
change whatever I need all from the back of the camera. I love touch screen. So, let me cut in here real quick. If you haven’t signed up for the froknowsphoto
email list, just look for this orange box over on the website. Put your name, email address in it. Hit send it and I will send you a free guide
to capturing motion in low light situations. Now, let’s get back to the 5-minute portrait. All right. That’s where you are going to be? Mike: I’m going to be on the screen right
here and then on this one. Jared Polin: Awesome! So, Mike is going to set up to get on to that
one over there, but I already have ideas for how I can shoot him when he is on this sewing
machine. I love that. I can stand far back in this corner and shoot
through the other sewing machine materials to give me out of focus stuff in the foreground,
which is going to allow me to get cooler shots with the blown out of focus even with the
kit lens. Now I just have to find the right angle. And then I’ll check my exposure. Oh, this is awesome. Oh, I love it. Oh, I love it. It’s a quiet machine. Mike: This one in here. Jared Polin: I love this because I can zoom
in, get the tighter shots, got to ride the exposure though. I don’t want to forget about that. And when I say ride, it means drop the shutter
as I am zooming out to 5.6 because I want to prepare for getting whatever is going to
do on the machine next. So I’m going to get in tighter and get a tight
shot of something going in the machine. Actually I am going to go back into continuous
drive. This is cool. See, I have to fight the back light here,
but from the side I get all this other detail stuff. So, I am trying to get his eyes, the way that
he is doing those. Oh, okay. It’s a lot of photo shoot. I’ve spent just – being in your brain,
trying to see the images, and then having to talk to the camera something different. So I hope you’re enjoying just watching everything,
as it’s happening because it’s a real photo shoot. Mike: I’m about done this one. Jared Polin: All right. Give me one sec. I will just show you this, because I really
like shots like this. It gives a so much detail going on in the
frame. You’re working at a distance, but we know
what you’re doing. You have all of the other stuff in here. I made sure not to cut this off because in
some images you would be like cut it off because it doesn’t look as good, but you can simply
just go through here and I love the low angles because it’s candid. It gives you the idea and it could be black
and white. It could be color. Yeah, just details, just different things
that you’re able to get with one basic kit lens. Yeah, and at some point I’ll probably have
you stand over here and do a quick portrait and the way that you were just standing with
the leg crossed and everything that was actually pretty cool. There is different names on the sewing machines. Is there like a Nikon versus canon thing going
on in the sewing industry? Mike: Pretty much, different manufacturers,
different machines, Japanese manufacturers, some with me in China. This is a Union Special. A lot of sewing machines are based off of
Union Special. They were an older company, made such great
sewing machines, in fact, a lot of their business dropped off because their machines last so
long. Jared Polin: It’s like the… Mike: Juki now manufactures a lot of machines
based off of their original designs. So, Reece, like Reece is known for making
this type of machine, buttonhole machine. Different people have different specialties. A lot of these are really old. Some of them are new like the Jukis are newer
but – Jared Polin: Nice. Mike: This is a pretty old machine. So, this is Reece. Jared Polin: Nice. Mike: That’s called – the guy who actually
services these machines, a very few people left that can do the really specialty ones
like this Reece machines. The guy that used to come to me actually passed
away. Yeah, he was retired and he would come and
do it, just because [Indiscernible] [00:19:57]. Jared Polin: This is going to look good when
we shoot the video stuff. Distance here. I’m trying to shoot through these different
machines to give us all different types of looks. And as you can notice, I try to keep my lines
as straight as possible. That’s why I stay parallel here sometimes
coming from an angle is good to get what you’re looking for, but we got all the light coming
in from this way. We also have all the details of these machines. That’s what’s allowing me to get these uniform
shots that look cool on a 2-page spread. At some point I need to do some verticals. I’ve done a lot of horizontals, but we’ll
get some verticals up in the there. And here on this shot, it looks like he’s
wearing the hat except that’s a light fixture. So, I’m going to make it not look like that
at some point or some way. Can you look right at me right there, just
putting your eyes up, chin down a little bit? Boom. Good. Thank you. I know we’re not pushing this too much as
it comes to continuous focus, but it really doesn’t call for that. But I’ll go into that AI servo. Now, I want to see if I can get that angle. All right. Good. Mike: Good over here. Jared Polin: What’s next? Mike: Let me go into that machine behind you. Jared Polin: Okay. Mike: [Indiscernible] [00:23:24] Jared Polin: All right. Mike: I need to get the [Indiscernible] [00:23:29]. Jared Polin: Okay. A lot of this is – let the situation happened. That’s why I love candid shoots. We’ll let most of it happen. You see what’s going on and you just try to
visualize, pre-visualize what the image should look like and that’s what we’re going to do
here. I’m also thinking about I have a lot of the
tights and the mediums. I need to get some detailed shots of the sewing
machines around here that help tell the story and then just more work and definitely the
portraits. So, this is all just for one pair? Mike: Yep, all these parts for one pair. Thank you. Thank you. [Indiscernible] [00:24:15]. Jared Polin: A lot goes into it as you can
see or as we can see. Hold that real quick for me. You don’t hear the beep now guys, because
I switched out into continuous focus. I like this angle. Oh, that’s cool. I like that. Going back into AI one shot here. I also want to get some shots from back here,
trying to get the name of the business in there. These always look good on 2-page spreads. Not only does have a lot of detail, but also
has the name of the business, so that definitely comes in handy. Can I ask you to look out the window real
quick just a little more turn – like turn your body to the side just slightly? There you go. I just want to get a quick shot here. One more. All right, you’re good. Thank you. That’s fun to shoot guys. It is. It’s fun. Whatever camera you put in somebody’s hands,
you should be able to get great shots with, I don’t care if it’s a kit lens or a basic
camera to start with, it’s all about understanding your exposure, your composition, and what
goes into making a quality image and at that point you need to just get out of worrying
about gear, gear, gear, gear, and use whatever you put in your hands. That’s the point of doing these 5-minute portraits
real world reviews is to show you that you can get quality results no matter what you
use if you understand the fundamentals. And what I’ll say is I love using the top
of the line glass and I love using the top of the line bodies. It’s just that when a professional uses the
top of the line glass and the top of the line bodies, it’s because we have the ability to
pull more out of the images we’re trying to capture with that. That’s why if you’re just starting out and
you buy the most expensive gear in the world and you don’t know what you’re doing, you’re
not going to get great results. I can take a basic camera like this, come
out here and get great results, and that’s what it’s about and you guys can do that as
well, if you understand the fundamentals and what goes in to making an image. Is this a water bottle or is it? Mike: Yeah. Jared Polin: Okay, I’m just making sure that
I want to see if it’s part of the scene? Mike: No. Jared Polin: Yeah, do you mind if I put the
water bottle down? Mike: Yeah, some of that – I’ve just got
like some business stuff on that paper. We can move that paper and move the water
bottle. Jared Polin: This? Mike: No, the craft paper, sorry. Jared Polin: Oh, that? Mike: Yeah. Jared Polin: Can I cover it with the notepad? Mike: Yeah, sure. Jared Polin: All right. So, this is a good rule of thumb guys. If you go into a profession, if you go into
somebody’s place of work, don’t pull plugs and plug your phone in, unless you ask if
that thing is okay. Now I bet you had that happen where they pulled
a plug and they turned off his refrigerator and he thought it was broken. Don’t do anything like that until you ask
for permission. In this case there’s business stuff here. We don’t want to get that on there. So, I’m going to make sure I’m going to cover
it. Not on the [Indiscernible] [00:29:04] but
just something like that. All the writing is covered. Cool. All right, because there’s cool detail stuff
over here to shoot. Do you make wallets also? Mike: I made that wallet. Jared Polin: Nice. Mike: It’s actually friend of mine’s design. I can’t take credit for that one. Jared Polin: And here is another thing. I’m actually going to step further back because
at 18 millimeters, you get that Boeing effect. I don’t want the Boeing effect. I want to zoom out more. Do you mind if I move the iron up just a little
bit? Mike: No, go for it. Jared Polin: Thank you. Yeah, don’t touch the other side of it. I just want to be able to zoom in and get
this and I was getting the edge of the iron in there and didn’t want that, but we’ll see
how this isn’t Boeing anymore. Making sure I get, ah, oh, yeah, you’ll see. You’ll see much better. See, at first I was going to shoot this and
I was going to cut off the lamp like that and I don’t want to – actually that looks
pretty good, but I want to try to get the whole lamp in there and then get both shelves. Cool, cool, cool, cool. All right. This is where the stuff can come in handy. This one looks good. So, let’s see if I can do this. Let’s see if I can focus in on the sheers
and get Mike out of focus in the background. So, we can get Mike out of focus in the background. Most people think you can’t do what I just
did with the kit lens even while we’re at 50 millimeters and that works. I guarantee you. Should I guarantee you? Let’s try it, 18 millimeters. Let’s see if we can keep him out of focus
in the background and recomposing. Look at that. Even at 18 millimeters, you can still do it. Don’t let anybody tell you with a kit lens
you can’t blow the background out of focus. I call it blowing out of focus. That’s just me. Other people call it bokeh. It’s the out of focus area in the background. I just did it at 18. I just did it at 50. When you get close to a subject, the closer
you get to the subject and the further and in this case the subject of the scissors the
further away the other guy is in the background, it’s going to blur out of focus even at
18. That’s awesome. I even have Image Stabilization on. I’ve had it on the whole time just to give
me an extra little stability when I’m shooting. That is super cool. I’m going to actually bump my aperture a little
bit turning this back dial. We’re going to do it about 5.6, because I
want to get a little bit more of the scissors in. My exposure looks about good. Like I said, line everything up in the middle. Change my angle. Do you mind if I move the Norman Porter tag? Because I want to get some cool shots of that
very similar to what we’re doing here. Yes, I’m changing the scene a little bit. That’s just what I’m doing to get the shot
that I want to get, but I ask permission and I don’t want to cut off my head up there. I just did on one of the shots. Yeah, I want that, I want that. So I need to back myself up, zoom in a little
bit. These chairs, did you put the leather on these
chairs? Mike: Yeah, that one. Jared Polin: Oh, man, you made it feel – that’s
so much better than just the other stuff. Let me zoom in. Oh, that looks cool and we’re at F5. Let’s go to F6.3. Now because I’m going to F6.3 from 5.6, I
want my exposure to be basically exactly the same as it was before. So that’s half a stop and it’s going to
go to 1/25th of a second and a half 6.3. I should have about the same exposure. The reason I do that is because I want to
get more of the Norman Porter in focus and we did. It’s really cool when you can find the angle
and this is a proper stance. You see this stuff? Look at this proper stance. The bud’s out. Perfect. And I don’t have a vertical release on this
camera, so I’m putting my hand over. A lot of people like to go under. I personally like to do it over. This is awesome. This is cool. All right. So, think we are going to take a quick second
here and then we’re going to fire back up to get some portraits and then move on to
do in the video. So, I hope you’re liking the photos that I’m
capturing, but if you’re finding yourself not being able to capture images that are
similar to the ones that I’m capturing and you want to take advantage of what your camera
can offer you, well, I have the froknowsphoto guide to getting out of auto, which is a three-hour
guide that’s going to help you unlock the potential of your camera to help you get the
photos that I know you can capture. So, if you want to check that out and get
a free preview, head over to right now to check that out and now let’s
get back to the 5-minute portrait. So, you saw that we got a bunch of candid
shots. Now I want to throw in there some portraits. So, I got Mike to stop. Thank you for stopping and then we’ll get
these portraits and then we’ll get back to work and switch this off into video to see
what we get. So, I’m thinking – I love the way that you’re
looking right now. This is cool. So I’m just going to direct you from here,
then we’ll probably move on to this side, back up [Indiscernible] [00:35:50] it’s
just some cool. Actually may I have you sit on the stool for
that? But let’s focus in on this. So, I’m inching away like I’m scared, which
is funny. I like what you just did. You know how you did that. You looked down on that angle. Give me that again. Let’s see. I just have to see how this looks. Mind if I move the stool? I ask for a lot of permission when I do these
things. So, I’m going to do – how tall are you? Mike: Six five. Jared Polin: That’s too tall. It’s not too tall. How many times have you hit your head coming
up the stairs? Mike: Enough. Jared Polin: Enough? Mike: Enough to warn everybody. Jared Polin: Yeah. So, I’m just checking my exposure first. That’s what that first shot is about. It’s cool. I definitely want to get in some tighter shots
and some different angles. All right. Here we go. So, this is just looking at me. Boom! Just making sure that I get everything nice
and tight. Tighter shots are always nice. Boom! You hear lots of beeps because that’s my focus
beep. Now let’s turn this way. Follow me. Just turn your feet slightly. There you go. Now that’s towards the window. So, we get some cool light coming in. A portrait like this is fine. But it doesn’t show the work environment. It doesn’t show what’s going into the situation
and I’ve said this a million times. If you could be at the Eiffel Tower and do
a head shot as tight as I just did right here and never know you’re at the Eiffel Tower,
I love showing the scene showing the environment. Tight shots like this, yeah, fine, boring,
boring to me, but I want to get the wider shots that tell a story of what’s going on. That’s why I’m going with these ultra – this
full body wants to start. Now, just look down on an angle. All right. Chin up just a little bit. All right. Look out the window for me slightly. I just check that I got my exposure is good. Yeah, that’s perfect right there. Just let me know if we’re taking too much
time. We’ll get you moving. All right. Now, look right at me. Cross your arm. Perfect. Boom. Okay. What I wanted to do is have you sit right
here with your back towards this. I’m going to come up over here on this angle
because I want to get a shot with you in this workbench area. Still hot right. Mike: Probably. Jared Polin: Where can I move it and not? Mike: You can unplug it and take it out of
the picture. Jared Polin: I think I got it right there. That’s perfect. Here I have the windows on both sides, which
are pretty cool. I love the workbench right there. So, I’m also making sure that I don’t get
that light in the back of your head. So, I’m going to show people this real quick. Probably not a good shot. I’m going to just show you. This is what’s called a merger. See that. We have the light coming out of the top of
his head. I don’t want that. We are going to be right here. So, the light is more to the other side. Boom! A couple of more on the wide side. I’m just trying – I’m losing that other
hand. I’m losing that and I don’t want to cut it
off. Yeah, good. See guys the picture I just took. I’m losing the fingers on the hand I’m not
a big proponent. Cutting those off in the shot. I want to have them in there. So, two things, I am going to raise my angle
and get this. Alright how about if you cross your arms for
me? Yeah. There you go. And this way the angles, I like straight lines. This line of the table was running out of
the frame in an awkward way in my opinion. So, I just want to get these shots that are
tighter across. I’m going to back up so I can compress this
more. Because I’m zooming in, I have to drop my
shutter speed. I’m also going to throw off to one of the
sides, so I have a full 2-page spread without losing it in the gutter. Cool. Nice light. Let me show you these real quick, so you can
see what I’m doing. That shows you the work area. Look good. All right. Can I get you standing right here? Mike: Sure. Jared Polin: Yeah, that’s fine. You can keep doing that. That works. Okay. We got these. That was good. Let me get down here a little bit of a lower
angle. All right. What else could I do? Well, I like those. Those look pretty good. What am I missing? I’m going to put you over here real quick
just on this angle because I get the nice light coming in. We can move this back over there and I’m just
going to shoot this and this will be the last one and we’ll let you get back to doing your
thing. Perfect. Where is the exact – so I’m going to see
– you see how the table is like this, there we go, but then – and then I have to contend
with the background. Now, if you can do, I want you in the exact
middle of that or the exact middle of this. Mike: [Indiscernible] [00:41:59]. Jared Polin: All right. Let’s see. I make sure my lines are straight and make
sure everything is good. So, here’s what I’m going to do. I want to zoom in a little bit. Obviously I can’t do that unless I move to
one of these sides, then I’m going to get super wide right here. Perfect. Yeah, here we go. I am going to actually have you move this
way a little bit. Follow me and be straight on with me. Perfect. Just check. Let me back up just a little bit as much as
I can. Now I’m going to F4. It’s where I should be for these. I just want to get this ultra wide with the
table bending here. Okay. I think I’m good. I’m good. And I’ll let you get back to work. You don’t want to take up too much time
for that. So, I just want to go around and get some
detailed shots. There’s a lot of – Mike is taking a quick
break and I want to get some of the other things that are going on that just are really
cool detailed shots that help tell the story and explain everything that’s going on. I got this right here. That was really good. I want this. These are the true candid portraits. They’re all set up. So, detailed shots like this can look good
on a cover of a book. They can look good on a background of a website. So, I just shoot them. You never know when you need something or
a plate that we use when we do video as a background [Indiscernible] [00:45:06] the
photos up on. Here is your lumberjack material. What’s next up for you? Mike: [Indiscernible] [00:45:22] and then
I’ll come to this area. Jared Polin: All right. Do you have a bunch more sewing to do at all? Mike: Yeah, I mean [Indiscernible] [00:45:29]
halfway through. Jared Polin: All right. So, if you want to go, just go do your thing
and all. I’ll get my details and then I’ll move on. So, we can move on. Is there anything on the board behind you? That is bad to shoot. Okay. I got some details. Let’s get this into a video camera. One last thing I’ll say about that, though,
if you’re going to shoot stills and shoot video, I’m a big proponent. Do the stills and focus on the video or focus
on the video, then focus on the stills. Don’t try to jump back and forth on both. If you try jumping back and forth on both,
you’re going to end up missing a lot of the stuff you want to capture. Let me jump in here real quick and remind
you that if you haven’t subscribed to me on YouTube, go ahead and hit the Subscribe button,
so you can be notified when my videos go live so you don’t miss anything. Also be sure to give a comment, like, and
share it if you are enjoying it. Now, let’s get back to Norman Porter. And I hit Record and we’re now recording and
I hit the Record button wirelessly on the 80D by using my iPad. They have this awesome app that allows you
to not only hit Record, Start and Stop, you can change all of your exposures, everything
that you need to do right there, as well as do touch focus on the iPad. This is an amazing function. You could also do it using your cell phone,
because they have the app to allow you to do that. Now normally you wouldn’t find yourself sitting
here and controlling the focusing on. Oh, I want to focus right here and I touch
the screen and cinematically it pulls the focus away from me and, oh, I want to focus
back on me. I can go ahead and touch me and it’s going
to focus on my face. This is awesome in case you’re a one-man band
and you just need to do your own video, you set up the tripod, you can hit Start and Stop,
you can pull focus where you want or it’s even better if you’re a filmmaker and you
want to stand behind the camera and just sit there and control everything without touching
the camera, which would cause shake. So, what is so cool here is I could be like,
oh, I want to focus here on the background and there you go and then I want to pull back
to here and it moves smoothly and cinematically and looks incredible. This app and this functionality and this camera,
the fact that I can hit Start Record and I can hit Stop and make all the changes I want
including pulling the focus, this makes this a professional tool. Oh, I should focus on me right now, because
I’m the one talking. There we go. So, now it’s focused on me. This is a professional tool for shooting video. I don’t care if you’re using a full frame
camera or you are using a camera like this, if you get great footage that looks awesome,
it doesn’t matter what you shot it with. So, that’s it. We’re going to keep playing around with this
pull focus. So, that’s pretty much a wrap on shooting
this Canon 80D with the kit 18-135 here at Norman Porter. Mike, thank you very much for letting us do
this. It was awesome. Now we’re going to send it back to the loft,
so I can analyze the photos and give you my feedback on this camera and this setup. So, let’s head back to the loft. Here we are back in the loft and it’s time
to go over the images and my feelings for shooting with this camera. Now, every time I go out and do a 5-minute
portrait or real world review, it’s always a challenge to use a different camera, a different
lens, because I’m so used to using, say, a Nikon D5 or a Canon 1DX Mark II, but the challenge
is being able to take any camera that’s in the world, any camera on the market right
now, or even in the past and going out and getting fantastic results. So, when I first started shooting out there
at Norman Porter, it was a little – I had to get out of my head. I did get back into the shooting mode and
that’s exactly what I ended up doing. It didn’t matter that I wasn’t shooting with
a D5 and I didn’t have a bag full of lenses. I had one lens to work with. And when you start to realize that you have
to use the tools that are in your hand, you start to forget about those tools and concentrate
on capturing the photo story, because it’s all about the photo story. Let’s take a look at some of the keepers,
some of my favorite images and remember you can download some sample RAW files over on
the website, as well as the full res JPEGs. Now, I always say it’s about the story and
that’s exactly what I was able to capture right here. Starting off with a shot like this, it gives
you the ability to see what’s going on in the scene and I love how I go from the wider
angle like this to a little tighter shot along these lines. And look at the contrast. It looks thick. It looks great. Remember it’s not just about how you take
the photos, but it’s also how you process the RAW files when you’re done. The RAW files can be brought to life in post-processing. I see so many people taking photos and neglecting
their editing. It’s about capturing the moment and then being
able to bring it to life in the computer as if you were in the darkroom except we so happen
to use light room right here. I just love the moment captured. I love – this is a 2000 ISO and everything
looks perfectly fine and, yes, I see noise and I see grain on the screen right here,
but when you print it out in 17×22, you do not see the same imperfections in the print
as you do see on the screen. Now, see, I like this image. I got some hand movement going on there. I’ve got the steam coming out of the iron. But then when I was building the photo book,
I decided which photo was better, the one with the steam or the one with the arm outstretched
and I thought that this image worked out much better. So as we move on, you can see how the story
is being told. We started off with a shot like this. And then as you can see, it bookends with
a photo like this. That’s what the story is all about being able
to build each individual image into something that tells a cohesive story. I love this shot from the back in black and
white. Yes, we have – we’ll point out we have
our film pack on there. That’s because we were filming and getting
Mike’s reactions when we were doing the photo shoot, which is part of what we were doing. If it was just a photo shoot without a film
crew there, obviously you wouldn’t see that. But what I love is the ability, what is it,
18 millimeters, 1600 ISO, 1/200th of a second at 3.5, this is telling an awesome story. The black and white looks fantastic. The angle – just everything going on in
the image, it shows you his work station. It helps tell a cohesive story. And then this is one of my favorite ones from
the entire shoot. So, I had this printed out on the Canon PIXMA
PROGRAF 1000 and the print. When it came out of the printer, I looked
at it and I was like, ‘You would never know what camera and what lens combination took
this picture,’ because when I was looking at a large print, a 17×22 in black and white,
I couldn’t see the grain. I couldn’t see the noise. I couldn’t see imperfections. Sure. If I looked super close, I probably would
have been able to find something, but in the grand scheme of things, if I showed you that
print and you didn’t know what I took it with, you would never know what I actually took
that picture with. What it really comes down to is that no matter
what camera you have and what lenses you have, you need to be able to get great results. The problem and the thing that I’m tired of
hearing is that I can’t get great pictures because I have a basic camera and a kit lens. The truth of the matter, it’s not the camera
or the lens that is holding you back. It’s you. You are in control of the pictures that you
are capturing. If you don’t understand your exposure triangle,
composition, and how to use your camera, you’re not going to get fantastic results. But the truth of the matter is this picture,
I wouldn’t know what it was taken with, if I didn’t know what I actually took it with,
so let’s keep moving on here. Part of the story, you get the tighter shots. The colors look good. The black and whites look good. I’m happy with the RAW files. My focus for the most part was on. Now, of course there is some where I missed
the focus just by a little bit for whatever reason. Maybe the camera didn’t hit it. Maybe I personally missed it. But I think for what it was giving me, the
focus points, I put them where I wanted and I got the shots in focus that I wanted. Again, don’t forget in the story there is
the thread that goes into sewing the jeans together and that’s what this is right here. Looking out the window. Look how fit and awesome this contrast looks. I was shooting in manual exposure. There is no reason for me to be an aperture
priority in the scene where the light really isn’t changing. And the only thing where the light changes
is when I zoom out and my aperture goes up or the light we get closer to the window. So, as you keep moving on, you can just see
the story that’s being told. And coming up to an image like this is where
it should wow a lot of you. Now, why should it wow you? Because most people say, ‘You shouldn’t
be able to blow out the background with a basic kit lens.’ This is here to prove to you that you absolutely
can. If you understand how to use the camera that’s
in your hands, you’re going to get fantastic results no matter what camera you pick up. And being able to do this, look at this. We’ve got the Norman Porter stuff in focus
with Mike out of focus in the background, but you know that he is working. This is one of my favorite shots from the
entire event and this proves it to you once again we’re at 69 millimeters for that one. We’re at 29 millimeters for this one .It theoretically
breaks all the rules that says you shouldn’t be able to blow the background out with a
kit lens, but you absolutely can and this totally proves it. We have the portrait photos. We have the shot set up like this to help
round out the entire story and then we end with something along the lines like this. That’s just a handful of what I think are
the best of the best of the best images with honor, sir. At the very end of this video, we’re going
to have a slideshow that’s going to go through what I think are my best images. So, be sure to stick around to go and watch
that. But also remember you can download these RAW
files and all the full-res Jpegs to go ahead and tweak them for yourself to see how the
results are with this camera. Am I happy with the results I got? Absolutely. When I was doing the editing video, which
you can check out in the play list, I was looking at these images going, ‘Wow.’ It’s great to be able to do that, because
it’s a challenge every time I step out there to get images while we’re filming a video
and to come back and get great shots is awesome. So, if you haven’t signed up for the froknowsphoto
e-mail list, just look for this orange box over on my website. Put your name, email address in it. Hit send it and I will send you a free guide
to capturing motion in low light situations. If you haven’t liked this video on YouTube
or given us a comment, please do that. And if you haven’t subscribed, go ahead and
subscribe right here on YouTube, so that you can be notified when my videos go live. So, I’d love to hear your feedback. What do you think about this 5-minute portrait? Leave us comments down below and that is where
we’re going to leave it. Don’t forget. Stay tuned for the slideshow after I do my
sign-off. Jared Polin, See you.

100 thoughts on “How to get Professional Photos with a Kit Lens: “Canon 80D” 5 Min Portrait”

  1. One of the best “how tos” I’ve ever seen! I know it’s beside the point of video, but I’m getting the 80D! I like the quality at hi ISOs and auto focus.

  2. Hi Jared, enjoyed the video. Just got the 80D with same kit lens and going out to do shooting for first time. What software do you suggest for post production of raw files?

  3. I am a beginner and i have canon 750D 15-55mm kit lens and when I watched this video I got to learn more on shooting the kit lens…

  4. I just bought the canon 80d as my first dslr and am learning the basics, didnt plan to watch this whole video but I stayed till the end. I got so much from this, cheers bro. I have subscribed and will be back. Would like to see you do more on video for canon 80d! Thanks. Will.

  5. Thank you for sharing your knowledge on the 80D… I have had this camera for a few months and still learning.. PS…. Keep on doing your Awesome – Jon

  6. I would like to buy my first DSLR, I cannot decide between canon 200D, nikon 5500d and this canon 80D, I would like to do some videos too, and I love this articulating touch screens

  7. Just saw this one and love it. Great documentary, tutorial, photos are excellent and also match what you’re trying to convey very well, the whole story is quite clear and very well done. Learned a lot! Subscribed.

  8. Hey Jared, beginner here. I have a question for you. I have recently been watching your videos and what my question is… I have seen other videos about getting the right exposure I just started in photography and want to master the manual mode. Ive watched many videos and they always say keep the ISO at 100 as much as possible. but you are not staying around 100. so what is your input on that?

  9. This lens is quite the sharp one. And it has quite the nice stabilization too. I really wish it had something like f2.8 non variable 😛

  10. totally agree with you…but would you also agree that having better equipment means lesser time spent in PP provided you know what youre doing. Just like how 5D iii handles shadows and highlights compared to a T3i.

  11. i like so much your 5 min portraits. You should do more vids like this, with old cameras. I have a g5 Lumix with a kit lens and a 100- 300mm (mega). If you want a challenge, make this camera great again.

  12. Can someone please help me? I SHot RAW pictures on my canon80d. I used the canon connection app and send it through wifi on my phone. I Saw people commenting that IT is not possible to send RAW images directly to your phone. Is that true? Cause it worked for me.. or is It possible that the RAW photo turned into something else ?

  13. This is the most comprehensive and relevant video I've seen on the Canon 80D in a real-life scenario, especially for the photography aspect of the camera. Thank you for taking the time into making such an awesome and informative video!

  14. Hey man – thanks for a great review and some really awesome tips on how to use a camera properly. I currently use a Canon EOS 400D (12 Years old) and am saving up for the 80D. I had already made my mind up that I wanted it but this has just completely confirmed that I want one. I really like the way you put that video together and just seeing how you position yourself to get the shots as well as adjusting exposure as you change the focal length (i never knew that it changed aperture). I've had my camera for ages but I'm only just starting to learn how to use it properly. Keep up the great work – its not often that I watch a full hour long you tube video. You got some great shots! Subbed and liked!

  15. Mad respect for you man. I appreciate you showing the common folk that they don’t need to bankrupt themselves to make art.

  16. Hello, I will be getting this camera in a few weeks. How do you think this camera holds up after two years being out? I will be shooting exotic cars, landscapes and portraits. What is a good all around lens to carry?

  17. I did chuckle at the fact that the guy's expression never changed but it really worked for the pics. Seems like a nice little factory too. Fantastic video. Im looking into the 80d as an upgrade for my very worn out nikon d3200. This video sold me. Excellent work. Amazed at the quality of the shots considering 1600 ISO. Anything above 400 is unusable on the d3200.

  18. Stevie Ray Vaughan's Number One was a beat up stratocaster, and he made audible gold out of this guitar, it doesn't matter what camera you have as long as you do your thing

  19. Know this is an older video but felt the need to leave a comment. Great stuff, great points, and as a person with a "less" expensive camera and just getting more heavily (trying to anyone) photography it exemplifies the importance of learning the basics, composition, settings, lighting, etc. Just found your channel to browsing through videos.

  20. I’m new to you and the Camom 80d. Buying this Christmas. Loved the 5min shoot at the jeans place. Please tell me why you put the GoPro on the 80d hotshot. Thank you.

  21. can we forget about the camera stuff for a minute and talk about how hot and handsome the tailor is??? holy shit i think i'm gay omg he's so hooooot…

  22. I absolutely love your channel. It has kept me going through many a slump. Thank you so much for all the content you've created

  23. Jared your channel is by far the most informative and educational photography channel with tangible takeaways every time. Always learning something new from you. You frame topics incredibly well and make them digestible for an amateur like myself. Just purchased Going Above and Beyond Auto because of all the value I've received from your videos. Thanks Jared!

  24. Well now I'm not sure if I want to upgrade to the 80D or 6D Mark ii. I currently have a Rebel T4i but wanting something better for low light.

  25. Shooting in a dark theater with my T2I and 15 – 85mm means I am limited. I can get some good shots but miss others with a useable ISO of 1600 max. Equipment does matter, although point taken. Thanks for video.

  26. Jared – Love your work, you are a true inspiration bro 🙂 #myfavvideo #greatcontent #phototellsthestory.. Awesome job again..!!

  27. Super sir.. really you are impressive all your videos, after your guidelines only I am purchasing Canon 80 D,.. thanks sir. I have one doubt what is suggestible picture style recommended in Canon 80D .. ?

  28. Why not auto-ISO when using a variable aperture lens?

    I know it's an old video.. but it'd be nice if you threw up the exposure settings on each picture.

  29. Thank you for sharing this. It makes desicions so much easier for me, to See a Camera in real life. Had issues with the 18-135 with unsharp edges, but i just have to work around this issues

  30. Oh my goodness. I feel like I hit gold by coming across this video. I just ordered an 80D, so of course I'm searching for tutorials on YT in order to learn how to use the new equipment. Yes, I am learning SO much from this video. BUT secondly, I sew dolls for my business. This video is very helpful by providing me some in the studio shots I can use for myself. The shot with the scissors and the guy blown out in the back was very nice! Thanks for this video!

  31. My 80D only lets me record video for 30 minutes with a 32gb sd card. No, it doesnt stop in 30 minutes. The whole card only give me 30 minutes worth of footage. Do you know how to fix that? Yes I have formatted the camera. I've used different 32gb sd cards and they all hold 30 minutes. HELP PLZ

  32. I've spent all night trying to figure out how to zoom in to take a picture!! After like 9 hours, I finally realized the "unlock" lever actually lets you move the stupid lens! FML. I am an idiot.

  33. Great video on 80D, I just got the camera for over week half ago, and really enjoying my 80D, but I got bigger zoom lenses. 18-135mm, it really well built Len, great images and video. At first I was not sure what was on your top camera and it GoPro,,, great idea…

  34. Honestly, I've been between picking one of these cameras up and I just ordered it. Gotta love Jared. Pretty dead on honest reviews and this one is educational in a way that doesnt bore you. Gotta love it

  35. Step One: Hire a GORGEOUS MODEL or find a hot girlfriend (or boyfriend)
    Step Two-Find an interesting location OUTDOORS
    Step Three-Shoot away until you get bored…
    Optional: Bring a friend to hold a battery powered strobe as it will make a HUGE difference in IQ..
    With a strobe, the lens is almost irrelevant…You (if you could trigger it) could take amazing pics with a CELL PHONE CAMERA with a strobe…That's how much the strobe ups the IQ..
    And with a strobe, your settings are ALMOST irrelevant…ALMOST…
    Fro should be saying LIGHT LIGHT LIGHT not GLASS GLASS GLASS…;)

  36. First Improvement to the 80D Kit is to add a constant aperture lens..17-50 2.8 or even the 24-105 F/4…Save your variable aperture for long zooms that you will almost always use outdoors in daylight…Esp since the 80D is a crop sensor/aps-c format sensor, you need as wide an aperture as possible…Like the Sigma Art 1.8 lenses, even though they are really pricey…My only problem with the 80D is the metering..It tends to over use ISO and overexpose..I've had to comp it by up to 1 stop at times…The D500 I used for a week or so seemed to meter more consistently..It also has like 1/3rd stop ISO, so you get "weird" iso values like 15,000 and 5600 and other weirdness…But the D500's images almost look "full frame" as far as their depth..But the 80D is FAR quicker and easier to change settings and it has a flippy screen..AND the 80D grip is "beefier" than the D500..The D500's body is taller, so the grip is taller/longer, but the front curve is skinnier than the 80D, at least that's how it feels….And the 80D just travels better…Toss it in the front seat of your car with the screen turned inwards and it's fine…But for overall specs and features, the D500 blows away the 80D AND the 7D Mark II…Dual Card Slots-XQD and SD-4K video-10 FPS-Lower profile battery grip so it fits in your camera bag better..Quick-ish access to CERTAIN settings…And a seemingly, much tougher body, that literally FEELS like it weighs nearly the same as the 80D…It feels more rigid, better built than the 80D, which in turn feels far better than the Rebel series..I used the D500 for a week or so and kept coming back to "But it's not full frame" so I wish that they had the same everything, with just a full frame sensor, maybe 24mp instead of the D850's 45..No matter how many aps-c cameras I've used (it's like 6 or 7 now) I never stop wanting a full frame sensor in that same body..I just don't want to pay $2-$3 K for it!

  37. Some of these pics WOULD be really cool framed with a denim mat like you overlaid in the video…Esp the one of him from behind, showing off his company t-shirt..

  38. Far Too excitable for me, talks a great deal (quite loud and over exuberant) but doesn't actually show you what he's doing with the camera and his fingers. Don't just shout numbers and figures etc.  at us, SHOW us what your doing on the camera settings, what your pressing etc.

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