How to Shoot Photos Like a Pro (Without the Expensive Equipment) | Arnold Trinh | Skillshare

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How to Shoot Photos Like a Pro (Without the Expensive Equipment)

teacher avatar Arnold Trinh, Media Professional

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

8 Lessons (40m)
    • 1. Trailer

      1:03
    • 2. Photographic Triangle

      6:56
    • 3. What is a professional photographer

      1:35
    • 4. Aperture priority

      2:44
    • 5. Reviewing Lenses

      6:52
    • 6. Framing your photos

      3:09
    • 7. Why I shot these + thought process Photographic Analysis

      16:26
    • 8. Conclusion

      0:58
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About This Class

As a full time freelance photographer, I share knowledge on what aspects make up a professional photograph based on real world experience with clients.  I spent years as a budding photographer honing my craft with limited gear, and learned a lot of the skills I now use on a daily basis. In this course I show you how to take professional photographs without all the expensive equipment. 

Skills you will learn from this is:

  • How to venture out of AUTO mode
  • The right settings to shoot portraits fast
  • How to use ISO, Shutter Speed, and Aperture to create a perfect photo
  • Effective ways to frame your photograph
  • How to highlight your subject 

This course is perfect for someone who wants to make the most of their camera gear, still getting used to their camera, or want to make the break through from being a hobby photographer to a professional photographer. I share insights on what aspect of a photo is important for clients as well as being very visually pleasing. 

Meet Your Teacher

Teacher Profile Image

Arnold Trinh

Media Professional

Teacher

Hi friends, I'm Arnold and I'm here to help take your branded content to a professional level. Creating photos, videos, and design that can be useful for all types of digital marketing. 

I'm a commercial content creator with an emphasis in the marketing and advertising world. Professionally I've worked with brands like Blenders, Timberland, and Lululemon to create powerful and engaging pieces to help better market their products. 

These classes gather from my experience and focuses on helping you find your creative flow and get started with crafting a beautiful well polished media.

See full profile

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Transcripts

1. Trailer: everyone and welcome to my chorus. So when I first started doing photography, I was so young, apparently had a budget to buy anything, and people online recommended getting the 50 millimeter 1.8 because it was a low aperture lens and it was a focal length that could shoot most pictures. So I spent the next two years with Justin, 50 Millimeter Lens and my canon rebels Fast forward to now as a full time photographer. I realize all the skills that I learned when I was using this cheap set up helped me become who I am today and because I had a lack of women had to compensate by having more talent and skill. So I made this course because I thought that would be very helpful for anyone that's trying to get into photography, learning, photography or simply don't want to spend that much on their photography equipment. 2. Photographic Triangle: are well for the course. Guess so when he first began. I want to talk about the basics of photography and photography is really all about having a perfect exposure, and a perfect exposure is composed of three elements, which is the shutter speed, the eso and the aperture. Now that together is called the photographic triangle. And when you have a proper understanding of photographic triumph, you could be able to manipulate and make your photos just about any way you want. Shutter speed is like the gateway that admits light into a camera determines how much light gets into the gates of the camera. And with this ultimate does is control. How much light is in your photograph? So what this works on is the brightness and darkness off your photo when a camera shoots at a high shutter speed. Sometimes there's not enough light because it closes the shutter real quick and opens again , and all the light that gets in his life that gets in. And that's barely any light. And with a low shutter speed, you might have a photo that's a lot brighter sometimes maybe even too bright, because opens the shutter and let's in light, and it may be lets in too much light so that over exposes your photo and it ends up being too bright. And although it's advised to shoot at a shutter speed that captures all the details and edit and post, sometimes people get creative with their shutter speeds. An example of that is with motion in your photos, because if you shoot at a super fast shutter speed, you can essentially freeze motion in the photograph. And she had a medium shutter speed than the motion is. It's kind of natural, and when you shoot with a really slow shutter speed, sometimes emotion is blurred out frozen. An example of this would be the popular shots of water that's flowing at a fast shutter speed. You can see you unfreeze the movement, such as a water droplet that's dropped. You can freeze that moving and capture that little droplet. While have use a slower shutter speed, you can make your water look like it's hazy, like the flow of a river looks like it's a cloud or something, and there's no right answer to shutter speed. It's all based on your creative touch and personal preference. OKay, So let's do a quick mention about I s O as it is an integral part of the photographic triangle. It's basically the element that controls how sensitive your film is too light, and that's for film of its back in the film camera days. But now it's essentially how sensitive your digital sensor is toe light. Ultimately, what it comes down to is a low. I s O number of 100 for example, is the least sensitive toe light, while a higher number I s O is very sensitive to light. So you might see cameras these days like the Sony go up to 100,000 I s o meaning that it's very, very, very sensitive to light. And one caveat of using a super high, I So is that when you shoot with a super super high, I so is that your photos come out with a bit of grain on it. And digital grain is not very preferred over film grain. If you shoot photos with a lot of digit grain, it just turns out looking kind of messy. And here some examples of photo shot with the highest so and digital grain as you can see. It's like kind of dusty, but in a bad way. And it's not very pleasurable to the eye, while film camera grain is actually very pleasurable and people actually like film camera grain. So I'm gonna go through different examples of what one image looks like through the different I sl's There are. And here you see the image at 100 I s o 200 I s O and you notice that it gets gradually brighter. And if you skip up here to, like 2000 I s o its a lot brighter And eventually when you get to you so high of a nice so you can't even see your image because it's just so sensitive to light that you see is light . All right, now let's talk about amateur actor is essentially the area the let's and light found inside your lens. So imagine looking inside your lens and you see this little hole in there and you notice that there's a couple blades that make this little hole kind of like the double 07 introduction scene, and basically what it is is the aperture is made up of a couple blades and When you adjust your capture, the blades move in and out like we wind up or tied in the hole, and as a result, you can have more light come in or less like come in. And that plays a big factor into how your image turns out looking. And the lower number reflects the bigger hole of the lens, which means that more like comes in. And the higher number, which is usually at 22 or something, reflects the tiny hole that lets in fair little light but is more precise. So some popular numbers might be 1.8 for the 50 millimeter lens, or 2.8 for popular zoom lenses like cameras 24 to 70 F 2.8. That's very proof. That's a very popular lens amongst portrait photographers and fashion photographers. Now it's the most important thing about amateur. It's the ability to control the depth of field, and definite field is basically what's in focus and what's not in focus. It's essentially the area of sharpness in a photograph. So here, two photographs with different depth of field. What a shot with their very low F stop meaning the Apertura hole is very big. So as you can see, the subjects and focus and the background is blurry, while the other one is shot with a very high F stop number, which means everything comes in a bit more precise. So then everything is in focus now what effects the depth of field like, How does this all come into place? So there are a few factors that come into play when working with depth of field, focal length, distance between you and the subject and what's behind the subject and the aperture. I, by far think aperture is the most important in definite field because with the lower F stop number, your opening is going to be very wide. Your aperture opening is gonna be very wide, and as a result, when light comes in, it bounces all over the place and creates a blurred out effect, which is why you have blurry back run when you shoot with a low aperture, and contrast by that when you have a high number after. That means your lens opening is very narrow, and it lets in very precise amount of light. So when the light comes in, it comes in straight in uniform so that your entire image is in focus. Now, what does that mean for you? If you want everything and focused and use a high F stop number and if you want only certain details and focus, use a low F stop number. 3. What is a professional photographer: Okay, So what is a professional photographer? To me, a professional photographer is someone that could make a full time living doing photography and provide value to clients so that they continue getting paid and coming from a marketing background, I kind of noticed what aspects people look for when they hire professional photographers. And throughout my years, freelancing, too. I've noticed a lot of things that have helped me stand out and make my photography more professional. So I'm gonna go through some techniques that have helped me really redefined myself as it for cyber for from someone that's just an amateur to someone that could provide values and service. Teoh. Anyone out there that's looking for something example of this would be some of that Hedges got into photography, but they understand what equipment they need to shoot good portrait and how to frame. And like a good portrait. And when that person goes and talks to you may be high school graduates, and they're like, Hey, can I shoot some photos for you? Do it for 50 bucks, which is a very cheap price as you learn as you get to photography, but they offer their services for 50 bucks, and they shoot a great portrait for these people, these people that pay that person. And once that person gets paid, that person is a professional photographer. Now, when you do is, you keep doing that. You scale it onto big clients, better clients. You start doing it for businesses, and eventually you make a full time income doing that. Now let's get on with the techniques that I learned that really separated me from an amateur to a professional. 4. Aperture priority: So one thing I noticed a lot of professional photographers do is that they issued a photo of a subject and have the background be out of focus and blurry. And what that does is it really focuses on the subject and also notice that it's very sharp to or feels very sharp and that could all be done with a low aperture. So who are your top out aperture priority mode and how to use it? Aperture Priority is probably one of the most helpful modes to shoot in. When you're starting out, it basically only focuses on your capture and makes everything else automatic. So your shutter speed your eye eso Dolph set on automatic and all you have control over is your aperture. And because I have mentioned before that we should shoot with a wide aperture, meaning a low F stop number, we should set our F stop number to as low as possible. Now, if you have the 50 millimeter lens, I would recommend 1.8. And if you have through Kit Lens, probably a 3.53 point five isn't exactly a low F stop number, so you'll probably not get the desired effect. So I would still recommend a lens with a lower F stop number. And our goal here is to shoot with a lower aperture, so he essentially need to just said it as low as possible. Now there's two things you need to know about aperture priority mode, and one is where to set the aperture and to exposure compensation. So let's start with the 1st 1 on where to set the aperture. So on my camera, and I think almost cameras to there is probably a pretty accessible wheel or scroll by your fingers when you held your hand to the camera, and they usually try to make it as intuitive as possible. So just play around with it and move your fingers and wheels and what on? See what changes the F stop number. Once you figured out what changes, the F stop number said it as low as possible, and then we'll move on to the next part, and the next part is exposure compensation. It's also very easy to understand. Basically, when you look at your camera controls your pad, you'll see that there's this and you noticed by default. It's at the center there's a straight line coming out of the center, and if it's not at the center, then you should move it to the center again. You should play around with the wheels and scrolls and see what moves it and then move it to the center. Okay, so what you're gonna do next to shoot a photo with the meter in the center and you should see whether you're photo is too bright or to Darth. If it's just right, then leave it as it is is perfect. And if it's too dark, you should move your meter to the right of it. And if it's too bright, you should move the meter to the left a little bit and then shoot another photo and see how it is. And when you shoot the other photo and you notice that it's still but to brighter too dark , you keep doing the same thing until you get the desired result. That's all you have to know. For absolute priority 5. Reviewing Lenses : Everyone. So in this lesson, we're going to talk about some common lenses that are used. So like I recommended earlier, the 50 millimeter lens is the cheapest, most affordable way that I recommend people to get started and shooting good photography. It's just such a sharp lens, has the ability to go down to a f 1.8. And it just makes your photos look completely different than what you would get with the normal kit lens. Now I'm going to introduce some other lenses as well, which are also something else that you can get into as you're exploring your photography. Now some of these Art at the affordability level of the 50 millimeter 1.8. But regardless, they're super good lenses for you to get into as you start expanding your roster of lenses. So the first one I'm going to talk about is the 35-millimeter lens. Now there is an alternative from this brand called Young null, which sells it for around a $100 USD at the time of this posting. And I think that is actually really good lens to get into as well because one gives you a wider field of view than the 50. And it's also really cheap and is able to stop down with their F-stop two and F2, which gives you that super blurry background and it has a wide view. So really changes up what the typical beginner slash amateur photographer can do. Because typically everyone gets a 50 millimeter lens right off the bat because it's just such a good, affordable lens. But if you want to stand out a little bit, having it 35 that you can get for a $100 is a great alternative. Now Cannon also makes a 35-millimeter F2, which the Young nor is based off of. There is a big price difference, but the quality gain that you get from it would be worth it. Should you decide that you like that 35-millimeter range? Next is the 85 millimeter, which is a great choice for product photography, portrait photography, or basically anything that needs a flattering look to it. The 85, being that it's 85 millimeters. Anything above, say 50, for example, tends to be more flattering as it brings the subject or makes it look a bit skinnier. Anything under 50 millimeter tends to widen up and makes faces look a bit wider. So 85, I don't 1.8 is just a really solid lens for someone to be able to shoot great portraits and product with, because it really just highlights and separates the background from the subject. And many people make their careers off of the 85 millimeter. I have a friend who shot for brandy Melville, which is a huge fashion brand in the United States. And one of his main lenses was the 85 millimeter because it was just such a great lens at isolating subjects from their background. And what the 85, it's one of those lenses where it's. Not super expensive. It's relatively affordable and if you were to do a few shoots, it could definitely pay for itself. Okay. Next is the 24 to 70, which is in my opinion, the best focal length you have. On one end you have the wideness of the 24, and on the other hand, you have the 50 millimeter of just having the best correct point of view. And finally, you have 70 if you want to zoom in a little bit just to create a more flattering image. And then to top it all off, you have the f2 0.8 aperture, which is anything for the most part, under the 3.5 to 5.6 of your kit lens is considered a low aperture. And this is the prime low aperture lens because you have essentially three lenses in one. And when I go on shoots, I would bring something like this because it's so convenient if you didn't want to bring all your gear, just having 124 to 72.8 is the go-to lens to bring along with you because it just captures the entire focal length. So for example, if I'm out doing a shoot for a product where I'm just trying to isolate the product. I can go with the 70 millimeter. And if I wanted to shoot the product on people, I can have it as a portrait lens using something like 50 or 35. And if I wanted to shoot the entire scene, I could shoot it in a 24. This answer is also great for video making because it covers everything that you need to have a great shot. Now it is the most expensive lens that I'm recommending in this video lesson. But I think this is one of those lenses where it is the Holy Grail. Once you have this lens, you essentially don't really need any other lenses because you can achieve most of the effects that you're looking for. If you do actually need other lenses, at that point, you would have decided that you are so niche down that you know which specific lens that you need. Maybe you need a 400 millimeter, you know, to go super zoomed in or maybe you need something really wild like 15 or 16 millimeter. But if you're still figuring it out or if you're trying to shoot a ton of content, this would be the lens that I recommend because it covers all your bases. Okay, finally, we have the 70 to 200 F4. Now there are other variations of this lenses as well, especially the 2.8, which a lot of portrait photographers use. But I'm only talking about the F4 because it is still relatively affordable. You can probably get it for around $500. And it does have a great versatile feel to everything that it has since it's 70 to 200, U for the most part can get a pretty nice portrait at 70. And then if you want something super flattering, didn't get 200 to make people look or your subject look more flattering. It's also really effective when you're going out in the future too, because 200 is a pretty good zoom. If you use cannons extender, which can be had for a little bit more, you can give a 2x zoom to this. So essentially you have a 140 to 200 or 140 to 400 millimeter lens just for a few 100, Which is a great bargain and bang for its buck. And personally, when I shot with this lens, I thought it was one of the sharpest lenses that I used. And finally, if you decide that this 70 to 200 range is something that you really like, I do recommend the F2 0.8 because it is one of the sharpest lenses that most manufacturers make. And it has a variety of functions that you can use. It. 6. Framing your photos: now, since framing is one of the most important things about taking a photo that looks professional. So let's talk about some guidelines to framing. The 1st 1 I can think of is noticing your foreground, middle ground and background. Having a photo that shows the foreground, middle ground and background makes it so much easier for people to comprehend what is going on with the scene. Because it lays out everything that's happening. It shows what's going on up close. It shows what's going on in the middle and whatever is going on far away. Okay, next we're gonna talk about the three by three grid. And what the three by three grid is essentially having your photo divided into a grid of three by three, which comes out to nine squares or nine rectangles in total. What that does is it helps you think a lot more methodically when you go out and shoot, and it helps force you to frame in a way that is a lot more productive for your photos. So, for example, what I mean by this is when you want to focus on something in the subject or whatever you're shooting, it's nice to have or it's very helpful tagger subject to be on one of the inside for dots. Next we have the 2/3 rule, or the 66% rule, and the 2/3 rule is 66%. Rule is basically saying that when you shoot a photo, your main subject should occupy 2/3 of the photo, or 66% of the photo. It's very easy to see when you divide your photo and to a three by three grid, for example. These are a few photos that I've done, and it shows how I made the main subject 66% of the photo. Okay, next we have triangles. Another thing we like to look at as humans are triangles, and we love looking at them and connecting them, even if they're not explicitly there. So finding and connecting triangles in a scene is a great way t at her image. That's basically connecting the dots of three points on a certain subject of your photo, so make sure you angle your elbows and don't just cut it off for the elbow begins because it kind of shows a triangle connecting your body to your arm. And that's very pleasing for people to see. And along with the triangle theme is very visually pleasing to see things in groups of threes. So make sure you implement that as well. Okay, now let's talk about a couple of my favorite ways to frame a photograph. Here's one with the object in the center. I like this a lot because it just draws all the attention to the center, and the next is one with lots of whitespace. This would be good for advertisements because it has a lot of room for you to put words on . The next is having three layers a very visible foreground, middle ground and background, and next is leading lines. We like to find patterns in images that we see, so these leading lines are very helpful on making a image very visually pleasing. Okay, this next image is utilizing the 2/3 rule where the subject in focus right now is taking up the space of 2/3 of the image 7. Why I shot these + thought process Photographic Analysis : Okay, So for this next part, we're gonna be reviewing some of the photos that I've taken either for myself or for clients or for friends. And I'm gonna break down. What was my thought process As I was shooting these photos and how I composed it. And I think for you as a viewer, you're gonna be able to think like I thought when I shoot these photos and as you go out into the field, you put thes thought process into your mind. You're gonna be able to make better composed photos and captured the moment just like a professional photographer with Okay, First, let's start with landscape. So the first photo here of my landscape is a photo that I took at Ventura County Beach are right by the pier, and why I took this photo was that when you look at it, it's separated in 2/3 with 2/3 of the space being white space and the bottom third being the wave and the wave itself was also later into thirds as well. What I saw was the 2/3 on top and the third on the bottom. And the third on the bottom was everything in the image and the third on top or the 2/3 on top was just all this white space that you can fill in with a word or something or phrase and inside. So from an advertising standpoint, I was looking at this, and I was like, OK, cool. This is stuff that brands would use for their look books or magazines or something just because they can advertise their brand with it and it creates the feel of the ocean. Okay, this next picture is of a surfer on a wave, and he's centered dead center on this photograph. I did something a little different on this photo in which I framed it 50 by 50 with the top half of it 50% of the image and the bottom half another 50% of the image. Three elements that I always mention is having a foreground in middle ground and a background, and the foreground is closer. You see the wave where it's already crash, and there's this left over Whitewater and on the middle ground is where the surfers currently riding. Because that's also one of the highlight of the photo, and the background is the little bits of ocean in the back that is left over and the top again. I have a lot of white space because coming from an advertising background, I can see that you can put words in here and you can have phrases and paragraphs or just a little short stories to tell, because this is again good for building the mood for look books or any publication. So this next one is a hiking trail down to the beach. There it's caught Patrick's point, and this beach is actually in Northern California. Um, a really, really scenic location. Basically, What else capturing here, though, was three layers again. On a clear day, you would see the background bit more clearly, but this time it's in the fog, and there's a bit of the back of the cliff shown up at the far side of that. So again, I separate this into third. So that's the 1st 3rd having the background way back there, and the middle ground is where the surf is currently breaking or the like, the clear part in the center that has the wave forming. And that's where I actually served with my friends down there and the foreground, which has the most detail and in a way, Tiu C that the foreground takes up a bit more than just 1st 3rd it takes up the 1st 3rd and it also goes up a bit on the side. And that kind of brings in more attention to this foreground to this forest. The scene that I'm feeling. So that's why I shot it that way and framed it that way. And in this forest, the scene, you could see the tree and you can see the leaves and you can kind of see depth where if you were to take a feel steps you would be able to see over the cliff. And essentially you can see death and the tree on the side to is good highlighting detail. It balances out with the other tree on the right side. So both trees, right? There was also another added effect. Okay, now this one is again divided into thirds, with a lot of emphasis on the white space on the top or the negative space. I think sometimes we will call it, but on top there's this empty space, which is very good for someone in an advertising background because they could throw in words, have titles, have subtitles and on the bottom third with the foreground is actually the subject. So the subject in this case is this girl wearing the wet suit and the fins. So what this would be good for is an advertisement for maybe the wet suit or the Finns, Maybe not so much the Finns, because it's a bit out of focus. But the wet suit is in clear view, and it shows how it fits on her. So it's a good photo that highlights the wetsuit. And again, I kind of put a bit more emphasis on the foreground versus the middle ground because the foreground actually extends into the middle ground of the photo. So, as you can see, it's a rock section that jets out a little bit, and the middle ground is a bit skinnier than usual. And this next picture was one that I took when I was in Mendocino, in medicine owes way up in Northern California again, super beautiful up in Mendocino, And the weather is usually like this most of the time. Ah, fun fact about medicine. I recently learned that people call it the Pacific Northwest. I had always thought the Pacific Northwest was like or a gainer Portland stuff, but it was nice to know that I was in the Pacific Northwest. So in this photo again, I did a shot where I showed the foreground middle ground in the background. I didn't emphasize too much on the thirds rule because, as you can see, it's kind of separated out. But there's still hints of thirds rule still in place. But for this picture, though, what I really focused on was having the boats in view. Having the ocean haven't shown where the land connects the ocean and the top of the hill. The whole scene itself is more of a two D image versus one that is three dimensional. And I think this is good for setting the scene of something that is in an environment like this, also like the trees and how it's a dark section right there, too, because with my type of design, I usually like to put in words in that section, and the words were usually in white. So having a black background or a darker background is a good way to really bring it out. Okay, so onto the next section. And this is people's photography. So first thing that comes to mind when I look at this photo is that the typical subject is not in focus, and that is being the girl here in the photo. But what I was going for in these type of photos, or what I edited this out to look like, was that it's a scene of the landscape, with a girl in the back highlighting what is here in the landscape, because I could just leave it empty and blank there. Or it could have someone here in the subject and frame, and especially a girl in her bikini is like a good mood setting element for the photo that is supposed to be at the beach. And another thing that comes to mind, too, is that there's many different layers in this photo, like the layer of the sky, the layer of the land and properties in the back, like the hill into the house and the palm trees, the properties in the back and the waves, and finally the foreground that is kind of big and dominating in the photo. But not overwhelming. And the bottom thirds of the photo, which is big but not overwhelming because it is out focus. So this kind of balances it out with the rest of the photograph. And as you can see two, it's not to really 1/3 3rd 3rd photo. I kind of split it in half at the 50% point, with the waves being at the 50% line, and that in their itself is two photographs. So the girl So so imagine the girls not there, and all you see is the bottom half. The bottom half is separated out into thirds where the 1st 3rd is the background with the waves that are breaking all the white water. And the middle thirds is the waves. The foam at the end of the water that's coming up, you could kind of see it's in focus, but not as in focus. And finally, the foreground, which is not in focus at all instance, I split this out into 1/2 of the full image. It's good that it's not as in focus as it should be. If you were doing this to a full image and other top half you can see that it's split out in 2/3 as well. With the top of the pump, she's done to ground level of the house that's 1/3 and the other 2/3 being the sky in the cliff. Okay, sir, for the second picture. Okay, so for the second picture, you noticed that the subject is framed directly in the middle. And I did this because that really brings out the subject of highlights who the subject is . And I want you to notice a couple elements that I used was at the sky was one level. The ocean was another level, and the ground, the rocks that she's standing on the sand and the rocks is another level. And having those three layers be separate out invisible really complements with swimsuit that she has on. And at the same time, I kind of framed her to be around 60% of the entire photograph, although what they're standing right there, it doesn't seem like 60% but her space and energy takes up 60% of the photograph, and it's kind of obvious because you can see from how there's so much empty space around her that everything is just highlighted and pointed at her and also to with the top being such a empty space. It leaves room for having written content like words or poems or titles. So this is also another good image for advertisements. And this next photo here this girl is standing next to a cactus and a fence or through Denham. And what I did here was I separated out. The highlight of the photo to be 1/3 of the actual of the entire image and it saw in even thirds is actually cut out thirds. But she is 1/3 just shifted over a little bit. And the other space is the 60% of the space that is empty and fills the scene. What I did differently about this image van, the other images with subject and the background is not that far away. It's right next to her in a shot at a low angle. So it really makes the talk Actus look ominous. And I decided to do that because behind it was it s scenic as it could be. So having a background like this and with the subject having such bright clerk close it really brings out the subject, and highlights are good Examples of this would be like those wallflowers or those ivy colored brick buildings, and Suffolk that just having a big uniform background is essentially what this one is like . Okay, so this next picture, the subject is holding a camera looking out into the ocean, taking a photograph. And the first thing that comes to mind when I look at this is that she's taken up 60% of the image, and it's not exactly 60% and it's not exact. But if you look at the space, she fills up a wide rectangle, and that takes up 60%. And in this photograph, I also shot with lower aperture so you could see the background is very blurry and she is the subject of the photo. You could also see that there's a foreground middle ground in background, although the background in the middle ground art as in focus because that's not really what's important. And what's important is was here in the foreground, where she is sitting on. So make sure you use those three elements in your photos. Okay, this next one makes for a really good stock photo because it's shot an angle where it could include text on the left side and on the right side. It could include a logo with the subject being in the middle and the subject again. I like having them then on the middle sometimes because that really brings out the highlights, points everything towards the subject in the middle and the right side. You can see her using the computer that's in focus. I shot this all with the lower apertures. And again, you kind of see that it has a foreground, middle ground and a background that the foreground is out of focus in the background is out focused with all the attention being towards her in the middle using the computer. Okay, for the last one here, I'm gonna be examining things that I've shot. So the 1st 1 that I want to run through is this camera here. And I think it's called a dual reflex or a single reflex camera, some the reflex camera and essentially the elements that I used in here. We're triangles. As you can see on the corners, there's the end of the table and in center there is also the under the table, and it essentially makes a triangle. And that triangle centers on the camera that's in the middle with the other triangles on the sides. To the right side has a triangle because of the tables, corners, the left side of the triangle and also on the top left, you can see another triangle. So the theme here is really using triangles. And because our eyes air somehow attracted triangles, this makes it very visually appealing. And the fact that my subject, this place at the center of the image, it really just brings all the attention to the subject in the middle. But this was in on the spur moment shot. So I shot in. This is what I got. This next photo is a photo I shot for a brand here in Los Angeles. And in this shot, it was in a warehouse. So what I did was I put the backpack and the pans in front of me and have the warehouse further back so that when I shoot it with my low aperture, I would be able to focus everything on the backpack and pair of pants. And you might even notice that in certain elements of the poll that the pants is on is a bit more out of focus than the backpack is by design. But kind of not was that I shot at such a low aperture that it made that a little blurrier , and the depth of field was only at the backpack. But that was enough to bring out the details of the Denham that I didn't mind it, and it kept going with this photo. This next one here is of a dragon fruit that I got in my backyard might not be the most compelling image, but it's very important because I framed the dragon fruit in the center and used green of all the leaves to highlight that dragon fruit. And just like the techniques that I mentioned earlier, using the foreground, middle ground and the background, you can see that the foreground are the branches that a bit out of focus. The middle ground is actually where the dragon fruit currently is in the background. You can you can slightly see a leaf in the background and also the other parts of the background out of focus and the overall feel of this image. I want to get it was just a highlight. The one dragon fruit and this loan mess of green. If you look closely, though, you also see other dragon fruits that are green and emerging. So that's a fill. In fact. Okay, this next one here with the wallets is really cool because it's just organized so well already that it shows everything from the foreground, the middle ground to the background and the middle ground is what's in focus, which is those three wallets that are the most in focus. The Navy ones in that one, brown one and everything else helps contribute to a scene but does not take away the attention from the wall. It's so right here were highly in the Wallace Wash on the picture in the back and the leaves in the back and the other objects on the bottom. But they're a bit blurred out because they use the low amateur and because I use such a low aperture that makes the deaf if you'd so small said, the most important things, which are the wallets, is what pops out. And last one is a shot I did for an apron company in Los Angeles. And what this shows is the up close details of the aprons and something else that I want to draw to my twos at this uses the 66% rule in that the main part of the apron takes up 66% of the photo, while the other part the part that's hanging and the background, takes up the last 30% of the photo. So most your attention is on this apron and how it occupies most of photo, and by doing so, you can see all the little details of this apron not be distracted by everything else. 8. Conclusion: all right. Congratulations and thank you all for making it this far. So we talked about having a photo look professional and how it looks. Professionals being being sharp, separating it out from the background and just having people know exactly what is in place . So that means we know how to use after. And we also learned how to frame and frame right. We talked about splitting it into a three by three grabs, using 66% rule the 2/3 rule and even having people centred in the center of the photo. If you need a quick brush up, then there is the ending of the framing video. And finally, we essentially learned how to use aperture properly and combining that with how to frame your photo as best as they can. Makes a professional looking photograph. Thank you all for taking my class. And I hope that it helps you out on your photographic journey.