Capture Tack-Sharp Photos on Your iPhone and Android Smartphone | Mike J. | Skillshare

Capture Tack-Sharp Photos on Your iPhone and Android Smartphone

Mike J., Smartphone Photography Training

Capture Tack-Sharp Photos on Your iPhone and Android Smartphone

Mike J., Smartphone Photography Training

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13 Lessons (1h 54m)
    • 1. Introducing: Capture tack sharp photos on your smartphone

    • 2. Stabilise the subject

    • 3. Haze or other atmospheric issue affecting

    • 4. Control lighting

    • 5. Contrasting background makes your details stand out

    • 6. Clean Your Lenses The Right Way 1

    • 7. Optimal camera and app settings

    • 8. Capture close-up details using a quality macro lens attachment

    • 9. ISO and shutter explained

    • 10. Camera Stabilisation Tips 2

    • 11. Manual focus smartphone macro lens attachment world first  Struman Optics

    • 12. Shoot manual focus in black and white

    • 13. Different shooting modes affects sharpness

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About This Class

"Are You Disappointed with Blurry, Low-Resolution Looking Photos?"Even your best photo will be ruined by not being sharp!

I’m here to tell you the TRUTH you need to know about capturing tack-sharp details on a smartphone. One of the biggest problems you are facing is being underwhelmed by the sharpness and clarity of your photos. They look soft and lacking in detail.

That’s not the worst part. You accept that result and blame it on your camera and desire an expensive upgrade! It’s not your fault.

Smartphone manufacturers spend millions to convince you to upgrade. Some of my favourite macro photos were captured on my 2012 iPhone 6s!

Is this you?

You love taking photos and your smartphone is full of great photos that bring you joy and fulfilment.

You understand the basics of photographic intention, storytelling and composition. However, you find yourself checking and deleting blurry, bad photos clogging up your phone.

This brings up feelings of self-doubt, frustration and being underwhelmed with the results. This leaves us blaming our smartphone, believing it is too old, the screen is too small or limited in features.

It is not your fault! Your smartphone camera does a great job of recording the scene in front of you. To achieve this even the most expensive smartphones automatically select settings that do not prioritise sharp focus.

Without the right techniques and tips, you are missing out on the potential of your photos and you as a mobile photographer.

Imagine this

Imagine feeling confident and satisfied that you can create beautiful in-focus, tack-sharp ‘big’ camera photos on your existing smartphone every time... without having to upgrade your phone.

Once you learn how to set up, capture and edit tack-sharp photos on your smartphone, your photos will look amazing online and printed, hung on your wall. You will know the secrets to why, when and how to use the tools inside my recommended editing apps for professional results.

Imagine being able to confidently create tack-sharp photos every time in any conditions? You can even recover some of your discarded photos and make them your new favourites.

This is part one of my Blurry to Tack-Sharp Photos System. 

Part two is titled 'Basic to Advanced Smartphone Photo Sharpening Mini-Course'

Meet Your Teacher

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Mike J.

Smartphone Photography Training


Hi, I'm Mike a twenty-year veteran photographer/educator, and now a self-declared mobile photography 'purist'. I capture, edit and share all my photos on my smartphone and iPad. As you can imagine, attaching my iPad to my large expensive tripod turns a few heads!

Creativity was something I always struggled with. Surprisingly, we are all capable of creating WOW photos. Some of us simply need to learn basic photography theories to tap into that elusive talent and then practice. That is what is so awesome about the technology in our phone cameras - we can ignore the technical stuff and just get out there and have fun experimenting.

Previously, my photography was limited to when I had my big dedicated camera and ironically - I probably had fe... See full profile

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1. Introducing: Capture tack sharp photos on your smartphone: Welcome, I might jam smartphone photography are really excited to bring this to you. One skill share. This is really one of my Flagship courses. It's one step of my four-step complete photography transformation, but this is the most important one, had to take tech shop photos. Now split this up into two sections. This is the first section which is all about how to capture tech shop photos. The second section is the mobile editing because, because together it's like 3.5 hours of video, it's too much of what this TV. I want this to be relevant and I'll want it to be achievable. And that's the biggest thing. First section is how to set up the scene, the scenario. So I talk about avoiding subject movement, highs, atmospheric conditions and how they, how Haidt and wind and all that sort of thing can affect how to control lighting and use lighting sidelined to bring out textures in details, that sort of thing. Background contrast that talk about contrast and contrast is so important. Contrast is one of the most difficult things to explain. Basically, it is the difference between two things. So if you can imagine shopping which give a quick tippy white piece of paper, Gray lid, you rotting on gray light, gray on white. All right, so if we want to increase the difference between the white and the gray, what we do is we brought in the white Mike, that water. We talk in the gray and black. So if we're sharpening the edges of the gray that we're making, the grey black. And that's, that increases the perception of sharpness, the contrast. Okay, so that's just a quick tip. That's the sort of thing to expect. He took my contrast and contrast in colors. I'm talking about the difference between two things. So if you want to make an object Luke shop have something that's contrasting behind it. The second area is preparing the cameras. So I'll talk about cleaning the lens, the Rottweiler, it's not just a matter of whopping get on your paints. So you'd say xi and spoiler alert, I use a cotton bad. It's a great way of getting in there and removing the oil on your fingers. Not, not nice to think about, but we have oil and grime and dust and all that sort of thing gets enabled because kids either find a fine kicks her in a handbag or a pocket. So that's a great way of getting rid of that. I talk about optimal camera and app settings to make sure that you're getting the full resolution out of your phone. Lens attachments. What to look for inequality Lin's attachment. I'll go into some manual control using lot room and I explain the very complicated ISO and shutter speed on the smartphone is a little bit different from a big camera. Yeah, it's allowed or mirrorless. Getting towards the end is a lot, isn't it? Camera stabilization tips. I'll show you what to look for in a tripod manual focus. There's really great tip either accommodate for you to see in using black and white camera and then using a what we call focus peaking with displays a green overlay over the top of the black and white to show you exactly what area of the image is in focus. It just pops. You just, instead of looking at a color photograph that looks like at the end zooming in because you've got a little screen Avenue. So that's my best tip to shooting black and white have their green overlie using the Lightroom app. And you can see exactly where as in focus in how to adjust it. So that's a cool one for you to say that one. And then different shooting modes, things like burst mode, live photos, live focus, and how these different modes, shooting modes, macro mode on some phones have a really small sensor. I tell you the ones that will avoid which ones are the best ones to stick with. So that's it's sad, a capture attack sharp photo. The next course is going to be the mobile editing side of it where our gallery too, tell that which apps to use, which tools, what sequence to use them, how to avoid over editing and making them look grungy. So there's a lot, sorry, that deliberately split it up into two. Say I can't wait for you to get into that and project below. So the project, make sure you share before and after and share experiences and, and show us what you'll learn account might to say it. 2. Stabilise the subject: Welcome back. In this video we're going to discuss avoiding subject movement polar. Now previous experience, no doubt you've experienced this where you're taking a fighter and the subject, the person is walking through the scene and they upload all your files of your your children or your pet. And the dogs all blurry. Creatively, it can be really good because it creating a dynamic composition and in an action and movement blue. But if they faces blurred and it's, it's kind of ruined, isn't it? So that's what we're going to learn. He's, he's head or identify the difference between a paying out of focus and motion blur. While the benefit and the cost of not doing this is you end up with those blurry images. And I know my son playing soccer. He runs along across the same across the elbow and it's really hard to get in front of him where he's running towards me. So the movement is not as much as opposed to running laterally across the same. And when he when he's blurred, he's faces blurred and it's kind of a ruined shortsighted. That's why we're doing it. Techniques. I'm going to show you how to in the field had a stabilized the subject or if he can't had it, bringing it into the studio. And we gotta hit out of the studio and use one of my little kids throw myself for taking field flower fight. I so, so with that, let's get straight into it. So I have this collage or three different photos, a tech shop, a movement blur in and out of focus. And I'll just zoom in here. These around Mesa, that one, that one's tech shops or you're really shop. This is 11 to flower head. And he said that all the intricate details that as we move across we have movement blur and autofocus. Can you spot the difference between the two how you would identify banging out of focus. Have a look at it. The out-of-focus, there is actually something, there is an element in this photo that these in-focus. So that is a classic giveaway. That high that flower hit 11 of the one, the big one, the main subject is out of focus. But because somebody else does it and it's just the focus issue, we're going to cover that in a lot more detail in another lesson where I'll show you how to manually focus and explain to you how this actually happened on your smartphone. But let's concentrate on movement. So there's two different types of blur that happened with your smartphone. There's this camera shake, camera movement and then this subject movements. So that subject movement is the one we're going to focus on today. As I've mentioned, if you can practically getting to a position lock my son playing soccer, if I can get at the end of the field with a running towards seems to Pedro is running the otherwise. So if you can turn your shot or getting into a position where you're minimizing that movement than that is that is the best way to failing movement. Where the other is, if you're running an element's trying, pick up that subject and take it to most sheltered location. So if you're taking flowers of photos of flowers, there may be you can remove that flyer and and put into another location in the studio or even just how much sheltered. If not, one idea is to actually hold the flower in your hand and they take the father. The benefit of that is if it's really windy. You can take the fight of the flare and that's nice and steady. And then all the flowers in the background is still be moving and you might actually get some movement blur those flowers which could look really cool, really, really create creative and artistic. Next fight I want to show you is this one he so weaned. Now, naturally you would think, I'm just going to block the wind from this flower or this insect or whatever it is you're taking a photo of. I'm just going to put something in there and blocket. What happens though is the wind will actually circulate around that object. And you can go over the top, back around and swirl around. The high you are up off the ground, the more wind, the low. Grant that list amount of wind. Knowing this, there are actually two different ways you can get around this. One is to have a bit of board with me to type in the middle and then you can just open that up and it created a very shy. So what happens is the wind, and I've got one here. This was one that I might just a really basically two pieces of white board is all it is. And I believe sticky type they and it folds up together. So actually put the toothpaste the boats together, then sticky type it. So now I can easily open that up and that becomes my very shy. So what happens as you can see here, a hole towards you is the wind hookah through here. Instead of buying and go over the top, the wind splits and guys that way. So that creates really great when blocked innovation and scribe Breck backdrop to watch. I have one in black as well, so that you can have a bit of variety. But you can actually, if you are talking about as a flowers or whatever it is, you can actually use any color so you can put some tissue paper day or you can actually, why not put a photo of this? I actually have a photo of a backdrop, the service that you can be so creative and do lots of different things. So that is my makeshift really quick one. I have another one here that I want to show you. This one took a little bit more effort and I was really creative with this one. Now this one, and I'll bring Assad camera up to show you this one. Actually move this out of the way. Basically, this is a Tupperware container that I've cut facade ad off just the scrape it. And the reason that I've done that is neither can actually bring in my camera on a tripod like this and shoot through that opening. And the benefit of shooting through that opening on spec that every taka. So we can see the benefit of shooting through that opening is that now any sort of wind is protected. The wind can, and anyway, the wind can get through is to come all the way around and go through that whole happening. So you can imagine it would have to be very windy, turbulent wind to be able to manage that and getting it. So with this little contraption of cities upside rock and put this at the top of the flour. Or I can actually put this up on top of these. So I can have this setup. If it's a toll of flour and it's got a bit of a steam. I can actually set that up on top of it there so that I can get a bit more extra hot off the light. So I love this because it means that I can also have there's an insect on top of that flower or can actually trap that insect in there as well. We that really disturbing the insect. You may have noticed the black cardboard strip in the back of that containment. So what that does is that creates a black backdrop. I also have another piece of what board he had knee and that sits on top there and it has the whole day so that this block old sunlight going in direct law. And then I'll have a stream of light going through the, and it creates a spotlight effect on the flower or whatever it is that I'm taking a photo of. Now another, it's doesn't really seem applicable to sharpness for a course on sharpness, but actually crediting spotlight on the subject and having a darker background actually makes it stand out. And by making it standout, it gives you that, that perception of being sharp. And we'll talk about that a little bit lighter, better resolution, definition, sharpness and the perception of being shopper just by using little techniques like that. So what I'm going to do now instead of going on and on about these, what I'll do is I'm gonna take my dog, Lucy, for a walk and got to go right to the reserve and bring you along and show you exactly how all said that. Just have a bit of fun. After walking around for a while. Uh, finally, fan of flower that I want to capture its own, its own Norse analyze this little device here that I might will work quite well. Now, it's very sunny as you can tell. So what I want to do with these is protected from the wind and yeah, there's any slot braces. This particular Flyer is not moving around, but just for demonstration purposes, let's pretend it's blowing a girl or outside. We've got that data protected from the wind. And at the moment is sound is coming from that way. So I put sun coming in the top there. It's a little bit filter. It is not completely diffused with this. But what I wanna do here is I actually want to block it out with this. And then with that whole locker pointed out to you, just previously, it creates I spotlight for the for the, for the flower piggy then we guess. And now I actually have a spotlight on there, which is going to create a really nice contrast with the, with the dark background, the flower. So it will be oscillated further and the details and the textures in the flower will be, we will just pop just that little bit more. Now I do also, I did actually bring with me also a mirror. And what you can do is so adhere because I've blocked out older a lot. I've got one min of log coming down there. I can control the light with these and can actually load up the scope of the flour as well. A little bit hesitant about using this because it's so suddenly I'm going to leave that there for now. And let's have a play with this. Now back in the studio that was a bit of fun. Is great if you're actually add some way where you have that contraption with you or you're taking something that grand label. Recently I did a photo shoot at a gym and the lot wasn't fantastic and any sort of movement was actually when I was doing that dead lifts, it was blurring. So what I did was I brought in a hardware a lot. And it's one of those ones that has the host speaks to what perspex on the front that diffuse the light. And it was really brought. So I plotted the area with a lot. You don't need to have big professional studio lots luck base. Something is simple and portable lock that can really help by bringing that extra lot you making your, your smartphone Foster to create a sharper images and we'll cover that again in another lesson. So thank you for joining me. 3. Haze or other atmospheric issue affecting: Welcome back. In this video we're going to talk about highs and other atmospheric conditions that can affect your sharpness. Previous experience. We're not talking about previous experience. I don't just mean previous experience in this course. I mean your experience or you will have experienced this before we even lift your camera to take a photo of the landscape in front of you in the mountain range in the distance. And you can say this with your own eyes, is that it's, it's, it's faded and hazy and lacks that contrast. So we're going to explain why that happens. Also, heat rising from the ground as well can, can create that kind of wavy effect to your photos. We'll cover all that. The benefit is understanding when this occurs and how we can avoid it because it's really not much you can do an editing, although I will show you two of my favorite tips to try and combat this. So with that, let's get into it. First one I want to cover is particles in the egg because, because particles in the air reflect light and the more distant the subject is locked that mountain range in the distance, the further and further away it is, the more hazy, the more lacking contrast, because there's more a between the. So you'll notice that if you're taking photos of a mountain range, it's a lot closer, you won't have as much distance to try and get through this. So that is, number one tip is try and get closer to human subjects. Now it's fantastic to have depth to the photo and liars and landscapes where you can have a mountain range and then a further one at a further one. Actually having that Hayes, we'll actually can actually make it look more authentic. So if you increase the contrast and Michael look Dhaka, sometimes you remove that depth effect that you've created in the footer. So just be conscious of that. Sometimes it's actually good to have these things. Hate Rising from the ground is another one. Now, you've seen that before dropping along and you can see that the y Venus and you can sometimes see the mirage of that what looks like water along the road. The best way to avoid that is to turn up earlier in the day. And you'll see a lot of bird photographers will get at nasa and early. One of the reasons is because the habitat and behaviors of the bird, but they're getting at for that long range distance photography, they getting hat before you have any of these issues. Another tip that's really good for both those conditions is getting out after Ryan because after Rhine it's actually washed away a lot of particles that are in a and cool Dan, everything after Ryan is a fantastic time to get out with your smart foreign tektites, distant shots that you need to take if you can't zoom in with your faith. Another issue you will have is the sunlight hitting your lens. We'll cover in another, in another lesson how to get in there and clean your lens, especially a lens attachments. The cheaper ones, not this one, but the cheaper ones don't have any sort of coating or multi elements in a. And what will happen is the sunlight guys in their guys in backwards or forwards and it just creates, although sun flares and the milky, hazy look to your photos, file format is another one. But the fall, nearly every smartphone and every app that you use will save to JPEG file format, which is most compatible file format. Fantastic. If you start playing around with the INJ low file format, you can do it. Lot of Androids or with an iPhone, or you can use a camera placement at shooting Dean J, what happens is that overrides all guys automatic processing of your image. Noise reduction, bit of extra day towels and clarity sharpness that it's already doing. So I remember the first time I saw today in J fall on a smartphone. I was horrified because it just looks like flat and bland and hazy. And that's why. So if you can try and play around with and explore with it, but make your own decision for me, I wanted to Dane j row file format for so long. Now I should everything in JPEG because odd-odd locked at haziness that creates more editing that are native to. The other option is I circular polarizing lens that you can have attached to you. Or this two options. There's one that you can actually just clamp on there and it will sit over top of your, your existing smartphone. It's fantastic. You can move it up and down. Another option if you have the cinematic portrait or wide angle lens from stream and optics that I now have. A circular polarizing lens that screws in fiery, an adapter squeezing. And then what you do is you just simply just turn it slightly. And what it does is it cuts at all as polarizing light rise and it gets a lot of refractions and just looks simply stunning. I have a video in the notes there that I'll link to show you how to use that. Now you're not always going to have a circular polarizing lanes or you can't get there the perfect time of day, perfect conditions to try and minimize that highs. Or you might have some existing files that has got haze that you wish you could just fix. I'm going to show you two different options. Inside snap state, I'm going to show you brush and tonal contrast. And then a lottery and I'm going to show you the highs suitably named, isn't it? So let's get into it. This image is of the Yangzi mountain range, not too far from where I live in Melbourne. And it's fantastic. I've got some leading lines there. I've got some noss drama in the sky. This hasn't been edited yet. It's just strike out of the camera. What I'm going to use inside snap state here is the brush tos. So I'm gonna tap on the pencil to tools and you can say the brush. Okay. He has several options. He, the one that I'm going to focus on here is Dodge and Burn. And once a phone or a wise turned, it gives you this plus ten. We want to go to minus five and then pinch and zoom. So we're going to pinch and zoom. And then with a finger we're going to just swap i. And what we're doing is we're just going to dock and that mountain range a little bit. Okay. I mean, yeah. Dropped out then the bottom now we have an i soft person in the eye. It shows a red overlay of where I've swapped with my finger. The problem, one of the problems with this is the more you swap IVR if you're trying to get inside the line there, right, you can see there it's nice and thick, red line k. And then I'll zoom back out. It will apply that twice and you'll actually end up with a really uneven result. Because the meu is swap. And the closer you get, you'll end up with a line yet further back and more even large area. But the more you try and correct it and improve it. More uneven net effect will be. So you can say that yes, it's achieving what I want. It's not fantastic. What I wanted to show you now is another one. Come back into the tools. And there's another option, a tonal contrast. Now what I'm going to do is tap on adjust, and you can see the mid tones. You got hotlines, which is the broad area, low tides, which are the shadows. Mid tones are the ones that team between. Now this image really doesn't have extremes brought and doc is not really high contrast. So I'm going to go straight to me times and I'm just focusing on the mountain range. I'm not going to worry about everything that's happening in the background. And you can say, it's applaud it, it's done a really good job that it press on the tick. And the next thing I'm gonna do is I'm now going to go in there and go, I just want this applaud at certain areas instead of the whole image. And that's one of the things I love about snap. Say, it's up to the next to the i button at the top there we have these two tools with the back arrow, which is history or stacks or lie is whatever you wanna call it. We've gotta review edits, tip on tunnel contrast, a little paintbrush, archons, what we're often now and now, it's going to allow me to paint it exactly where I want. Ok. And look at that straightaway. We've got a bit more and this one's a little bit different. The more US, whatever is not actually going to add anymore, all it's done is revealed the edit has not applying it and applying an appliance such just revealing what I did. And he said it straightaway. They, the rocks there. It's giving the perception of more they tiles, which is fantastic. Just by making it a little bit darker. Alright, one thing that's also done, and we're going to cover these in module four where we talk about editing is say that high, low said a white line around the edge of the readings. There's the before and the after sounds much more identifiable. It's much, it's much clearer. It's more in your face that real brought line. So what I'm gonna do is I'm going to tap on that. I icon again and you can say, I painted outside the lines. I filed kinda gotten gone out of the line. So what I wanna do is where it says a 100, then the bottom, I'm going to go down to 0. So now what I'm going to be doing is basically erasing it and I'm going to arise and make sure I got back and cover and go over those lines. The edges of the mountain range. Yeah, yes. Those bits are not going to be darkened, but the highlight stains out a lot more that have been missing out on a darker edge. That makes sense. Now I've lift intentionally left a bit down the bottom there. I'm going to come back and show you that. Being a perfectionist here, I do not need to finish all this, but I am not. Ok. Let's go back. Now that you see here, this is the lift for turn that rip off the I and look at that. There's a before, there's our aef dot and you can say that bit that I didn't go back over the line. You can see that B, you can see the white there. So I'm going to go there and I'm just going to go back. And now it's gone and it's back. So that's much better result, isn't it? So what we've done is we've added some contrast. And it's actually added some day tiles. And he can say big rock, that's actually called Big Rock. The main rock there, you can say that circle is sitting on, that's called beak rock. And before that wasn't, wasn't really stand out, but now it looks like it's additive mole, definition and clarity. And while we're here, what we can do is we can go back in here and I'm going to get back up to a 100%. And I'm going to add some of that cool tonal contrast into here. And I'm going to highlight, I'm getting distracted here onto I. I'm going to highlight these areas and create that leading line. Now that 50% at some back into here. Fantastic. Now I'm going to show you a lot room and how would we do this in Lightroom using the D. Hayes. I have this openly lot room now. So all I wanna do is go down to effects. And then you can say that the highs third one, Dan, simply just slide that across to the right and look at that. It's amazing. It's bringing all that day towels and contrast in the pinch and zoom. Another great app that way you can actually pinch and zoom while you're editing is really, really handy. Double tap to get back 0. You can see they were adding it. Fantastic that this does apply. Does it justice to the whole thing? So it's what we call a global edit. We're going to cover the scene in module four where we talk about more of the editing. And I'll show you the rod at the very end, they had to use another app called Adobe mix, where you can actually bring this image into mix. And you can mix some of its suitably named is that you can make some of this father with the original one. So you can just go and adding just the Yang's or just some of that edge or the sky, you can select exactly what you want to blend together. Just a recap, particles in the air. The more distant, more air between you and the subject increases that Hayes heat rising from the ground as well. So ideally try and shoot early morning or after Ryan to try and combat by those lack of contrast in your lens attachments could pay because it's dirty or you have a cheap lens, oh, you'll have sun coming in from a certain angle. You can hold your hand there to try and minimize or block that son. Or if you can't use any of these tips techniques, then in editing, you can use the tonal contrast in snap say, and then go and selectively apply that way. You want all the day hace tool inside lottery. 4. Control lighting: Welcome to this video. We're going to talk about controlling lighting and how that impacts on sharpness in your images. Previously experienced that we've talked about. Motion blur and how in low light, having a camera shy legal subject moving, you can make the camera work faster. To make it work faster, you need more lot. And again, we're going to go into much more detail in that soon. In another lesson, I need to touch on a firstly side of aka site. You need to bring in extra law that's unexplained that it makes the phone foster the nets. Kwan I'm just gonna go over the head, but I don't want you to get bogged down with that and think Acasta where he's talking about. We're going to cover that in more detail. So that's what we're going to, we're going to learn how to use light to our advantage to create that shop list and gives the perception of sharpness. The benefit of that is that it's fun, it's creative. Taking flat photos is not fun. It's not getting the most out of it and getting enjoyment out of getting an awesome looking image. And that's what we've got to achieve he using just the simple tools of the sunlight and also mirrors and torches and that sort of thing. There's so many different options that you have available to you already. What I wanted to show you here with this image is three different scenarios, all shot on order. Don't get tied to, again, to worry about the settings, the top they basically one was shorting the studio while Miss shouting shade, and another was indirect sunlight. And you can see the difference there. Zooming in the bottom part, they studio. There's more textures in there, the shy. It's a bit more washed out. It's even which is fantastic. And then sunlight, we have a lot more data housing the age around the age, the little hairs on the flower bud. But we were missing some of the day towels in the front of the flower because it's one directional lot. This is the challenging and fun, sometimes frustrating element of photography forest, isn't it that you might have the sun coming from one direction and think, I want to have a backlit this flower buds that he can see the font haze around the age, or I'm on the sun coming from an angle so that it shows across the front of the flower. But I bring it up as they towels in the front of it by casting a little, little micro shadows inside the flower bud. And the other factor is sometimes you can sit all that up and they just not compositionally, it's not wrought. Emr wants to shoot it from a certain angle to get the certain background that you want to achieve. There might be some Brought lots that when you're getting close, you get nice sharp focus. And then the Brought lots and the background credit this really beautiful Baco Buckeye effect and other elements that just don't work for you when the sun's coming in from a certain direction. So what I'll do is I'll show you how overshoot this flower body in the studio. I'm not going to go into a lot of detail. I'll just kind of show you in real time what Assad logging does to the flower. As you can see here, I have this extra law saws and I can move this around and tap on. And what we're gonna do is create these hot spots on the flower. It, I'm going to tap on there and move it around the lot source and try and get that angle. There we go. That looks pretty good. That Nas, burst, strong burst of sod lighting so that I can create those textures. So if I have that stride on, then it's flat. As you can see, that if I have a bit of shape, kerning is Shapes I'm chasing the shadow is here. And I can say holding a rod, they some Hayes along the URL highlighted. And you can get details. They, and then they disappeared from overran. So bringing it back here, creating that shadows and you can see the, and I'll just save and zooming in here and show say they regarded assuming to be more self, I'm currently is real strong details would be sod line and getting that Textures pressure from a policy. It just changes on a tip that screen again, ST. Now it's just what I have now is I have Beck loading from the studio lot, which is fantastic. But I don't have any details in the fronts. And now with the sod lighting and creating some shadows. Or I can go in there and bringing in some more extra day tiles in the front day. Fantastic. So just a recap as we've covered, lot is critical for photography, isn't it? So in the previous lesson, we talked about how law can affect all eyes particles in the air, the greater the distance we are working with a close Nas would have to worry about that sort of lot. But directional light, too much, not enough lot. Lighting, controlling the light will actually work to your advantage and create that extra sharpness, extra definition, and to extra textures by having shed eyes in and just have a play around with it, have some fun. And I think that covers it all. So I thank you for joining me. 5. Contrasting background makes your details stand out: Welcome back. This is going to be a quick video or just want to talk about background and choosing the background and why it's important to help you create a sharp image. Previous experience, no doubt you've been through different sorts of feed, photo fades, Instagram, Facebook, whatever it is. And some of the photos really stand out as being really vivid and shop. I'm going to go into a lot more detail later on on how we do that. It's called Visual accidents. Its perception of sharpness or not necessarily that it's incredibly sharp, but it looks sharp because this contrast quickly contrast is the difference between two things. So we increase contrast, makes that different more dramatic. And if we take grace contrast, then it brings those two closer together and it doesn't look as, as distinct from each other. That makes sense. We're going to go into a lot more detail in, later on in the course on what that means. What you're going to learn, I'm going to show you three different ways of how to create contrasting images. The benefit is that it reduces your editing time. And you've no doubt heard the term getting it right in camera. So that's what we're going to talk about. There is a dandy line you can say there, by having a darker background makes the watch really stand out and then darkening the edges. Vignetting is a technique that reviews. The next part I want to show you is this polling. And he could say thereby cropping in noss and taught. It's actually, it's obviously it's my home state. L is be more in your face, but you can see there the smooth background where the fader, this leaf is still in, in focus. But by having the head of y from any sort of other distracting elements, they, just having a smooth black background really makes that head oscillated and stand out. And that leads me to my third one that I want to show you just really quickly is oscillating this object. So this is actually the sign B. Can you believe this is actually four different photos that I captured, not blended them all together. And the one that stands out is the one that's at their flying on its own, isolated from the flower, even though there's just as much sharpness in each of those four photos that have to be one grabs your attention and that Luke shop. In fact, looking at this one over here, this one actually is a lot more sharper than that one. You can say the difference, but because it's oscillated, that helps to increase that perception of sharpness. So there we go. I just wanted to really quickly just touch on the background when you're setting up the same understanding that I care what I've got to edit these. I'm going to want to isolate the subject or I'm going to want to dock in the background because this is a wildflower. Thinking about that sort of thing at the capture stage can make your sharpening in editing so much quicker and easier. 6. Clean Your Lenses The Right Way 1: Welcome back. In this lesson, we're going to learn how to clean the lens and the best way of claiming the lens. Now, previous experience, yes, you'll have claimed you lanes on a regular basis? More often than not, we just use the t shirt or something like that to just give it a warp ever. So I'm gonna show you how to give people gravitate claim. What you'll learn is some techniques where to claim, how often a claim at what materials to use that sort of thing. Why the big Y? Well, this is the number one reason why you end up with blurry images to tell you a story. Recently when I was traveling, I had this amazing location of the Millennium Bridge where I was Dan, really low, incredible structures. And then you've got St. Paul's Cathedral run at the end of it and took some amazing shots, beautiful lighting on the truth guy back home and looking at all the preferred Eisenstein editor. And I didn't clean the lanes. There wasn't one single usable image and I struggle to get back at there that Tom if diet again to get that far. And I clinic, you miss out on shots like that. So the tactics yes, I'm going to go through number one to share with you straight away is the cotton bud. So I'm going to show you how we use that. Before I do that though, you're shaving quick story as part of my mission to help Phyton Thursdays lock yourself, get more out of the smartphone for photography and be more creative in that sort of thing. And to really get the most out of your existing smartphone, are present a camera clubs on a regular basis. And the most recent one was actually online via Zoom, which was which was fun. And luck are normally too. I ask the question, why don't you use the smartphone more regularly and I'll get the same responses. Lie. It's low resolution. They end up paying grainy and gritty and speckled and noise and artifacts, all that sort of thing. So I showed them a few techniques that I'll share later in this course on how to do that. And I show them, hey, you could actually get no noise evident in your photos which plies them ally print size for this next one. So actually grep the whip came, picked it up, took them into another room. Product. My three-year-old macro image had that on the screen next to me. And you can see the incredible data that you can get out of as smartphones. But that only happens when you clean the lenses. Number one step. And the other one is blurry image. A lot of them said I my images row-wise blurry on my smartphone. It's because I've got an old file. It's not you don't need to have the latest and greatest foreign ticket TechShop images, which is why you're he, you know, is that there's lots of techniques that you can do that. So I asked the question, okay, what lenses that everybody got. People saying I've got this and that those, that expensive lenses in this group say, just goes to show that the caliber of these amateur photographers were in this Photography Club. And I said how often declared the lenses and they probably thinking Spotfire photography, YZ asking this, but I got in and I said, when's the last time you cleaned your smartphone lens? And crickets, no-one was in the chat, which was surprising because everyone was engaging and getting right on board. And then start talking to people, started commenting and it actually admitting, I've never cleaned my lens other than just giving it a WAP. I've never given it a proper clay, which is extraordinary because as you know, it is the number one tip or you get blurry images. This is the not being cleaned enough. So with that, I'm going to show you how to do that. So just take these off. First thing we'll do is actually take the cover off. Okay, so we take the cover off with all the different types of covers. Some of them hold credit cards and that sort of things I mentioned with a fine, they're ending up and getting stuff collected alive with him. On YouTube. You say all sorts of tips. So someone recommend using a tissue, do not use the tissue. That is the worst because they will actually leave more positively more on Ned and I'll actually remove which is quite good. The other day not is is lens cleaning solution. It can use it the sprite but spread onto a cloth. And I would really do that last. And, and I really haven't done it yet with a smart phone. Probably because I, once upon a time, many, many years ago, 20 years Gary, I dropped it directly onto the lens and an absolute ruined a $2 thousand lenses back then that was a lot of money. Actually took a personal loan out for that, for that lens. So I'm probably a bit shy of the solutions are Lin cloth fantastic, getting cured he could claim around the adenine cuz the reason we claim these, these because dust collects dust. So we want to get in there and give that a rule could claim in a screws for the lens screwing that acclaim. And there we go and move on to here. First thing I'll do is have a look, make sure there's no visible debris foreign matter on there. Okay. See something on the entity. I'm just going to put a little know. People will say, don't do that. It'll introduce condensation and that sort of thing. But just check it is condensation, Just let it dry and then maybe we can give it a watt. Okay. Remember when we walk down the phone because we're walking down the whole area around me. So whopping down the front? Don't forget to erode around these multipath lens cameras that have rises, yada, yada and clean dies as well. And don't forget the selfie camera on the front. Now you might not be into selfies and that's okay. I'm not either. I'm still trying it give that a claim there as well. Because if you don't clean it, that'll be the 1to1 you want to use it. Okay, so that's looking really good. Now the movement of my secret weapon, and this is when you want, say on YouTube, you might see on the Internet people recommending this, but I'll tell you why. Two reasons. One is the kitchen and it'll actually remove those all absorbed the oils from your skin. Skin oils, isn't that lovely? So actually getting the federal deficit, the flashes, Well, okay. Alright. Second reason why if you have a lens attachment, This is brilliant because this stream and optics lens, the back lanes because we reclaim that. But quite often we forget the little one at the back there. And that's just as important. So computer for cotton buddy, with this particular lens, the glass is actually insults such recessed at it underneath. So I can't get in there with this. I just can't get in there and climate, sorry. So that's we're all getting there with this. Perfect. Perfect. Okay. Give that a warp. It's called big lens. So I'm going to walk and I can't help it. It is an old technique is the guy from the outside where there's a lot of glass lock the Saudis, some what Angolans then work from the outside and circular motion towards the middle. And getting sorted thread there as well. I'll octa came on spotless. Fantastic. Number one tip. Blurry images is check your lanes because that's where you'll end up with as ugly sunflowers where you don't want them and just absolutely ruined mysteries. Amazing shots. So thanks for joining me for that one, and I'll see you in the next lesson. 7. Optimal camera and app settings: Welcome back. In this video we're going to talk about optimal camera and app settings. Previous experience. Now, no doubt you've been taking photos on your, on your camera, that built-in camera, there'll be some settings in a, you may have used the camera placement AP or photo editing app. All these have some settings in there. They can go and tweak. And quite often the default ones might be really good, maybe not quite so going to go in there and tweak it out of a 100, more than a 100 apps that I've downloaded and trialled. It's amazing how many of them the default settings will go and optimize storage and make your false smaller cyberspace instead of giving you the maximum resolution than the original photo. So it's really important to go in there and fix that up. What you're going to learn. I'm going to talk about the affine or have that. Hey, I'm going to bring up a couple of Android options as well to keep an eye out for, it's really hard with subject lock this to try and deliver value to everybody because we all have different different phones directly. If you have an iPhone, no matter which one you have, if you have the same iOS, the operating system, and then it's obeying update, it'll be fine. It'll be all, all relevant. With Android, it's quite, it's quite fragmented, isn't yet have so many different types of handsets. It'll have different operating systems and settings are I'll try and add some value for their, for you as well. Why we talked about that. But that's the biggest one is the image resolution might not be they. Let's get into it now. Now first of all, I want to talk about the androids. Smart beauty. That's one. Ok? Yes, it might be tempting with the selfie camera, but, but what it does is it actually applies smoothing of the pixels, smoothing of the resolution side doesn't, it doesn't do a fantastic job. You may have. You may recall if you're no fairing person, you might recall smooth guides where every iPhone photo you took, whether it was sufficing De Di, excessively smooth, that condom went away from the reputation of iPhone is being really natural-looking. And all of a sudden we had these really heavily, automatically heavily edited images. Smart beauty. If you want something quick and fast and get it out, then great. But otherwise I would prefer to do that in editing, shop and filters. That's another one when you guys, because quite often and I, my Samsung and my Opower, but both have very limited editing options and one is to apply different filters. The shop and filter. It's rubbish on those two particular phones. What it does is it goes and indiscriminately sharpens everything in the image. As we get further into this course, the fourth module, I'll show you some really, really cool, great wise or shopping the image. Also surmise without sharpening tools the sharpened image. So that's much better option instead of just slapping a sharpened filter on it. Ok, maximum screen brightness of touched on that. I like to have a maximum screen brightness. And that's because previously submitted a photo, a photo competition, after editing it with the screen turn down. And then the next day when I looked at it was not what I expected. It didn't have that nice Moody Doc look that I was going for because the screen brought has gotten me different perception of what was, what was happening. They, depending on your smartphone, you may have blue tone OR NOT mode. Any of these sorts of things can also introduced a attained as well to the image a cola Cost. First mode, I'm gonna bring up the I find now. Okay, so this is the insult, the settings and then camera. Ios 14 has just come through. Don't want this to be relevant to you no matter what smartphone you have. So this is just to encourage you to make sure you go in here to see what's there. Because each time one of these iOS updates come through, all of a sudden when you when you hold the shutter button down, it doesn't, it doesn't activate the person hurt anymore. It's fantastic because you get bang, bang, bang, bang, bang. Sorry, you hold your finger. Then it'll just kept banging their bang and capture the one series and put that into your photos up. You go in there and you select the exact frame. The benefit of that is you'll get that perfectly Time photo, but you also more fun one in that sequence that's sharper than the others. So that's really handy. Now, you have to go into the settings he and you have used volume up for burst. Cassie just activate that and then you've got the volume up on. The other one I wanna show you that's really relevant to sharpness is this one here, photo capture at its new one, prioritize faster shooting. What that does is when you are taking the photo previously and I was studying, I tap, tap, tap, tap, tap. This one. You can press it really fast and it'll keep up. Now, it's compromising a little bit on the processing that it does. So when you take a photo and automatically applies some noise reduction, sharpening, color, applause, All these things automatically sets, reducing some of that computational photography. But I've tried all different shots. It doesn't affect the ISO or the shutter. So if you have that on or off, it still takes the sign topic fighter with a precise settings, which is really the most important thing that one wants to have Snap Sayed, let's get into Snap. See, this is one that caught me and for so long, it snaps it. Because image size for going to form it into default, JPEG ninety-five percent. So you're losing 5% of every fire that you edit and inside of it. So you need to go in here and change it. You can change it the Jaipur baeg 100%. I personally, I like to have my photo site does as a PNG, either one or the other. Going back to the iPhone, you have the option of also high GIF Hetchy RSA, which is a high efficiency file format that reduces the size, but it's not as compatible with my website and some of these other apps that I use, PNGs for the app selection that I have. So I used that because it's, it's lossless compression. It doesn't, doesn't sound. We can choose the format and compression right, to be applauded. Fantastic. So that's that one. Okay, next one I want to show you is locked room. So when you have the when you have the app open, which is tough on the street, dots on the top right corner there, it's a clock and menu overlay. The tip on the end you have the Coke will end. So that is where you can select MAX screen brightness for that app. So it's not just the screen on the camera. You can change it. Change it inside there. Alright. What else have I got here? I just want to show one more, okay, that one's really relevant here also for the iPhone, sorrowful for Adobe Lightroom. This one here. This one here is Highlight clipping. So if I have something really brought in the image, it'll come out with some zebra crossings. So 4 this up at this up here, at my lights from Australian law, you see the zebra lots zebra crossing, say the stripes. What that's telling me is that that is a pure watch and that there's no data's, there is just a what? Lacz software sharpening an image. And we wanted, we want to reduce the brightness of that. It's just going to turn gray is not actually going to reveal any titles. So when we're shopping the image, we want to bring out the tiles. When we have that Highlight clipping happening, they then it's not going to, it's not gonna do that. I think that pretty much wraps that up. I just want that wanted to be a quick one. Just make sure whenever you playing around with a new phone or you're playing around with new settings, just familiarize yourself with I settings because there might be something inside they like that. Jpeg 95% on the snap state that brings you on done for more than a year before you realize. So thanks for joining me with that one, and I'll see you in the next video. 8. Capture close-up details using a quality macro lens attachment: Welcome back. I might jam smartphone photography training you more importantly, you're a smartphone photo enthusiasts who is passionate about photography, taken photos on your phone. I want to get more out of it. With tips, tutorials, training, you're in the right place. Today I'm gonna be showing you a streaming up stream and optics macro lens. It's free lenses that the macrophage or in their range. So you have the cinematic MACRA, which is 53 degrees, has a focus ring, which is world first focus reminder on a macro lens. Pretty amazing. That lens. What you see is one or one to one ratio, which is true macro lens. You have also the cinematic wide-angle lens, which has a macrophage or building to it, which is pretty amazing. As a standalone wide angle, it's phenomenal edge to edge sharp and has all that sort of thing that you've got the versatility of being able to get a centimeter in, into something. This lens is a whole nother level. This is what for me, macro photography is all about getting in close, getting super data or seeing things that the eye doesn't normally say. If you're not a creative type like I'm like myself, I've had to work on it. I'm still not there. You can just get some amazing images. Just experiment in your fumble around and you come across something go wow, that was really cool. Where, how did it end up being so cool? This lens gives you a lot of font, basically, just like the rest of their lenses. They have a multi element glass inside, aluminum casing, screw thread, thread. So you could screw it straight into a striven optics case. Or they have a universal claim and the universal clamp claims onto your existing protective cover. Or if you have an iPad or you don't have a phone that's not covered inside their case range. That's a great option. The only thing with a macro and this lens in particular, I'm probably persuade you away from using the universal clamp if you have a multi lanes. So multi-line phone because multilingual and might not have a flush surface because he did it as a flat surface to God, a clamped on edge to edge sharpness. Amazing. No soft ages, which is, which is incredible for, for a magnifying lens. You will see there are some that are out there that, uh, ten times, 15 times, 20 times. But the distortion is pretty awful. Focus is S2 will be in focus, the rest of the data focus for me, it's kind of very limiting because you might want to have your subject matter off to the side. Simple rule of thirds, isn't it? But if you've got a lens that really, you can only get it sharp in the center. Then you got to have central, central composition and really restricts you. Alright, so I haven't flower here. You've seen it. He's the flour. What I'll do is I'll put a backing board there so that we can have a backdrop there. Yeah, so this is not going to be a tutorial on composition or lighting because up to lock my life. But I wanted to show you how we can get in super close with these lens. Really cool, exciting stuff. So what I'm using on this phone is that Adobe Lightroom. Don't be intimidated by that Adobe Lightroom because there isn't w0 product. You don't need the subscription to use their library map. If you have this subscription, then you get access to sinking you photos on the cloud, on your other computers. And also you can use selective editing in a cell, which is where you can go into a particular area or in the, on the fire. Alright, reservoir, I'm showing you on this one because it has manual focus and we'd manual focus, there's a focus picking and focus peaking. Basically. It shows you illuminating green areas in the image that are in focus or the foreign things are in focus, which is really cool and it's going to be really helpful for me to show you on here. So let's go into that now. Focus on order. So I'm going to go to Menu and then look at that. We can see as I move this around and moves further and further in. Now this lens has two millimeters that's in focus and you need to hold it three centimeters, right? So you basically know, we need three centimeters away. That's what you've got suppliers. Now it's this focus, manual focus. It moves it back and forth. The focus that to two millimeters back and forth. And all we could just manually moves the finite. So with this lens, you can get right on top of it. One of the problems with macro photography get run on top of it. You're blocking a lot of the live which I'm doing. Rodney asked, and I've looked at the leaf. Now there are other camera apps out there. Even some of the Androids have focused picking on their prime mode. And you can actually go in there and change the color because green or green leaf, it's not really helping me as well. Heard some, you can change it to red, you can change it to yellow, which is super helpful. So you can see here basically the tip of the leaf is in focus and then the rest of it is the artifact is that's what I love about these lanes, is that the background focus is just, it's just phenomenal. The blood background, I know phones have portrait mode, live focus, some of them even I fans. You can use an app called Camera Plus and you can have a macro mode. It's really good. It's all software. Newer phones, newer Androids have a dedicated macro lens, which is at the moment there too. Some of them are two megapixel sensors that the separate sets are absolutely rubbish, isn't getting close, but this is using the macro lens on your mainland. The biggest, most powerful, highest resolution lens. Hey, when you get, you can actually print these two mega pixel macro. It's a bit of fun, but you can't print the mers, these ones we can print. So yeah, a lot of fun. Love it. Cinematic macro to cinematic wide angle. And this one he 2.8 magnification. Lot of fun. You'll love it. I love it. Any questions? Rate jam. If not some, we will leave it there. And I'll talk to you soon. 9. ISO and shutter explained: Welcome back. In this video, we're going to talk about ISO and shutter speed. We're gonna get technical in this one. And now you're used to obeying an advocate of Big Dragon Frey and keeping it as simple as we can. But we need to get into a bit of the technical side. He saw the weekend, squeeze as much as we can add up your existing smartphone. So previous experience in the last lesson, we went into manual control. We use manual focus using the Adobe Lightroom app and for bringing the screen up pages really quickly. You can see here that he's the, the passion fruit flour again. And I've set this up now a little bit different. Actually, I'll put the macro lens on the two times the telly converter lens. And so now we're getting extra optical zoom as well as the macro zoom psi or macro phages are getting really close this once if for the demonstration, what you're going to learn is, what is ISI and 90% of professional photographers out there. Can you believe it? Professional photographers don't understand what I always say yoga to be able to test them. You'll be able to test just how much theory the photographers around, you know, who say Arya, Just the smartphone photographer, you just hobbyist. If you're going to know something that iodine. So that's really exciting. We're doing this. The reason why we're doing this and why it applies to sharpness and in your images is that by manipulating the ISR and the shut off, we're going to have the most clean, vibrant they tout image that we can achieve. Now playing around with ISO and shutter ad in the field, taking photos of flowers or people running around at the kids at a sporting event or something like that. It's not practical. Okay. 9590, 95% of my firearms offshoot on odor because I know if of current in focus, then the rest doctrine fix up in editing. So this is really for setup shots or if you just want to have more creative control, squeezes much decant added this law lot, not Tom photography, MenuController is fantastic. So that's why we do this. The benefit is an OS claims. So the tool we're using yes. Is it'd be locked room. The reason for that is it's available in Android and often you might have an Android that has a Promote in that primary deacon axis, these features as well. So for simplicity and to ensure that I can help you no matter what you've got. That's why I'm using this app. So I'm going to refer to my notes here because I don't want to miss a out here. I want to try and explain this to you properly. So what is ISR? It's not an acronym. They think that ISI remains International Standards Organization, which it doesn't. On their website, I've got a quote here from the International Organization of standardization, which is actually iOS. So anyway, it says, Because International Organization for Standardization would have different acronyms in different languages. Ios being English, or ION infringe for organization international denormalization, a founder's decided to give it a short form. Isr, ISI's derived from the Greek i sauce, meaning equal. Whatever the country, whatever the language, we're always ISR. Isr. So. The word means equal, extended its standardisation, such standardization, it's not an acronym for, for these guys. So where it comes from is from the old film dice were films sensitivity had an ISI writings that had ISI rating of one hundred two hundred four hundred, eight hundred, sixteen hundred. So that meant that no matter who the manufacturer was of that film, whether it was Kodak or Fujifilm, show my age now anode through all these. But basically ISI was the stated film sensitivity to light. So you open up the back of the camera, put your roll of film in, they close it. Don't let any more lighting. We've all done that. We've opened it up and she's the locked in a destroys must be photos, if not all of them. So you slam them shut. And then as the film goes around and does its thing, the light comes through the front of the camera and blah, blah, blah, blah. It's sensitive to that life, that sensitivity, such standardization of that. Laura Bush, the other misconception that they will theory that people had, and I had it for so long myself, is that especially when we move to digital, I thought that it was the sensitivity of the sensor, which it's not it's not the sensitivity of the sensor. The camera sensor consists of tiny little pixels, little dots in there. Alright. That's if it's a twelv megapixel camera has 12 million little dots in there. Alright. You ready for this? Lot enters the lanes and every little pixel inside the measures the intensity of the light by canning the photons reaching the pixel that the charge of the photons changes the voltage in aids pixel, the voltage values recorded by the camera. The raw data is a collection of recorded voltage values from 012 million pixels. This is the one that's most important for us. The amplification of signal happens after the data was collected by applying the gain, which is like a little dial on your, on your hi-fi system. Stereo digital camera, including smartphones, should be using the term gain, not ISI. So basically, as the lots coming in, it's recording the photons, it's recording a value, Electronic value. It's keeping all this data a little Processor in it. Otherwise pay the image signal processor is, it's taking all that information. And then if the image is not quiet, brought to doc, whatever you were applying the gain. So when we change the ISI, we're amplifying or take racing that information so the image becomes brighter or darker. In a nutshell, I saw in a digital camera or a smartphone is basically all it is, is taking that information and amplifying it or decreasing it. That's it. So when we change the value, we're not physically changing anything. We're not we're not changing the opening of the lanes or anything funky. Information is coming in. It's quantifiable. It's a quantity, it's, it's fixed, it's locked. We can't control that. It comes in. It records it as data and the Murray, the amplifying it to make a broader, or we take racing, it's an Ikea taka. Alright, we got through that. So here we go. Noise, any, any sort of sense that receives, transmits an electronic signal has some sort of noise. If you think of a stereo, we have the hissing sound than we saw a tuning intronic getting another station and you get the hissing cell. Otherwise it would just be astonishing. Quiet station Corbet. It's not, it's the noise, it's the hissing sound, similar to this. So the higher frequency we go with a higher amplification we go, the more image noise that's in the electronic noise, it's going to be amplified and is going to be more and more proto specs are crying salt and pepper. Okay. Still with me, right? From a practical point of view, all that means is the lower the ISO, the less of that noise the guy to have, OK. You go to make the image proto, you kind of have more brighter artifacts, right? Just make sure I've got he. The reason for the lowest setting is you capture a higher range of lot and dug more vibrant colors. I chai. Now I'm not used to getting really technical with the, with the smartphone. The other factor with exposure, because exposure is have brought the images, is, is the shutter on here. It's referred to as SEC seconds. Okay. So what that is is with the old cameras, you'd have a little curtain in front of the sensor would open up, let the lighting, and then shot itself. It's a fast phosphorylated lock that let a little bit a lot in if it's a long ones, have a nighttime when you want to get these really cool street lights of the tail lights of the car going past you or leave it open and then shutter open for longer so the light will go through and we recorded with a smartphone. It's a little bit different, it's electronic. We don't have a mechanical shutter lock will occur yet luck we will use what is called is a, is an electronic rolling shutter. So it's skin, so the centers gains scan, scan, scan, scan, scan from the top to the bottom. So it's a rolling shutter. Okay. What's the sideway? Slow it down. You have more, more, more information, more light. Speed it up and look exactly the same way. If you have a fast one, it'll freeze action. If you have a slow one, the action will be slowed down and be blurred. Alright? The reason why we're mentioning this and talking about this inside a sharpening cause is because if we have a fast camera, then it means that if the flower was moving, it'll be okay. If the camera's moving, it'll be OK because it's nice and fast. All right, so here I have my manual focus all set up. That's all preyed on ISO, similar to before, starts off an aura and then we move our finger up. And you can change that. Okay? So the higher we go, the more gain we're applying. So we're amplifying that signal, the original signal. Now the reason why that hasn't increased in brightness is because. Setting the ISR, but the second, the shutter is still on automatic. So if we change one and the other is automatic, it will go okay or brought up about what we're better. Repetitive. Mike the shutter faster. So it's brought out, it's getting brought up. It's too much. So we need the shutter to be really fast, so it doesn't let him too much slot right now. You can say the seconds. So at 1333300100 hammock outside it, normally it's 160th. But what is 133 third 130s also address. So you can say, but boosting the amplifying the ISO way, causing it to take a really foster father. So that's really good if you've got an action shot like a bay buzzing around this flower of those a, b, the net could be really handy in this loading scenario that we have here. K. Now if you watch, now's our reduced these down. And you look at the second, okay, I'm gonna go as low as I can, 25 because that is going to give me the nice vibrant colors. That's gonna give me the least amount of noise, which is fantastic. But you can say the seconds where now one quarter of a second. So that is really, really slow our shadow. In this scenario. The flower won't move, the tripod might move. It's perfect. We can take that photo. There we go. Let's make that even better. We're going to set that on a timer and then press that and there is no movement of me touching it either. So photo into ISO might change that to order. Now I'm gonna touch on seconds, the shutter speed. And now the shutter speed. They might be a bee flying around. Okay, I'll wanna go at say, 1 500th of a second, which is pretty fast. So that's gone and maxed out. And because it's automatic automatic Neff operating that down. Okay. It should occur or I'm sorry. So an owner. Fantastic. And as I'm moving that you can see the ISO value. Value is changing, but it maxes out once its maxed out, okay, we can't change it anymore. Then the image is gets darker and darker and darker. And so we wanna get the nice fast shutter speed where we still have. We can still see what's going on in a still level of broadness and the image is good. Okay, so in these conditions, we can't take a really super fast photo without the image current dock if it was outside, chasing bays are, and then I could have a shutter speed of one hundred, one hundredth of a second, really fast. Depending on the matter of ambient light going on around me who will adjust automatically. Which is really cool because then what it is is it's actually shutter priority mode when the ISO is on order. And I'm adjusting this, it means that the priority is whatever I set the shutter speed. So if I want to have a handheld fodder, I'm not using the troppo outside 150th, 160th. That's about what you can get it. Okay. In low light situation like this, I could take a photo at that speed and aware and have the camera shy because that's the kiloohm. We covered that in another lesson. So just a recap, ISO is not an acronym. It's not the sensitivity of the sensor. It is actually the amplification of all those photons firing, giving electronic values to the Saint says all the rotator of light that's coming in a way that amplifying or decreasing it. Amplified too much, we get noise, decrease it. We have less noise, more clarity, shutter speed. Not nice and fast. Shop quick, quick. In-focus. Once I in-focus, no movement, not blue. If it's too slow, then we get some blur in the image. So that's pretty much wraps it up. One last thing. How do you tell the difference between a paying out of focus and being blurred? If it's, if it's out of focus, then they might be one part of the image that's in focus. If it's, if it's blue, it's movement blue. There won't be any part of the image and it seemed factor. So just a quick tip to round that up. So I thank you for pursuing this and keep going with this a little bit technical. But hopefully that, that little recap At the end kind of kind of simplify before and you can see the benefit. It's a balancing act, isn't it? Get the ISIL as long as you can, get the shutter speed is faster as you can and try and get the balance between the two so that there's an eye movement and it's a nicely balanced Latin document. Thanks again, and I'll see you in the next video. 10. Camera Stabilisation Tips 2: Welcome back. In this video, we're going to talk about cameras stabilization tips. Previously, we've talked about the importance of motion blur and trying to eliminate that motion blur. Also add of paying out of focus. But that's another subject by talking about motion blur at the moment. Because those two topics, motion blur, having any sort of blur in a obeying autofocus makes it really hard for the next step of doing the editing. So we want to get a wrought in camera. You probably heard that phrase for the big cameras paper talking about getting it right in camera. That's what we wanna do is you want to try and phrase that action. We've talked about how to stabilize the will, minimize the movement of the subject data, creating a windbreak if you taking firefight as a flowers outside or taking it out of the environment, choosing a time when the environment doesn't impact as much. So with atmospheric conditions. Then Philly morning, after writing those sort of things, that timings can set up your subject. This is something we can address it any time is the stability of your camera. So we're gonna talk about how to stabilize the smartphone has type lodge itself. And then we're gonna talk about tripods and what to look for an tripod. Well, I have about, I think at last count, ICT tripods and I only use one and I'll explain to you why are, why I used that one, what I'm looking for because then you can create your own wish-list of phages and must-haves and desirables, that sort of thing. Tactics are before we do or just want to share a quick story about how I kind of discovered the whole having to keep things stable with a smartphone. Because I always thought that the small, fine, it's not a big wind does have big lanes because if you're using an SLR or mirrorless with a big lens, stability is a big issue. I didn't think it was such an issue with a smartphone, but the story, I'll share with you, my photos on a on a iPad when I first started taking Fridays, This was actually the one who started. This is such an old ipad now. And an ice. I'm a big professional. Massive tripod could go up to 1 I made is I'll be there on princess bridge in Melbourne and taking long exposure for rice, which is just to me why that you can take lowing exposure effect firearms with smart phone or your iPad. So that was what I was playing around with at the time. And and the reason why I use the iPad is because you could actually see everything. It was fantastic. Unlike the SLR dies, we had these little 3.5 inch screen, actually had this big screen, OK, it's exactly what I was doing. And I can go in there and adjust the ISR is shot, all that sort of thing. In the live preview, it looks fantastic. Press the Go button and Whiting, Whiting writing and getting that long exposure effect happening, he saved in real time as the photo is taking place and it kept coming out blurry and I couldn't understand why it was blurry. And Southall archives stability, movement blew. It, said I'll grab my backpack and the bottom of the tripod have the hook. So I'll put that on there. I've got that troppo. Absolutely. Rock steady. Clamped up my my iPad holder, Clint that operant Lawson taught, still assign results until it finally dawned on me that it was actually the iPad holder at the time that I was using. At the time, it was actually mounted at the bottom. So sitting Then on top and the slot is braise, it was was just moving the iPad and and it was moving it excessively, David, just a tiny little bit of movement was enough that it couldn't actually achieve that sharp focus that I'll want it that was getting that. And it wasn't it wasn't pleasant movement, wasn't the lot trial or that, that wasn't the effect. Oscar actually, as I was getting frustrated until it finally dawned on me. Now, I'll have an iPad holder with the man in the back there in that center. So that now when I attach that to the tripod, it's in the center and it's locked instead of the bottom where I've got so much more, more movement. So I'll talk about that again shortly. But let's focus firstly on the stabilizing itself. And you've probably heard about elbows in, bring your elbows in. The reason for that is that a lot of people take photos like these that that you've seen you've seen guys Paypal and they got the Elba is up. And the problem with that is that you've got all that, all that movement day and perfect conditions, dialogue conditions where it's nice and brought the camera will actually be working really fast. So that is our county during the day, if you're taking photos in indoors where you've got a family gathering and you're indoors, then that is going to become an issue using that sort of technique. So that's what I recommend, shows in the other way, a holder of saints and really funky different ways of holding, holding the phones to haze that sort of thing. Whatever you're comfortable with, there really is no right and wrong. Why? Now with some Androids, you can actually go into the menu and you can move the shutter button. Says Shutter button being the typical place you could actually move it to somewhere else on the screen. So if you're taking, if you're taking a selfie foreigners, you could actually move it to where it makes sense, where you're holding it with one hand or however you're stabilizing e can move the shutter, so that's really handy feature for that one. Another option on some smartphones is to actually use the volume button on the side there. And it's more natural if you're coming from a point and shoot background, then you might find that that actually feels more natural squeezing that instead of tapping that. Because tapping that depending how you doing it, you can actually get that movement there as well. And the other option is to actually use a timer. So you could have this nice and steady and you found reaching for that, for that shutter button is actually causing you some stability issues, Ritchie and crosses uncomfortable, then you can actually use the timer and okay, 3 second time a nag, comfortable rocketing and just white for the Talmudic off and then bang you go, you got a nice steady far i, so that's a couple of tips. They also fund something sturdy. So if you find something sturdy, the E can rest on, then you can rest that on there as well. If you're taking photos, you can actually have your elbows on the table and take the photo. That way. You're actually creating stability a tripod, if you like. So, yeah, it's a couple of tips. They all right. Smartphone holder. Let's touch on that or touched me on on the iPad. But what to look for in a smartphone holder? Now this is one that I, I have far fewer days now. The fantastic, it's the sunlight Fight CRC CRC dash 02. Fantastic. It fits the plus sign is the smallest size. It has a screw at the bottom there with a fairly substantial thread. So you know that once it's locked in, its locked-in has cushioning a. But the best thing is you've got the Swiss, Swiss AKA style amount, which is the duff tile map. And basically that will just slide striving to all the modern Muslim tripods. You don't have to worry about having the tripod mount fixed to that. And then the tripod or the camera man. That comes with your, with your bowl here with the tripod. You didn't have to worry about squaring that on today and then putting in today. It's much more easy. You just transfer these between just attaching it directly with that dovetail man. It's fantastic. I chi tripods. This is one that I have spent a lot of time and money on tripods and frustration getting the wrong ones. Because I have a lot of, lot of different uses. I do landscape photography are the streetscape, I do macro or do presentations in camera clubs. So and it's something that is great as a desktop tripod, as well as something that I can stand in front of on different terrains, that sort of thing. So I have actually quota a versatile, demanding needs for my, for my tripod broke guy through a couple of them here. This one here, this is a Siri. It's fantastic. Now this one I've taken out the center column when it went, when you purchase these one, It hasn't set a column that extends my Tala. What I love about this is that it, it turned into a handle. Say you've got a handle, they're great for turning into a selfie sticks. So that is a great example of turning a tripod into a selfie stick and ball head. Just move that around. Fantastic. So that's one. And the reason why I use this in the studio here is that it sits at the same height. I don't have to adjust anything. It just sits there nice and comfortable and it's and it's perfect. Okay. The next one I want to show you is another. Sir. I have this one on my website. And this I thought this was the one who did all my research and spent the money and thought this was going to be the perfect solution for me. I'll get to that one in a moment, but I want to introduce you to this one because for a lot of people, this is the perfect solution. Different things you look for on a tripod is, you can say there I have my other smartphone holder at the top. What we look for is a, you want to send a column because some tripods doesn't have the center column, so you just have the bowl hit on there. I always like having a center column because then you have the option of if you don't want, it doesn't matter. It's still it's still they say if you want to extend it, you've got the option. If you don't have a center column, if you want to extend it, you don't have the option. That makes sense, doesn't it? Okay. A lot of them have these little adjustments here that you can unlock and you can move it all sorts of different heights. And it just clicks in between H1. And what I loved about this one is rocky, getting nauseous and nice and level. And it can go all the way. So you can actually turn this into graphic travel. Okay, so that was Big Bang, wasn't it? So when I was traveling recently, it's great to have something that I could fold up. That was what I wanted. The other feature here that I want to show you is how to unscrew the, the legs on the, so this one here has a twist function. Now for someone like myself that has, that has big hands. I love it because I, in one movement, I can just go bang. I've unlocked them all. And then I can extend the whole thing at luck that so that's fantastic. If you don't have becames. My wife uses this g undoes H1, so she undo that. Screw it under the next one. And it drives me insane. Cannot just do that for you. Can you can, you know, you can do that in one guy, but she but she can't and so she finds that she funds be frustrating having doing this itself. She doesn't want to be spending all this time on locking them and all that sort of thing. K. The other option is you have leavers or I'll show you another one that I arrive in my audio tripod. I'll show you that. The other thing to look for is the bottom. Somebody a rubber fate like this one or you can get some that have the spike. The sparks are really handy if you do a lot of landscape photography. And in nature, we got damp ground. That time. That could be fantastic as well. All right. So that's that one. As I discussed before much the tripod all have a little hokey. So you can stabilize that. Now, I know we're just using smartphones. We're not using big cameras, so we don't need to be able to mount big heavy things. You don't need to have that carrying capacity or that load capacity. But having that saw the hook on the bottom can be really handy. This brings me to my favorite one. This is a main folder. Now this is, this is in the a range. I have quite a few different, different set of quota. Whatever they got, they got the backpacker, the road master. And I think there's another one as well. But actually, you'd say this one here, this, this is a treble. This is actually marketed as I travel tripod. But then compare the size. I'll just pop this one back the way it was. Look at that, look at the size difference of the two of them. They know I've got that guy, so let's let's take that address. And that is a good four inches and white wise. It's a lot lighter as well, still aluminium Nim cutting. So this one here again has the doc tile there. So I can easily just go from one tripod, tick that off and pop that in a arson ASI. This one has a little spirit level on the top. And the benefit of having a dovetail like this is the mass and the bottom and it directly on a hold. Eyes see how that is. They when you actually put the tripod Camry manned flight on, the plate actually covers it. Knowing so this you can actually move it and you can actually still say that spirit level. Alright, have a look at this one twisting action. You're going here, got click for next democratizing here. And then out and twist 1234 sections. And it's only one woman. And you can actually adjust it and you can have it at different hearts as well, which is really handy. But twists action. Thank you, nice and easy. I love it, I love it. Okay. And this one, you can set this at different heights as well. Lifted up. So look at that as nice and flat on a fantastic and you got the ball head. So you can move that around. You can turn it into a, a portrait mode, vertical or horizontal. So easy to use, so incredibly easy to use this one. As the other. You can undo the center column. And that can now go upside down. Love this tripod lobbyists. And now can you see where I'm going with this? Can you see what I'm doing? I can have that turnaround. And now I can have that phone had grand level and you've got all the stability. It's fantastic. Fantastic. Okay. What else do I want to show you with? This center column? Will actually have this upside down. Pretty funky or I'm sorry, but I wanted to start net Twist, Twist. And I'm gonna extension there as well. So now that ends up being 1.65 meters, which is for something so Compaq is unreal. Now, it is a bit flimsy when you have that extended, all the white kids start to get a bit flimsy, but we've got a lot white smartphone on a MIS conditions. This is just fantastic. It really is end the air range can with a Bluetooth shutter. It also I came with the different smartphone Hall, but it was a bit, bit flimsy. So that's why I prefer this artist just pop that one on it. And it just feels like quality. It just feels really nice. I'll use this one for a couple of years now. And it's just fantastic. Okay, so we've covered how to stabilize yourself, had a stabilized the using troposphere to look for. If he can't do any of those practical use of troppo SIPOC translation platform. Or you're on the back of a, back of a very movement. You can't control the movements that have tripod. So fear is a great example because you can't type lodge itself, but the whole birds moving. There are circumstances where you can't stabilize these things as we covered in another, nonetheless than the manual control of the smartphone. And all you need to do is speed up the shutter speed, Mike, your camera work faster. That's pretty much it. Adobe Lightroom app, go into shutter, turn it off, or leave the ISI one order. As you adjust the shutter. And it will automatically adjusting exposure, balance of light and dark and give you the shot that you want. So hopefully that's enough way that gives you some ideas. Any, any questions again, just throw them in the comments. 11. Manual focus smartphone macro lens attachment world first  Struman Optics: Welcome back. I might chime smartphone photography training. You. More importantly, our smartphone photo enthusiasts who asked to get the most out of your smartphone and take your passion for smartphone photography to the next level through tutorials, training like these. So that's what we're here for. I am going to show you a brain, you lanes by stream in optics, it's called a macro, cinematic, macro lens. It is actually a world first these lanes, I don't know, that's a big grain climb, but Google it. Feel free to go and validate this. In fact, check me. It's the first lens attachment that actually has a manual focus ring, which is super exciting. They've taken that on board with them. We fade back from, from communities like ours, that they have direct contact with their Melbourne based companies. So they're really open to that. That's been a lot of time and effort into research and development. So I'm super excited for them that they put this together. And I really, I can't wait to show you this so well. So ambassador for stream in optics, I'm a huge advocate of their whole range purely because the optical quality, portability, durability in there, it's just super easy to use. So depending on the model that you have, you can get one of these cases that goes on the back or you can get each lanes arrives with a universal clamp, which can clamp on the back lanes or you can turn around and put it on the frontlines for selfies, for the wide angle. Maybe not the macro. That doesn't make sense, does it? Well, would you put the macro on the front so disregard that. No one wants to have a macro photo of their nose. So yeah. So if you don't have one of the phones that they have these or you have a tablet, iPad. Perfect solution, as with all their other lenses, but has a multi element class elements in the multi-layer crystals nano coating under that said a lot of gobbledygook. Basically what that means is each of their lenses in the cinematic range have 0 distortion or vignetting, rainy heading, which is the darkening of the ages. You know, the cheaper ones you have to the dark ages. If you use the universal Claire over top of a phone case, you make it happen because the lenses sitting further away from the actual lens on the phone, if that happens, just pinch and zoom it a little bit in the arrow crop that at that beta, edge to edge sharpness, that is a messy point and it's the biggest thing when you're looking at a good-quality lens. And this one does not, does not let you down. It has the sharpness and clarity as well and contrast, lots of contrast in these lenses. Alright? And basically they just plug in Go that you don't have to have any more expertise. This one he, with the inclusion of the manual focus ring. If you want, I can get a little bit more complicated. So let's get into this one manual focus ring. So when you, when you screw it in, you go one way and you go all the other. Basically what that does. That brings that range. So if you've got this guy's ants about eight centimeters, and then after beyond eight centimeters, everything's out of focus. That's a little bit different to a lot of wide angle lens or some other Lindsay might be familiar with is that once you get past that ICT, centimeters, id millimeters, your evidence that affect that. So you subject needs to be within that distance. So I've got a flower here. I'm going to show you a couple of things, but I'll put a board up first. Otherwise, you're gonna be looking at through these strata and abroad a lot and it's not going to be very, very comfortable voice. I'll just grab that stepwise. Pop that they're going to say yes or art. And turn this around and make it vertical within that eight centimeters. And now what I have here on the screen is I have a light room mobile app, open. W, intimidated by that, Adobe. You just need to have a basically set up a free account. And then if you subscribe to Adobe, then you get extra features inside the satellite. Being able to talk to your storage of all your other fighters on the computer. Selective editing, which is where you go in and selectively just edit just part of the image so that you get for the free account, you get access to a lot of it. And these camera app is one of them. What I love Bailey's camera app is that it has manual focus. And that's gonna get really complicated, isn't it, Ben? You're focused on the lens and the manual focus on the camera. The reason why I'm doing it, this is the half these featuring he called Focus peaking. And focus peaking gives you a visual display. The pixels on the screen, they go abroad green and show you what the camera thinks are. Contrast the entitle in-focus parts of the image, which is for you right now showing you this visually, you'll be able to see what's in focus because it might be a bit difficult to just look at a little screen. So that's why I have these camera app. Lovett, It's fantastic. All right, so you can see here I have the lens within eight centimeters, okay? And we can see the green on the screen. He, that's what's in focus. So now if I move the focus ring, so at the moment I'm moving it at rotating around to the left. Okay. When I say to the left, I'm looking through the screen and rotating it to the left neighbor, and I've rotated to the left, I can actually bring that in a lot closer. And you see the nail parts of it are going green. Benefit of these is I can get an iron within. Let's get, I can get even closer than men. There we go. On a centimeter away, ten millimeters away from the subject. Normally without a lens attachment, you can only get about two to three inches or these about 78 centimeters before autofocus doesn't work, you just can't do it. So this, we've got a centimeter is pretty cool, is pretty amazing. Now that we're in there, you can see what's in focus. So I'm going to come back and kind of xy how matter focused and now I can do the manual focus ring. Bring it back. And there we guys have a lot of it back in focus again. Alright. Now I mentioned having a halfway for autofocus. Okay. Okay. Tap on the auto-focus. So it's on purpose, I should say. So now we can go a 100% to 0%. So 0 is where we can go in super close. The benefit of going in super close is that narrow depth of field is super narrow. If you go into close though something like this, the Ed, the edges of the flower will be, will be in sharp focus and the rest of it will be completely blurred out. And it looks like they're kind of floating there. So just be mindful of what the subject matter is. Like everything experiment. There's no right and wrong. Yes, I, I go 40 years, autofocus go halfway. That's about halfway. Focus, gotta autofocus bang. You can see that. So you don't need to use manual focus on the camera. You don't need to use manual focus on their focus ring, but you can take full advantage of the xi. Awesomeness of this lens. Is you can say there is just, so shall. I mean, I'm still in I've had these halfway I mean, autofocus exempting super close. And it's incredible details on there. Just take a photo five-year manufacturer guarantee, which is unheard of in their lanes department because most of them the one need to yeap. It's five years and they give you 30-day money-back guarantee as well. So when you buy that through directly through restroom and or you buy that through the warranty as well through each Truman or through myself, he get that 30-day money back guarantee because we're both just confidently and I love this lens. Whereas we're gonna say he, alright, so this is one of the lenses. The other is the cinematic wide, which has the macro building, which gives you instead of 53 degrees. What I love about 523 degrees as you saw there, it looks real as perspection, perspective distortion, the wide-angle does, but that can be really creative as works and getting super close. What's close as big, the rest of it is small, can, can look really cool. And also the HD macro lens, which has a 2.8 magnification savvy taken photos of bees, that sort of thing. Stunning thing to be considerate of that is that it has two millimeters is all that is in focus. Their depth of field is only two millimeters and you need to hold it about three centimeters away from the subject type, some parameters there to work with. But the results when you had that 2.8 magnification or just stunning, fair. All right. So hopefully that'll help. I have a separate video for those two lenses. It helps you to decide which one to go with. Why not get them all get a bundle. With a bundle you get a tripod shutter remote release, which is really important. These are the three lenses, the tripod and the shutter release as a bundle is a great way to go, is as you upgrade your phone, The only thing you're upgrading is another case. It's a onetime investment and down. Yeah. You've got them for for all your devices. So yep. That's it. Thanks for joining me and I'll talk to you soon. 12. Shoot manual focus in black and white: Welcome back. In this video we're going to talk about something you probably wouldn't have expected, deny yeah. A sharpening cause and at least shooting in black and white. Can you have a guess why that would be? Why would we shoot him black-and-white? So one reason is that it removes the color, doesn't it? So you can remove the distraction of color. The other is that you can say contrast. So it's similar to if you're doing street photography, what all ought to do it if you're at the middle of the day and you're looking for that real high cron contrast with broad areas. It's OK, I just squint your eyes, squinting your eyes. We'll actually help bring out the contrast you said with the donkey's simile with black and white. It does the same sort of thing. It shows you where the contrast these, because you get rid of all the distraction of color and you can just concentrate on the tones with they tiles. It allows you to say the textures in things as well. Okay, so what have we, what have we learned previously? Previous experience, we've gone into manual focus and the benefit of manual focus in the Adobe Lightroom api's that you get that green overlays in it. Did touch on what if you have a grain subject and the grain overlay. So I have one heat foil for this demonstration. That's what we're going to cover. The benefit of this is that you can have a great subject then you can, you can say that better. Black and white. If you have black and white and then you have a grain overnight, there's no color distraction. It looks amazing account, right, to show you that tactics. So that's basically it. Let's, let's bring it up and let's go straight into the camera app now. So here we go with this grain subjects. I'm not going to worry too much about, about composition and locking and that sort of thing. But you can see here I have the manual focus. Okay. And you can see there the manual focus econ actually, unless you look at the far left side of the screen there with his Now contrast between the green and the more of a yellow turning, they forgot manual focus on the stream and optics lens. I can bring that focus, backup it closer to the front. Say, say they were actually starting to struggle, aren't we do actually see it. So up at the top right corner that you have the filters. This is the live camera filters. We can, we can select black and white and look at that. Now you could say it, can't you? It's, it's fantastic. So you can a, you can say the gray, the black, that's sort of tones but there's no collar. They, so the green outline, what's in focus. He just really stands out to remove all the filters. They just tap on the screen, go into a manual focus. And this is where we can change the focus, the focal length manual. It's getting closer. Ok, so now we can use the manual focus on the lens as well. It's just amazing, isn't it? How much that green really pops and stands out. Okay, so what we might do is might bring these RANSAC onto this part here where they some more texture in the St. And that's just unreal. How much green really pops and stands. And you can see so much more clearly exactly where that focuses. So I'm gonna bring these other flare up. Okay, now this is actually a weight, this one, lock a log of what it was doing with these weight. I'll lock the textures and everything. And it's been here for a little bit, so it's getting a bit wilted and not looking so great anymore. You'll be PSICQUIC with these macros and actually getting me excited, we got this one has a lot of data. Let's go back into the, with the no filter. So you say, this one's not bad because it's not green, it's not a grain. Textures there and lawns and all that sort of thing. It doesn't matter so much. You can actually still see the grain. But with black a Mort Scott, back to black and white. It just pops, doesn't. It's brilliant. I love it. Okay. So we're going to be ne Lawson shop Good Thursday towels. They I take the photo. They might be wondering. Yeah, but I'm going to end up with a black and white father. Just lock most smart phones. You can actually go into the, let's go back into, let's go into the editor now. You can actually go into the and you can scroll up, look at the filters. And you can go They camera settings and Vega severities weed out black and white, fantastic. Rod. And with the power of photo editing and video editing, I'm now going to show you what these photo looks like after we do a quick edit. So there you go. There's air before without extra day towel and getting in their nose and clause using that trick, there's the AFTA using some of the editing workflows that are covering enthusiastic pro in 21 days. This is one of those lessons that when you sign up for something, if you're more experienced with sharpening images, you hope to just learn one thing. This is the one should in black and white, use the manual focus to get that really say exactly where you're, you're focusing it, change it back to color and it gives you a big advantage, doesn't it? 13. Different shooting modes affects sharpness: Welcome back. In this video, we're gonna talk about different shooting modes and how that can impact on sharpness and focus and that sort of thing. Previous experience, we've already talked about manual control of the smartphone using an epilogue Adobe Lightroom, and a camera app. What are we gonna talk about? Let's go through a big list. He manual mode, shutter priority mode, eyes high-priority. My panoramic mode, multiline smartphone. I'm going to show you a few things that we that portrait mode, live focus, whichever one you have. The bicycle depth, depth camera, beauty mode, filters live photos, burst mode, and lastly, screen capture. Or it's, it's gotta beat the, why are we covering these? Because sometimes you might want to have on a capture a fast motion, I want to capture it. So you'll use a burst mode. And sometimes in some cameras, the burst mode is actually reduces the resolution to try and have its other can record quick photos and it was in quick succession. And the buffering and rendering and all that sort of thing can slow down and you can mix. It misses out on the day towel. So that's why we're doing it, because sometimes we make a choice, but it might be the wrong one. So how are we going to do this other kind? First of all, we've got Adobe Lightroom app. I'm going to bring that up now. I w Lightroom camera app now again, I'll have it on primates are that I can have control. He, We've talked about ISO and shutter speeds are ISO. Everything's on auto the moment. Now the blank screen, my camera's not broken up deliberately put a bit of black type I wouldn't Wednesday so that we can just focus on the controls. He brought auto. If I'm taking a landscape photo, then I will actually always put it on a tripod and I'll have the IS out the lowest setting. The reason for that is that has adds more clarity, more contrast, and you have less of that noise and grain and grittiness and all that sort of artifacts in the next one. And when as you can see the seconds as I have, because I've got black type there. It's actually going to make it as long as it can actually automatically adjust the shot up based on what I said, the ISI on the flipside, turn that back to order and shutter speed and the shutter speed, I can go in there and increase, decrease the shutter speed depending if I have a static subject or I fast-moving subject, I'll adjust that and then it will adjust the ISR to match them. And you can say, oh, I saw is maxed out because I'll have that type over the the next one I want to cover is panoramic Martin. Now when you take a panoramic photo, as you know, you start from one side and you move it around and you have the little arrow on the line tells you k up, down, slow down. It'll tell you what to do and give you that instant feedback. Say recording, recording. When you're doing it. Elbow Xin noise and steady and rotate it. The heaps died right tight, lock that not right tie at the hips. You can actually also do it just in the one spot. Lock that two heads to have a practice, see what works for you. One thing I want to tell you that with the sharpness is the way you start with your doing a horizontal, one or vertical lens. Panoramic. When you start and you press the shutter, it will lock the exposure and the focus based on that initial thing. So if you doing a nice landscaping, you've got the setting sun in the background and you go all the way across, then you get today then the sun will be really bright because the bright light source over there and its not existing ever he. So what you wanna do is you want to move until you get to where you the faunal image or trying to get that balance Lockean sign with focus. If you've got a foreground interests in your landscape and you are forgone interest and you want that to be in focus. Lock on that because if you move around and then you foreground interests is at the end and you've focused on the distant horizon. Uterine today, finisher panoramic, your foreground interests could potentially be out of the equity for that one multiline system. So I have a macro lens, more 2.8 scrim and optics macro lens attached to here at moments which kids? Let's make it really close to this link cloth. Yeah, in front here. And you can see on the right side there I have a w and a telephoto. Or on certain moment with, with this particular cover, it has two openings, Iraq and screw the lanes into. And what that does is that let me place the lens in front of the lens attachment in front of the exact lens that I want to, and this is a two, has two different lenses. You want the wildland during a telephoto lens with what remap rocking out in there and press that button above the shutter Anakin switch between the two lenses. Now, if I didn't have this option, I'll just use the native app or the native app does, is all L screw. If I have the lens attachment and just take a photo, it will actually take data and information from both of those lenses. And depending on how far I've zoomed in, whether I've gone beyond that two times and I've zoomed in site 2.5 times, ten times digital, whatever it is, it will then go and take the majority of the data from that telephoto lens. But it'll still bring in data from the other ones so far towel and cover that lens with the detachment and assuming it'll, it'll be obscured and it will do some really funky, crazy results. So that's why I like to use this app where I can go OK, now I'm actually using the wide-angle lens. Don't worry about the information from the other lens. Just focus on this one and you have been more control. The reason why this is really handy is at the moment I have this. Just, just show you from a, from a sharpening perspective. At the moment I, I'm, I'm, I'm using the wide-angle lens I have the lens in front of. And you can say, that is how close I can get without digital, digital resuming. That is the optical zoom that I can get on there. Now if you have a look, we're not going to change this. He can say that the wide-angle lens, it's still activated and then that lenses obscuring because it's over on the other lens. And so what I wanna do is switch over to telephoto. So now I'm using the second lens and look at that. Look how much closer I M Now. It's not amazing and I haven't digitally zoomed. So this is actually sort of a 2.8 times magnification of now instantly got 5.6 times optical magnification. And because the macro lens I can get in really close. And then now I can actually go in there and digital zoom as well. Now you can say that these lines is a fantastic for H, The H Now I'm holding the camera on a bit of an angle. So if I hold that directly above, can get to that noss TBI. And that's digitally zoomed in so that it has but without the digital zoom. Credible data. Just fantastic or odd, sorry. Yes, if you're using a lens attachment for macro, for wide angle, whatever it is, try and put it onto the main one if you're using a wide angle lens because that's where you get the most resolution. If you're using it for shop, incredibly magnified, then switches have to yellow and use that lottery matter. Portrait mode, lie focus, basically the depth camera. They are fantastic now. They've come a long way now to whites Mike dyes work the bases with the main subject have been a separation between them in the background that will ensure that you get really quite sharp focus for the main subject. The earlier models when they first came out, struggled a little bit with low light. And because back then in the second lens, if you've got a multilayered system, didn't have optical image stabilization. It just didn't work very well with the portrait mode. Nowadays, they just brilliant in perfect lighting conditions outside. They're bridging the gap, closing that gap between the cameras and the smart phone with that feature. And now you can actually go in there and, and adjust the amount of background blur prior and after the title and find out, which is just incredible. And you had other camera placement apps which are taking it to the next level like focus. If i were C, i waste for the iPhone. Just fantastic filters. Some of the cameras, the Android, you can actually go in and apply a filter, a sharpening filter after you've taken the photo, wouldn't recommend that because it sharpens every pixel. You're much better off coming straight to. Now module four of this course and to working through the editing. Love photos for the author has a fantastic feature when you take your photo and then you swap up in, when you're previewing the image is swap up. You can say different options, their monies, long exposure effect, you can tap on that. And what that does is every three seconds that has taken that law fighter, it lends all those individual frames together and creates one where it averages all that, all that movement. So if you've taken the fight on a tripod, then it's just brilliant. So y of eliminating noise and just getting so much more detail into the image, but it needs to be nice and steady. Otherwise, if you have camera movement, intellectually, Hoefler, it make it look really funky. The other feature of live photos is it'll actually select, it'll select the frying, the keyframe they call it out of those three seconds always multiple images. It'll select the one that is the sharpest. So you might decide, OK, that didn't quite phrase the moment that i wanted when they walking the legs went quite separated. Then you can go in there and select that and just make sure that sharpness is there because it doesn't really good job at picking the one that has the sharpest image, burst mode. Now if you've got a newer iPhone will often IS 14, you'll find that that's gone to shut up. Now you have to go into the Settings and I'll cover that in another lesson where you go into the settings and you can change it so that the volume it button is now the burst mode. Based on some files, some androids will actually record a lower false ours. And the reason it does that is because the cheaper, cheaper Android's doesn't have the processing power. And it will actually reduce the false thoughts that I can actually render and civilized images and awesome quickly. So just be mindful of that if you're taking a first image and just experiment and test the two with that burst mode and just see whether the false sizes the same. The other one on a screen capture via tied to it. Now. And I understand sometimes video and I don't take enough video. I really need to take more video of my kids because nothing. I mean, a Pharaoh is a snapshot in time and it's brilliant. Doesn't quite provide the narrative. That video doesn't bring ABA HE audio. If you give the kids playing and interaction that something it brings back those memories a lot more than I still leave me some videos fantastic. Do take more of it. But that takes screen captures of because what will happen is it will, it will save a photo with the resolution of the video. So if you've taken a 1920 by 1080 to try and save space because video can take up a lot of space on your phone, then that's the resolution. So it could be quarter of what it actually is still images. Some fines now while you're taking video has a button on the solid so you can actually, while you're recording video to take a photo, just have a look at it. Make sure that because some of them actually do take a full resolution image Wallace taking video, which is brilliant. So yeah, have a look at that as an option as well. So yes, let's call it latte. We've covered we've covered manual mode, shutter priority for fast-moving objects, ISI priority for landscapes. We're going to try and get as much clarity and they panoramic mode, just making sure that the first frame is the focus that you want. Because then when you move around it, it'll stay locked on her first frank, multi lens cameras. We talked about using the Lightroom Adobe Lightroom app where you can actually say IK, I have this screw and lens in front of this particular lens gown switched to the telephoto. And then it'll just bringing in data from that and give you Nasir resolution. Portrait mode, LA Focus. We talked about that. Beauty mode on the Android softens all the skin and it makes it really smooth the skin so you lose that sharpness that you might want. Filters, live photos, burst mode and screen capture recovered a lot having me, so that's it for that video. And I'll see you in the next one.