Movement: Capturing Adventure-Filled Portraits | Tabitha Park | Skillshare

Movement: Capturing Adventure-Filled Portraits

Tabitha Park, Chocolate Photographer

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7 Lessons (45m)
    • 1. Introduction

    • 2. Project Description and Pinterest

    • 3. Hair in Midair

    • 4. Feet off the Ground

    • 5. Confetti

    • 6. Editing Sequences

    • 7. Final Thoughts


About This Class

In this class I'll guide you through 3 methods I like to use to add excitement and life to my portraits. This class is for Beginner to Intermediate photographers looking to create candid, adventure-filled photos.

Here's what we'll cover:

  1. Camera Settings
  2. Posing Tips
  3. DSLR tricks
  4. Shooting with a Smartphone
  5. Three Editing Sequences

I can't wait to see the energy-filled portraits you create!






1. Introduction: Hi, I'm Tabatha. In this photography class, I'm gonna show you three ways to add life to your portrait. It's through movement. If you feel like you're photos are getting kind of rigid or stale or they're missing the thrill of action. This class was designed for you. This class is for beginner to intermediate photographers shooting anything between a DSLR and a smartphone. So, you know, hopefully somewhere in there I am going to be showing you camera settings that air helpful and posing tips and inspiration to get your mind going for your class project. I want you to create and photograph a portrait, using these techniques and showing movement and capturing the action or adventure. As it happens, My name is Tabatha. I'm a lifestyle photographer, a content creator, and I teach over a dozen classes here on skill share. I'm really excited to see what you create for this class. So let's jump right in 2. Project Description and Pinterest: thanks so much for joining me for your class Project will be creating wild, energy filled portrait's. I've structured this class into three different methods that I use in my work and the scenarios and camera settings that you'll need to get there. The three methods will be talking about our hair in midair, feet off the ground and confetti. So let's jump into my Pinterest board and I will show you what I mean. All right, so here is my Pinterest board that I've made for this class movement. Portrait's. This is the hair section. This is a different pictures that I found inspiring as I was coming up with how to help you guys photograph hair in motion. We have people hanging out of cars and we've got wind. We have people throwing their head around to get their hair to move, so there's lots of fun ideas in here that I think can help get your mind going and give you some ideas for what you can do for your project. We also have our feet off the ground section, so these air images, where people are definitely moving, we have that disconnect between their foot and the Earth, and I think that that helps give it this, like, fleeting moment. Feel to it and and it makes it feel more like special and in the moment and rare. And so you know, we've got anything from people carrying people around or jumping off of things and running . This is a picture that is significantly blurred. You can tell that they're people because we can see the feed in their hands and maybe the slight silhouette of a face. And this picture, even though it's not perfectly crisp, I think it's still conveys the feeling of movement. So really, what we're trying to do is get people moving and get this like, um, this aesthetic, this feel this excitement captured while it is happening. The third category we have is confetti. So in here we have tons of different confetti options, including. We have a pillow fight with feathers and we have snow. This one, she's like pouring popcorn all over her face. I thought that was super cute. We've got our typical blowing confetti out of the hands we have throwing. This is, like, you know, fall kind of picture throwing leaves. So what's the stuff in here that we can consider. This is like a popcorn shot, which I think is super fun. So yeah, and then the last board, My miscellaneous board is just kind of, you know, these pictures air splashing, playing in the ocean and then this one, even though their feet aren't off the ground and neither of their hair is moving, it implies movement through the background, which is kind of blurry, so they're pretty sharp than the background. Where they're at is is blurry. And so I thought that this picture is still effective despite it not really fitting in any of my other categories. Anyway. Feel free to jump in here and get some inspiration if you if you'd like and make sure that if you are inspired by a lot of these images that you don't copy them exactly, we want to respect artists work and make sure that we are creating images that are two to ourselves and not just on obvious rebuff of someone else's work. You can definitely get inspired by, you know, the way the lighting is Arthuis the background and maybe outfit choices. But try not to, you know, copy a photo exactly. And if you dio if that's helpful to you, just make sure that you give appropriate credit or just not sure the images publicly so that you know it's more of a learning thing for you and not taking credit for someone else's hard work. So, yeah, that's about it. For Pinterest in the next section, we're gonna talk about how to photograph hair in motion. 3. Hair in Midair: to capture hair in motion, you're gonna either need to find wind or make wind. If it's a windy day outside, don't be disheartened. A lot of people feel like when they show up to a shoot and it's windy that they just, you know, the pictures aren't gonna turn out very good. And the wind is just gonna blow their hair everywhere. And it's not gonna be as effective as what you would get with a still day. And so for that, I like to bust those stereotypes. A win today could be excellent for Portrait's. You're going to get these riel gusts of wind blowing your hair. You're gonna look, you know, in the moment like a model, you know what I mean? And so don't be discouraged by wind. Use it to your advantage. Obviously, if it's like just torrential and it's just wild and crazy and you got hair and lipstick and it's the whole thing, like yeah, but that's not ideal. But, you know, just getting some trees, try and block a lot of it and you'll be fine. We like wind when can be a positive thing, so try and spin it to your advantage. If you're turning your model space toward the wind, it'll be out of their face. And if you're just kind of having them sway and dance around shaking their hair, the wind can help assistant not picking up blocks of here and there. Another thing that I like todo If I'm shooting indoors or it's not windy day all you can try and use a fan to believe that I'll give you a really gentle breeze and then, if you want ah, harder, stronger brace you would use like a blow dryer or a leaf blower. You can get pretty intense that these kind of photos. So depending on what you're going for for your image and they might be perfect or they might be too much. If you want to create more natural wind, you can take pictures in a car. So if you've got a friend driving and a friend posing and you're in the back seat, you can have them kind of their head out the window and let the breeze catch their hair as you drive. Just make sure if you're taking pictures while driving that everybody's responsible Wearing seatbelts, the driver is not taking pictures or being in pictures, and you're just, you know, being smart about how you do it. We don't want toe have any accidents. Once you got an idea for your portrait, it's important to consider whether or not you want the hair to be frozen in time or implying movement by being a little bit blurry in the pictures. So if you want your hair to be frozen in time, you're gonna want to shoot with a pretty quick shutter speed. So I would recommend to 51 to 50th of a second or higher to really, like freeze it. 1 500 is a good bet. You're probably going to get, you know, really, really sharp hair that way. And then, if you want to imply blur, there's two different things you can do. The first is to drop your shutter speed down a little bit, so I would do like 11 25th of a second or somewhere between there and 1/60 once you get below 1/60 of a second. If you're using a slower shutter speed than that, then your model's face is probably not gonna be sharply and focus. And so you need to consider if your wind is strong enough and your model is is strong enough to hold still and the wind is blowing the hair, you'll be fine and you'll be able to capture their face sharply in their hair blowing. But if they're moving their head like this, they're just all gonna be a big smear. And so really figuring out what it is that you're going for and choosing settings that will help you be successful. If you're shooting with an iPhone, you can't really control how faster, slower shutter speed is. I know there's probably APS that you can adjust, but keeping in mind the general rule that if you want a really sharp picture, if you want your phone to do a fast shutter speed, you will need to be in a really bright scenario. So outside, when the sun's out, if you have a bright enough, seen your phone will be able to capture you sharply. If you're shooting inside or it's dimmer, it's it's nighttime. It's, you know, the sun starting to go down. If you have less light, your phone is going to expose for longer to make your picture the right brightness, and so you will get more blur in that setting. So if you want to sharp shoot when it's bright outside, if you want it blurred, shoot when it's dimmer. Okay? And I've seen really cool pictures where people are like walking down the street and they just snap a picture of their feet walking, and it's kind of blurred, and it looks really cool, so it can be really effective. It doesn't need to be sharply focused, so just kind of experiment and see what you can capture with the settings and the camera that you have another way to get. Blur. Aside from adjusting, your shutter speed is using aperture. So if you're using an aperture of F two or F one point a 1.6 if you have it, if you're really just opening up that lens to get a lot of light in, you're reducing. How much of your photo is gonna be in focus? And so if you're focused on your model's eyes, the tip of their nose will be a little bit out of focus, and so will their hair. And so if your hair is if there here's flying around anything that's closer to the camera or further away, will be a lot blurrier, even if its sharp like even if you're shutter speeds really high. So it will be caught in mid air. But it will be blurry because of the distance between it and the camera. And so if you're trying to get really sharp photos and your shutter speeds high and you're shooting inside and the hair is not, it's not being sharp. It's probably because you're focal distance is really narrow, so I would increase it to like a four or F eight, and that will give you more space for the hair to be in the zone that will make it crisply sharp. Let's talk about posing. Everyone always asks, How do you pose? How do you pose? How do you get a good riel emotion like I have my friend and she's just feels awkward, and I feel awkward. I don't know what to say to her, to get her to feel comfortable. What you need to do is just guide them through a bunch of natural or silly movements and get them out of their head. If there just so concerned about how they're looking on camera. They're not gonna give you a true in motion. And so if you're if you're just like okay, dance a little bit. You know, like, I want you to do this dance mover that dance, move or let's have you jump up and down or let's have you spin and or I'm just gonna want you to shake your head like this or just kind of play with your hair a little bit. I want you to push it out of your face and laugh. Have a good time, like do a really crazy laugh. Like just such a good time like you. They'll feel really silly doing it, but that will usually make them laugh naturally. And so it's a win win. And a lot of times, if you like, pretend like you're checking your settings or whatever they'll naturally kind of like do stuff like this to kind of, you know, between shots or like I don't know, they'll do that kind of stuff. And so if they're doing that just like hurry and snap a picture while they're not paying attention, usually those are going to be the most riel candid shots of the bunch because when they're they know you're pointing a camera at them. They're just like, Oh, hello, you know, And there they tend to be a little more rigid. So if you're working with a model who's less experienced, these are some things that you can kind of tell them. Another thing that I like to do is have the model like look away and then be like, Hey, so and so and then they'll turn and sometimes you'll get this little piece of hair that's like, Hello, Here I am all right. When you're using a fan, you can blow it straight at their face and their hair will be kind of out. Just make sure that there it's not, like so strong and their eyes. Otherwise he'll get like, squints and stuff. Um, if you have their hair kind of blowing over their face, you can get kind of a moody, dramatic look that way. Other things that I like to do. If you were working with a couple rather than one person, you can have one give the other piggyback ride, or you can have them dancer or like twirl one another. You can have them have them both. Do you like the hair flip where you start with all your hair down and then you just flip it up and captured in midair. That one, uh, tends to be really effective and almost gives kind of, depending on At what point? In this in this below, you capture the picture. It can either look like a troll like a treasure troll with, like, the straight up hair. Or you can get, like, some combination between here and there and then one thing to keep in mind if you during those kind of flip up pictures, anyone with glasses, the glasses will likely, like go up and it won't look is good. And so you can either have them not wear their glasses or flip in a way that it blocks that part of their face. You'll want them to kind of be turned like toward the camera and not not use like crazy facial expressions. You want pleasant looking facial expressions or laughing while they're doing it like, ah, you know. And these are different things that look better on camera rather than just like, who would you really scary? All right, Um, one thing that you can do while you're capturing movement. If you're having them, flip their hair up like fat or you're afraid you're gonna miss When they do something cool , you can set your camera Teoh continuous mode. And so if you're holding down the shutter button, it'll take a series of photos. Or you can just, you know, if you just shoot really fast, you'll get a variety of images from start to finish to choose from. If you're using an iPhone, you can set it Teoh burst mode. That's basically where you just hold down the shutter button instead of clicking at once, and it will take like 10 in a row. So if you have someone who's jumping or whipping their hair really quickly, it'll capture t all the way through that motion, and then you can go through and pick which one is the most effective, and then delete the ones that aren't. And so that's one thing that I like to do. If you're using self timer mode, it will also take a burst of photos. And so don't be afraid to take your own selfies using self timer mode, and it'll take a burst and you don't have to be afraid that you're gonna miss the shot because it'll give you, like, 5 to 10 to choose from. And I recommend doing a you know, emotions several times and taking a lot of pictures because you'll look back and be like, Oh, that picture so close. But she's got a piece of hair right here in front of her face and it just looks really weird or, you know, that kind of stuff. And so it's nice to have a lot of extras to choose from, so you're not stuck with one that's almost there, but not quite all right. So that is kind of some general tips and what I like to do to capture hair. Next, we will dive into our feet off the ground shots. 4. Feet off the Ground: to get really sharp action shots of feet off the ground. You're gonna need a really fast shutter speed for these. I like to aim for around 1 5/100 of a second or faster. Sometimes you can get away with a little slower. If you go to slow, you'll get your model blurred as they're jumping. So if they're doing it jumping in midair shot, they'll be kind of blurred. And it might not look as good as if you were able if you were able to just really freeze them in time. Something to be mindful of when you are taking pictures is where your subject is in the frame. If you are having a person run across, like running across the space in front of you, they're gonna be here, here, here, here, here and then there. And so you need to pay attention to where you're aiming. So if you're aiming right here and you take their picture and then they're out of the frame , you're gonna miss a bunch of shots. And so you ought to do what's called panning. So you basically lock onto them and you take pictures and move as they go past you that is pretty self explanatory. If they're moving toward you or further away from you, it's gonna be a lot trickier to make sure that they're sharply and focused, because the second they exit that focal range, they're gonna be blurry. And so you can change your camera. If you have a DSLR, a lot of them have a setting where you can switch it over to focus tracking or where you can switch it to continuous focus or focus tracking. And so basically you focus on the person it will lock on them, and then the camera will automatically adjust. Focus. As long as the shutters press down, it will adjust focus as they move in or around the space that you are looking at. This can be tricky to use, but if used well, it could be effective and help your photos eso that you don't end up with a ton of blurry pictures of someone running. If you don't have the focus tracking or you just don't want to figure out how to do that if you just work with a work with the higher aperture so close down to like FH or F 11 you're gonna have a wider space on Earth that's in focus and so they can run a you know, X amount of distance and still be in focus. And if you're constantly like letting go of your shutter and then pushing it down and letting it go, it'll if you're using article because it will focus and refocus as you're working. And so that's just a little extra step that you kind of have to dio is, you know, continuously refocusing so that you're making sure you're getting them sharp as they're going further away from. You are getting closer and then, you know, having people run through the same motions again and again, you'll be able to have more opportunities to get the shots that you're looking for. If you're shooting with a smartphone and you want to capture a jump mid air, consider using burst mode because you'll be able to capture where your model is at each point in the jump again. Shoot outside so it's nice and bright, so you don't get a lot of like blurry, streaky photos, and then you can go through and pick the best photos from your burst collection. Some things I'd like to tell my models. Teoh, get them to do these kind of motions are Tell him to dance or jump or skip. Sometimes I tell him to run back and forth or, um, jump off of things. Jump off a table, jump off a rock. Obviously, be careful and make sure you're wearing good shoes and you don't hurt your friends going to get it back shots. Something else that you can do. Even people just walking down the street. You'll get their feet off the ground, not touching, and I think it really just helps the photo seem like it was taken in the moment. If you're having people stand in front of like a in front of a fancy wall like everyone's just like Here we go. We're taking the picture and those are awesome. But if you really want to mix it up, maybe you have a couple of them, like dance with each other or laugh or like jump. Be silly, adding this little extra element of action. It makes the photos seem a little bit Mawr special, I think cause you're you're It's like a limited edition kind of picture. You caught a second a moment in time rather than just one of the 10 seconds everyone was standing there like this. You know, it's a lot easier to get a photo like that. It's harder to add motion, so adding that little bit of extra something will take your photos to the next level. We want to convey that we are not necessarily setting these kind of shots up. I don't think there's anything wrong with setting up a shot or creating a moment. But if you're actually hanging out with friends, capturing these moments as they are, like in a candid setting is really, really special. It's a lot trickier, though. Sometimes when I'm photographing events or dance parties, I will tell people to do. Things will be like, Okay, let's have everyone laugh a lot or let's have you guys jumping and I count to three and like I lead them through these promise. But if you've got a photo of someone and they're just dancing their heart out, they with their head back and they're singing and they're having a good time. Those are so much more real and so much more fun. And so if you can get those That's awesome. But if you have to create moments, I think that's okay, too. I'm all about creating the shot that people are looking for, even if it means asking someone going out of my way to get it. I'm working with couples. I like Teoh, have one scoop the other one up or twirl him around or grab him in the middle and just twist. You want to just basically say like grabber, pick her up and spin her around. And usually when when they have a series of tasks that they need to complete their mind is not on. Oh, I'm getting my pictures taken. I need to know, not look awkward, you know, there, they're performing emotion there, performing a task, and so they're more likely. Teoh have that genuine excitement and real nous. And so even though you're telling someone to do something, you're not capturing a moment as it authentically was made. You're creating this moment. You're creating these opportunities for them to connect with each other and laugh and giggle and have a good time. I think that portrait's get a bad rep like family pictures. When those air coming up, everyone's like a family picture time. It's gonna be so long and so hot. I'm gonna wear this itchy shirt. It's not gonna be fun. I think it's important to reshape this narrative about family portrait so they can be fun. When I do family pictures, I do get a lot of like the classic. Alright, everybody smile Perfect. Shoulders shoulders down. Perfect. You guys look awesome. Like I'm doing a lot of that stuff. But I'm also like All right, everybody tickle Charlie And then everyone's kind of like, Oh, okay, We're just tickling Charlie right now and they're not focused on, um, you know, making sure that we just, you know, look so good We're capturing a moment as it happened. And then when I include those photos in the gallery, they look back and they're like only gosh, look at his cute face. He's so tickly or whatever. And so, you know, if it's if it's a couple and you've got a shot of them like laughing like crazy, they've got their crazy smiles, not there like Instagram smiles. I got the crazy smiles. And so they're like, Oh, my gosh, I felt you were gonna drop me or whatever. And you're you're photographing Israel moments and as they're happening, and I think that that's important, I think it's important to include these shots of people having a good time and then by, you know, leading them through these things. They are actually having a good time and then leave the session. That was actually kind of fun. We had a great time, and they'll just have all these positive feelings about the session and they'll see the images and it will actually be the rial Selves, you know, doing some things and amongst other, like, beautiful post pictures that they'll end up printing out. And I don't know those just remember it and have a good time. So I think it's important to add these kind of motion filled photos to your images. And so, uh, yeah, don't be afraid to tell people what to dio and lead them through emotion, even if it seems awkward to be like, Okay, now I'm gonna have you randomly do this. You know they'll be fine. Just take control. Be confident about what you want. Don't push people's boundaries too much if they feel like they're. If they seem like what you ask them to do is uncomfortable. You're like, Okay, how about this instead, you know, give him options that they don't feel like they're walked into doing a jump shot and they really don't want to do a jump shot. And there have heels on and they're gonna break their like, you know, So be mindful of the energy and how they're feeling and and kind of bounce off of each other and invite them to come up with ideas. Be like, Hey, if you guys have got any ideas, you know, maybe we'll try this. How do you feel about this? You want to do a jump shot? Do you want to do piggyback? And usually they'll be like, all that does sound fun or not really? Well, kind of tell you what they're feeling and so just make sure you're listening and paying attention and, um, helping them get the best pictures that you can possibly get in your session. So, yeah, next up, we're going to talk about confetti 5. Confetti: four confetti photos. We will be playing with aperture, so we want to make sure shutter speed is fast enough that it's going to stop the confetti in midair. We don't want a lot of like streaks. We want them to be frozen in time. But a way that we can add movement or add a little extra element to it is by addressing our aperture. If you want an image where all the confetti pieces are perfectly sharp, none of them are blurry. And they're all, you know, frozen in time. You're gonna want an aperture that's going to allow you a wider focal distance. So if you're confetti is around you, you're gonna want a shoe F four F eight F 11 anything in those higher numbers because that will shrink down your aperture, and it will allow for more of the space to be captured sharply. It tends to kind of flatten out the image, so I like to do the opposite when I'm doing confetti photos. So if I've got my model blowing confetti into the camera, I wanna have a narrower aperture. So I want their face to be in focus and the confetti in their hands to be in focus. But the confetti that's between them and me, I want it to be blurry. And I wanted to kind of have this like, um, this experimental okay, feel I wanted to be everywhere because if it's everywhere, if sums close to me and sums further away, it's gonna feel more like real life. It's gonna be all over the place and exciting and fun. And so I will lead a model through this several times. We'll have them hold their confetti, blow toward the camera and do tons of pictures because you'll get pieces that flow in front of their face. And if there's one that's like right in front of their eyes, it's not gonna be as effective as an image, typically as one where their face is not, You know, the main parts of their face are not concealed by that. And so experimenting with that getting lots of images as you're working is going to give you a higher chance of getting the perfect shot. You know what I mean? Um, one thing I want to mention about confetti it's important to be responsible with your confetti and what I mean by that is get biodegradable or paper confetti as often as possible. There are so many micro plastics and glitters in the ocean, and it's actually kind of a huge deal. And so I actually didn't know this until recently. And so I switched all my confetti related projects to paper instead of plastics that won't biodegrade that'll that'll stay in the ocean long after I die. So, um, if you want to get really good confetti shots, get biodegradable glitter or work with tissue paper, one thing I like to use is the shreds that come out of my shredder. So, like all my shredded male, that's what I've done in a few of these pictures. You don't even have to use paper. You can use popcorn if you got like a like a movie scene. People on the couch like throwing the popcorn in the air. Being crazy, you can use feathers. You can use rice food. Um, just whatever you could cotton balls, things that will that will fly in the air when you throw them so it doesn't necessarily need to be hard. Plastic glitter, confetti. If you do have to use that kind of confetti or if you're using something that isn't going to be good for nature, make sure you bring a dust pan and a broom to your shoot. So if you're shooting in a public place, if you're outside, it's super important to sweep up your mess after you go. We don't want to be irresponsible. Photographer is leaving piles of glitter everywhere, you know, think think before you shoot and make sure that you have appropriate in a waste to clean up . If you make any messes shooting in your house like make a mess, who cares that I commute up when you're done? But public places it's really important to be respectful to those places and to the planet whenever possible. Okay, her rant over Cem posing tricks that I like to use. So if you put a lot of confetti in your hand and have them blow and they blow too hard, you'll get a chunk. You'll get a chunk of paper like between you in their face, and so you wanna have kind of a medium amount and a gentle enough gust of air that it will pick some up, but not all of it. You want to be mindful of what their face looks like when they're doing this. If they're just like, you know, like cross eyes, crazy puffy cheeks, they're not gonna love that picture. And so I'm trying to lead them through being likely can you do to relax your face a little bit, stare right at the pile, and then just gently, you can have him glance up, But if they're like blinking while you're taking it, you're gonna get a blink shot, and it's not gonna be is good. And so trying out different things if they really just have a strange face when they're blowing confetti and you've tried to ask them to do different things to change it up, and it's really just not going the way that you thought and you can't get him to look normal, mix it up instead of having them blow having toss, you know, throw confetti toward the camera or, like, you know, this kind of motions, or you can have them like, toss it up in the air and let it rain on them. So trying to do different things that will get the confetti up and moving, and between you and them is going to go. It's gonna make for better pictures, even if the classic is not working out for you. Okay, So don't be afraid to mix it up and guide people through different motions to get the shots that you want. If you're shooting with a smartphone, distance may effect your depth of field. So if you want the shot where you're getting lots of blurred confetti between here and there, you want to be a lot closer to your subject, so think like shoulders and head kind of a shot. And then anything that's closer to the camera is going to be blurrier. And then there hopefully gonna be in focus for that. And if you want a shot where all the confetti is all in focus, you're gonna want to get step back and get like a full body shot. And a lot of the confetti will be in focus cameras. Phone cameras tend to be, you know, they air on the side of mawr of the picture and focus. And so to force it to be less, you're gonna need to get closer so that the distance is there a lot farther away proportionately. It's a little confusing, but just keep in mind. If you want blurry confetti, get a lot closer to your subject and confetti. And if you want everything to be sharply focused backups, you've got space to work with. Another thing that you can use if you have the newest iPhone. Or if you've got a camera that can do portrait mode that's going Teoh, it's going to blur out what's in front of and behind the subject. And so that's another way to get that blurry. Look if you don't have a phone with portrait mode, Instagrams camera. If you swipe to like the live mode, not the live mode. But when you're like about to add to your story that camera, you can swipe over to focus, and it will add a blur effect around you and behind you in front of you. And so that's a way to kind of get around not having portrait mode. But portrait mode is basically narrowing your depth of field so that just your subject doesn't focus and then their background is blurry and what's in front of them is blurry. So that's why people love portrait mode because it looks so professional. That's basically you're mimicking what a DSLR can do automatically. And so it gives the photos a more polished and beautiful esthetic look. So, yeah, that's something to consider if you're shooting with a phone and then same rules apply if you want. You know, sharper. You gotta have a brighter picture. And if you want blurry or you've gotta have a dimmer picture that's just kind of some general rules when you're shooting with a smartphone. All right, so now that we've covered hair jumping and confetti, I want to run you through a couple different edits that I would use for these kind of images. 6. Editing Sequences: all right, This section is all about editing. I will start with a pre share instagram at it. So just a couple basic quick edits that I like to apply to a non iPhone photo before I put it on to Instagram. And then I will lead you through a little more in depth at it on Light Room CC for the mobile. So it's a mobile editing program that you it's an app that you download and you can edit your photos there. It's free. It's so powerful and effective. It's intuitive. And I love the results that I get from Light Room CC. And then I will finish with a classic desktop light room at it, which is how I edit about 80% of the photos that I take, and you can kind of see my workflow there. So yeah, let's, uh, let's start editing. All right, so here I am in the instagram Aban just looking through my camera roll. This is the photo. I want to add it today. I'm going to double tap so that it zooms out so I can see more of the picture and then pick a crop that I like the best. Once I'm happy with that. I hit next and then in here I can choose through some filters. Sometimes a filter looks really good, but it's a little bit strong. So I click on the filter I like, and then tap it again and I can address the strength. So usually for these, I'll pull him down a little bit. So there's a little bit of a filter there, so kind of a starting point, but it doesn't overwhelm the photo when I'm happy with where it's at, I hit done, and then I switch over to the edit tab here at the bottom to do more fine tuning. So right off the bat, I want to make the photo brighter, because when I look at the door in the background compared to the white border of the Instagram app, they're quite a bit different in brightness. So I hit brightness. I'm gonna pull this up a little bit, maintaining the color in her skin tone so that it's not like way too bright, but it still looks good once I'm happy with that hit done. Next, we're gonna up the contrast. I like a nice contrast ID image. There's a lot of dark shadows in her eyes and in her hair. So I'm gonna scroll over to the shadows slider and then pull that up a little bit just to give us some more detail there. Next, I want to increase the saturation, so I'm gonna pull this up a little bit. This will give her more color in her skin. And then I'm gonna go all the way to the end for sharpen. I sharpen about halfway. It's hard to tell if I long press and then let go. You can kind of see a slight difference. You'll be able to tell more when you're using your own phone. I'm happy with that sharpness. And then, lastly, I like to hit this little sun up the tops that this is my luck slider. I'm not sure exactly what it does. It looks like it adds a lot of contrast or brightens the shadows and darkens the highlights . But sometimes it looks good, and sometimes it doesn't. For this photo, I'm just gonna add a touch of that. And then I like to take a minute and review kind of where we're at. So this is before I'm long pressing and this is after before, after we definitely have a sharper, brighter photo, but I think it's a little bit yellow, so I'm gonna go over to my warmth slighter and drag it down just a little bit so I can get my whites nice and white. Let's see, Yeah, it's a subtle change, but I think it helped. I'm gonna up the contrast a little more up the brightness a little more I like to take it really slowly That way I can get my photo exactly where I want I'm gonna up the highlights This will add a little bit more contrast And then from there I'm pretty happy with how that looks So again, this is long press. This is what I had before And this is where I am now. So I would just hit next and go ahead and post. All right, in light room C. C. We're gonna launch the app and then hit this little picture with a plus sign at the bottom . This will automatically pull up our camera rolls. So I'm in a tap camera roll and scroll till I get to my favorite album. This is where I favorited one or two of the pictures that I wanted to edit. So I'm gonna start with this picture. I took this picture on a plane. Obviously eso Right now I can see that it has no edits and I'm just going to start at the bottom. So down here at the bottom, Emina hit light. This is gonna open my kind of light and brightness adjustments. So I'm gonna start off bringing up the exposure a little bit, bringing up the contrast quite a lot because the picture is quite gray and not very contrast ID. I'm going to bring my shadows down, bring my whites up a little bit and then bring my blacks quite a bit down This added a lot of contrast. I can pull down and then long press to see my before and after. So already just in my light adjustments I've made quite a bit of a difference in this photo . Next up, we're gonna go to color with the little thermometer. My temperature, I feel, is a little bit cool. So I'm going to bring it up into the warmth that kind of added a little bit more sunshine to the photo and then the tint. I might just leave where it's maybe bring it a little greener. Next up, we have vibrance and saturation. I'm gonna bring both of those up quite a bit. So we'll have lots of color in the greens and blues. I'm gonna pull down. This is where I started and this is where I am now. At this point, I like to hit the detail slider and sharpen quite a bit. This will make my image nice and crisp, especially when it's taken with an iPhone. It's not really a sharp is it could be, and then from there. Honestly, this is probably where I would leave that. So we have before and after, and it's such a significant difference in so little time. I might do a little bit more in the colors, maybe bring them up a little bit. Now that I'm seeing it, My wing is a little bit warm, so I might bring my temperature back down and then see if my tent would look better. Pinker Greener. Yeah, I think it is just good, right? We're right at zero, and then from this point you could add some effects over in the effects tab. I can make the picture have more clarity. So this will make it nice and crunchy around the edges I can out of and yet, so if I bring it down, it'll add a dark circle around the out outer edges of the photo and then ah, yeah, pretty much call that good. So we're gonna swipe down again. Here's where we're at And here's where we started. Light rain. Sisi is so powerful. It's a free app. I love it so much. It's definitely my go to when I want a lot of intense at its very quickly and effectively. All right, so here we are in light room for the desktop. I've already imported my photos and they're all here. When I first go through, I take a minute toe, like go through each individual photo and then start the ones that are good. It's like this it facial expression isn't as nice as this one down here and then in this picture she doesn't have hardly any confetti blowing in the air. And so I picked this one and I put a little one star to separate it from the rest. Once I've separated all my one star pictures. I can go down here into the filter and click on the one star, and it will separate out only the photos that I have added a single star too. So I had already edited these ones, but I went ahead and took off the edit so I could show you, Um, how I do it. So I'm gonna edit this picture today. So right now I can see him in the library tab. I want to switch over to the develop tab, and it will pull this up nice and big for me to get started editing. So first things first. This picture is quite a bit dark. It's not very contrast ID and the color is a little bit murky, so I'm gonna start with exposure. I'm gonna just bring this slider up until I feel like it's nice and bright and airy, like I want next. I want to bring the contrast up because right now her hair is a little bit in the mid tones and I want them to be quite a bit darker. So I'm gonna bring the contrast up. It will make the darks darker. And the lights lighter. Next, I'm gonna add a little bit of shadows. So a little bit of information in the shadow area, the photo justifying her hair in her eyes. And then I'm gonna bring the blacks down. This is gonna really just lock in that nice, sharp contrast. At this point, I like to bring my whites up a little bit just for that extra added punch and then increase that vibrance in the saturation for this picture. Since there's not a whole lot of color, the biggest kind of area of color is gonna be her skin tone, vibrance and saturation might not be the best move, but sometimes I like to test it and see. Yeah, that definitely made her look kind of orangey. So I'm gonna go back. So this is my history Over here. I'm gonna go back those two steps so that it takes my vibrance and saturation back down to zero so I can adjust Maurin the tone curves. That's just kind of does more on top of what you've already done. So darks up, shadows down and then I usually leave the other two where they're at this picture seems a little bit warm to me. So I'm going to drag my temperature down just a little bit. I can pull in the slider or I can hover over the number and then drag it and it's a lot slower of a move because sometimes when you touch the slider and then move it, it's like, boom, all of a sudden working were crazy. So I like to hover over the number. You get this little finger that pops up, and then you can just drag it gently up and down with your mouse to get it to where you want. So I have a lot of blue in here, but I kind of like the move that it feels that it gives it. However, her skin is a little bit purple Lee to me. So that means I need to address my tent. So I'm gonna hover over my tent number and then drag it closer to the green. I know that my walls in my house, which is where the this was taken. I know they're a little bit on the green side, and so I like to use that as kind of my scale of reference. So I know my Door's air White and my My walls are a greenish grey. So right now I really love where this is going. I would like to do a couple of spots at its just to edit out her skin because I know that she would like Teoh, you know, not have any blemishes showing. So I like to just go through and clean up any spots that might be distracting just clicking on them. It'll automatically sample from a space nearby so that it looks super, super clean and crisp, and then sometimes all even go through and just add a little bit of softening. So I've made my own preset. It's basically that's often skin, but not as intense. So my Clarity's negative 30 in my exposure is 300.6 on the positive end, and then I can adjust my brush size using the scroll wheel, and then I just kind of add a little bit of adjustment, kind of in the crease areas of the face, and this will just help make it nice and smooth and clean and crisp. And so you can see this was what I had before, and this is after. It's super subtle but it just takes a little bit of the edges off there. And then I really I love how that looks. I like the tones. I'm gonna bring in a little bit of a vignette. So I scroll all the way to the bottom here and then bring the vignette slider down. This will just kind of hone in right on her face. And then last but not least, I want to sharpen. So I'm gonna drag my sharpening up about halfway and then adjust my masking the masking. It doesn't look like it's doing anything, but if you've watched any my other classes, you'll know I like to show this. So if I hold down the option key, it shows reset sharpening, which means it's activated. So when I pull up the masking, it shows me anything that's white gets sharpened. And so if I adjust the mask, things start to turn black, and those air those air parts of the image that are not going to have the sharpening applied to them. So what I want is to pull this down so that there's not much sharpening on her skin, but it will sharpen the edges of her hair and her facial expressions. And then I let go, and I have got my sharpening applied to just the edges and where I want them. And yeah, that's pretty much it. So then, once I'm happy with how the image looks, I go down to this timeline, right click export. It brings up my export settings. I'm going to call this confetti, and I'm gonna make it number 10 because I don't know how many confetti photos I put in this folder. I'm going to scroll down my file settings. I leave at J Peg and s RGB. And then I check the box limit file size, too, and I put it to 1800 K for most of the pictures that I share. I'd share them online. And so I like to keep my file sizes small so that I know that they'll always upload. And then for image sizing, I check the resize to fit box. I adjust it, or I change it to long edge. So basically, since this is a landscape photo, it's gonna be this long edge on the bottom. It was a portrait. It would be this edge basically the longer edge in the photo is going to be 2500 pixels, and I leave it at 240 resolution. This is a good size for sharing on instagram. Not a great size to print. If you wanted to print it really big, you would not want to resize that and you wouldn't want to limit the file size. Anyway, I scroll down, leave post processing at do nothing and then hit export. And it will put it in this sub folder movement in my pictures folder on my computer for me . And that is how I would run through an edit on light room, some things that I like to do to make it quicker. So I've got this picture already edited. I can hit, copy and then enter. So basically, these are all the things that it's going to copy. It's not gonna copy local adjustments. It's not gonna copy lens corrections, but it will copy the tone and the white balance in the sharpening blah, blah, blah. So I click copy, and then I'm gonna hit the arrow key to go back to this other photo that I liked that I took at the same time and then I'm going to click paste. It will just apply the same edits to this photo, and I can just really quickly get a lot of pictures done and getting get them all, you know, edited the same way, so they all look the same. And so, yeah, I love White Room and it's a subscription based program. So you could go to Adobe's website and see what options they have for a different subscriptions that you could get to start practicing, editing all your photos. 7. Final Thoughts: on. That's everything. They so much for sticking around. I hope that you enjoyed it. If you have any questions or need help, feel free to leave a comment in the discussion community section here in this class. And we can totally work through any issues you might be having. Don't forget to put your class project. I really want to see what you create posted here in the project section on spill share or if you share on instagram just tagged me so I can come to look. My handle is just top of the part and yeah, you have any suggestions for future content? Feel free to leave that to I'm always open to your ideas. And if you want to get an email and notification next time I post a new class, just make sure you're following me here on skill share makes so much for sticking around you next time