How To Create Captivating Memories With These Smartphone Photography Secrets | Tarisai Mzwimbi | Skillshare

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How To Create Captivating Memories With These Smartphone Photography Secrets

teacher avatar Tarisai Mzwimbi, Filmmaker and Visual Storyteller

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 22m)
    • 1. 1 Introduction

    • 2. 2 Photography Basics

    • 3. 3 Rule of Thirds

    • 4. 4 Nose Room

    • 5. 5 Head Room

    • 6. 6 Leading Lines

    • 7. 7 Foreground

    • 8. 8 Background

    • 9. 9 The Right Angles

    • 10. 9b The Right Angles Pt 2

    • 11. 10 Negative Space

    • 12. 11 Blind Shot

    • 13. 12 Getting Selfies Right

    • 14. 13 Indoor Photography

    • 15. 14 Outdoor Photography

    • 16. 15 Portrait or Landscape

    • 17. 16 Be The Photographer

    • 18. 17 Assignment

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About This Class

How To Create Captivating Memories With These Smartphone Photography Secrets is for anyone (predominantly beginners) who wants to produce great photos, whether:

  • Just for fun
  • To improve their social media accounts
  • Create a portfolio despite having no work
  • Build meaningful and longlasting memories
  • As a stepping stone to a potential career
  • You want to add a few skills to your arsenal 

Imagine the transition from simply taking photos wherever you are to coming out with stunning shots that wow everyone. Whether you are passionate about photography or are just trying it out, this course is great for learning:

  • Fundamentals of photography to strengthen your mental muscles
  • Principles for taking good photos to ensure you get the technique right

  • Indoor and outdoor photography because diversity fuels confidence

  • Day time and night time photography since lighting marks the overall essence of photography

  • Portraits and group photos so you always have something to talk about
  • Candid photos to be well prepared for unrepeatable experiences

This smartphone photography course is delivered through video slides with some action steps you will be expected take.

The photography skills you will learn are designed to help you get a full understanding and appreciation for photography as a whole. This will not be academic but will share a good mix of theory and practice, though centred more towards the practical side. Grasping these skills will take some time, and as long as commitment and consistency remain the foundation of your learning and resolve to improve lie at the core of all your actions, you will notice a significant difference in your photography sooner than you think. 

How long this course takes is up to you. The key thing to note with the smartphone photography course is that your improvement as each lecture progresses matters more than anything else. The efficiency of your proceeding through the course is dependent on your success in accomplishing each task at hand.  

You could start taking amazing photos as soon as tomorrow, and prep yourself for that all-important event. Why wait any longer? Enrol today.

See you on the inside.

There is a 100% Money-Back Guarantee for this course. 

Meet Your Teacher

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Tarisai Mzwimbi

Filmmaker and Visual Storyteller


Tarisai is an individual with diverse interests. He loves music, especially mixes, and movies are enjoyable with the added benefit of learning how the industry works thus developing a deeper passion and appreciation for visual storytelling. Dipping his feet into photography opened up a whole new world and generated the ability to combine the beauty of capturing a moment with both still images and motion pictures.

Some adventurous things include mountain climbing, running, along with aspirations to hand-glide, bungee jump and jetski. Hanging out with friends and family over a barbeque and good soccer game makes for wonderful leisure time.

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1. 1 Introduction: are you struggling to take great pictures with your smartphone? 12 While everyone with amazing photography skills my name is Terrace I. I have three years experience in photography in creating memories with the's smartphone photography secrets. We'll be covering the guidelines of photography in general to take you from beginner toe while grounded photographer in a matter of days. So sign up. Now let's get started and we'll see you on the inside. 2. 2 Photography Basics: in this lecture, we will be covering the extreme basics of photography. That will be no detail. But what will happen is as we go through the rest of the course, all the other aspects will be uncovered slowly. But surely for now, just a very brief overview off photography as a whole. See photography simply entails dealing with light. So when you want a link lights with photos, that's what's going to determine the beauty of them. So understanding the connection between the two is the most basic and extreme vital aspect . Ah, photography. So if you want to get it right, I understand that the thing that's gonna make your photo spark and come out is understanding light. So there is a Latin word that basically means light and everything that's got to do with lighting the scene. How the light looks. Is it to dem? Is it to Bryants? Is it just right? We'll also be looking at the available lights that's known as ambient light, so an image essentially looks good or bad before you take the photo. And that's one of the most fundamental things to understand the video connection with D. O. P, or DP, which stands for director off photography, simply refers to the lighting side of the scene. So when you want to like the scene well, different colors, different filters, whatever is used to create the warmth, the coolness, so that the relevant emotion for that scene being grown out is what the direct off photography does. They're not necessarily capturing photos, but what they're doing is they're lighting the scene in order to create the mood light off the effects. To some degree, it affects the sharpness off an image. It really is the focus that does that, and also the depth of field. But this will be covered much later. Light plays the dominant role and that since we're dealing with smartphone photography, we will be allowing auto focus from most of the time to guide us through the sharpness of the image. But over time, we will eventually be taking control off the focus and understanding better how to shopping . And the last thing to understand with lights as far as the smartphone is concerned, is that the auto focus looks for the dominant light, which is why we never shoot against a light. So if you have a nice, beautiful vase that is, by a window that will not work because now your camera is gonna be wondering is the light source mostly gonna be centered towards the object, which is your balls or it's gonna be center towards the outside, so you'll have conflict there. So what I'd like for you to do now is for you to experiment with how lighting works in photography. Take a photo and good lighting condition. Let it be simple. Let it be basic. Doesn't know what it is. Make it look as good as you can by simply testing to see how good it looks in different setups. Ticket in great liking condition. And then I took another one in poor lighting condition. Let it be pretty dark or let it be way too bright. The best experiment would be to take the exact same subject, so whatever it is, a pencil, a book, a plant or anything that's essentially movable and allow yourself to put it under various conditions. Don't play around of any setting on your phone. Just take it as is, and then see for yourself even the ones that are under poor lighting conditions. That's over exposed, which means is extremely bright or it's extremely dim. Find out and assess for yourself. Why does this look bad? And how can it be improved? So those are the questions you be asking yourself as you take the good and the bad photo at the same time. After that we will see I will carry on from here. 3. 3 Rule of Thirds: in this lecture as well as their subsequent lectures, we will be covering the rules or essentially the guidelines and photography. The one that is a real and true rule in every sense of the word is, as the name implies, the rule of thirds. But we were recovering in these next segment of lectures is what's known as composition. The composition is simply looking in your frame and moving yourself around to place the elements within the frame in an interesting position. Yes, Oh, put in other words, all you're doing is you're trying to find out how everything in the frame off your phone, everything that's going to be captured in your picture in such a way that it looks great. And the way you're doing that is you are moving yourself around. So if you want to take a picture off a nice looking tree, but there's a poll that is close to it, since you cannot move the poll, all you can do is move yourself in such a way that the poll either is now placed in a way that compliments the tree or is completely cut out. But you're not doing anything else. You're simply just moving yourself, and that's what we call composition. So some of the ways in which we will be guide lined through getting the right elements in your picture correct, are starting off with what we call the rule of thirds. And that's how it simply works. The rule of thirds is the fundamental guideline in photography. Your photos are going to be incorporating the rule of thirds every single time. Are there moments you can break this? Yes, but you can only break the rules after you know the rules. So the rule of thirds simply communicates this in your image. You'll have these grid lines three by three grid lines when they're fully broken up, will give you nine squares for your image to be properly positioned, you'll need to be placing your subject anyway in the top third. This is where your lines intersect, your horizontal lines and your vertical lines. This is where they intersect, and that intersecting point is where your image is going to pop out and just spark it. But it will be correctly positioned. You should essentially move from left to right, so any time you're experimenting with how you in a position your subject. Do it from the top. Left the top right than the bottom left in the bottom, right. And see how the whole thing looks. Now, the thing is your not to position your subject smack in the middle because that is otherwise known as a flat shot. And you're more than welcome to experiment with this. If you put your subject smack in the middle, the story that is going to communicate is not gonna be appealing. There won't be anything there because your subject does not have other elements in the scene to complement it so that it can easily be interpreted and enjoyed. So that is why placing your subject anyway in the top third or the bottom third off your entire frame allows it to be positioned in such a way that you can easily interpret it. And I gave an example of this in this screenshot here that I took all I did it with my phone. I had activated the grid lights and we'll go through this soon as well. This is for you to see that right here I was in front of my computer. That's right here by the desk in the dining hall, and I positioned my subject, which is shares on the right on the top foot. As you can see, right over here and as you can see with a portion of the photo that I framed that you've seen is able to be interpreted because of where position the grid locked. Now we're going to give you an example off what it looks like when you don't do this correctly. So what I did here is I gave it extreme. I placed my top third of the top right third corner grid line where the switches so that now becomes more confusing. That did this on purpose. A see what the wrong or a bad composition looks like if you have an android. These are the top of settings now to activate your grid lines, because this is what I would like for you to do. Activate your grid lines and go and take photos and pay attention to how your image looks after you've taken the shot. So for the android guys go into your camera app and then going to the settings there and you scroll down to where it says either grid lines or composition. I have seen some my friends phones is written composition, and then all the days you said it to three by three. Some phones, simply sacred lines of your says that the nats OK, but if yours has options, said it'd three by three for your iPhone, Cindy going to your settings, app and school all the way down to camera and select grid, and that'll be all. So when you go into your camera happy that you should see those intersecting lines those horizontal and vertical lines which create the nine squares within your image. I mean your frame. And then now you can go ahead. Practice all the intersecting corners, all the four corners of the top, third in the bottom third, take some photos. Take as many as you can. Pay attention to how your image looks after you've taken the photo. That's the key thing here. Practicing the rule of thirds is an art that involves assessing how the composition looks after you've taken the shot, and so go ahead and practice that place your subject in the top third and the bottom third . Assess your image and we'll take a look at how you can always make sure, no matter what that your images placed anyway within those thirds without the grid lines in the upcoming lectures, go and have fun and we'll see in the next one. 4. 4 Nose Room: I'm an extra lecherous. We'll focus on one very simple but can also easily be forgotten technique. It's not, as knows, room. All it simply entails is the space on the left or rights of the image large enough for the subject to look into. So this is also known as negative space. It is simply the space in front off the subject so that they can actually look in the direction of the space that you've left. Now you're going to see examples of how to do this incorrectly so that you'll see for yourself why it doesn't quite fit if there isn't a little bit of space in front. All right, so here's an example of how it looks and you can see the gentleman is able to look in front of him and see everything else. All the elements within the image complement the position that he's in, so you can easily create a story for yourself. You can actually ask yourself if this was, ah, those beautiful type of scenes where it's by a lake. It's overcast, or it's even being a nice sunset, shining reflecting a little bit on him, and the water is very still, but shining beautifully as well colored ever so magnificently, and it's just gazing into it. But at the same time, you could be looking at something. Leave me open to interpretation. You just wondering what exactly is it? Those that account of beautiful photos that have the rule if it's currently applied and evidence of that is the nose room. How much space in front of his subject, And this does not apply only to humans. It can be absolutely anything. Could be dogs can be plants can be Yeah, absolutely anything as long as your subject. Even if it's a book, as long as they are able to look in the direction that you've left the space for, whether it's on their left side or the right side. Now we're gonna take a look at how you don't do it. Kirky. This subject looks like it's going to blow into the wall of your frame because it's facing the opposite direction in which the person is framed. It it now looks like it's just gonna blow into into the wall of the frame, similar to somebody who's literally looking into a wall in a very literal sense, You just standing in front of a wall and you're looking at it. And that's the biggest challenge with the way knows room in currently done is because now this subject does not have the freedom to be themselves. That's where the challenge is. Same thing here doesn't matter. What type of subject it is. See here are false. It looks like the water is going to run and bounce back almost in animated fashion, and that's going to allow us to misinterpret. It's gonna confuse this. It's not gonna look smarts, not gonna look good. So those are some of the things you want to avoid with the rule of thirds. When when you see your image causing the viewer to be confused, to be uncomfortable, you might want to try again. So in a take a look at how this looks on our phones. So go ahead, take some photos. Pay attention to nose room if you apply the rule. If there is correctly placing a subject in any of those thirds that we talked about, go ahead and do that. But look, red lines are not their right to please take them off if you haven't yet. If you paid careful attention to the way your image looked after you took the photo with the grid lines. They all have an idea off how, toe properly and currently place your subject. If you're still not completely confident, then for the first set of your photos are safe for the 1st 3 Go ahead, use the grid lines, then thereafter. Start focusing on the nose room. Take a few with the correct knows room and then take some with the wrong knows room. And when you do both of those, just ask yourself what makes your photo look good or bad? Because you don't want chance photos. You don't taken amazing photo by luck and then not be able to repeat that. Ask friends and family. What is weird about the wrong knows room, because that's the key thing. It's about your viewer. You are your first audience, so you wanna be ableto wow yourself first and then everyone else. Go have some fun with that and I'll see in the next one 5. 5 Head Room: and this lecture going to take a look now at another aspect off space or negative space mess known as head room. Now headroom is simply the amount of negative space left above the subject in the image. So where knows? Room deals with left and right headroom pay careful attention. Only deals with the top and head room is the negative space above the subject. All right, socialistic. Look at how that looks. All right. So here, a decent amount of negative space and just subjects is headed towards the press. Now, this prize also has a decent amount of negative space above it. And four, the purpose off the story or the message that the image is trying to convey that is a correct amount of negative space for that subject. Same thing here, both our board and our teacher here at a decent amount of negative space above or just a head. Rooms are a decent amount of headroom, and everything is all right. Does not look stranger. It's neatly and properly done. You can easily interpret that and it'll be natural, and that's the key thing. That's the whole point of all of these guidelines. When anybody looks at your image, there shouldn't be any question about it. They should just look at it and enjoy it. And as you can see, it's actually an art. There are techniques apply to all of this. So that's just something I want you to know. Now take a look at how the wrong head room looks like I wear nurse or doctor here. Looks like she's taking over the image that's now that obviously discredits heard. She does not look dignified, and our whole image overall is not to pleasing. See, it's not just with people, though. Here's what it looks like when you're objects also have no head room at all. See, there's no negative space here on the left image button on the right, one or left subject. Should I say that the right subject there's depending on the look that you wanna go for. That could be the correct amount of negative space, or there's a wrong amount of negative space. But for this type of subject, this seems to be decently correct amount of negative space. However, in relation to our left subject, it also looks out of place. There isn't anything here to communicate. You can't really tell what is going on. They both simply look displaced, and that's an example off a bad photo because of wrong headroom. So, like we did with the nails room, take some photos, focusing on headroom. Take a few with the correct head room, and also take some with the wrong head room. And once again, ask friends and family what is weird about the wrong head room. All right, so as long as you get this correct along with placing your image correctly in the top or bottom third as while it's getting the nose room put together. Go have some fun with this and off the you in the next one. 6. 6 Leading Lines: and this lecture would have taken a look at what leading lines are and how they can make our image spark and really understand the kind of impact it can have in our viewer when it is correctly applied. And of all the guidelines that exist in photography, this one is my personal favorite. Leading lines, or sometimes also known as lead in Lyons, are a way to lead your viewer on a journey through your image and deliver them to the key subject off your photo. One thing I can promise you is this. After you've gone through this lecture, you're going to see leading lines everywhere. In fact, you have probably started noticing so many places where a great photo can be taken, and this is without even making any effort simply because you're thinking like a photographer. Suddenly you just start seeing things that can really pop out so beautifully and they're just waiting to be captured. And that's exactly what the whole point of this entire courses. So take a look at leading lines. Now here's one example leading lines as he said before our lines that take your viewer on a journey to your main subject. So here you have the road that leads the other road in here, This little ponder many lake here that leads us to the mountains so you can actually enjoy this beautiful view because off the fact that you have the road here and the pond taking us to the mountains, and that's a long journey. By the way. Leading lines also work with a short journey, just the sort of tracks here that takes us right to this tractor leading lot. But here is twofold, because you can also have a whole row of tractors leading us to the back off this factory area. That's exactly with the beauty of leading lines does while this fern tractor. Here's our main subject. You can also see that were also taken right to the very back, so that we can also enjoy how the rest of the scene lines of beautifully with the front of the seed. And that's why you understand the beauty of taking a lovely photo and thinking through your shot first. Here you also have a nice, very simple leading. We got nice line here, just leading us into that's destination, which is what we are more than welcome to interpret that now means subject is going to take us to that journey into the destination. So I'd like for you to now go and take images. Demonstrating leading lines and leading lines are nothing more than just that. Just lines and the lines can be curved. That can be straight, and you can take them facing up facing down just as long as your viewers taken on. A journey leading up to your main subject say, can be a shortest, simple as a couch leading to a cushion, a curtain toe, a picture on a wall stairs leading to a subject at the top, or the bottom of it, a park bench that leads to a person seated on the other side. This comes out a lot better when the benches long, but it can also work with a short one, a row of street lights leading to traffic lights or a very pinnacle building, or like a monumental building a row of power lines leading into something interesting as well. So it could be anything that just leads the viewer on a journey to the main subject. All right, so prepare yourself to set up the shot. In some cases, yeah. I feel free to put a row of pencils that lead to some books which may also be neatly piled up. If you happen to see row of trees, at least you're beautiful fountain or you just absolutely anything here. You just seeing the scene. That's the thing you're taking. A look at how the photo is gonna come out before you take the shot. Thinking like a photographer, thinking about various ideas and stuff. This is exactly how it all comes up. But bear in mind as you're practicing leading lines, pay attention to the rule of thirds knows room and headroom as well. All right, then. Go ahead, have some fun and we'll see you on the next one. 7. 7 Foreground: and this lecture, we're gonna be paying attention to an element off depth known as foreground. That is also another guideline that I seem to be drawn to more than the others. I am not sure why. It's only me. At least I'd like to imagine that I'm just like this is the kind of photographer I am. I really enjoy incorporating foreground. I love the depth that it gives in an image. You're going to see its value as you practice this. It is such a beautiful thing to take note off, and your image is really gonna communicated Lovely story when you pay attention to this. So let's take a look at what that looks like in this particular image or foreground is the log in front of us and the trees above us. So it's any any object that comes directly in the front portion off the frame, so that it can then allow us to interprets the rest of the scene in relation to what's directly in front of the frame. Because what that will do as we've communicated, it gives depth. It allows you to properly interpret the entire scene, giving you an idea off where this took place. You don't necessarily have to know the exact location in terms off city, town, country and so on. But we should know, is this and lake? Is it a beach ID at the parks and so on? And that's what foreground is supposed to achieve. Let's take a look at another example. It can be a simple as putting your main subjects or a foreground element as a singular em like. In this case, we have this tree on the right here, and the clever thing with this is it doesn't necessarily mean it does not only allow us to recognize the rest of the elements in this case, the rest of the trees in relation to the one that here on the right. But this was so intentionally done so that as you can see, the leading lines coming into play here is well, and also the rest of the image also has a kind of a leading line with the rest of the forest or rest of the trees off the forest, taking us to the mountains. And so this is what you call an image that is thought through, and that's the key thing. That's how you differentiate yourself from everybody else that says, Oh, this looks interesting Now you literally intentionally think through the goal that you want to achieve with your image. We could take a look at another example. Here you are. Now, with this image, you can even pause the video on the other images while you can always go back and what I want you to do is take your arms or for anything, towel the cloth or anything that you can to cover the screen that has the foreground. And take a look at how your image looks like without foreground implemented. Because there is a big, big difference. And see that for yourself because that's the key thing. Understand why something works and why something doesn't work. This image would not be the same without the element of foreground here applied. And so I love this one here because this is called just being clever. Very simple. Keep it simple and straight forward. That's what I'd like to say, and that's the key thing here. It's just about being clever being simple. What is just one easy thing you can think off that you can apply to your image, so it's kind of pops out, and you're just look at yourself wondering how smart was that? An image like this. Here's one characteristic off a photographer that you must master an image like this on Lee be taken with patients. You have to wait and you have to wait. Yes, somebody can argue. Oh, yeah, but the person could have just simply parked the car there and just told to Okay, just wait a couple of minutes. But I like to imagine that, you know, road like this. I don't you really do that? Because otherwise do you have to direct the rest of the traffic to maintain their position out of shots, which that could be a challenge. So what do they do? It just waited for cars to pass, not the right moment. Take a number of shots until they found the right one. And that's the skill of love for you guys to practice in any situation. Of course, if you have a controlled environment that's preferred. But if you're gonna take a moving object, recognize that patience is key. So what I would like for you to do is add a foreground element to any subject in your photo . It doesn't matter what it iss. Add a foreground element and then try to include two other guidelines in your photo. As always, you're already incorporating rule of thirds. So whether you choose to do some leading lines as well, throw in head room, those room, all of that should already be automatically in place anyways. But you're just being intentional about it, so they become second nature. You don't even have to think about it already be in place. But yeah, incorporate any of those other ones anyways. And then, as we continue to learn more and more, just bear everything else that you've already learned in mind. So you take a minimum of five photos, but ideally, you need to take a lot more than this. But we'll keep it at five. For now. Go have some fun with this and we'll see in the next one 8. 8 Background: in this lecture. What particular look at guideline that is very simply, I would not say it overlooked, but it is rarely taught, and while it is seemingly common sense, it is something to take note off every single time, no matter what. Always take note off this, and this is known as a background and all the background is an element of depth that is added when the background itself is intentionally considered level. It is. It's just another element of depth. You have your full ground of middle ground and background, so, depending on the top of image you're taking, the background can always emphasize the beauty off your subject when you think about it carefully. Now let's take a look at how that comes out in this image. We have the beauty off our subject here, which shows which is the birds. And then there's the town there, the city at the back, which allows thes birth to really pop out because you can understand where this took place and how it took place. That beauty, if this is our subject, while they're the main focus, they also serve as a full ground four. Everything that's going on in the background. Despite it not being shopping clear, you can still admire it and enjoy it because of the compliment that it gives terming subjects over here and that's some place it is, but also complicated in that it has to be intentional is the power of incorporating background. Let's take a look at another example here. Once again, this is a much tighter shot. As you can see, the depth of field something will cover much later is what was considered him. And you have the as these flowers are a main subject popping out in the front here they look great because off the rest of thumb at the back, even though you cannot see anything you see enough to be able to tell that Okay, this is a nice little sort of God in this is the point. Is you able Teoh and have an idea off where this took place? Because if you try to just picture these flowers in front of us here by themselves, against an open sky there at the back or something, you wouldn't be able to appreciate them as much. Because if you have an open sky, then these would have come out of absolutely nowhere best thing. And then that doesn't make it look nice to despite how beautiful they are. So that's something you want to take. Note off purposefully considered background when composing your photos, and you may need to be moving around a bit as well, because sometimes you get the perfect position perfectly. Place the subject, but you may find yourself needing toe. Wait for some time whether there's too much traffic in terms of vehicles or traffic in terms of people, and for you to be waiting for the right moment could take some time. Of which I said patients is the most vital aspect, but it could also work. However, you may need to think of different ways to incorporate the background whenever you take your image, so that least you have something you connect you to go with. Now you're back or may not apply all the time for all of your photos, but it should be taken note off most of the time. So practices with at least six photos, go ahead and do that. Have some fun with it, and we'll see you in the next one 9. 9 The Right Angles: over here, we're gonna be dealing with another One of my favorite aspects are photography that is essentially movements in the form of angles. This is so lovely. I really enjoy this. We're gonna be covering so many different types off shots that you can take to make it. Images really pop out and really stand out while people in so many different ways because we knew, incorporate everything else that we've covered so far into all of these elements that were going to be discussing here. You're just gonna escalate to the next level off this thing, this literally is gonna take you to the next level or I'm loving this man. I'm just so excited. Let's just get right into it. Creativity is best achieved when movement is fully utilised. That's the most important thing you should know here. Movement. It's all about the movement. Let's try different angles. Let's try a different way. Let's try doing this and let's try doing that. What are some of the things we're doing? Let's take a look at that right now. I level now I level is simply as the name implies, the position off your camera isn't direct line with the eyes off your subject and yet again inanimate objects, people, animals. It works with anything I level. So we need to go ahead practice taking shots at eye level so directly in Lance. It doesn't matter how tall or short something is. You wanna take your photo and direct line with their eyes, then this one is also another picture of eye level. It's another example. So this is often animal that is really down to the ground. So essentially, what this means is you are going to have to get low, kneel down, crouch down and make sure that, yes, you can be as a closer eye level with the subject that is the ground as possible. Speaking of ground here, you're getting low. So this type of shot, yes, you can kneel down. You can crouch down and squat, but there are some photos that you can really only achieve when you lay down on your stomach and also when you lay down on your back. All right, so these are the two different kinds of low angles. It is down and straight. And then there's this one which is down and up. You're facing upwards from the ground and, as you see the foreground element here being applied to remain subject, making it both metaphorically and literally stand out. And that's exactly what you are to achieve. When you think about the type of shots you want to take, then the next kind is high angle. So this is a simplified version of High Angled, where you're simply standing. That's all you're doing is you're standing at the top e pointing a camera down to your phone issues, facing downward so you can actually see from a bird's eye view, or at least a high view off what your subject looks like from the top. Another example of that is this. This is a very extreme example, but it simply communicates the point that you're high angle can be as high as you possibly can. Just think about those movies that have the helicopter shot off the city. Yes, that's that's also nice, extreme high angle type of shots, and I know this course is going to cause you to see movies differently because a lot of the principles that we have looking at here applied there as well. In fact, if you can master photography properly and really well, then understanding video will be a lot easier to do as well. Just congratulate yourself patches off in the back for knowing everything. You know, up to this point where I said Now we take a look at another type of angle, which is diagonal. So here you can achieve this in a few ways. You neither tilt your phone diagonal or tilt your body diagonal. So there are moments where you're gonna have to do that and it be a great practice. So a platform that's a very nice way to double check or to practice. Actually, platforms are really, really not, especially if they are pattern. So if if it's built with some bricks that I just beautifully and artistically designed those who usually nice ones to practice on and all the things you know bending your body either to the left or part way to the right. That's another way to practice the diagonal shot. Or, like I said before it, just simply tilt your phone diagonally 10. 9b The Right Angles Pt 2: another way to look at that is this could be simply on the ground, smack on the ground. But with the way it's taken, you would think that it's suspended upon something, and that's the beauty of it. That's That's the kind of thought pattern and this kind of journey that you want to take your viewer to just take their minds away from the normal and basic type of scene and cause us to think about what it is that the photographer sees. And where is this? How do we interpret this, and what does it look like? How is this different from your normal type of situation? And then that's exactly what you ought to be thinking about all the time before you take your photo this you can go extreme culture, phone vertically, told your phone. Depending on how the subject originally looks, told her phone horizontally. Play around with movements, play around with positions and see what your end result looks like, depending on what you want to achieve. So that's another example of diagonal. Okay, this one isn't necessarily counted as an angle, but it is part of the list off things that you should be able to accomplish with some of your shots and called over the shoulder really love this. The whole point of this is in movies. It is to allow the viewer to be in close connection with the subject. So that's why typically, confrontation scenes. As a viewer, you look at your main subject in relation to the other characters. Position with them on. This was also known as over the shoulder seeking, and this works great with photos and videos. So here you up. Ah, very simple photo right here. Another examples right here. So these are two ways you can do the over the shoulder. This is also got high angle incorporated into it. And that's another thing you should practice. You can either be inconspicuous and then just take the photo without the person knowing. Ah, but usually be nice to be polite. Just ask for the person to just heritage to what it is that they'll be doing simply because you want to take a photo of them doing that and just seeing how that looks. So I have given you some ideas here for different types of angles. You can incorporate, feel free to take a screenshot of this'd if you're viewing this on your machine or take a picture on your phone, which is probably better, because then you can move around and always take a look at these as well, going wherever you're going. All right. So look for creative shots with various angles, if you see. So just picture the cat on the tree, but instead of a cat, if you do find anything on a tree, squirrels and so on. Lizards, even comedians, regardless of how scary they are. Of course, fruit trees work great as well. How can you make them really pop out? I make them stand up. Just photographed them in so many different angles and positions and anything, anything at all. No matter what it ISS, you may need to squat for some of them just taking out of that for some others. You will need to lay down on your stomach and then to see how the image looks when you laid on your back. Well, that's for the stomach is for straight shots on your back. That's for looking up. Kneel down in some cases. Also, sit on your heels and then take a picture again when you kneel up in an L shape. So you're be needing up and making sure that your your body torso, your head to your knees is up straight uprights. And then, of course, your legs behind you are also facing that direction and, they see, is sort of all shape Neil Appling that I take the photo. This would be ideal if you're taking the exact same subject to the same shelter year. The on the ground. Okay, taking it from up then next year, kneeling on your heels, taking the same subject. Then Now you need an upward taking the same subject, and they just kind of experimenting with those kinds of positions. Well, stand and point downward for the high angles. Standing a share. All right, standing, which don't recommend trying to squat on a chair. Now, please. Under that standard, a chair stand on a rock or some sort of platform, a balcony, standing some stairs and any kind of high position. Take a look at so many possibilities with your image that you can take. Raise your hands above your head. In some cases, you may need to do that, and you can also practice doing that while kneeling or crouching, squatting and so on. And remember that also practice. I level practice tilting diagonally and parties over the shoulder basically experimenting with each and every single one off the angles that we've talked about right here. The last one that I'd like for you to focus on, which I did not include here. Yet it always of two minds with this but practice positioning your subject by moving towards it and then also moving away from it. Pay attention to the different types of shots you will get. How wide is you're seeing, How narrow is it? And just go ahead, practice that see how that looks. Don't zoom. Put by, you know, scrolling with your fingers on the phone because that is gonna mess with the picks, elation and everything. So that's why the best kind of shot you can take is but you physically moving towards your subject and then again moving away from it. Take a time with this. Go over right down. I'd encourage you to actually write down all of these angles. So you just move around with your note pad and pen and everything and just be practicing each and every single one of thes Take it least 2 to 3 photos. With each of the angles. They can really get it right. And once again, while you're doing that, you incorporating all of the other things that we've talked about up to this point are at them. Go ahead, have some fun and we'll see you on the next one. 11. 10 Negative Space: all right in this lecture would have been talking about how the rule, if there's can possibly be broken. Yes, As I said before, you can break the rules if you know the rules. And we touched on an element of negative space. A Sfar. As knows, room and headroom is concerned, but we're gonna take a look at other aspects of negative space as well. This is a bit of a controversial subject, because sometimes you ask yourself, Okay, Should you place this subject smack in the middle of the frame for the purposes of negative space? Yes. Actually, you can do that. I know some photographers are like, No, no, I was never, ever, ever no matter what, never do that. But like I said, here you're just learning about this and you're deciding for yourself at what point you're going to apply negative space to your subject just to make it communicate the message that you want to understand it better. Negative space refers to an empty area around the main subject of an image, despite making it smaller on the overall framing off the image. So what does that look like? Here's one simple example. He got the negative space to the right on. This is strategically taken because some of the other elements off the image, which includes the sun here the water there allows us to be soaked into the main story of the entire image that this photographer wanted us to see simply because of the way the negative space here, despite looking more prominent, allows us to enjoy the main subject and a better way. So here's another beautiful example of negative space. Nice thing with this one is the weather was literally part of the image. It was taken into consideration so far G and create. You would think that this kind of gloom in do Me top of atmosphere is just kind of like a nightmare for photography. It's so dull and boring, and there's literally nothing can just go out and take just because of the atmosphere. But this is where creativity really stands out. Your creative juices just need to be squeezed like crazy and ask yourself, no matter what the weather conditions look like. With the exception of rain, how can you go and take a lovely photo? So here is Muslim example of how something that is generally supposed to end, is obviously perceived as negative, no pun intended but is now conceptualized so that there is beauty in what is otherwise a doll sort of atmosphere. And that's exactly what the job, if the photographer is, it is the big challenge. How can you take something that's very dull and make it look beautiful? Here is negative space in its truest form right now. As I said before, placing an image or subject smack in the middle of your frame generally isn't no, no, because others makes it look flat. But in this case, what happens is the negative space, both with the sky and the water of the lake here makes our entire image standout. Beautiful city here allows her main subject pop out because of the rest of the space considered. Now you can take your tried covering the lake and the sky with your hands, and then are subject here in the middle. Just try and see how it looks when negative space is not applied properly and you begin to see the difference. Especially as far as the root of Thursday's concerned way in this case is obviously broken . It's always a nice thing to know why something doesn't work, because that's how you can properly judge a good and bad photo. So here, what you should do is find a subject that has some negative space surrounded. The negative space does not only need to be open air, that's that's one of the things I want to explain your while have exemplified open air. It doesn't only have to be that your space, so to speak, must just be neat and clean and without a lot of elements and things around it. So, yes, you can have your tree next to some billboards sign, but at least with the ground or the rest of the scene, not having a lot of elements around it as well. A bench against a wall, particularly those brick walls that have been artistically designed and just yet, that's architectural type of design. Those kinds of Walter I really, really love those that's also an example of negative space, anything chair, a bench or a person, anything that is placed against that type of atmosphere. Front porch, for example, can work as well any kind of greenery. You can have your single flower against a simple field or some sort of vegetation or just anything any, any sort of green doesn't even have to be. That flower can be anything against some measure of space, just as long as there's not a lot of clutter. It's ideally space because there's a singular element in your image close to your subject that makes you subject stand out because of this space around it. Even though your subject is really small. In most cases, it kind of stands up beautifully because off how needs the space around that subject is so that's something like feed to go and test out. Go have fun with it and we'll see you in the next one. 12. 11 Blind Shot: and the Fletcher will cover very interesting technique, but not always easy to accomplish. And I call it the blank shot. It does not necessarily fall under the list of composition, but as far stretching ones, creativity is concerned. It is absolutely amazing when you practice it. Well, how does it work? Typically, a photo that looks great but cannot be previewed before taking the photo as well. Blind shot is normally you'd be able to see whether or not your photo works because off how the elements are put together in your image, how you gonna be able to compose it, how it looks before you take the photo. But now with a blind shot, you can't see that, and they're usually two scenarios where you'd have to be doing that. Here is a low angle photo that it took. The main goal I wanted accomplish Here is this beautiful leading line here with the grass. And then this treatment is a very tall one. That kind of boasts that height above literally standing head and shoulders above everything else. But unfortunately, to get this had to go really low with my phone, I had to take this a few times because I was not able to see, and sometimes it almost worked. And yet, then that's the kind of thing that you're gonna need to practice. Take multiple shots until that big one comes. Some of the things to take note off as you do this is you may need to raise your hands high above your head to get the shot bear in mind, you will not be able to preview your photos, so just raise your hands high in order also to get your framing completely right so you can get all of the elements in. You also may need to move your hands behind your head so high and behind. I know it's it'll be quite an exercise in the stretch, and then you take your photo again. You be paying attention to your position. Seek and angle the phone in a way that will allow you to get the exact shot you're looking for to get a shot with your phone on the ground. But without laying down on your stomach, think a simple kneeling will do or something that it does not allow you to see the photo before you take it, and your phone will be right smack on the ground. And you will not always need to be this dramatic in general with your photos. But it makes sometimes be necessary to get the shot you need. That's the main thing. I want you to take away from this. So go out there, have some fun, and I'll see you on the next one. 13. 12 Getting Selfies Right: and this lecture, we're gonna be focusing on how to get cell fees, right? And yes, because it is a photo, there is a wrong way to take a softy. I personally I'm not a selfie kind of person, but the arm moments where much this scene just screams. Salty. Now, while most people would literally stand anywhere and everywhere and start having that kind of thought as photographers with everything that we have learned, we know to think first and take a look around and see what works and what doesn't. So the most important thing to know about Selfie is the background. That's exactly what we're going to get into in this lecture. So how does it look when you get the background in place? When you think through it, it's easy for you to then communicate, or even without you saying anything. Your audience has been going to be ableto enjoy being in the location with you because you showcased it in a very clever way. Please pay attention to the way the phone is being held as well, so it's not always, Ah, up or hang or low angle. Sometimes even I level can help out as well. And comes itself is I know typically high angles are focused, but all sorts of angles should be incorporated whenever it comes to. But it also depends on what the scene calls for. But as long as the background just is considered that any angle will work as long as the image pops out, here's another example of background. We will cover this in a later lecture because another key factor here is lighting and where the subject is positioned herself. So yes. Hey, he sure that that the background looks pretty interesting, So it's easy to have something fun to talk about here. It was an example of a two shots. So that simply means tube people or two subjects and a photo. Typically, people, though again to nice, lively scene. So that's great. And so you're gonna do is we're gonna be taking two types of selfies What it's gonna be by yourself, and the other is gonna be in that group. And you just ask a friend or family to take a selfie with you seeking, see if he can get it right. Pay attention to the background background, background, background. That's the main thing Some selfies I've seen are so beautifully taken in terms off the composition and everything else. But the whole photo is ruined because the background it's so messy can't really soak it in . And as lovely as it may be to take Sophie's Everywhere you Go, not every situation may call for one. Unless, of course, your creativity allows you to really create a beautiful, beautiful photo, which is great. Capture lovely moment with your photo every way you are everywhere you go and that's exactly the whole point of this course. Grab those cell fees. Take a smell any as you can, but at least cover seven different locations when you do so and go ahead and have some fun with this, Joyce often will see you on the next one. 14. 13 Indoor Photography: person this lecture, we're gonna dive a little bit deeper into the way lighting takes place with our smartphone photography. For the most part, while we haven't been paying attention to environment, subconsciously, you would have been focusing on outdoor photos simply because the scenes away from anything indoor was awfully a lot easier to take. But we'll focus on indoors for this lecture, and we'll see how, in some cases we can take really lovely photos on the inside. So let's take a look at what indoor photography pays attention to you and in smartphone photography. This requires use off amount of available light that's called ambient light. And that's the main thing with it before we dive into the beauty of what enduring outdoor photography can accomplish when you focus on. First of all, what are the best time to take photos, and these are known as the Golden Hours? What are they? Sunrise and sunset? This works in both photo and video. If you want to take the most stunning photo you have ever taken, take it during these golden hours, sunrise and sunset. The lighting is very balanced, easily controlled, and it just looks so beautiful you don't have the harsh mid day lights because that can be a challenge to control. You have, Teoh just your dial, your exposure dial. But if it is, tap your screen and then it just it. If you're gonna be in the mid day sun. But as you do that, pay attention to the golden hour. Wait a Google when sunset begins in your area and then prep yourself to take something amazing During that time, plan your shark nice and carefully and beautifully Find out where the light just hits your subject ever so beautifully. Where is it coming from? On all of that planet? Nicely on. Go ahead and take that photo during the sunset. Do the same thing with sunrise that any free time that you had that you can and enjoy it. So those are the golden hour, sunrise and sunset, both photo and video. Those are the best times to take any of those. So the main thing to take note off with indoor lighting is making use off daylight. Yeah, so you will not always be able to get the best kind of photos with indoors. But daylight is the main thing to pay attention to that is what will make your photos pop out and stick. There are scenarios where the room that you're in maybe so poorly let's that you might not be able to take a lot of photos. But look for the most lit area the subjects that have the most amount of daylight and gun practice with those. Here's another example of how daylight can work. While these typically restaurant type of areas and scenes, you can go ahead and practice wherever you are home at work. Um, anywhere. Look for rooms that have a lot of daylight in them and then at the same time could even practice with slightly poorly lit rooms. Just say you can see the difference as well. Now, in the night time using your flash, it's gonna be the biggest thing of all. However, the main thing you want to pay attention to first is you're lighting. So even if you need to use a torch or ask a friend to shine their torch from their phone onto your subject, do that. Use the life that you're tungsten lighting fluorescent light. Always look for the most dominant light source in your room and while you're at it, make sure that your light source is out off frame. It will never look nice if the light source is also in the shot, because that's just gonna be too much sparkling and brightness in your photos. So it's not going to come out nice, and you can go test it out and see for yourself. So, ideally, in an area that's just extremely dark and there's not enough light with the available light that you must go ahead and shine a torch or reposition your subject under a light source. So she turned their light source but crop out the source as you just discussed. The quality depends on the amount of available light. If you have more darkness than brightness in the room in general, then your subject is not going to come out So nice. Use the flash in extreme cases, but also to experiment. They are going to an extremely dark room, used a flash and see how that comes out. Then use the flash in a nicely, beautifully lit room. Use the flash in a semi lit room, Selves partially lit and then also partially docks in here. You're not going around just using the flash and every case for the sake of it. But what you're doing is you're trying to find out why some photos work in certain lighting conditions and others don't. And then at the same time, you're practicing how to get the best shot you can and the most difficult circumstances as well. So that's the challenge here around them to go ahead practice? No, see you in the next. 15. 14 Outdoor Photography: and this lecture, we're gonna be paying attention to how shooting outside works and also what to do in harsh mid day light. Outdoor photography involves daylight working well, but only during golden hours and overcast sky. With the overcast sky, the sky gives us beautiful diffusion so that the lighting is even throughout. It's such a lovely moment to be taking photos. The shade is the best place to take photos when you're outside, because that gives the best out door condition so he would daylight. All the doing here is you're reducing your exposure. If you have no choice, you can't find a shade. You or your subject is so beautifully positioned, but unfortunately, there smack in the harsh daylight, especially mid day. That is the brightest portion of the day, and it's the harshest light. It's very, very unpleasant, but if your subject is so beautifully positioning, you cannot do anything else to to re light your seen in any way. While he does, you then just tap your screen and they'll be an exposure dial. Actually, explosion lying, should I say and you're just moving it up and down to adjust the brightness in the dimness off the image just so that it's nicely balanced. Just make sure that it is nicely and neatly exposed, so its not too dark and not too bright. However, that is only to be done in extreme conditions. It's not something should generally rely on. You should be looking for nicely. Let's subjects and environment. In general, there are moments where you will need to increase the exposure or decrease it. But just do that by tapping the screen, moving your dial or your line back and forth or up and down, depending on what phone you have and depending on the orientation, Whether it's upper and which is called portrait or horizontal was called landscape, but we look at that very soon. The best time in the night to take your photo is during dusk or sense it. Like I said before, this is so beautiful. It's very controlled, it's easy to handle. Exposure can be managed and everything can be done beautifully, and your photo is gonna come up nice. So please take note of that. That's the absolute best time at night to take your photo. That or twilight's depending on way. You are generally as I said before Sunset Works. Twilight Dusk. These are the best nighttime conditions to be taking your photo. Otherwise, if you're in a position where you have absolutely no trees, but to take it in pitch black darkness, what you should do there is look for the most dominant light source. Your should be some street lights or some building that has got some beautifully powerful lights on the outside shining and you know, so you just place your subject there or take your photo in such a way that most of the light comes from those particular sources and a lot of cases. It will be a very big challenge, but it can be achieved. Just take that into consideration. It's all about how how much light you have in your image. Make sure that your dominant life sources where your image is going to be played or your subject is going to be placed. So with outdoor lines or outdoor photography, practice in the shade most off the time you want to avoid that harsh mid day light. But in cases where you don't have a choice, then tap the screen to adjust the exposure to try to find a balance shoot at varying times of day. So, yes, you want to shoot sunrise as well, not just the sunset with sunrise. Shoot in the Harshman daylight, shoot in the shade and then, of course, shoots in pitch black darkness as well, but aimed to get the best shots at sunset and sunrise. That's a key thing. Sunset is probably easier to target since, of course, yet working everything else activities can happen. Journeys sunrise. But in the situation where you can plan forgetting the sunrise shots go ahead and do that. Ideally, you want to know your environment well enough to know when the light is going to hit your subject at the exact moment that will allow you to get that stunning shot. That's the strategy. It's also a challenge. If you're in a position to do that, go ahead and do that. But otherwise you want to get your son set shot. Not necessarily the shot off the sunset, but anything around sunset time. And, of course, you're more than welcome to take some 30 if especially if it's really beautiful in your area. Otherwise, go ahead, do those things, have some fun and I'll see in the next one 16. 15 Portrait or Landscape: one big topic that seems to stir some sort of controversy is deciding whether or not portrait or landscape is the correct way or the correct orientation to be taking your photo . Now when doing smartphone videography, there's no two ways about it. Landscape all the way. But for photography that depends on the photographer depends on the scene, and it depends on story that you want to tell the depends on the number of elements you want to include in the shot. Landscape is a good rule of thumb, simply because more elements are able to be included and you're in the shot, and overall it's going to be looking great. However, you don't necessarily have to limit yourself to that. But when in doubt in your landscape. So here are how the two orientations work. Portrait is for people, landscapes for scenes, so the tall nature of portrait allows the orientation to crop out enough elements to let people pop out. That's what's called portrait. Let's go to Bark, focusing on people, singular elements, singular subjects. It doesn't necessarily only work on people, but it is predominantly four people. If you want to take anything else other than a person here is an example of how you would do that. So in a scene where landscape should be the ideal orientation, if you want to only focus on zone in on specific elements within that large scene, then yes, you can also use portrait for that. And landscape is used for capturing loads of elements together in one scene and getting the depth of that entire scene, or at least a much of it as possible together in a beautiful, stunning way. Allowing your photo to really pop out so nicely. And that's exactly what landscapes for its for cityscape, Seascape and, of course, landscape. So can you take people in ah, landscape orientation? Yes, you can. Ideally, you want to make the people part of the scene. So at an event where all sorts of things that going on you can be doing that you can also take landscape photos if you're taking a group. Selfie, as you saw in the previous lectures group, Selfies, best taken in the landscape because you cannot take it in Portrait is just not gonna come up so nicely. You can practice with portrait as well, but it's easier if someone else is taking photos of you rather than you trying to do assault with a whole group of people in portrait mode that's using more challenging. But you can practice on experiment if you like. But ideally, landscape from group photos is best I would like for you to do now is in portrait mode. Know that it is for people because the phone is tall and it isolates the elements around the image, allowing the people to be the main focus in your image. Landscape motives for scenes as the phone is wide, giving depth to the image because a lot of elements of being incorporated in the image so experiment with both modes and think about why an image looks more natural in its intended mode. Shoot people even a single person in landscape and then shoot them in portrait. Find out OK which of the two normally and naturally looks better. And why does portrait look better for a person that landscape the same thing for landscapes ? Shoot them in portrait mode and find out why does it look better in landscape? So these are the questions you just want to ask yourself, however, it depends. Um, the type of scene, the top of creativity that you're going with the look, the feel any off the orientations can work in any situation, as long as you has the photographer know exactly what it is you want to accomplish. So go ahead, have some fun and we'll see you in the next one. 17. 16 Be The Photographer: in this lecture. We're coming to the conclusion off the course and what we're gonna be accomplishing here is the essence off what photography entails. As far as the photographer is concerned, the only thing that makes a photo good or bad is the creativity off the photographer. We've mostly centered around being active, so we're just learning enough to just go and practice it so it can pick up a lot more aspects to the lesson while we're practicing it. Because it's what perfect practice makes perfect. Now that you understand the guidelines that techniques the principles, what you're to do now here is practice seeing the photo. So you're not gonna just take a look at in the scene and be like, Oh, yes, this this looks interesting. I want to take a photo matter. No, just go ahead and it's okay for you to be able to be inspired by anything that's great. Be inspired by a whole lot of things, but at the same time, be on the lookout for anything that can potentially look interesting because the biggest job, if the photographer is making doll things look amazing. So look at your surroundings and see what fits together, and before you take a photo, you should see it with your own eyes. The photo should already be day before you take it. What is the one way you'll be able to accomplish this? That's through doing what's known as finger framing. So framed the shot from the shot with your hands like this and see how it all comes together. See what elements fit together. See what doesn't. What should you have in your frame? What shouldn't you have? Where do you need to move? How should you position yourself? What are some of the elements that complement each other as you go out there and do that as you enjoy yourself wherever you are, ask people to pose for group shots in events you want to again. Pay attention to the background to pay attention to your surroundings. What makes for a great photo what elements behind your subjects will complement, and how are you going to get your lighting rights with where they're positioned, especially because you're taking from a phone? Bear in mind that your subjects are going to also want the magical moment that you're creating so they may ask you to take the same photos with their phones. Just enjoy practicing that and giving them the beauty that your skills have allowed you to create experiential creativity by setting up some shots. So just ask. Some people stand in certain ways in certain places. Now, ideally, for group shots, the one thing you want to accomplish is layers, layers, layers, layers and just basically allowing everybody to be seen because nobody should be hiding their heads or having their heads squeezed between peoples and make sure the height and everything is sorted out. Position everyone in layers. So if you are also fortunate enough to be at a sports fields at some school or a or wherever, and you can actually position your subjects in a bench, those sports spectator benches great go for that. In any case, expand your creativity by setting up any kind of shot. Doesn't have to be with. People can be with anything. Just make sure you're looking for that great shot in an area that does not look like a photo can be taken organized. The photos you have taken in this course and a folder. Don't delete them. Two. Key. If you've deleted some, but enjoy those shots because those are moments that you've captured moments you've enjoyed also for studying, analyzing purposes and take a look at how far you've come as well. For especially from you. Absolute very first photo that you took it. The introduction, Of course. Go back and take that photo again with all the skills that you've learned and see the difference and enjoy it as well. Back them up in the hard drive and on the cloud Google drive Dropbox Any kind of cloud service you use iCloud and so on. And just make sure that you kind of have a portfolio. You can say that. Yes. I have incorporated these guidelines. Yes, I do understand photography. Yes, I understand this aspect. Understand this. Understand the photographers the key thing. And I understand that enjoying and having fun. It's just one of the biggest aspects of photography. Because if you don't have fun, then you know why Do it. Enjoy it. Make the most of its You should personally love it on. Let other people love it because you love it. Go ahead. Look for the photo. Have some fun. I'll see you in the next one 18. 17 Assignment: one more thing I would love for you to do is to embark on this class project. All you're doing is you're taking three off your best photos. So in the beginning, where you took won best photo that you could possibly take, you're now taking three. You're uploading them onto a file sharing service and then pasting the link over here. What I'll then do is with you. I'll be discussing and giving you feedback and reviews and giving you some pointers on where to go from here. And I'll also be giving you re sources and links to further development. Further study places where you can dive into the theory but not feel too overwhelmed. You already know quite a bit of theory from the practice, but this will dive even deeper into the theory. So in order for you to get into their to please sending your three photos, put him on a file sharing service and send the link here and let's get discussing all right , otherwise, one more time. I just want to thank you so much for taking this course. Enjoy. There was a few time. Enjoy the rest of your life and enjoy the career you'll be embarking on regardless of what it is you'll be doing. So knowing that in addition you also have some great photography skills. Thank you. Once again, let's get discussing keeping the ball rolling, have fun and have a great time. Thank you.