Instant is Art! Mastering The Art Of Instant Photography | Veronica Wolfgang | Skillshare

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Instant is Art! Mastering The Art Of Instant Photography

teacher avatar Veronica Wolfgang, Artist, Photographer, Jewelry Designer

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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

10 Lessons (50m)
    • 1. Instant is Art: Class Introduction

      3:55
    • 2. Instant is Art: Class Project!

      1:58
    • 3. Getting To Know Your Camera

      7:10
    • 4. All About Your Film

      4:02
    • 5. The Technical Considerations: Lighting, Composition, and Detail

      8:53
    • 6. Brainstorming: Making Our Mood Boards!

      5:29
    • 7. Shooting Our Concepts! Live Demo

      4:28
    • 8. Scanning and Editing For Desktop

      10:30
    • 9. Scanning and Editing For Smartphones

      2:42
    • 10. You Made It: Class Wrap Up

      0:37
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About This Class

Instant photography has long been overlooked by the fine art world. There is a thriving subculture of instant photographers. If you've stumbled on this community and don't know where to start or simply want to take your instant photography game to the next level, this class if for you!

Don't worry about how fancy your camera is! Instax mini? Perfect! That $5 vintage Polaroid 600 you found in your local goodwill? You got it! 

In this class, you will plan and shoot your very own set of artistic polaroids

Together we will cover how to apply photographic principles to the exciting and unique format of instant film. It can be daunting at first because it is such a different experience than we are used to with digital cameras but the effort is certainly worth the reward!  

To get you up and running as an instant photographer we will first get to know your equipment with a guide to getting to know your specific model.

Then talk about the technical aspects of photography as applied to this format. This is the awesome part that makes instant cameras so unique!

After the boring stuff is out of the way we’ll get to the drawing board and brainstorm our concept.

We will build a mood board and shot list to get our ideas together and ready to shoot. Then I will walk you through how I go about shooting a concept from start to finish. After we’ve taken our pictures I’ll show you how to properly scan and edit your pictures on both a computer and your phone so you can show those bad boys off!  

 

Meet Your Teacher

Teacher Profile Image

Veronica Wolfgang

Artist, Photographer, Jewelry Designer

Teacher

Hello, I'm Veronica Wolfgang & I am a Brooklyn-based artist, photographer, and jewelry designer. I specialize in fine art photography, particularly with instant film. I enjoy blending inspiration from antiquity with more recent history to create new worlds. 

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Transcripts

1. Instant is Art: Class Introduction: Hi. My name is Veronica Wolfgang, and I'm a Brooklyn based artist that specializes in work within instant film format. I fell in love the instant film when I was about 15 years old, when I discovered one of my mom's vintage Spectra cameras. And the rest is history. Really, I got obsessed with the format, and that's all I wanted to use before that. I've been working in filmmaking, and I really just cloned to the instant film format. And now, as a career fine artist, I want to share why this medium is so special. So maybe you stumbled upon a $5 polar in 600 at your local goodwill. Or maybe someone gave you a Fujian stocks, many that you wanna try out, but you're not sure have fully utilized the medium, and it can be really don't get first. It's one of the most complex chemical processes that we have a consumer level. It is such an interesting medium. However, with that comes a lot of anticipation. It's a very expensive film, and I want to show you how to utilize it. This class will walk you through the steps you need to take in order to become proficient in instant photography. So this is going to be a basic primer for anyone who is curious but hasn't truly gotten into the format. Instead of taking just snapshots of friends and family with our polar, it's, I want to in this class explore the fine art uses and the deeper, full practicality of instant film. It's a very unique, intangible format, and with you that you can do so much more than you can attritional photograph. I think that it's something that's often overlooked in terms of artistic viability. So whether or not you're just a analog phone enthusiasts, or maybe you just really like polar. I don't want to get into it more. We're gonna cover how to fully maximize the usage of these awesome little tools we have. So in order to take your instant photography game to the next level first we're going to cover getting to know your tools in your camera, and then we're gonna move on to in order, take your instant photography game to the next level. First, we're gonna talk about getting to know your camera and getting to know the tool that you'll be using over the course of this class, and then we're going to good into film in the technical special applications and the things you need to do to make sure that your film turns out the best it can be. Film is a very flimsy and fickle things. You have to do certain things in order to prolong the life of it and to keep in the proper conditions that it will work properly. These are very interesting chemical compositions that happened here in our films. We have to treat them very nicely in order for them to work out for us. So we're gonna cover that next. And then we're going to get into the technical considerations you have to make in a lot for when you're working with an instant camera. This has to do with the focusing distance and how we can compose within these smaller frames. This is something that makes this medium so special and so unique because these things are not just things. You have to work around the things that will make your photo distinctly a Polaroid distinctly an instant photo, distinctly that amazing thing that draws people to it even though we have so much more technology in terms of photography now. So once we've covered all of the technicals and the nitty gritty, we're going to get into making a mood board and coming up with these fun concepts. We're gonna get loose, get inspired, come with some awesome ideas in order to go through a live demo. So I'm gonna do a live demo of how I would shoot a concept. I did a simple concept here, within just the constraints of my own apartment and what I have here. Nothing special. Nothing fancy. Just my camera, my roommate and some tools up on my roof. So with this lab demo, I'm gonna show you how I work personally with my models on set with this type of camera. And then I'm going to cover how to scan and edit your photos to get ready to share them for the class project and on social media. We're gonna cover two ways of editing and scanning. We're going to cover how to do it on your desktop with a flatbed scanner in light room, and then we're gonna do the easy condensed version on your iPhone and Visco. So both are easy options both are completely doable, but depends on what technology you have available to you right now. So we're gonna have both options, and then you can share in the class project below. Let's get going. 2. Instant is Art: Class Project!: So like I mentioned in the introduction throughout this class, we're going to be conducting our own instant is art photo shoots. So we're going to follow the steps I take in the class in my life devils, and we're going to translate them into the real world. This class is going to be a follow along of every step I take in the process. So of course, those steps are we're going to get to know our cameras and then we're going to cover getting to know our film and how to properly protect the chemicals within our film. And then we're going to cover how we get to know where cameras, in terms of the technical aspects that make this format unique, we're going to cover all the basics in terms of the tool we're using. We're going to cover the composition, lighting, detail, everything that you need to keep in mind when you're setting up a shot and then we're going to make our mood where we're going to the fun part. We're going to put all these ideas and concepts together to create what we're going to actually shoot at the end with the live demo So I'm going to conduct a live demo that you can see how I go through a concept personally from start to finish, in terms of working with a model, directing and just fully exploring the capability of just a few simple props for the live demo I purposefully used not a lot of material I used to share currents with restore a small table cloth and then some dried oranges. And then my roommate, that's all I worked with for the shoot. I wanted to keep it really simple, because you do not need a lot to work with this. You don't need a lot to take great photos in general. So I'm going to show you how to work with the bare minimum in order to create maximum impact. So once we take in, our photos were going to either put them onto our computer or our phones. I want to show you how to properly scan for the best quality scans of your photos. I'm going to show you two different ways of editing one on the phone in one on adobe light room, very basic, and then we are ready to share. So if you're excited to start our class project and get into things. Click on the next video. We'll move on. We're gonna create some awesome stuff today. And I'm really hoping that you enjoy this form as much as I do. This is something that I have a lot of enthusiasm for. Is a fine artist, and it really excites me. So I want to share a bit of that today with you. 3. Getting To Know Your Camera: So let's get to know your camera. This is going to require some research on your end. I want you to google the name of your camera and find a Pdf manual. If you don't have the original, I have a few of my originals, but for some of my vintage models, I don't actually have the original manual. But I've Googled and found online versions of almost all of them. But I want you to read the entire thing I want. You read your camera's entire manual because the best way to get to know your tool is to read the instructions. These air not very long. They can help you get to know some of the more minute details of your camera and really help you feel more confident. I know this team's kind of boring, but trust me, it's completely worth it. Since I don't know what kind of can you have? Reading your manual will help answer any questions that I can't personally answer right now , So let's go for a few questions to get more acquainted with your cameras, capabilities and limitations. So, first of all, what kind of camera is it? Is it a Polaroid Fuji? Is it a one step in stacks? A wide. There's so many different kinds of instant cameras going up to huge film formats. What kind of film does your camera take? This will be relying on what kind of camera is and what brand it is. Some film stocks are still in production and somewhere unfortunately, discontinued like Spectra film. If you have a Spectra camera, you can find some on eBay. But in general, if the film is no longer in production, you're going to have to buy expired or dead stock film. The next question is whether or not your camera runs on an internal battery in the body of the camera. Or does it run on a battery that is in the film? Pack itself for older Polaroid cameras. The battery is actually in the film so you can replace the battery as you replace each pack of film. For other ones, like the newer Fuji installed cameras and mammography models, there's actually a battery that you put in. This will inform the type of maintenance you need to do, because if you leave a camera with an internal battery sitting for too long, the battery can corrode. So if you're gonna store your camera for a while, I would suggest taking out the battery or fill our any empty film packs to prevent any battery acid corrosion that could ruin your camera. So you want to be careful and just know what kind of battery your camera takes. Question. Three. Do you have an automatic flash on your camera or a flash? It'll can you disable if possible. If you can't disable your flash, you might have to get creative with electrical tape if you want more freedom. Some cameras, like newer foodie insects, cameras, the small bubbly ones. You can't actually turn off the flash. So if you want to get more creative with your lighting setups, you're going to have to manually disable it with some electric tape. This is a good thing I know in advance, so you don't ruin any shots. You're setting up with creative lighting with other cameras. You could easily disable your flash, but it's good to know what you're capable over right off the bat and what you're going to have to work around. In the case of vintage Pullard box cameras, the way to disable the flash is to Onley triggered this part of the camera. This is the flash, and this is actually the trigger for the film itself. So you're going to want to just circumvent this button and press here. This is for all models. The other ones will have a switch on the back or in the front to inform you whether or not you could turn the flash. These air usually labeled pretty obviously. But if you can't find, it's a good time to consult your manual or look it up on a forum. Next question is, does your camera have any remote shutter, remote control options or self timer? This will determine whether or not you can take self portrait. It's really fun to try out if you do have one. This mammography model. Actually, the lens cap is a timer and remote, but on older models, sometimes there's just a 12th self timer that you can put on to take pictures of yourself or with a group of friends. This can actually be really phone creatively if you want to play around with self portraiture or just movement in general, a timer can also be helpful if you're going to try a long exposure or any kind of like painting because it will reduce camera shake if you put your camera on a tripod. Next up is what's your cameras? Minimum focus. Distance. This is how far your subject has to be, at minimum, to actually be in focus on the final photo. These cameras are actually usually range finders so they don't have a focus ring to manually set your focus, so you're gonna have to leave it up to the camera. The quality of your focus will depend on how old your camera and how advanced each model is . Usually this is pretty good, and for most cameras, the minimum focus distance is about three feet. But on your models, like their mammography cameras, you can get as close as 30.6 of a meter and some cameras even up close up lens attachment so you can get his closest 10 centimeters, which can be really fun. Knowing your focus distance will inform what you're actually capable of photographing in terms of composition and detail. What's your cameras? Minimum Focus Distance for most cameras. It's about three feet, but this depends from model to model it will usually say on the front of the camera or in the manual. But for most older polar cameras, it's actually right on the front of the camera, which is really helpful. So you know what your focus distance will really help. You know what you're capable of with your camera because you can't get to detail if you can get only as close as a meter or two, so you're gonna have to let that inform some of your creative decisions as well. There are close up lenses you can get for some Cramer's where you can get super up close on Orla Ma Graffiti models. You can actually get us close as 0.6 centimeter on some cameras because they have multiple focus distances. But this for older cameras isn't as widely available. So you're gonna want to know that to know what you're actually able to dio next up is whether or not your camera lets you set exposure compensation. This is how you can adjust for different lighting conditions by adjusting the exposure of your camera on certain models, especially older pullovers. They'll be there a dial or switch that goes like two dark light will up your exposure and dark will lower your exposure. So on this camera it's really obvious. It's right here, whereas on this polar a 300 camera, it's actually in the form of clouds sun and a very bright sun, which is a bit more of an illustrative concept that still exposure compensation. Turning it to the clouds will add more light will up the exposure, and having the bright sun icon will lower. The exposure causes compensating for very bright light on most vintage models. Exposure compensation is in the form of a black and white arrow on the front of the camera , so it's very easy to adjust exposure. Compensation is a really helpful tool in properly exposing your photo, even in varying circumstances where you might not sis era li be able to control the light, and it also can avoid flash if you don't want to use it by changing the exposure compensation to change and alter the fact that you're not gonna be using a flash. And finally, how many exposures are in each phone pack. This varies, too, from model and model. Some have 10 some have eight. It depends on the type of camera you have, and you just want to keep this in mind cause it's how you complain of your shots. Knowing how many shots you have will let you plan out your shoots more effectively and use your time wisely. So now that we've asked ourselves a slew of questions, I know that was a lot. We've gotten to know our cameras a bit better because I can't tell you exactly what camera you're working with. There's a lot of variation with an instant cameras. These are built to help you get to know your camera. I know it can be a little frustrating at times, but the more you play with it, the more you're going to get to know it. Because vintage models have changed over time, they might not be exactly same is when they're manufactured. So don't get discouraged. If you can't find every function right away, go on Google Reader Manual. It's gonna get a lot easier. And now let's talk about proper film protocol and how to take care of and properly shoot your film 4. All About Your Film: So now we're gonna cover some quick tips on how to properly store and care for your film before after enduring taking a photo In general, this is pretty simple, but there's some hard and fast rules you're gonna want to keep in mind. Always store your unused film in the fridge if you want to. Last instant film is very temperature sensitive, like all film. And if it gets hot or wet, it's going to grade very quickly and you're not going to get the best usage out of it. So you're gonna wanna be very protective over your undeveloped film and even your developed film. Never store your film and direct sunlight or in very hot conditions. If you live in a more humid climate, you're gonna wanna be careful. I actually store my film in the fridge with my 35 millimeter film I have endured dedicated in my fridge for all of my film. If you don't have an entire door, any space in your fridge as long as it avoids any moisture, is completely fine. As for when you're shooting, the first thing is to properly load your film before you put in a film pack and start shooting. You're gonna want to clean your rollers. So sometimes when you reject a photo, some of the developing paste and get all the rulers that eject the phone and this can lead to in dense on your final photo. If you're not careful to clean your rollers, you're gonna want to take a Q tip or a small wet rack that's lint free. And you're just gonna would you want to gently rotate them and wipe them down? Nothing happy, Nothing heart. You're not going to break the mechanism, but just gonna want to gently cleanse them to get rid of any residue so you don't have a ruined photo. Yeah, you're gonna wanna play your phone pack before you start shooting. You're gonna want to make sure you inject your blacks life. Some cameras will do this for you, but newer models tend to not. So you're gonna want to make sure you press the button and get rid of this. This is important to remember, because if you're setting up a complicated shot and time is of the essence, you're not gonna want to waste time by having to reject this first. If you forgot. So just remember, right when you start shooting, just take this out and put to the side. So now you don't know that. Now it's time to go out and shoot. But when you do with film as it's developing, if you're outside, you're gonna want to make sure you have a safe place to put your film as it's developing. Even if you're inside, it's good practice just to automatically shield it from the light. This is a simple is putting it face down, but I tend to like to use the empty box of my film pack or small fabric pouch to store them to the side As they start developing. You can put them in your pocket, but I'd be careful of this as it can lead to some degradation or a temperature shift. A temperature shift is when a friend gets even too hot or too cold, and it changes color a bit and may start to degrade if it's too cold. Sometimes the film will go blue to green, and if it's too warm, you'll develop more orange or red tones. This could be a fun thing to experiment later, but you're gonna want to make sure that your friends are not too hot or too cold in their developing because it could lead to something that you're not expecting. And now we have a myth we have to bust. Don't shake your photo like a Polaroid picture. You're not gonna want to shake your frame. That's not gonna help it develop, and it's gonna expose it to light. So don't shake it like a Polaroid picture. Just put it away somewhere safe and dark. Well, it develops. Your film is temperature sensitive for up to 15 minutes or more after you take the photo. So you're gonna wanna have to resist the urge to look at your photos out there developing and just keep them somewhere safe and dark until they're ready to be seen by the world. If you don't properly shield your film, this will lead to a bleaching of the film and an under development with a lack of contrast , and you'll lose a lot of detail. So this is an important thing to keep in mind, especially if you're shooting and under bright sunlight, because this will very drastically impact your final frame. To sum this all up just keep your film nice cold in a dark place until you're ready to shoot. Make sure to reject your black slide and don't spoil your seat and keep your rollers clean . And then after you take a photo, just make sure to put it somewhere safe in dark and not too hot or too cold. And this will help you make the most out of each room packed by avoiding any mistakes that could ruin photos. Because I've taken a lot of photos that I haven't taken care of in the moment, and that has ruined bum. So be careful and don't make my mistakes. Be careful, work slow and be mindful. Now let's move into the technical considerations that make this type of photography so unique and how we can work with this to our advantage. 5. The Technical Considerations: Lighting, Composition, and Detail: Okay, so now that we've explored our cameras a bit, we're getting more acquainted, and we've covered some practices about working with film. It's time to cover the technical considerations that make working with this format so unique. This is the last step before we get to the fun. Part of brainstorming are shoots. This is important, especially when we're brainstorming our concepts because the medium has to inform the content we can produce the type of camera were working with kind of describes whether or not we can do certain things in terms of photographic expression. So there are three big things to keep in mind when you're setting up your shots in terms of technicalities, you're gonna want to keep in mind your composition, your lighting and the amount of detail composition is where the format of instead photography really comes into play. This is because you have a finite number of frames to shoot only about 8 to 10 and you have a very small amount of space to work with. This is only about like maximum, um, five by two inches, five by four inches maximum. There are eight by tens, but this is in general very small format, So composition is one of the most important things when you set up because you have to really consider this, you only have a certain number of tries, and there's not much you can do in that small but frames you will need to consider and get creative with your composition. The general guidelines of composition are still in play, like leading lines, the rule of thirds and the golden ratio. But since there are a different film size, they might be a vertical rectangles square or a wider rectangle that doesn't form some decisions you make in terms of how to use those competition rules, there's a lot you need to consider before you press the shutter button. And composition is one of the things that you should really be thinking about first and foremost, even when you're coming up with your ideas, this should be the thing that you come up with first in terms of concept. After the initial idea, you can really have fun with your composition if you keep in mind your size, because when you're working with an in stocks camera that's a credit card sized frame. It's completely different than how you set up a bigger square format or a Y format like the foodie wide. I encourage you to play up the size or working with and build compositions within that frame. Sort of working around it really embraced the size of film that you're working with your working small. Then that could be great. Don't worry about it. People tend to get discouraged if they're working with insects, cameras that work with the many size because it's so small. But you can really embrace that size. And even I work with that to this day. I love that film, and there's a lot you could do with it. So don't get discouraged even if you're working on a smaller in stocks mini camera. Because there's still a lot you can dio the same general guidelines of composition or and play as they would be in any type of art, you can play with leading lines, the rule of thirds diagonals, really. Everything that you know about composition can come into play it as in any type of photography, but you're just gonna want tailor it to the smaller size and the unique way that we take instant photos set up your shop. Move around, get high, get low. See how you can get creative with your frame because you're working with very, very limited real estate. You also have a limited amount of frames when you're working with instant film, so composition becomes even more important because you don't have a lot to work with. You only have 8 to 10 frames to really get the most out of, so you're gonna want to really think about and be mindful of composition. As in any art form, composition is so key. I'm emphasizing this because film is quite expensive and I want you to get the most out of each frame. And composition is what really will set you apart from the crowd. Next up is lighting. Instant film adores, like the point where in stocks, many cameras don't even let you turn off a flash unless you do it manually with some tape you're lighting is critical in the moment because you can't necessarily add it, something brighter after the fact. If something is too dark, you're going to lose a majority of your detail in the same office. If it's too bright, it's gonna blow now and you're not able to see much, so you're definitely gonna want to keep in mind you're lighting source to prevent losing or having too much light in your frame. Either extreme of lighting will cause you to lose out on a lot of the detail and beauty of your frame. Daylight is best if you want to get creative. You could use any type of lighting set up as long as it's bright enough. You're really gonna want to keep this in mind cause it does need a lot more light than traditional phone camera or digital camera. But if you work around this, you can create some amazing effects. This is also where exposure compensation becomes very helpful, because if I can see that a shop might be a little dark or a bit too light, I can adjust the exposure compensation a little bit by going left or right. This could be really helpful if you can't perfect your lighting set up, but I try to get as close to perfect as possible in the moment to prevent anything that looks too dark or too light. As a result, exposure compensation doesn't solve every issue. Try to get your lighting set up in person as best as it can be before resorting to using exposure compensation. But if you're working with natural light or lighting conditions you can't control, it's completely find a resort to exposure compensation. Overall, light is the biggest thing in informing the mood of a photo. It could be darkened for boating or dreamlike in bright. It really changes every aspect of the frame by painting with the light around you. Photography is painting with light, and that's no different instant photography. Honestly, it might be even more important. Since you can't alter your life afterwards, you're lighting is critical to consider because you can't adjust your exposure after you take in the photo. Of course, you can make minor adjustments on your editing software later, but I really wouldn't encourage this because it can kind of destroy the detail in your frame. So I try to get as close as perfect as possible by just adjusting your lighting in Seen. This is where exposure compensation could become very helpful because of him working in the scene where I can't control the lighting, I can either adjusted lower or higher, depending on the scenario I'm dealing with. They shouldn't be your first step, though, because it can destroy some of the detail of your photo if you're not careful. So I would try to adjust the lighting that you can control in a situation before resorting to exposure compensation. But there's nothing wrong with having to use it once in a while. If I know my friend is gonna be a bit dark because I'm working in a lower light situation. I could move my arrow to the right towards the Black Arrow so I can adjust and have my exposure be a bit higher When I take the photo advice for stuff. I'm working in direct sunlight that's very bright and could wash out my subject. This doesn't sold every issue, though, and I try to avoid it if possible. But once again, this is a tool at your disposal that you should know how to use because it can be very helpful when it is applicable. Overall lighting has a huge impact on the mood and feeling of the photo we create having a light, airy photo can feel dream leg and magical and having a darkly lit frame with some intense highlighting can have a foreboding, mysterious quality, like informs so much about your subject and can really change a photo. You take a photo and bright light in dark, the same place and same settle. You'll see two very different moods. It completely changes a photo and be very interesting to play with an interesting exercise to photograph. Like I said, the same subject in different lighting conditions. And it can really show you how important and impactful lighting is in your mood, especially in instant photography, where they are so light sensitive, you could really create some awesome effects. Finally, we need to consider how we captured details. Once again, this is a very small frame we're working with, and you're gonna want to carefully consider which details you include and don't include out . Avoid trying to include any small text, especially small black text, as it will just come up looking like uneven lines on your photo. Do the compression into a small frame size. You will boost some fine detail in your photo, and this is not to be worried about. It's just part of the process. Just try to exclude anything that will look like too much visual noise over distract from your frame. It's important to carefully plan your shots to have maximum visual impact on your subject. Ask yourself what key details you want to capture in your frame. What's most important to telling your story? You're gonna want to make sure that these details that are important to your story are prevalent enough to show up in your frame. You're gonna want to bring them to the front and have them be the focal. Instead of a side note that might not be considered by the audience, you want to make sure that the details you care about the most prevalent off in the frame to show up. This is going to be important as as a means of telling your story. You want to make sure that your key details are probably enough in the frame to show up. If you lose one, you could lose your whole story. So I want to make sure that you place your key elements prevalent enough in the frame to actually show up. If you lose something, you could lose most of your story, and that would ruin your frame, and you might be disappointed at the end result. For example, small text isn't your best bet. It can be distracting. It is very hard to get in focus and have it legible at the same time. Bigger text is completely fine, but I'd avoid small black text if possible, just because most cameras can't get very close up enough to read it. And it can be very hard to make sure that that is actually, in fact in focus in Ledge a ble. So that concludes the nitty gritty of this class. I know it's a lot to keep interested consideration, but I encourage you re watch if you have Teoh and this will get easier with time. These are a lot of elements all at once, but he's get more and more intuitive as you go along, and you shouldn't worry about not getting it all at once. As you go through trial and error go going to get better memory and a lot of will become muscle memory. They will just become a process of procedures that you do want to take a photo and will become a lot easier to do overtime. This poll process only takes me a few seconds now. But when I started with sometimes take me a few minutes to completely consider my shot and set up everything, so don't worry about it. It's gonna be OK. And now we could do the fun. Part of brainstorming coming up with our ideas. 6. Brainstorming: Making Our Mood Boards! : So you survived in integrity aspect of this class. So now we're gonna put that all aside, get dirty, get messy, come up with some ideas and get started on actually conceptualizing our shoot. So the process that we're gonna do is pretty traditional. We're going to be making a mood board based on what we want to make. This exercise is not going to focus on making something knee and aesthetically pleasing. I want this to be messy. I want this to be an expression of all of your ideas. I want you, Teoh, lock that perfectionist part of you away in the closet on, um, away from you. Get rid of the perfectionist in you. This is about getting messy and just letting your mind eject everything it has and just what ideas you have. What concepts? Air lurking in your brain. I just want you to put everything you have on paper mood boards. Home can have anything from printed out photos, inspiration, things you've taken randomly on your phone drawings, doodles, random washes of color, words, anything that inspires the concept you're creating. This is all about just synthesizing your ideas, and it's something that's actually actionable something that we can photographically document. If something's more abstract, it's really good idea just to put everything down on paper and see what sticks out. And what is a photograph. Herbal concept, people all the time. Ideas aren't actually something we can take a photo of, like the concept of love or off heartbreak. You can't necessarily photograph that concept, but you can photograph elements that symbolize and create that food for the viewer. So this is where we're gonna put all those half baked concepts in little notions onto paper , just to see what sticks out on what we want to ride to get to be. First of all, there's gonna be a few things you're gonna need. I recommend first of all to collect some photos that inspire you and to print them out and almost a comp sheet style of little thumbnails to cut out. If you have any type of paint like watercolour acrylic, I highly encourage you to use it on your new board, even if you don't consider yourself a painter, are very technically skilled in painting. Even washes of color and abstract forms can be really nice, forgetting your brain loose and in the mindset to start creating. So these don't have to be need. Think of your mood board as your warm up for making your final product of your photos. This is just getting your creative muscles loose. And in this mindset, just to make things intrinsically so don't worry about it. This should be a fun process. So I'm going to arrange my images and write down some notes on my paper to point out the aspects of each one that I enjoy. Don't just put photos that inspire you without really examining why they inspire you. So with each one of these photos when it started, we down at least one thing that draws me toe image in why I want to use that image as inspiration for my concept. Don't just take photos to copy. I want you to extract elements from these photos that really let your solo fire it make you want to make something in return. So now that we've created our mood board, we have this beautiful product to inspire us as we're going to shoot. So I'm gonna take this with us as we go shoot in next video 7. Shooting Our Concepts! Live Demo: So now we're gonna leave my office, and we're going to shoot our concepts. So I'm gonna go grab some props to grab my roommates model for me, and then we're gonna get down to shooting. So let's go. But I am using Mammography is normal wide model with Fuji wide in stocks film and I have some props from the first store with some blankets occur in some some dried oranges. So I'm just gonna take out my old PAC ad in a new one. In short, just came out of the fridge all nice and new, but I've let it cool down to room temperature first, just to assure that the chemicals are in peak condition and then I'm gonna reject that black slide and get to it. Okay. Turn your size. You want? Yeah. Yeah. So after you're done shooting, thank your model or your subject and take those photos, put them in the dark for a while, and then we're gonna go onto the process of scanning and editing 8. Scanning and Editing For Desktop: so we've taken our photos. I don't recommend scanning your photos right away as they are incredibly light sensitive for the first day or two after you take a photo so I'd actually recommend setting your photos aside for a day or two just in case toe. Let any chemicals settle and little reaction process end just to ensure that you don't damage your photo while you scan. This could be really irritating because after we take a photo, we just want to show it off to the world. But if you your patient, I really recommend that you just set it aside and let the chemical settle because you could ruin your image in terms of archival preservation. So just set aside. Be patient. Wait a day, grab some food and then we'll get into the scanning process. So in this video, I'm going to cover how to add it with a flatbed scanner. This could be a part of your at home printer even. And with Adobe Light Room could also do It's on photo shop or any free acting software. I'm gonna be personal using light room because that's how I update my files and go through my editing flow. However, you can use any editing software on the desktop as long as it has basic cropping and perspective functions as well as color correction. So this is a very simple You can do it with any editing software, but I'm personally going to be using adobe light room. So when we scan, I want you to first take a micro fiber cloth and wipe down and clean off any dust or residue off of your flatbed scanner. This can accumulate really easily, and if it shows up on our skin, it's a really annoying and time consuming to get rid off. It's not the end of the world that there's one or two, but if you have a photo covered in dust, it's a really annoying to get rid off. So I recommend that you make your scan is perfect. It's possible in the first place, so just wiped on your skin. And when you start in between every couple images, just to make sure no dust settles. So first for your scan size, just go. A small is your printer can go might only goes from a for which is about a full size piece of paper, So that's fine. It's not the best. That's not the end of the world. We just crop it later and next, I want you to choose the highest DP I dots per inch for your scanner that you can Mine goes up to 600 that's a great friend. Large ring images a bit later. 600 dp eyes really helpful if I want to enlarge my image slightly after I take it for a prince or for online showing, So that's really good. And then you want to pick Jay Peg over. Pdf because you can edit a JPEG. PdF I wouldn't recommend scanning in. Then you want to name your file. For a lot of vendors, you can choose your file prefix. I usually just name it the name of the concept. Just so I have that, and they will number after that subsequently from your scans. So they're numbered your concept and then 1234 and etcetera. This is really helpful for keeping track of what you scanned, and then you can have a better system in finding your raw files. So if you can figure scanner and we've cleaned it off So now we're gonna put our image on. I recommend you try to get your image is straight as possible. Dont put it right across the edge because you could costs and cropping accidentally. So just try to put it about a centimeter from the top of your scanner as straight as possible cigar to adjust the perspective leader. And then you want to place a gray or black piece of paper behind the photo to preserve the border. Since it does have a white border scanners background, our default white going toe. Want to provide a black or grey in back of the photo so you don't lose your border? If you have a white background, it can be really hard to properly crop later because it kind of blends together. So preserve your border with a gray or black sheet of paper and then put that behind your straightened image, and then you can scan and then we have our perfected scan. So you're gonna repeat this for each image that you've taken, this can take a little bit. Don't worry. It takes a bit of time is worth it. So once you have your scans, you could take your flash drive and go over to computer, and we'll get into editing on light room while you're editing, it can be really helpful to have the physical image next to you while you at it. Just to ensure that any adjustments were making our to enhance and improve on the color off the scan to make it look like the real image. This is something to keep in mind the handy reference. You can prop your photo up right from your computer monitor to have a reference point as you're editing, just to make sure that any adjustments you're making are to make the scam look like the original image. It's a good reference point, and it's a good thing to keep in mind cause you don't want overly edit your photo to not look like the real thing anymore because it can kind destroy the detail in these photos. So this is how the and on your computer. But if you don't have a desktop computer or access to a printer to scan on in the next video, we're gonna cover how you could do this with just your phone and on Visco so you can get the same effect. Maybe a slightly lower file quality, because you can't edit high quality. Jake hangs on your phone, but that's completely fine. It's still a good quality scan when you're not really missing out too much. So we're gonna cover how do the all in one on your phone option in the next video? So I've imported all of my image skins and a light room, and I'm going to start out by straightening, cropping all of them before I go into color correction. This is a pretty self explanatory process, but I try to straighten and line up the top edge and then bring in the rest of the edges. I always double check and make adjustments if need be, because it can be hard to get it on the first try. So be patient with yourself. It's definitely some trial and error. This is definitely the most tedious part of my editing process. But the entire set, including color correction we took me 15 minutes in real time to do so. I promise. Once you get into your workflow, it gets a lot easier. Once they're all cut down the size, I only have to make a few color adjustments from here to bring them back to the original color before I scanned. Scans can often wash out the original color, so you have to bring some life back into your photo. This usually entails for me with my scanner, bring up my exposure, my blacks a bit and sometimes adjusting the white balance if need be in certain color saturation. I'm also going to use a bit of the healing brush to fix any dust or scratches that made it past my initial wipe down when I was scanning the photos surface. Since it is a very thin plastic is very delicate, so an occasional scratch surfaces completely normal. These are things that are not very visible, as you can see as I'm editing, but I pay special attention to them because I print my work twice the size for exhibitions and he does will become very apparent when I go to the printers. So once again, I'm just going to be bumping up my exposure and blacks remember that editing is a cream choice like your photography. So feel free to play around and figure out what really suits you as an artist, these are just my preferences, and every single artist and photographer I know has a different process for this step. So take editing as just as much of creative process as taking the actual photo is enjoy. This time, it's part of building your vision. I know this time I'm also going to bring up my oranges and greens that loss a bit of vibrance during scanning, and this blue has really come out to play. This is really about playing and seeing what works best, since your set up will vary in. Every scanner has a different impact on photos, so you'll figure out what compensation you have to make and you'll play around and figure out what works for you. Once you find the general set of adjustments who tend to be making for each image, you can actually control C and copy the presets to the rest of the images in your set with similar colors. This can speed up what you need to do. I don't recommend simply editing one image than copying those presets. The rest the images. It will have to be tailored for each photo individually, however, this can be a great way to speed up your workflow. Once you find that you're making the same couple adjustments on every photo and a set, it's completely fine to copy the general rule and adjust from there just to give yourself a jump, start on each image and speed up the process a bit. A lot of this is repetitive motion. So by just finding out what works, we can speed up the process of it and make ourselves much happy. Editors in the end. So here we have our final images. Take a good look, make sure everything looks consistent. One last check and you did it. We have edited all of our images. I can catch some last minute problems. Just here and there. Always do a second check cause there's something you might have missed in the first past. That's fine. Just make sure that everything looks consistent, clear and as beautiful as when you took it. And there we go. Now, if you don't have a flatbed scanner or access to Adobe Creative Cloud in the next video, we're going to cover how to do it on your phone with Visco and Google Photo scan. So stay tuned for that. But Other than that, I'm going to name an export all of my images, onto my desktop, and they're ready to go and be shared with the world. 9. Scanning and Editing For Smartphones: the editing process on your phone is really similar to how you would add it on desktop with just some minor alterations. So instead of a flatbed scanner, I'm going to be using the photo skin out by Google photos. It's really great because it's built to avoid glare and to get proper perspective on your photo. So while I'm scanning, I'm going to lay my photo down on a gray surface on. I'm going to follow the instructions on the apus prompted to get my scan if you can, it's best to scan your photos and indirect daylight as you want. The color so he is true to reality is possible in your scans. You have to do the least amount of alterations later after you do your initial scan. If you're missing part of the white border, especially, don't worry. You can re modify the corners after the fact to get them back in. Just change where the dots are automatically placed to get your perfect cropping. You might have to do this a few times just to make sure you get everything. Don't worry, it's trial and error. It's hard on the small screens. Once again, we take her scan. You can adjust the cores of necessary to fix any perspective issues, and then you can pop that Wright and Davis go to start editing. Most of you are probably familiar with the editing out. Visco is also a social media platform, and it has the same minor adjustments that we're gonna need as White Room does. So you can important photo into this co and make any adjustments to contrast saturation exposure. Whatever you need to dio, it's once again a really good idea to have your original next to you while you're editing just to have a good reference point as you make any color correction choices. So, just like with on Death Stop, I'm going to play around with exposure and contrast and tried to bring back any visual details that were lost in scanning. Do the lighting conditions in just the general camera we used to scan amounting bit of sharpening and a bit more saturation than they are a bit washed out, as well as my usual exposure and some white balance adjustments. Just a generally bring back the color and warmth of the original image and bring it back to the glory of when we took it. So now you have your final image is all done in Visco on your phone and ready to share. 10. You Made It: Class Wrap Up: So you did it. You complete your first instant is art photo shoot. I'm so proud of you. You can show off your favorite photo in the project gallery below and get feedback from your class Bates and myself if you post them. I encourage you to use the half shag. Instant is art so I can take a look at what you've done. You can also tie the account Instance Art for a chance to be featured on our new classroom . Instagram page. I can't wait to see what you all do with this medium. It really changed. My life isn't ours. When I discovered the capabilities of this format and I hope that it does the same to you it can be really fun, really frustrating and really, really rewarding At the end of the day, I want to thank you all again for watching my class have a great day and I'll see you in the Project gallery below