The Art of Travel Photography | Phil Ebiner | Skillshare

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The Art of Travel Photography

teacher avatar Phil Ebiner, Video | Photo | Design

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

36 Lessons (4h 58m)
    • 1. Trailer

    • 2. Course Overview

    • 3. Who is Phil?

    • 4. Get your free trial of Adobe Lightroom for editing

    • 5. Choosing the right camera.

    • 6. What to Pack: The Equipment Check

    • 7. Backing up your Photos while Traveling

    • 8. Where should you travel?

    • 9. Travel Safety Basics

    • 10. Learn the Manual Settings

    • 11. Working with RAW

    • 12. Getting the Right White Balance

    • 13. Stabilization - Tripods, Monopods, Or?

    • 14. Using the Flash

    • 15. Journaling

    • 16. Choosing a Great Background

    • 17. Be Candid

    • 18. Photographing the Locals

    • 19. Creative Compositions - Samples

    • 20. Sunsets & Silhouettes

    • 21. All About Landscapes and Nature Photography

    • 22. Depth of Field Explained

    • 23. Panoramas!

    • 24. Take the Road Untraveled (aka Thinking Outside the Box)

    • 25. Lightroom Basics - Part 1

    • 26. Lightroom Basics - Part 2

    • 27. Basic Lightroom Edits

    • 28. Fixing Exposure

    • 29. Fixing White Balance

    • 30. When to Crop Wide

    • 31. Creating a Silhouette

    • 32. Enhancing Sunsets

    • 33. Better Looking Landscapes

    • 34. Playing with Saturation / Black & White Editing

    • 35. Quick Practice - Follow Along

    • 36. How to create a panorama in Photoshop

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About This Class


How many times have you flipped through a travel magazine and been inspired by an exotic photo of some far off destination? Ever wondered what it takes to capture amazing photos like that? This course is for you: for you the wanderer, the explorer, the vacationer, the mom, the dad, the loved one. This course is for anyone looking to take better photographs while traveling. I truly believe anyone can take amazing photos. With the skills and techniques learned in this course, you'll be taking travel magazine worthy photos in no time!

We'll cover the basics of what it means to be a photographer. In this first section we'll be covering:

  • Best camera options
  • Complete equipment check
  • Prepping for your trip
  • Travel safety basics
  • Travel types, and so much more

We'll cover the basics of professional photography, which apply to travel photographers such as:

  • Exposure
  • ISO, Shutter Speed, Aperture,
  • Depth of Field
  • Composition
  • White Balance
  • Lighting
  • Thinking outside the box
  • And more!

I'll show you some of my award winning, and gallery shown photographs. I'll discuss in detail how the photograph came to be, the difficulties taking it. For each photograph we'll cover lighting, composition, and why I took the photograph.

A complete section on shooting portraits will enhance your portrait skills. We'll talk about how to improve your flash photography. You'll be taking great group shots in no time!

A complete section on photo editing covers the basics of editing your photographs to make them pop! We'll be using Adobe Lightroom, a program that you can download a free trial (I'll show you how). What will we be covering in this section?

  • Correcting Exposure
  • Color Correction and White Balance
  • Playing with Saturation and Vibrance
  • Tone Curves
  • Adding Grain
  • Sharpening Images
  • Selective Color Editing
  • Adding Vignettes
  • Cropping
  • Creating a Panorama in Photoshop
  • and so much more!

For all of these lessons, you will follow along as I edit my own travel photos from places like the Philippines, France, Italy, India, Mexico, across the United States, Chile, and more top destinations.

I am confident that you will be a much better photographer after taking these lessons. After your next trip, you'll have artwork worthy of your walls.

Thank you for your time!

Meet Your Teacher

Teacher Profile Image

Phil Ebiner

Video | Photo | Design


Can I help you learn a new skill?

Since 2012 have been teaching people like you everything I know. I create courses that teach you how to creatively share your story through photography, video, design, and marketing.

I pride myself on creating high quality courses from real world experience.


I've always tried to live life presently and to the fullest. Some of the things I love to do in my spare time include mountain biking, nerding out on personal finance, traveling to new places, watching sports (huge baseball fan here!), and sharing meals with friends and family. Most days you can find me spending quality time with my lovely wife, twin boys and a baby girl, and dog Ashby.

In 2011, I graduated with my Bachelor of Arts in Film and Tele... See full profile

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2. Course Overview: - everyone. - Welcome to the art of travel photography. - My name is 11. - This is photography lessons for beginners. - And in this lesson, - we're gonna talk about what is this course all about? - It's just gonna be a course introduction. - First of all, - welcome to my studio. - This is actually I'm spending some time at my parents house over the summer on. - So I visited them and the remodeling their garage to an art studio, - and I thought I'd be a great place to record some lessons on a new course, - the Art of travel photography. - I was inspired to make this course because of a recent trip to the Philippines. - You can see above a picture from the Philippines, - one of my favorites. - I went with my girlfriend's family should her family, - her parents grew up in the Philippines, - and I got to meet our her relatives or aunts and uncles and both for grandmothers. - And it was quite the amazing experience and inspired me to create this class because I - figured a lot of people want to know about from off geography because you see the it in the - magazine's National Geographic travel magazines. - There's so many of them and you see it online all the time and you see these pictures of - these exotic destinations and that make you want to go there. - And at least I wanted. - How can I make photo, - take photos that looked like that? - How can I take photos that inspire people to wanna travel? - That's why I created this course. - What is in this course? - And as you'll see throughout the entire course, - I used mostly pictures, - images that I've taken. - I'm gonna be talking a little bit more about my experience traveling in the next lesson in - the instructor introduction lesson. - But for now, - it's no that all the images that you're seeing now are images that I've taken over the past - few years traveling around the world. - So what's this class all about? - Really, - though we're gonna learn the basics of being a travel of the tire for, - And what I mean by that is that there is a difference between just being a regular - photographer and a travel photographer. - So we're going to specialize in, - uh, - you know, - learning how to take beautiful landscape shots. - Portrait's of people from different cultures. - Just keeping an eye out as a traveler and also keeping in mind certain things while - traveling like safety, - certain equipment that you should have or shouldn't bring with you when you travel and - things like that. - So what are the differences between a regular photographer and what is specifically, - uh, - key to being a traveling photographer? - I'm gonna teach you everything you need to do to be a great traveling photographer. - Speaking of that, - we're gonna learn what is the best gear to use and how to use it. - So I really don't believe that there is one best camera or one piece of equipment that's - going to make or break your photographs. - I use all sorts of different cameras, - lenses, - different equipment traveling and in my recent travels around the world, - each trip I have a different set of equipment because I'm just testing out which cameras I - like best. - Which lenses, - I think take the best photographs. - Eso I'm gonna give you all the options and you don't have toe have fancy equipment, - take great photographs. - So don't worry about that. - If you want to use just your point and shoot camera, - and that's totally fine and I'm gonna teach you how to use that Aziz a travel for tired to - get great photos. - I'm gonna teach you and talk about getting creative and how to be an inspired photographer - . - So I know it's hard when you're traveling, - especially you're on a vacation that's not meant to be for photography, - but you're just on a family vacation. - Or if you're studying abroad with in college or whatever it is, - it's sometimes hot, - sometimes hard toe. - I have the mindset of a target, - for sometimes I I'm lazy. - I don't want to bring my camera out or, - you know, - it's just a hassle taking pictures. - But I want to inspire you to always have your eye off of great photography. - Um, - great moments that will really make or break a great photo. - Um, - and I want to inspire you toe, - take photos that you're gonna want to put up on your wall as art at the end of the trip. - I'm also gonna talk about vote, - a photo editing basics and advanced techniques, - so I'm going to actually show you how to use a program called Adobe Light Room. - It's one of adobes photo editing Softwares programs along with Photoshopped. - I'm gonna teach you a little bit about that. - But I think light room is the best photo editing softer out there. - It makes things really quick and easy, - and you can turn your, - you know, - maybe normal photographs into amazing photographs. - And so I'm gonna teach you how to use that. - You will be able to follow along totally screen capture style. - You're gonna spot along with me and I'll tell you everything you need to know how to use - that program. - You can always check out video school online dot com. - That is my website where I post block articles are right about a lot about video production - and photography and all sorts of different things on just being creative. - I put some podcasts up their free video tutorials as well, - and you can also get a hold of me through the website. - But if you if you want, - you can just email me through the course page and I'll get back to you as soon as possible - because, - you know, - I am sort of new. - Teoh. - The online space I've been teaching on line for about a year, - and it's been growing great on my students Love. - My classes are not all but most my students love my my classes, - and I'm really happy about that. - But I'm always looking for suggestions. - So please email me if you have any suggestions. - If there was a lesson at that, - you just got lost in or you want to hear more detail about something, - please let me know and all I'll give you, - you know, - another lesson or I'll respond to you personally as soon as possible. - As you can see, - my lessons are totally free style. - I don't script out my entire lessons because I like having that personal feeling. - Just a Ziff. - I was a teacher standing up in front of a classroom. - I'm not perfect, - you know, - This isn't just taken stolen from the Internet blogger article about photography teaching - from my heart from my mind on for my soul. - So bear with me. - You know, - I like Teoh. - Pad my lessons with, - you know, - a joke here or an interesting fact. - There s Oh, - I hope you enjoy these lessons. - And I look forward to getting to know you over the next few weeks. - As you take these these lessons. - Thank you so much for watching. - And I'll see you in the next lesson by 3. Who is Phil?: - Hey, - guys, - what's up? - This is Phil. - Evan, - er back with a new lesson in the art of travel photography. - This lesson is the instructor introduction. - Who am I And why should you listen to me? - This picture above is from my recent trip to the Philippines catching a Cebu Pacific air - flight to Palau. - Owens was a small propeller plane, - and it was quite the adventure getting there, - Um and yeah, - Another travel foot photo taken by my wonderful girlfriend. - I'm ready with my backpack full of camera equipment. - Ready, - Teoh, - Go on another an adventure. - Up here, - you can see my girlfriend. - Here's another great photo on boat dock I, - which is a an island in the Philippines, - one of the top destinations in the world. - Really? - For people that want to just relax and have ah island style a vacation. - So you should check it out if you ever get the chance. - But, - ah chi Philippines. - So we'll talk to you a little bit about where I've been and where I'm coming from as a - travel guitar for and continents that have traveled to our North America, - Of course, - I grew up in Los Angeles. - I've been here Europe, - Asia's in South America. - But let me talk to you a little bit more about my trouble history because I actually had - started travelling late in my relatively young life. - Um, - I had not been outside the country by the time until I was 19 years old and except for - going to Tijuana, - Mexico, - to do some volunteer service work, - which was great. - And that was actually my first real experience of another culture. - Um, - what did get to travel around the United States from California and visited, - you know, - New York, - Chicago, - the Grand Canyon? - A lot of the typical US family vacations and those were all great. - But from a young age, - I was always inspired and I always wanted to go abroad. - My uncle has inspired me. - He's visited over over 150 countries, - and he started travel company himself. - And I always wanted Teoh, - you know, - see these other cultures that he always talked about and so I in college, - I went to loyal Marymount University below You can see my education and I got a bachelor of - arts and film and television production, - So I have kind of education in being behind a camera lens. - And during my junior year, - I was fortunate to be accepted and go to Germany for a study abroad program with the film - school. - We made documentaries over in Europe. - We were there for four months and I studied under European professors. - Um, - and I learned about cinematography and all sorts of things relate to video production but - also related to photo. - And that's where I just went wild with travel I got. - I have my Eurail pass Each weekend I was in a different place, - was based on a bond Germany, - and each weekend I would go to Paris, - to Munich, - to Switzerland, - to Rome, - Venice, - Prague, - all these great places around the the Europe European continent. - And that's where it all started. - Within a couple of years, - I had been to multiple continents. - I came back after that, - Uh, - that fall I went to Mexico City in the spring to do some an alternative break at LMU, - which is instead of like a crazy spring break trip. - You do a service trip, - so that was really cool. - We went to Cuernavaca. - What? - The telco on some other smaller towns near Mexico, - D F. - A. - then, - uh, - that summer I went to India on another service project, - and I made a documentary there, - and I took lots of great photos on that I love. - And I have up on my walls and even had a gallery, - Uh, - for those photographs and we had a a documentary screening with the photo gallery. - Hundreds of people showed out, - showed up and purchased the images of really awesome. - And then the next year, - I traveled to South America to Chile with my girlfriend, - who had lived there for seven months on Bond. - Uh, - yeah, - and then just recently went to the Philippines and back to Asia, - A different side of Asia and a different culture in Asia on That was wonderful. - One of my favorite places, - Paris, - France, - definitely tops the list. - I had studied French in high school, - one of the few seven California ins to study French in high school. - Andi, - I'd always had this affinity with going to Paris, - and I made it on my study abroad trip. - Geneva Switzerland was also a favorite place of mine, - partly because my family is from Switzerland, - and I got to meet some relatives and hang out there and it's a beautiful city job or India - is almost opposite in terms of infrastructure. - It's a small village in the middle of India, - and that's where I did my service project. - But it was so full of colors, - colorful people, - amazing friends that we met and we did some amazing service. - They're building malnutrition centers. - Teaching at a school actually taught photography. - Teoh, - poor farm Children at the school. - Eso that's really cool, - and it's one of my favorite places in the world. - What? - Ah chi Philippines just went there, - and I want to say that one of my favorites and I definitely want to go back. - And in Rome, - Italy, - Rome is if you ever get the chance to get a Lee, - it's a great place for photographers turned the corner, - and there's always something to take a photograph of. - And this lots of tourists, - which makes it easy for, - you know, - Americans or anyone traveling there. - So if you're looking for somewhere that is a relatively easy travel place to travel to, - Rome is a great place to do that. - As I said, - my education, - I went to loyal American University. - I graduated in 2011 and since then I've been professionally working as a video producer, - director and editor for the past year. - I was a full time lead videographer and photographer at a school, - doing all the marketing materials on and event coverage. - And so that was my first kind of professional gig doing photography. - Eso I spent a year doing that, - and I really learned a lot more about photography. - Andi. - It really enhanced my travel photos as well. - Here I am again with my lovely girlfriend Isabel in Vina del March, - which is in Chile, - And that's outside of Santiago near the beach and had a lot of these flower clocks. - You might have seen them. - They have them all over the world. - I've been to the one in Zurich, - Switzerland, - San Francisco on the one here in Vinje. - Telemark. - So why do I teach? - I teach because, - honestly, - I love, - you know, - giving my knowledge to someone else and helping them inspiring them to be a better version - of themselves. - Basically, - I started teaching online a year ago, - like I said, - but before that I was even thinking I applied to be teeth, - a teacher at a local high school. - But I got a job as lead photographer and videographer at another school out of college, - so I didn't I get to teach in a high school setting, - but I still wanted to teach. - And with the boom of online education, - I thought that I had something to share. - And so I taught lots of classes on video creation video editing, - but have also taught classes on creating websites with blue hose and WordPress making beer - . - And all sorts of other great class is all about being creative And, - uh, - you know, - being present and being a better person on just living your life to the fullest. - What are my life goals? - Well, - my life goals are basically to just live a full life, - too. - Be happy in my community, - make my community and my family better happy and ultimately career wise. - I would love to be a travel documentary filmmaker or, - you know, - just a documentary filmmaker who finds great stories and tells them through video. - And I think it's I'm on that path. - I make documentaries on the side along with, - you know, - working, - doing weddings and corporate videos and working full time as a video editor. - So hopefully That is what I'll be doing in the next 10 2030 years. - Where am I traveling to next? - Well, - at this point is July of 2013. - In the summer, - it's pretty hot in here on summer is in full swing here in Southern California, - and I just got back from the Philippines. - I'm going to San Diego with my family for a yearly summer vacation, - but my next abroad travel is hopefully going to be in Switzerland. - I want to go back there. - I haven't been since 2009 and my girlfriend we never got to visit. - So it's lend together when I was there. - So I want to take her back there and show her where my family grew up in where my family is - from and have her meet my family from Switzerland. - So if you're watching this in June or July of 2014 who knows? - Maybe I'll be over and Switzerland then so me and know and see if I am. - I hold me accountable to that. - As always. - You can check out video school online dot com for more tips, - tricks, - tutorials and to get 50% off all of my online courses. - You just have to sign up for the weekly newsletter on you. - Just get one email week. - We'll get the latest block post and that's it. - And get 50% off all of my courses. - Thank you for watching this lesson. - I hope you learned a lot about me. - And I hope it makes it comfortable taking this class for me. - I want you to tell me a little bit about yourself. - So if you can tell me, - send me a message or an email and tell me where you from. - Why you wanna? - Why? - You wanted to take this class where you've travelled to and where is your top destination? - Your dream. - Travel, - Vacation. - Thank you. - And I look forward to hearing from you by. 4. Get your free trial of Adobe Lightroom for editing: - everyone. - What's up? - Welcome back to the art of travel photography. - Today I will teach you how to get a free demo of Adobe Light Room, - which is the editing program that will be using in this class later down the road. - So if you're not gonna watch these lessons too quickly, - then I would wait to download live room because it's a 30 day trial and I want you to have - the full 30 days to practice and work with it, - and you can get it for free. - Just have to go over to adobe dot com slash downloads. - Let me show you where that is, - what that looks like. - So here you can basically download any adobe program that you want. - Photo shop after effects, - illustrator, - anything that you want and you want to go down to photo shop, - light room five and click. - Try and basically they're gonna ask you to plug. - In your information, - you're gonna have to select which version you want. - Is it for a Mac or PC language? - You click down loan. - It's gonna ask you for your adobe account information. - Um, - and then you just have to create a notably adobe account if you don't have one and you can - get a free trial and, - uh, - you can have it for 30 days, - so it's really awesome. - So what is Adobe Light Room? - Though Adobe Light Room is just a basic photo editing software, - and it's different than photo shop, - it's a lot easier, - and it's really built for just doing photo editing rather than manipulations of - Photoshopped. - You can do all sorts of things. - You can create posters you can, - you know, - add effects. - Different things create mass. - Do lost the voter shop. - It's really robust. - You could do a lot more to photos, - but it's more of a manipulation program rather than just editing the photos, - such as brightening it up, - making it darker, - cropping. - You know the basics and but light room makes it a lot easier because you can basically, - if you have two photographs from the same day or a friend same moment and you want to edit - them the same, - you can easily just copy and paste the effects that you did to the 1st 1 to the 2nd 1 I'm - gonna be going over all of this, - so don't worry if it sounds like I'm speaking another language. - How will we be using in our class in the chapter about editing our photos? - I will be giving you hands on demonstrations where you'll follow me with a screen cast of - me editing photos, - actually, - and taking you through all the steps. - I'm going to show you everything you need to know about my room, - and I'm actually gonna show you how I had it. - My photos and we'll go through difference situations like if it's too dark or too bright. - If you want toe crop it different things that you learn everything you need to do in light - room and why light room instead of Photoshopped. - Like I said, - photo Shop is more for designers who are designing things, - whereas light room is good for just photographers on. - I use It when I had it wedding photos and I know a lot of professional wedding Betar - BridgeNews light room as well. - Just like I said, - it makes a lot easier, - and I'll show you how in that lesson and chapter about photo editing. - So there you have it. - That's how you download light Room for free has always visit video school online dot com - for more tips, - tricks, - tutorials and and more. - Have a great day, - analysts Ian in the next chapter 5. Choosing the right camera.: - everyone and welcome to the art of travel photography. - In this lesson, - we're gonna be talking about choosing the right camera. - And this is a new chapter about the basics of travel photography. - So get excited. - We're gonna be talking and diving right into what it means to be a travel diary for, - and I'm gonna be giving you covering all the basics. - So is one camera better than the rest? - While some people might say that, - Yeah, - there are better cameras than others and this is the only one you should use if you're a - true photographer, - I'm not like that. - I think you can take great photos with any type of camera. - Whether it's your iPhone, - it's your digital SLR, - like the one above the Canon five D A little point and shoot for using film a disposable - camera. - I think you can take great, - great photos with any type of camera, - and so really, - it's up to you whether you have a camera and you were just using that, - and that's great. - If you're looking for a camera to purchase while then what's your budget? - And whatever your budget is, - that's probably the right choice for you. - or if you have no budget and are unlimited budget and purchase, - whatever can you you you want? - Well, - the five D above is a pretty good camera, - and it's a guitar for his favorite. - I am definitely a cannon guy, - but Nikon makes great cameras as well, - and especially for travel photography. - There's a lot of people that use night cons, - so let's talk a little bit more about the different types of DSLR. - So that is actually what I use. - A digital single lens reflex is. - Basically, - it gives you a lot of options to do to customize your photography. - So the basic is the body, - which is just this part, - and bodies air different. - So this is the 70. - It's a little bit different than the five d. - The five D has a bigger sensor inside, - meaning the pictures will have a lot more information saved, - Um, - and so they'll look a little bit crisper and nicer. - But 1st 70 is still a great camera, - but this will by itself. - This is a few years old now, - but even now cost you over $1000 then the real big thing about DSL ours are the ability - that changed lenses. - And so I am this 24 to 70 millimeter lens on it right now, - which allows me to go pretty wide, - but also zoom in on subjects if I need to. - But I can get all sorts of lenses to attach this. - It will talk more about that in a second. - There is the point and shoot camera, - which is the one above, - and that's probably have one in your drawer somewhere. - And that's what you bring out to your kid's birthday party here. - Teoh out with your friends just snapped photos whenever you need to. - But actually, - those cameras are kind of going out of style because with the new smartphones with the - iPhones and Samsung Galaxies that you know these these phones are taking pictures just as - great as these point and shoot cameras do. - But I as a dark for life, - the idea of having a actual camera, - something dedicated to taking pictures on as someone who's recent graduate still paying off - college loans. - I actually still don't even have a smartphone on its 2000 and 13 so I'm kind of behind the - curve on that s so I put my mind towards nice lenses like this, - though. - So, - uh, - that's the point and shoot. - And then you could use film. - And there's different pros and cons of using film. - It's very creative. - It's kind of a craft that not many people do anymore. - It's expensive because you have to purchase the world film, - but then you also have to develop the rule of film. - But it's really neat, - and I've taken film on trips before, - and it's nice because you can't just snap photos every second. - You have to be conscious of what you're taking a photo of, - and that usually turns your photo into a better photo than using a digital camera where you - just can't snapping away. - And so film is a great option. - If you want to be really creative, - you just have toe. - Be careful when you're going through the metal detectors at the airport. - If you're using certain types of film, - we'll talk about that more later. - But it was your using eso above 800. - Then you have to be careful that you don't put that film through the X ray mellowed sectors - because it will mess it up, - so those are a few of your options. - Let's talk a little bit more about lenses. - And what if you do have a digital SLR? - What types of lenses should you be bringing? - And not only should you taking account how good the lenses are, - but you actually have to take an account. - Well, - how many lenses do you want to have to carry around? - How many lenses do you think you'll really be using? - Um, - there's two different types of basic, - uh, - lenses. - We have the prime and zoom. - This is a zoom. - As you can see, - it zooms in and out, - and it has a focal length of 24 millimeters to 70 millimeters. - The smaller the the number, - the whiter it goes. - So at 24 millimeters, - this is pretty wide. - At 70 millimeters, - it zoomed in, - and they have lenses that go 100 100 millimeters, - are few 100 millimeters that are really nice. - A zoom lens is something like a 72 300 would be nice to take on a trip as well, - and 24 is wide. - But on a 70 it's, - uh, - not too wide, - so you might want something even wider than this. - So the pro of a zoom lens is that it gives you multiple options for one lens. - And so, - if you're using a prime prime, - is just stuck at one focal leave, - meaning that it's always at 24 millimeters. - So wherever you're looking, - it's gonna look the same. - The width of the lens on your photo is gonna be the same. - So if you want to get closer to something, - you can just zoom in. - You're gonna actually have toe physically. - Move closer to your subject, - and that can hinder your ability to take great photos that pro of using crimes Is that - because the primes are built for that specific focal length of 50 millimeters or whatever - it is, - it's built. - So sod for that. - And it looks better than what this looks like at 50 millimeters, - so primes air nice in that way on. - Um, - the only downside is that you have to carry a bunch of them if you want to have a zoom. - If you wanna have a wide blends, - whereas zoom, - it gives you all of those. - So it just depends. - On my last trip to the Philippines, - I just took this lens and it was kind of risky because I knew that there might be - situations where I would like to zoom in more and situations where I'd like to be a little - bit whiter. - Um, - but I just didn't want to deal with carrying around multiple lens and worrying about that. - I was always already bringing a lot of equipment, - a lot of video equipment as well on. - So this one zoom was good enough for me. - I haven't takina 11 to 16 lens, - which is really nice. - Why photo lens for digital SLR, - the view are curious. - So what is the best camera? - Well, - it's really up to you. - If you have a camera, - then stick with your camera if you you know, - even if you have a camera and you taking lots of photos in the past and you just think your - photos aren't that great. - Well, - unfortunately, - it's not only the cameras bought, - and I'm gonna teach you the skills and the tips and the next chapters on how to improve - your foot hard of the skills so that no matter what camera you're using, - you're gonna be able to take great photos. - So if you have a budget, - you can get a digital SLR, - something like this, - or even like that canon rebel, - which is a lot cheaper than this. - Get something like that, - if you can. - Just if you have the budget for, - why didn't you use that? - If you just want to learn how to take better photos with your iPhone, - that's great to use whatever feels right for you. - Thanks for watching, - and I'll see on the next list. 6. What to Pack: The Equipment Check: - everyone was up. - This is Phil back with another lesson in the art of travel photography. - Today we're continuing our lessons on traveling as a Qatar for the basics. - We're doing an equipment check. - So last time I talked all about cameras and different, - you know, - in the different types and what you should use. - And today I'm gonna talk about all the other equipment that we're gonna be using. - So check out this camera, - bag your camera bags. - Probably not gonna look like this. - You've got two bodies about five or six lens. - You've got an external flash or speed light and they call it, - and I'm sure they have lots more batteries, - memory cards and other accessories in the front of that backpack. - And you just may need a lot more than just a camera going on a trip. - And that's what I've realized. - That I need an extra bag just for my camera equipment like the photo above, - because as a true guitar for it, - you're gonna need to use a lot more equipment than just sewing, - carrying around a digital camera if you're really serious. - So some things to consider our batteries. - Tripod, - a mono pod and external flash lens wipes, - lens filters, - memory cars, - extra memory cards, - computer perhaps an external hard drive to back up your photos. - And it goes on and on and on. - I want to go through some of the equipment that I have just to show you what I use. - So we got my backpack can back back. - Of course, - I have my camera body lens. - Typically on a photo shoot, - I will bring extra lenses. - So I've got my takina 11 to 16. - Got this little 50 millimeter. - This is actually really, - really awesome. - Lens costs 100 bucks and it does the trick. - Find out Amazon. - I've got also some video equipment. - I've got my zoom recorder and X What wireless law leers to record interviews and audio with - . - So you're not gonna need that. - But I do have extra actual memory card. - So I have a 32 gigabyte 16 you could buy and another 32 in my camera. - I've got, - um, - a flash drive just in case E ever need to quickly transfer things from a computer to - another computer. - I also brought this thesis is a an adapter for your headphones for the airplane so - something that's really important. - If you want catch up on movies or music while you're flying 8 to 12 hours across an ocean. - This adapter fits into the airplane audio sockets because usually your headphones. - That's one of these little mini jacks and we'll plug it into the airplane and you'll just - be able to hear from one side of your headphones. - Or you are gonna try, - twist and turn it until you hear both but by these pick it up at Radio Shack for a couple - bucks. - Really make your flying experiment experience. - Not much better. - What else do I have in here? - I've got my external hard drive will talk more about that later. - I've got my memory card reader, - plus all the towards that you need with that I have my battery charger and, - of course, - extra batteries. - So I got a couple different. - A couple extra batteries, - typically offering 2 to 3 extra batteries just in case you're out shooting and you're gonna - be out for a while or if you're traveling and you just have diamond time. - Teoh, - sit down and charger. - You're battered for an hour or so, - then I just have my headphones. - So a lot of equipment bringing one thing to consider is an external flash, - also known as a speed life. - I'm gonna teach you about using your flash and how to use it properly for travel - photography. - Typically on your you know, - on your little point, - your camera or your phone or whatever it you're has a flash. - But on these bigger DSLR cameras, - they also have a built in flash that you can take pictures with. - But it also has this shoe right here where you can put in a speed light like above. - And the pro of that is that with this lens or with this flash, - wherever you point your camera, - that's where the flashes pointing. - And if you're pointing it at someone, - space Flash is gonna be directly in their face. - They're going to get red eye in your photos and it's gonna be over. - Their faces are gonna be over exposed, - whereas a speed light you can actually turn the flash around when it up towards the ceiling - point back towards the wall behind you, - and that makes a softer light on your subject, - and it's really nice. - So we're gonna talk a lot more about back memory card basics. - Just, - you know, - have the right memory cards for your camera. - It's pretty simple. - You're not gonna. - If you have a camera, - you'll know what memory card you need. - This is a compact flash card, - but a lot of cameras now used the SD cards over here on the left side of your screen. - I see the Kingston SD cards. - The speed of the memory card for photos doesn't matter too much. - You'll see that some might give you it, - like 300 times or 100 times, - 600 times speed. - The faster obviously means better for the SD cards. - That gives you a rating of, - like four high quality, - different things and the higher the quality is better. - And I would recommend getting the name brand memory cards if you can. - I actually don't do that all the time. - I have, - you know, - Duracell, - which actually makes a nice memory cards this 1 600 times. - This works nice for photo and video. - This one digital film I don't know what Brandis is, - but it's worked for me, - but I guess if brands really better or not, - and make sure you have a reader and a reader that reach your your cards in case you're - gonna be dropping your footage. - Are your photos onto a computer? - Or make sure that your your camera can plug directly into that computer and you have the - right chord, - such as a USB mini toe. - USB. - Another thing you know you might have to bring or look into is a converter. - Depending on the a place where you're going, - you might not be able to just plug in your equipment, - get power and a funny story. - Actually, - my first time traveling, - I was going to Europe and we just landed. - We actually spent a couple days in Luxembourg, - but we I didn't have time charging my batteries. - We went toe bond on a train, - and we got to the school where we were studying abroad, - and it's speaks four story building, - lots of people working. - It was still summer, - so there were people in school, - but lots of people working in the building, - they tell us where to drop off our bags. - I plug in my my, - uh, - charter into the wall, - not knowing that I needed a converter, - and as soon as I did that see a little spark. - Entire building shuts down power ships off, - the administrator comes up, - and he was kind of joking because it must have happened before. - But he asked, - You plug something in because bus travelers, - that's Americans we didn't know better. - And eso just be careful when you're playing things and make sure you have a converter that - is fits your plugs and also the outlets over wherever you're traveling. - So that's a lot of equipment. - But over the next few lessons and chapters, - I might mention extra things to bring and talk more in depth about equipment such as - cameras, - camera stabilization, - Monta pods, - tripods, - etcetera and quit equipment to back up your photos while traveling, - which is really important, - and more so. - Keep a pen and paper. - Write down all the things I'm saying that you should bring making checklist. - You should always have a checklist when you are traveling. - Make sure you have all your equipment because last thing you want to do is forget something - . - I actually did that when we're going to South America. - I forgot extra batteries, - and so I had to deal with just using one or two batteries the entire trip, - so I hope you enjoyed this lesson has always visit video school online dot com for more - tips, - tricks, - tutorials subscribe to the weekly newsletter and you'll get the latest blogger articles and - deals and everything else like that. - So thank you so much for watching this lesson. - I hope you learned a lot, - and I hope you're enjoying summer when winter or wherever you are. - Whenever you are helping, - you're enjoying your day, - so have a great one. - I'll see you next time. 7. Backing up your Photos while Traveling: - everyone. - Welcome to another lesson in the art of travel photography. - Today. - I'm talking about backing up your photos, - something that's really important and something that you should definitely be doing while - you are traveling. - Let's talk about the different options, - which include bringing in the laptop on the external hard drive, - bringing extra memory cards to back up. - Your photos are off large flash drive. - We're even doing online backup, - which is something that now with the cloud storage that we're all gonna use. - Dio you can do that if you have an Internet connection wherever you're traveling to. - And that might actually be one of the best options, - just so that you don't have to carry around a backpack with a laptop or your external hard - drive. - I use this, - uh, - Toshiba one terabyte hard drive I used on my last trip to the Philippines, - and it worked out fine. - You just have to be careful about hacking it, - make sure it doesn't get bumped or dropped because its not as tough as something like what - I have on the screen. - The lacy, - rugged hard drives. - That's what I took to India into South America. - Those are great hard drives. - They can withstand drops. - They can withstand any sort of bag being thrown into the bottom of an airplane or whatever - . - Although I do suggest carrying whatever hard drives or equipment with you as carry on items - because you don't you never know. - People steal things all the time looking through checked luggage. - So you gotta be careful about that. - Um, - and just make sure you have enough size, - you know, - terror by hard drive. - Now it costs me about 80 bucks at Best Buy. - Before I left a terabyte two years ago, - probably something like this probably would cost two or three times that amount. - 203 100 bucks. - And it has the USB 3.0 plug to it, - which is awesome. - Um, - and I really suggest highly sing. - Just getting something with that doesn't need an external power source is the one that - doesn't need a pulling a plug. - And then you plug it into the wall. - Something like this. - You can just carry around if you have your laptop. - You know, - charged Utkan transfer photos in the middle of the jungle if you need to. - So I think bringing an external hard drive is the best option, - but you're also going to need a computer with that. - And there's different couple. - There are a couple options. - Were computers you can bring your own, - or maybe where you're going, - that my have computers that you can use. - Most airports have computers that are available for use. - Even hotels and hostels might have some. - They might charge you a little bit or going to an Internet cafe. - It might be worth it to do that rather than bringing a laptop, - because the things to consider the weight, - the space that it takes up space that you could use toe, - bring back souvenirs and then having it on your mind. - I know when I bring a laptop traveling, - I'm just always worried about it, - worrying about it, - getting hit, - breaking down. - You know, - I used up one. - I don't think that I didn't think there was an Apple store in the middle of India, - and, - uh, - but I took my Apple Mac book pro, - uh, - hoping that I would last and it did. - But you never know. - And then you also become a target for thieves. - If you do have a laptop, - especially given nice laptop so really, - pay attention to where you're transferring your footage. - And don't leave your computer out, - you know, - open somewhere, - transferring for an hour or two. - If it takes that long, - you don't want to get anything stolen, - but I really highly recommend backing up your photos because you never know when your - camera's gonna break if your memory card gets erased accidentally. - Quick story in the Philippines is both uncle Were traveling were in Palau one. - It's a small province with has a bunch of small islands and we're staying on with swinging - island. - And we left from Carone town on an island hopping tour were traveling on across the bay and - the ocean toe Always approach islands on this little boat and way got to one of the islands - and you have to actually, - you know, - get off the boat. - But you're still in the water, - you know, - if your feet and as is both uncle was walking across the water to get to the shore, - he fell and his camera fell in the water and, - uh, - you know, - luckily enough, - we quickly took out the battery, - took out the memory card, - opened up the camera, - all the you know, - the battery door and the memory card door, - and we left it open for a few hours and it ended up working. - But, - you know, - he could have lost all those photos and you could have lost his camera. - So you never know when you could potentially lose all of your memories that you have - captured through your camera to just be careful and backup. - Often, - that's all I have to say about backing up your photos. - Identification an entire lesson to it. - So I hope you get the point that it is important if you can do it online. - Even better, - you don't even have to worry about it. - And you have. - You can access them from anywhere in the world. - Thank you so much. - Check out video school, - online dot com, - firm or tips, - tricks, - tutorials, - all about photography, - video and more. - And have a great day right 8. Where should you travel?: - and welcome back to an exciting lesson in the art of travel photography course on Philip - dinner. - And now I hope you're getting used to this class and you can see where it's going. - And hopefully you've learned a lot already. - So in this lesson, - we're gonna talk about where are you traveling to? - Because it really depends on a lot of different things where you're traveling and being a - tire for in different areas and different locations and different cultures. - It really differs in each of these locations. - So I'm gonna go through some of the typical locations. - The typical vacations on. - Just talk a little bit about them, - talk about the things you have to be aware of. - And, - uh, - yeah, - so let's get to it. - Um, - well, - the first things you have Teoh discovered find out is is it going to be a rural place or is - it going to be in a city? - And here I am in France, - in front of the Arctic tree off. - And then on the left right side, - It's a photo from PCI lay move in Chile, - which is a small surf town down the coast of Chile. - And it was I mean, - it's not in the middle of the jungle or anything, - but not too many people there. - And no big grocery stores or departments stores where you could get backup equipment or - things like that. - So the differences in terms of photography are like it's mentioned, - the availability of getting equipment. - Or if the extra batteries, - Or if you need to buy a hard drive to back up your photos or anything like that, - Well, - that's the first thing. - The second thing is, - will there be power there where you're living? - Probably. - I mean, - most places nowadays, - unless you're backpacking through, - you know, - the forest or something. - We'll have power sources where you can charge your batteries where you can download your - photos to a laptop or whatever, - but you never know. - So those things are things you have to take into account. - The other thing is the type of photo that you're going to beginning in a city. - You're gonna be looking at a lot of, - uh, - well, - city urban type. - Photographs were gonna be foot photographing famous monuments wherever you go or - architectures gonna be photographing people in those locations in a more rural setting, - you're gonna be looking at a lot of landscapes, - You know, - a lot of nature. - You know, - wherever you are, - if you're on a beach, - in in the mountains, - in the desert, - there's gonna be less people, - and you're gonna be more focused on landscapes, - which is a huge part of travel photography. - So let's go through a few of these cities that I've been to and talk about the differences - in terms of location. - So the training fountain? - Rome, - Italy. - Rome is a great city for photography. - You basically like I said, - it won the previous lectures. - I walk around the corner and there's something new to see. - When I went there for the first and only time when I was studying abroad, - I was staying in a hostel with my girlfriend and we literally walked everywhere. - We walked from the hostel, - which was by the train station all the way to Vatican City to see the Sistine Chapel in ST - Peter's Square. - And literally like every day we had walked past the Trump the fountain, - which was crazy, - like you see these famous monuments and they're just among the people among the buildings - and, - you know, - you can even see here that surely founded the buildings right next to it are, - you know, - modern in turn, - compared Teoh trouble fountain on there, - just standing right next to it. - So it's really cool. - Really cool combination of, - uh, - you know, - old architecture statues, - things like that. - And then the new just intermixed into one giant great city. - So a lot of pictures that I took there were of like, - you know, - the troubling fountain of the Coliseum photos that have been taken millions upon millions - of times. - And it's always great to kind of try something new to get a new angle from the of these - famous monuments. - Sometimes it's hard, - and sometimes it's just great to have the photo, - even if it's the same photo that you saw in the magazine just for yourself. - Just toe. - Remember that you've been there. - You took that photograph. - Eso Rome, - Italy. - You're gonna be walking around lots of tourists. - And so you know, - touristy areas. - You also have to be careful. - There's pickpockets. - There's people that are going to try to take advantage of tourists, - so you have to be careful of your belongings. - But for the most part, - it was a great safe city, - India. - I went to Mumbai first when I went on a month long trip to India and India is a crazy - country and there's a lot. - It's so fast paced there. - So many people. - It's really crowded and not as many tourists as, - say, - Rome. - Um and you know, - we were, - You know, - it's so the same way that the Coliseum and Trouble fountain and the Sistine Chapel orders - mixed within the city of Rome. - You know, - you go to India and you'll walk into a nice brand new mall on left, - and then you got into the street and there's people baggers asking for money and the - streets. - The infrastructure isn't that great and their slum houses like, - you know, - in the little alleyways. - And so it's a really different vibe than a modern European city, - but it's great for photography as well. - So we're gonna get that more, - I guess, - really urban, - just like I don't know, - just it's a different culture in here. - You're going to see different types of people that can be really interesting as well. - But of course, - you just have to be again. - Be careful. - There's not as many tourists, - so you know, - if you come from, - you know another country you're going to stand out, - so you just have to be careful. - Geneva, - Switzerland. - Back to Europe. - The difference between Geneva and a city like Rome or Paris is that Geneva is a little bit - smaller and it's not as touristy, - but it's hyper modern, - you know, - everything is clean and pristine, - the buildings are great and it's really safe compared to a lot of other cities. - Eso That's one type of vacation if you want. - If you're going to a place like that, - it's gonna be great. - And you won't have to worry about finding out places to get WiFi or to plug in your your - camera are or charge your batteries. - And there's still lots of great things to see. - Any city in the world has great things to see. - I believe that. - Or you could go the island kind of more rural style if you're going to the Philippines. - Uh, - Hawaii. - I don't know if it's so rural anymore. - I think there's a lot of people pretty much everywhere. - You know you're going to Costa Rica, - Dominican Republic, - any of these islands in the middle of nowhere It's a completely different experience. - You're gonna have to deal with sand getting in your camera, - the water being right next to you on. - So you just those are things you have to be careful of. - That same time, - you're gonna get great photos of the island lifestyle like this one that we took in Malcolm - polio, - which is an island about the size of you know, - It was probably a mile long, - but by my also maybe one square mile if that and no buildings. - Just a couple shacks. - I don't There might have been a little bit of electricity from a generator, - but you're not gonna be able to charge your camera on this island. - You can go tracking if you're doing some sort of backpacking mission such as going down to - Patagonia. - Yet at the south of Chile or Argentina, - Um, - this is a different type of travel. - My friend did it for a month. - He was in Santiago, - but they took, - like, - three or four a week trip down south. - And he was basically just backpacking, - staying with random people that they met. - And, - uh, - you basically have to carry everything on your back. - So you know for this. - You just have to be careful about what you're bringing. - He didn't bring his laptop on that trip because he didn't wanna have to carry it, - and he didn't wanna have to worry about it. - So that's something that taken the account. - But all these places there so exotic and so far and you know, - most people will be honest, - Can't go that far. - It's not feasible. - And, - you know, - I'm very lucky in the position that I've been in. - You know, - I'm lucky to have gone to a great school and to have gone in a job. - Even in tough economic economy of today. - In the past couple years, - I've been able to save money, - pay off loans and also travel. - Um, - so I do realize that I'm really lucky in that way. - And you know, - if your you're married and you have kids and a lot of debt or you're paying off a house or - , - you know, - doing things that most normal people have to deal with and you can take a trip to knock - Apulia in Philippines, - not a problem. - You don't have toe go that far to get great photos, - For example, - for me living in Los Angeles. - It's, - Ah, - blessing. - And I realize not everyone lives in a place like this where you can go to all these - different regions but on get different types of photos. - But I think in most places you will have different areas to take different types of photos - . - I can go camping in Joshua Tree and get great sunset photos, - Joshua Trees and Desert life. - I can go down the Pacific Beach in San Diego, - get the ocean kind of atmosphere in Pacific Beach is a great place to take photos. - There's lots of interesting people hanging out on the pier and on the boardwalk on, - and lots of beautiful things to see down there there as well. - I can drive up to Big Bear in an hour and get the snow, - and you know, - the mountains and the trees and the animals that live in that environment. - And I could go to Hollywood and get the urban Los Angeles feel get interesting photos of - the Hollywood sign if you want. - She maybe see a star, - too, - and so it's pretty awesome that I live in this area where I can go to so many different - places. - I get so many different types of photographs, - and so you just have to really look in your backyard. - And then, - if you know you live in a town that you know small town and you can't get to these places, - you always try to take photos of people. - And you know, - this is kind of blurring the battery of what's travel, - photography and what's not. - But I do want, - you know, - talk a little bit about taking portrait's of people because even if you're from the town - and you don't consider it to be traveling, - the people that are seeing it on your blogger on your website or wherever you know my think - it's interesting and they might concert it travel but as well. - And you know, - people are interesting. - Taking pictures of people are interesting. - I'm gonna have a whole chapter dedicated toe taking pictures of people in other countries - as well as our own and how to do that properly. - But it's something Teoh consider when you're thinking about taking photos. - So that wraps it up for this lesson where we talked about all the different types of places - and I haven't even covered most of them. - I covered probably 1% All the places that you can travel. - I hope you get the picture. - And you're kind of inspired about where you can go. - And I hope you start planning your next trip. - Eso Thank you for watching. - And until next time, - have a great day. 9. Travel Safety Basics: - everyone. - Welcome to another lesson in the art of travel photography. - An important lesson today. - We're talking about travel safety, - so welcome and let's get started. - So a major thing when you're traveling with photo equipment or any traveling anywhere with - anything, - it's to be careful about your your things toe. - Be cautious of where they are. - Absent stories to tell. - So basically, - travel safety basics is lock your bags. - Um, - I tried to keep one of these, - you know, - travel locks, - that is TSA friendly. - What that means is TSA at the airports. - They can actually unlock these types of locks, - but because they have, - like, - a master key kind of thing, - because you know they're allowed to check our bags and what not, - But it's really difficult for anyone to you get a look into it, - and it's just a deterrent. - Teoh Potential thieves. - Watch your bags. - Um, - this is a big one. - Like, - wherever you are, - just make sure that your bags are in your sight of a story to tell about my poor friend - Cory. - While we were traveling in Europe when we were studying abroad, - we were all we had two weeks off in school to go shoot our documentary. - So there were 19 of us students and we were all split up going all over the place. - And Corey was making a documentary in Croatia about organic farming. - And he went He spent few days with this farmer, - got lots of footage and was, - you know, - coming home. - And he was taking a train through. - I believe it was Amsterdam and yeah, - to camera bags. - And one had a really nice Panasonic camera, - Um, - and all of his footage in it and he said them down, - was on the phone and was like looking around a train station. - He must have turned the other way. - So we came up, - stole the bad with his camera with all of this footage and ran away, - and Corey couldn't catch him. - He couldn't get the bag back. - They lost all of that footage and he lost the camera and he ended up going to school like - thousands of dollars for losing the camera. - So, - you know, - even if you're in an airport or a train station, - don't fall asleep with your bags, - um, - next to you, - unless they're, - you know, - literally locked to your belt buckle. - So just be really careful wherever you are, - then use camera straps. - I've heard a lot of stories about people taking pictures of something, - and someone just come by running by grabbing the camera and leaving or their phone or - whatever. - Eso won deterrent. - That is to just have a camera strap. - If it's just a restaurant, - that's fine. - Having arrived at risk, - I have, - ah, - you know, - neck strap that goes around my neck that I always wear, - especially when I'm walking around a place that I don't know when there's, - you know, - when there's not a lot of people and when there's a lot of people because with big camera, - you stick out. - Another thing to be wary of is having someone else take your photo. - Um, - I've actually noticed in certain places that are heavy with tourists. - You know this people. - Actually, - there's a scheme worse. - People will ask to take your photo and they'll run away with your camera and they know the - streets and everything. - And we heard a lot about this in Rome, - where people you know the locals will come and, - you know, - see you trying to take a picture of yourself or you and your family or whatever on let's - say you want me to take your picture and then they will run away with your camera. - And so, - um, - I know I sound really paranoid, - and actually, - I'm not too paranoid compared to most people. - But there's certain things, - like camp my camera and traveling that paranoid about so watch out for you know, - people that are, - you know, - very willing to take your photo for you. - A safe bet is to look for other tourists who are taking photos because while most likely - they have a camera there taking photos, - too. - Um, - and then another thing is, - Sometimes when you're taking pictures and someone takes a photo of you for them, - they'll expect a tip. - So you know, - if you want to them, - that's great on. - That's more when there's, - like locals that happened at the Trevi Fountain. - Actually, - there were people will and take pictures of you, - but they expected a tip. - Another option is to use a disposable camera, - and I actually bring disposable cameras on all my trips for moments like that, - where a little wary of you know who's taking my photo? - I don't wanna hand over my big camera, - not only because I don't want to get stolen, - but because there's it's, - You know, - the settings are crazy and it's really hard to use. - So just bring a disposable camera, - and if you lose it, - that's fine. - But who's gonna want to steal? - It's disposable camera anyways, - so those are my main safety tips. - Just be cautious of your surroundings. - No, - don't go out at night by yourself. - I have an idea of where you are so you don't have to be carrying a map around because that - makes you look like a target. - So before you go out, - you look at your map, - have a plan and just be aware of your surroundings and you'll be fine. - I've never had a problem with my personal stuff, - but I have heard horror stories firsthand. - So it does happen that they were watching. - Be careful out there. - We'll see next time 10. Learn the Manual Settings: - everyone, - Welcome back to a new section in the art of travel photography. - Today we're going to be talking about enhancing your travel photos, - and in each of these lessons, - I'm going t o be talking about one way in which you can make your photos better than a lot - has to do with knowing your camera better knowing how to use your camera better and so get - excited about the next few lessons. - And you might want to take out a pen and no pad because there's a lot of things that I'm - going to be covering. - And I'm going to try to cover them in an overall kind of way so that it's not specific to a - type of camera or a type of photographer or anything like that. - But rather it's an overview. - And so if there's anything that I'm not clear upon, - though, - please email me a message. - Me and all cover anything else you need to know in further death. - So today we're gonna be talking about learning the manual settings on your camera, - and how will this enhance your photos? - Well, - basically, - when you're using the auto function on your camera pretty much every new camera has auto - functions. - It's basically acting as if it knows the environment, - and a lot of times it It does a decent job at getting the exposure right, - which is the exposure is how bright or dark your photo is. - And so, - using the auto settings, - it will basically through the viewfinder. - It will act like you. - It will look out and see what is in the view and determining. - If it's too dark, - it will try to brighten it up. - It was too bright. - It will darken up the photo. - But sometimes you know that's not exactly the best option, - because maybe something's dark that you want make you want to keep dark on. - So you have to switch over to the manual settings to learn how to do that. - So there's a few things that we will be covering in this lesson about exposure, - white balance and focus things that you should know how toe do manually and a few of the - things that will help with exposure are knowing what shutter speed is, - what eso is an aperture or also known as the F Stop. - As you can see here in this image, - this is the back of a more high end camera, - but you might see something like this even in a point and shoot camera. - Um, - probably not so much in camera phone or something like that. - But up at the top. - You see this one over 2100 and 25 that is the shutter speed. - And basically, - was that saying, - Is that the way a shutter works? - Is it in the old cameras? - It was actually a door. - So in a film, - cameras similar to like a door that would open and close, - and it would let a certain amount of light. - Um, - so one over 125 means that it's 1 125th of a second that that door, - one quick door would be open. - Eso if it's Sonnier outside, - then you will want a low, - higher shutter speed because you want to let light less light, - and we'll talk more about that in a second uh, - F 16. - You see that that is the F stop or the aperture, - and that's basically how wide are small your lenses and so on a SLR camera digital SLR - camera, - like the Canon seven D or five D or Nikon D 3700. - Whatever you're using, - the lens is actually have an aperture a mechanical aperture inside that opens and closes to - let more or less light in. - So let me, - um we're I'm gonna talk more about this and illustrating a second and lastly, - I S o u C I s 0 100 eso is basically how we used to use the term how fast it is in terms of - actually using film. - And you could purchase film that had I s 0 102 104 108 100 even up to 1600. - And the higher the eso means the darker you can take photos of the darker places. - You can take photos because the higher S s so basically allows more like to be used and s - so you can see things more clearly in darker areas. - So a nice so of 100 is a good I s O. - When you are taking photos outside where it's sunny, - the higher the eso also means that you will have more grain in your photos because it's - basically one of the ways to allow you to have photos and darker areas is by adding grain - on its basically just the digital way that it well, - Brian in a pure image. - But the downfall is that you get these grainy photos, - and that's the same with film as well as digital. - So, - shutter speed. - Let me just illustrate this a little bit more, - actually. - Here in this image, - you can see inside of the camera. - It has a sensor like in the middle, - and that is what is reading the light as it comes into your lens and actually capturing the - photo. - And so on. - Digital cameras. - It's basically digitally, - digitally saying, - I'm going Teoh the cameras, - saying, - I'm going to capture light for 1/60 of a second or whatever it is. - So I'm going to take you over to my chalkboard over here so we have shutter speed, - which is really important. - Um, - and you'll see different ones. - If you go into your men, - you even on point and shoot Camera isn't even on camera phones. - You can download APS that allow you to play with the manual settings. - Typical. - Sure, - speed is 1/60 uh, - or higher so you can go higher to take photos. - Where it's dark where it's brighter if you go below 1 62 like 1/50 or 1/31 over it. - 20 you're going to start to have problems with camera shake because, - uh, - the longer your shutter is open, - it means that it's capturing for a longer time. - And if you're holding the camera like that, - if this was my camera and it was capturing for 1/30 of a second in my captured that little - wiggle that is in your hands because your hands are perfectly steady and so especially you - can you know you can increase your shutter speed to one second to second even longer if you - want a really long exposure, - like at night time or something like that to let in more light. - But you have to put it on a tripod or somehow stabilize it because of your holding. - And like this and the shutter speed is faster than 1/60 of a second, - you tend to have some sort of camera shake, - and it will end up. - Your image will end up blurry, - so make sure the thing to remember, - and this lesson is 1/60 is your ideal shutter speed or faster. - So 60 has to be a bigger so 1/61 over 80. - I mean, - some of these cameras go upto over 2000 or even higher. - Let's get back to our presentation. - Um, - so I s so I started talking about this. - Basically, - I eso is the speed of the photo of the camera. - Um, - you consent it auto, - and it will automatically adjust the eso to a certain level. - But just for you to know when you're outside and taking photos, - keep your eye. - So from 100 to, - you know, - 200 of its really bright outside, - you shouldn't have to rated up above that. - Um, - if you're indoors, - you can raise it to about 800 without getting any grain. - Depending on the camera. - That will really help you out. - When you are taking photos inside, - it is really dark, - and I mean really dark in the sense that even in this room in my garage, - I might have to raise my I s o to something like 800. - But if it was at night time and I only had a couple lights overhead to see anything clearly - you might need to raced up to 1600 or above, - if that's an option. - But that will add some grain to your photos and, - you know, - might make your photos not as clear and sharp as you you would like. - So that's I s O. - So as I talked to you before, - aperture, - um, - it's basically your lenses actually opening and closing on the left. - You will see a large aperture on that will be letting in more light, - then the ones in the middle or the right medium and the small apertures. - And so this is a way to combat how bright it is. - So if it's really bright outside, - um, - you will want a smaller aperture. - Uh, - but at the same time, - it's confusing because the smaller the number of the f stop means the larger the aperture. - And so you just have to remember, - the smaller the F stop means that you're gonna be It means that you're gonna be letting in - more light into your lens. - And so the smaller the aperture is for when it's darker, - if you need that. - So one of the first things I do when I'm playing with my manual settings is to set the - aperture because if it's really bright outside, - all raise it upto, - you know, - 18 22. - But if it's really dark outside, - I'll automatically turn it down to, - you know, - a lower F stop 2.84 point. - Oh, - some lenses don't even go down that low. - Some lenses go down all the way to, - like 1.2. - And so even on point and shoot lenses, - they have this option. - So let me just illustrate that for you guys so that you can try to remember. - So we have our s stop, - which is also called Aperture. - So you have stops like 1.2, - uh, - two point a, - uh, - four different ones like, - uh, - you know, - all the way up to 8 16 22 And, - um, - the smaller the aperture equals more like more like it's coming in, - and the larger the aperture is less light. - That's because the actual lens is smaller. - So here's the lens. - A small hole is the lens with big hole with these smaller numbered aperture settings. - So what do we do with all of those? - And how do we use those three things to enhance our photos well, - First, - I automatically set. - I usually set my aperture first, - and I usually like having a lower aperture because another thing with aperture is that the - lower the APA term gives you mawr depth of field, - so there's gonna be more blurriness in it. - So if you want to take a picture of something close up, - it's gonna focus on whatever's close up and behind it. - It's going to be blurry. - If you have an aperture of something like 22 Mawr of your image is going to be in focus. - And so that might be really good for landscapes. - Are architecture where you wanna have everything in your image in focus if you're like, - further away from something. - But if you're taking close up portrait, - it's or still life shots of something closer to you. - It's nice to have that depth of field that blurriness behind your main subject so usually - set my aptitude lower to start out with. - Then I'll move toe eyes. - Oh, - I So I also tried it. - Teoh set as low as possible. - So if I can, - I'll do that 100. - Really. - A rule is just for I so stick to our low you can do it, - you put it. - You can see you can test it out. - Put it at 100. - Take a photo. - It's too dark. - You can raise it up. - If you're inside, - you'll know that you'll have to raise it upto you know, - 800 or above. - So if I'm inside, - I'll just automatically set it at like, - 800 and go from there. - And then shutter speed is really what I changed on the fly. - And so when I'm looking at something when I'm walking around the city, - I'll be ruling the shutter speed up and down from 1/60 of a second upto 1 2000 of a second - , - depending on how bright or how dark it is again, - 1/60 of a second will let more light in, - and so you can use that setting. - When it's darker outside on one to thousands of a second, - it's letting in a lot less light. - So that's when it's super bright outside when you're at a beach or, - you know, - out of nature and the sun is shining, - eso first. - Also, - the aperture dental set the I. - So then I will set the shutter speed and the shutter speed is really what I play around - with when I'm shooting, - because I know it's confusing and a lot of people asked me a while like there's so many - things, - like how much? - How do I know what to change when I'm going from place? - A to B, - Taking lots of pictures in between. - Well, - I said, - I usually have standard settings for inside and outside, - so I already know those I'll keep my Apertura, - usually at a lower aperture, - unless I'm taking photos of a landscape or something where I want everything and focus, - I so try to keep its lowest possible. - That's the rule and then shutter speed. - Oddest change whenever, - however much I need it to all change it unless I go below 1/60 of a second so longer than - 1/60 of a second. - And if I do that, - if I ever do that, - I'll try to have it on a tripod or something stable so that the camera is still. - While it's taking that picture for 1/30 of a second or whatever it is, - this was a really tough lesson. - I know, - and it's really confusing. - When I first started learning about aperture and shutter speed, - and I s so I was getting them mixed up. - Aperture is so confusing because the number doesn't correlate really with how big the lens - is going, - cause the smaller the aperture means the larger the actual lenses opening. - So it's really confusing. - It took me multiple years to really get a grasp of this, - and so I don't think you're going to get it right after this lesson. - I hope that I help you, - and I hope that I taught you the basics. - But really, - you just have to go out and play around. - So go out with your camera and your lesson. - Your task for today is to go out with their camera, - turn on the manual settings and then play around with these settings, - turn up the shutter speed and turned down and take the same photo and see what the - difference is. - Change the aperture. - See how much depth of field there is when actress that at 22 in the apertures set up for - see what the difference is and I s o go in a dark room and set set your eyes so all the way - up toe You know 1600 or 3200 or whatever it is, - goes to Max and set it at 800 or below and see the difference in terms of how reindeer - photo comes out. - So that's your task for today. - Thank you for watching if you have any questions, - which I'm sure you will After this lesson, - please let me know. - Send me a message or visit me on video school online dot com. - Thank you for watching and have a great day. 11. Working with RAW: - Hey, - everyone, - welcome back to another lesson in the art of travel photography Today. - We're continuing our section on enhancing our photos, - and today I want to talk to about raw R A W. - You might have seen this. - If you've looked up photo photos online and retire feet, - Bligh's you'll probably have seen it. - And not all cameras can shoot in. - Rob. - A lot of the DSLR scan on high end models can. - Basically, - this is a setting that you can select so you might have heard of J. - Peg. - That's very popular type of image. - It's basically a type of file that you use, - but it's very compressed. - And so a raw image. - Uh, - it is actually the full capability of your photo of your camera so it uses everything that - got it has and gives you the most information per image taken. - So A J peg. - If you're just using on here in this image, - you see L and assets large, - medium small on This is the quality settings, - and below you'll see raw, - and then you'll see raw plus l and S with those different things means, - uh, - is L M s. - That's large, - medium small and it's just basically the file size, - and so it will increase. - A large JPEG is the highest quality J peg that you can shoot. - Medium is a little bit smaller and smaller as the smallest, - so if you want to take a ton of photos on, - you don't care about really editing them at all. - You can shoot in jape jest, - gaping. - If you want, - you can just shoot in raw, - which on this image rise just selected above it. - You see raw plus M. - R. - Ellen S. - And that means that each time you take a picture, - your camera will save it as raw and as a J peg. - So the pros of a J peg is that it's really small, - and each photo is only a couple of megabytes. - If that, - um, - and you'll be able to save a lot, - you can store them. - You can transfer them really easily. - A raw image, - depending on your camera, - might be 20 megabytes or or more, - and it takes a really long time to transfer them, - and it takes up a lot of space storing them. - But I always shoot in raw, - you know, - no matter what I'm doing because usually I edit my photos a little bit, - and basically raw images give you more information. - So when you take a picture, - it's capturing mawr of the dark cup dark parts, - more of the bright parts so that if you want to edit those, - you can. - If you're editing a J peg, - you're not going to be able to bring out a lot of information in the dark's or in the - brights. - And let me just show you what I mean, - rather than try to explain it. - So this is an image that I took in Joshua Tree, - and I'm using light room right now, - and I'm going to be going over this program in future lessons on how to use it. - But for now, - I'm just going to use this exposure slider right here. - And this is like I said, - this is the image how I took it. - This is how it looks raw. - So the rocks I set the exposure except the aperture and the shutter speed on the ice so so - that the rocks would be a silhouette and the sky would be this nice, - bluish turning into an orange color but look like magic. - I can increase the exposure and look at all this information that is being uncovered. - I mean, - it's a completely different image you have. - You can see the details of the rocks and the trees and well, - now, - since I increase the exposure, - the sky is too bright. - But it's really crazy. - I can go the other way. - So here's how it is back at normal. - This is how I took it. - I can decrease it and you get even more detail in the sky. - Of course, - there's not many details in this guy to begin with where you get this mawr draft dramatic - color transition from dark orange and red to dark blue. - You know, - I could go all the way down, - but isn't that amazing how much information is saved when using the raw settings? - If I shooting Justin J pegs, - this wouldn't be possible. - I wouldn't be ableto edit a photo and bring up these rocks so that you can see them. - And the use of this is when you're shooting something inside or you're shooting inside a - room where you're sitting somewhere where it is dark, - you're able to edit the exposure of your photo so well so that you don't even have to be - close to the right settings when you're actually taking a photograph. - Eso is really amazing. - Um, - a lot of cameras don't shoot in Ross. - So it is only with the hiring models. - But if you have a higher end model, - use the raw settings. - Let me just show you this one more time. - This is how I took it. - Dark silhouettes. - You know, - you wouldn't know what is down here except using raw. - I can bring up those colors and the brightness that's as bright as it goes. - But there you have it. - You can see the details of the tree, - the rocks, - the hills back here. - Really, - really amazing. - So always shoot and rot if you have the capability to. - So that's it for me today. - Thank you for watching this lesson. - Remember shooting rock and until next time, - have a great day 12. Getting the Right White Balance: - everyone, - welcome back to another lesson in the art of travel for tired feet. - We're continuing our section on enhancing our travel photos and talking a lot about using - the manual settings to make sure that when you take the photos, - they're coming out the best that they can be. - Today we're gonna talk about white balance, - and it's one of the easiest things that you can know how to do to make your photos turnout - right? - Have you ever had that problem where you are using your point and shoot camera and or your - phone and take a picture and it looks blue? - Are it looks really red. - That's a problem with the white balance. - And you get that even when you're you know, - you use auto white balance and camera tries to do the best that it can do. - But sometimes it's just off. - And so the typical settings that you have in, - uh, - your camera mode that you can use our auto daylight shade cloudy, - a custom flash white fluorescent lightbulb in tungsten bowl, - and you will get these usually on most point and shoot cameras and all DSL, - ours or something similar. - And these are your cameras. - Uh, - this is your cameras. - Way to try. - It's still kind of auto, - but it's, - um, - different setting. - So if you're out in the sun, - you should use the daylight. - If you're in the shade, - you should use the shady mode, - and that's just a nisi thing to do. - Just that. - Quickly change the white balance as you're walking around taking photographs. - You can even customize your white balance by putting a white piece of paper in front of - your camera, - selecting the custom mode, - and it will use the daylight or whatever. - Light is hitting your white piece of paper and will make that wait because white balance, - what does that really mean? - It means that if there's something white in your image and take a photo issue, - look pure white. - It should have a blue tent or yellowish tint. - It should be pure white, - and so in daylight, - your white should look white. - It shouldn't look yellow at all. - In shade issue. - Look white and when it's cloudy, - should look white no matter what. - Why, - it should look white. - That's what white balance is. - Here's an example that I found online from Foot tap photography masterclass dot com. - They have this image of a flower and they show us the different settings and how it looks - so automatic white balance. - It looks, - uh, - you know, - pretty nice. - Actually, - you have daylight, - which is also, - you know, - a little bit more natural, - white, - the white really look perfectly white, - shady. - The white flour looks somewhat yellow, - Same with cloudy. - Looks somewhat yellow fluorescent. - It's can totally off. - It has his blue tint to it. - An incandescent tungsten bull, - which is your standard hostile. - Liable. - Uh, - it looks a little blue as well. - And why does it look like this? - So for shady is trying to balance out the blue of shade because when you have shade, - it's naturally going to be have a bluer tone to it, - then yellow are warmer temperatures, - so it's gonna be a little bit cooler. - And so when you select the shady option on your camera, - it is basically adding yellow to your image to offset the dark or the blue cool colors of - the shade. - Uh, - same thing with cloudy clouds. - When it's a cloudy day outside, - all the colors are gonna be a little bit more cool than if it's perfectly sunny. - If you look outside and it's sunny, - things look warm and vibrant, - and we'll have a little bit of a yellow tint to it. - Maybe, - um, - where is cloudy? - It's gonna be bluish, - And so when you use the cloudy setting, - it's going to add yellow to it to offset the blueness of the cloud for fluorescent and - incandescent tungsten bulb. - It's the opposite effect. - So for incandescent bulbs, - you'll know that in your house those bulbs are really warm on. - It creates this is yellow look, - and so selecting that tungsten setting for white balance will add blue to it. - And, - as you can see here, - overcompensates and it makes the images look bluish. - And so for this one, - I would say the daylight or automatic actually are the best. - Daylight is probably the best, - because in the Simmons you can tell that the sun is shining down on these flowers, - but auto comes very close to it. - Let me show you an image of mine from Joshua Tree. - This is another one. - I shot this, - um, - using auto white balance, - and you can tell that it's auto because it's a little bit too blue. - Um, - it's getting light from the sun, - but it's also getting light from the shade of the rocks over here. - And it probably was using the light from the sun Teoh Auto White Balance. - But really, - in fact, - my girlfriend here is about is in the shade, - so it should be a little bit warmer. - So if I do in life room, - you can change the white balance easily. - By going through, - these options will try auto, - and as you can see it, - Ari warms up quite a bit and her skin looks more natural. - So you can see here that her skin, - it's natural tone. - If I you if I go back to as shot, - it looks a little bit blue on. - I don't like that, - Uh, - so we can also try some of these other ones. - Uh, - daylight. - Again, - This is more natural than, - uh, - how it was shot. - It's a little bit more blue. - Cloudy will allow. - Add a lot more work through it, - and that's really nice to cloudy. - And shade are very similar, - actually shade as a little bit more warmth to it. - As you can see here, - this is shade. - Tungsten, - you'll see, - is completely wrong because it's saying it's adding so much blue to combat the orange - tungsten lights or yellow tungsten lights, - and same with fluorescent adds this blue to it. - Flash is another option that your cameras might have, - and actually for flash, - it doesn't look too bad. - You can also customize your white balance. - Eso if this is if I change this toe as shot, - I can change the color temperature from something cooler to something warmer toe ad, - more yellows and to make it look more natural. - So something like that looks really natural. - The rocks that look the right color, - she looks the right color of the sky looks the cup right color. - If it was something really off like this, - you know, - you know that something is wrong because rocks aren't blue in nature and same even if you - go too far, - she looks a little bit to orange to yellow, - and I know that's not what she looks like. - So something right about here is good. - We'll be talking more about how to use light room and all these features in the future, - but for now, - that's what you should know. - So that is it about white balance. - Make sure that you're able to use custom white balance that you just quickly change the - settings. - And your task today is to go out, - take some pictures set up at the same location and just take photos with this different - options for white balance. - I see how it affects your photo. - Thank you for watching. - If you have any questions, - please let me know. - And otherwise, - also you in the next lesson my 13. Stabilization - Tripods, Monopods, Or?: - everyone, - Welcome back to another lesson in the art of travel photography Today. - We're talking about camera stabilization, - something that's really important when traveling. - And I know it means bringing extra equipment potentially, - but it will enhance your photos will make sure that you can get great photos when you need - stabilization. - So what are our options while we're traveling? - Because we don't want to have to carry around something like this in the slide show a giant - stable, - uh, - stabilization rig like the man is wearing or, - like the other guys holding and those air more for video to make sure that they have stable - video footage with the steady camps. - But I think you get the point. - We want something a little bit more practical, - so one of our option is a tripod. - There's different types of tripods. - There's a standard consumer Tripodi here. - See here on the left you can perch that at any department store. - You can get one at best. - Buy for 20 bucks in the middle. - There's Mawr professional. - One has better legs and it can go a little bit higher. - Not one. - My costs around $100 from a store or you can even use one of these little I don't gorilla - tripods that can bend and maneuver in multiple ways. - This is great if you're, - you know, - hiking around and you just want to set up your camera and you can't really set up on the - ground. - But you can set up on a rock or on the ledge or something like that, - so that's a great handy thing to have. - So here this is my tripod that I use. - It's really easy to set up. - It has a plate right here. - Pretty standard. - Probably know how to use that. - These has little hook on the bottom. - We'll screw. - Offer cameras will have a little screw hole on the bottom that you can attach to try. - Pon. - Just make sure you screwed on tight, - not too tight, - but time enough so that wiggle at all. - Then with the tripod, - just attach it to the top. - Locking in. - Now I can set this up. - I can do group shots. - I can set my camera on timer, - which is really important when you're traveling and you want to take a picture of yourself - or your family or whoever you're with and you don't have anyone to take a photo, - Uh, - of U s. - So you can set this up and, - you know, - it's great. - You can even take long exposures. - In the first lesson in section we were talking about shutter speed and long exposures on - Guy said, - You don't want to have a shutter speed longer than 1/60 of a second, - but with a tripod, - you can set us up said at one second or longer. - And that's really great for night shots. - You're trying to capture the stars or a sunset even, - you know, - you said you can grow up on a tripod said it there. - So your camera shutter speed to one or 2nd 2 seconds, - three seconds, - like take button, - you know, - sit there for three seconds still, - so you get a nice, - clear image. - So this is a tripod, - and this is a really good awful like the outside is out of the three options I'm talking - about today. - It's the bulky ist. - It's the biggest, - and you might not wanna have to carry that around with you wherever you go and it makes it - , - you know, - again, - it makes you a target. - If you're carrying around a touristy place or anywhere. - They'll know that you're a photographer. - That you have nice with. - The next option is the modify. - This is one of my favorite tools. - There's different types here on the left. - You see one that has legs at the bottom, - actually. - So that helps you stay stable on then? - The one in the middle on the right. - You see, - it's similar to this one. - It just has one leg that you stick in the ground and you can't really? - Well, - obviously that you can't just leave it there, - uh, - standing by itself. - But it really helps when you're taking photos, - and it really helps you set up, - and it keeps your arms from getting too tired. - So what I do is just believe it out, - like so taking out, - like so again, - it has a screw. - That's the same hole that's underneath the camera. - And now what time all run around with my camera, - like this, - or with my legs collapsed like this. - And then I'll be walking around with my camera with my strap on my head for protections. - And no one can just grab my camera and run away with it. - And then I will. - When I see a shot, - Just drop the legs out. - We'll take my time to set up a shot. - This the Martin card allows me toe you have more points of contact with the ground, - so that's more stable. - So I have no, - only the mono hot, - but I have my arms also stabilizing it. - I could look at my settings like this rather than having toe hold my camera up. - You know, - these are you know, - of course, - it's not the worst thing in the world to have toe. - Look at your settings are holding your camera, - but it just helps. - And just make sure your photos ultra clear, - especially if you have a sure speed around 1/50 of a 2nd 1/40 of the second. - You can still you shoot like that with a model. - So that's another form of, - uh, - stabilization and one of the best for traveling. - I take my mama Potter wherever I go, - even on local shoots, - because it's so small I can fit this in my backpack easily in a suitcase, - and it's really light as well. - Last form of stabilization, - his whatever is available if you've gone traveling and you take a lot of photographs. - I'm sure you've tried this before. - Were said. - You camera on a railing, - set it on a bench or you lean up against a wall. - You know anything Teoh to stabilize your camera. - You're getting photographs, - and so one thing you can do is basically, - if you have a jacket or a towel or anything, - you can scrunch up your towel and put it on a surface. - So even if the surface is rocky or if you're on a hill or not straight, - you can still scrunch up your towel in certain ways to make sure toe level out your your - camera so that you can take still photos that are straight. - And so it's really whatever whatever is available, - like you see here are railing in. - Set your camera on a railing against a wall, - lean up against the wall, - and it's just good to have multiple points of contact with the earth to make sure that you - are more stable so your hands are relatively stable, - especially for photos. - But if you're leaning up against a wall, - or if you're leaving on a railing and you have a camera on the railing, - it's gonna allow your camera to be more stable and you'll get clear photos from that. - So thank you for watching this lesson. - All about stabilization. - Now you go. - Your task is to go out. - Purchase your stabilization for your next trip. - I think my top choice would be a mono pod for traveling. - You can also get a tripod if you need one. - They make super small ones. - A swell but model pot is the tar for his best friend. - Thank you for washing, - and I'll see you next time. 14. Using the Flash: - Hey, - everyone, - what's up? - This is Philemon or back with another lesson in the art of travel photography today. - We're talking about using the flash properly and how that can enhance your photos. - So, - using a flash, - it's really actually difficult because it's hard to get a good look. - Looking flash with just the little flash that comes from your camera usually creates this - bright glare. - If you're taking pictures of people, - it'll create red eye. - Eso is really hard, - but there's some things that you can do to make sure that when you are using fly, - it comes out great. - Another option is to use on off camera, - uh, - light or also known as a speed light thistles, - something that attaches to the accessories shoe on top of your camera. - If you have that ability and like I talked about before, - it has the ability to swivel around, - which is great because direct flash when you're pointing flash directly in tow, - you know your subject's face. - Whether it's actual people or your subject is building or a statue, - it's gonna create this really harsh light on your subject space. - Also, - harsh shadows created from that. - So whatever is behind your subjects going to be really dark. - Um, - and you might wanna have that, - uh, - actually in focus and lit in the background. - And so the ability to swivel your flash around, - pointing up at the ceiling or bounce it back against the wall behind you, - it creates a softer light because it's not directed bouncing off something. - And the reflection of the light is going onto your subject, - and that looks a lot better. - And also, - these flashes have more power. - You're never gonna be able to light an entire room with flash. - It's just not possible, - but you can get more power out of these little lights. - Um, - some tips on using your flash is Teoh. - Use it as a I feel like rather than a key light. - And what does that mean? - Your key light is the main life as shining on your subject and if possible, - hopefully your subject is around a light in the ceiling. - If there's the sun, - or if there's street lights or something else that is lining your subject and then use your - flash as something to fill out the shadows rather than to be your main source of light. - I know That's hard, - though. - Depending on where you are in a similar vein combined ambient light with the flash. - So if you do, - if you can move lamps around or, - you know have a balance card, - you know that's getting more intricate when you're traveling. - But just trying to have lights combined with your flash. - I use a diffuser if available, - and really, - anything will dio and let me show you some pictures. - When I was using the on camera flash, - I actually just held up a piece of paper in front of my flash on one of them and then a - napkin and from the other one, - and I think it looks a lot better. - So here is an image just in my parents house using the regular flash and you'll see that - you can see the glare of the flash right here in the bottom left next to this mask. - Um, - and it's really bright and the rest of its kind of dark eyes not that great. - Um, - uh, - Flash didn't work too well. - If I go to my next image will see the light is a lot softer. - So it does give this yellowish tint because I was using the flash, - and that makes the white mounts automatically to flash mode. - But by using the diffusion it you know, - it changes the White Palace a little bit and gives it more warm. - But you can always fix this when editing, - so it is a little bit war. - Let me go back and forth, - this one. - You can see this heavy reflection right here of the flash down here. - It's a lot more smoother in a lot more. - A lot better. - Here's another one. - Another sample of the direct flash and get this Claire right here on the chair. - It's kind of hard to see these things in the background. - Um, - it's kind of bright down here, - but up here, - it's kind of dark. - When I Addison diffusion, - it's just a softer light again. - It makes it more yellow, - but this glare is gone. - The glares on these camera these photo frames are are dampened, - and it's just a nicer look. - So even if you just have a napkin or a piece of paper to put in front of your your flash, - that can help out tremendously. - Another tip is to bounce the flash off the wall if you do have a speed light or an external - flash swivelling around, - passed up off against the wall next to you or behind you and see how that looks. - Another thing is to use the manual settings while using flash. - Um, - so don't just leave your camera on auto. - Continue to use the manual settings with your flash, - so turn your flash on. - But, - um, - by using the manual settings, - you'll be able to increase uh, - light coming from ambient sources as well. - Because when you're on auto settings, - the camera's settings are going to be the soul light source is coming from the flash on the - camera. - If you use manual settings, - you can set your your shutter speed and your eyes. - Oh, - and your aperture to allow whatever light there is from around you and that combines with - the flash of light. - So, - for example, - if I was using manual settings, - I would make sure that my eye so it was still up high at 800. - If you're like indoors, - you're our aperture is down to the lowest possible and that your shutter speed is around - 1/60 or 1/50 of a second, - so that allows us much like as possible without getting blurry, - but it also used flash in addition on. - Also, - use your direct flash outdoors if you want. - That's one time where using direct flash is fine. - You have a lot of nice pictures when you know the sun is shining, - but you want that create shadows on the face. - And so you want to make sure that the faces of your subjects or whatever it is are lit up. - You can use the flash, - especially if the sun is coming from behind. - Alright creates shadows on the face, - so use the flash to Brian that up and let me give you some examples. - So here's a good example of how indoor flash works. - Still a little bit heart a little bit harsh on my face, - but I was using the manual settings. - I handed off the camera to our buddy to take a photo. - Um, - and it came out nicely. - The Sharda Speed Waas low enough to allow enough light from our faces that and are closed - so that everything was lit up and not a direct flash, - no red eye or anything like that. - Here's an example of where I use flash outdoors s So here we are in front of tall a volcano - in the Philippines into Guy Tai. - We were here eating lunch and the background was so bright that when I tried to take a - photo without flash the foreground, - where my subjects are, - it was just too dark. - And so I used the flash to add light to the image. - So I used the ambient light from the sun and from the reflection of the water down here, - plus the flash to create a nice picture where everything is lit properly. - I can still see the background. - It's not overexposed or under exposed, - and our subjects are exposed so that we can see their faces. - So that's how do you use your flash properly? - I hope you enjoy this lesson. - Please let me know if you have any questions. - Otherwise I'll see in the next one 15. Journaling: - Hey, - everyone, - welcome to a quick lesson in the art of travel photography. - Today we're continuing our section on how to take better photos and have a better - experience Traveling. - One of the best things to remember is to somehow remember your photos, - because after a long trip, - sometimes it's hard to remember where a certain photo was taken, - what you were doing. - And so I always encourage people to use a journal or no pad to jot down notes about your - photos. - Use your smartphone. - Here's your computer. - Use whatever. - It's always nice to have a no pad. - It's that when you are done when you're done traveling your back home and you're looking at - your photos, - you can remember where each photo is taken on. - If there was any funny story about that, - so things to remember things to draw down for each photo is the location because I nowadays - I look back on my photos from my European travels when I was studying abroad. - There are so many pictures that sometimes I just forget where things took place. - I mean at the time when you're traveling and you know I'm in Lucerne and Switzerland and - I'm looking at these great statues. - You know, - it's so hard. - It's hard to imagine forgetting like where you are where But even a few years later, - I sometimes I struggle and I try to remember. - What city was that in? - Uh, - who was I with? - And so write down the location. - The time of day and date. - Why were you there? - How you got there? - What were you doing there? - Are there any funny stories that happened that day? - Or in that moment? - Things that you would probably forget? - But with your photo and with a memory written down, - you'll remember for a lifetime. - So that's it for today. - Quick lesson. - I hope you enjoyed it. - Bring a journal when you're traveling to write down all your photo memories. - Thanks for watching and have a great day. 16. Choosing a Great Background: - Hey, - everyone, - welcome back to another great section in the art of travel photography in this section - we're talking about shooting pictures of people is something that you'll undoubtedly dio - while you're traveling, - taking pictures of yourself, - taking pictures of your family, - of whoever you're with and also taking pictures of other people of locals. - Um, - and it's really a skill that is learned, - and and it's not easy to take pictures of people you've probably grown up on taking - pictures of your family at family occasions and birthday parties and stuff. - So you have that background, - but let me talk to you and give you some tips on getting the best travel photos with you in - it. - So today I want talk about choosing a great background. - It's the first up and choosing in getting a great photo. - You set up your background to get better. - Four grounds. - It's a mantra that I live by, - and here's a photo of my girlfriend and her dad in the Philippines and block I and the - background. - While it's hard to be a background like that, - you're in the middle of the ocean. - Uh, - warm water is crystal clear sea. - You have the trees lined up with the boats in the background, - people hanging out a zey great background. - You know, - there are some things that I wish were different about this photo. - I wish that the sailboat behind their heads was more over here with the rest the boats, - because now it's kind of distracting for his ball on her dad's heads. - I got the sailboat sticking out of it. - It might look better if it was just the tree line, - but overall, - I like the lines of this background, - the lines going into the distance of its perspective of, - you know, - something going into the distance. - This is something popular and photography and art having lines converging in the distance - on You got the sea and then notice that I didn't place them in the middle of the photograph - . - I could have put them in the middle or turn the camera to the side so that there was more - space over here. - But I liked having them off to the side following the rule of thirds, - which is a term we haven't really talked about. - But the rule third says that you shouldn't put anything your subject in the middle but - rather towards the third of your frame and should break your photo into thirds. - So we'll talk more about that in depth at another time. - But today I want to go through some photos that I took in the Philippines. - Talk about another places that will talk about the backgrounds that I'd shows. - She's in great background. - Uh, - what to look for, - something that's not too busy, - so something that won't compete with your subjects. - You have contrast and colors to your subjects and just something interesting, - something that you'll remember and not something that is kind of monotonous and something - that could be anywhere in the world. - This picture couldn't be in the Alps of Switzerland. - This picture couldn't be even in Southern California, - because we don't have water this blue and clear this bigger couldn't be at the south of - Chile in the ocean. - This picture is at a tropical place in, - uh, - while you can't tell us the Philippines, - but in a nice part of the world, - I got these boats in the background. - It's not too busy, - unlike the photo before, - where it's a little bit busier, - this things behind us. - I like this photograph that Isabel took of us because there's lots of negative space around - us, - which makes our eyes focused on the subject, - which is myself in his both dad. - And you also have these great, - both in the background, - giving it a little bit more life than just a blank ocean. - So that's one thing to keep in mind. - Don't make it too busy. - Have contrast in colors, - obviously, - my white skin contrast with the blue of the ocean and then choose something interesting - that you will remember the photo by. - I love clean backgrounds. - I love this voter. - That way took of ourselves. - I set up the camera settings and gave it to a local tourist or a fellow tourists, - not a local tourist to take an image of us. - I'm making sure that he was holding my camera right, - and he wasn't gonna run away with it. - And I love the over exposed slightly over exposed background, - but also may means that Hizbollah and I are perfectly exposed. - But you can see us clearly. - Our faces are exposed. - It's not too bright and its not too dark on. - We have the sunset in the background. - It's really clean. - Um, - This is an image that you know. - While it's not the most unique background, - you can have similar backgrounds in different places. - It's not like we have the Statue of Liberty in the background. - It's a really nice photo. - I love the cleanest again. - Rule of thirds were over to the side of the frame and not directly in the middle. - Giving head room is another good idea and not only had room above the subject's head, - so that's why I had a room, - really is Make sure there's room above our subjects head. - But when I also mean is just the room in the area around that, - fill it with negative spaces, - if possible. - So the sky is this nice negative space, - negative space, - meaning Now there's not really much going on, - and the colors of this photo are great. - We have a bright pink and purple shirts of the girls with bright blue sky, - and we have brown rocks below three great color ranges that are captured in this photo - again, - following the rule of thirds are our subjects aren't directly in the middle. - It looks great. - Here's another one from our camping trip to Joshua Tree. - Uh, - One thing to keep in mind is to expose to the subject and not to the background. - If I had exposed to the background, - are subject would be completely black, - completely dark. - A silhouette. - Remember that photo I showed you when we're talking about raw settings that was at this - location and these are the rocks that were that silhouette line across the photo. - And so, - as you can imagine, - if I exposed to, - uh the background are, - subjects would be completely dark. - And so make sure that your subjects are exposed, - that we can see the subjects because even if it is blowing out in the background blown out - , - meaning overexposed, - it's still a nice photo. - The lining is nice on Beacon CR subjects faces, - especially our pop over here so exposed to the subject, - not the background. - Here's a slightly more busy background, - but interesting you saw this photo earlier, - but as you can see, - this is a great photo that Isabel took of me. - And she did a great job at lining up the photo so that my head is in somewhat negative - space. - We have these windows above and the text to the side. - If this text was running through my head, - it might be a little bit more distracting. - Or if the windows were right next to my years, - it would be a little bit district distracting because my head is in the space right between - the text and the windows. - It's a great shot and notice how interesting the shot is. - And you know, - I say, - I say there's different rules and things about composition, - but this totally breaks the rules of composition, - where your subjects eyes should be at the top third of of your frame, - Um, - and the you know, - left or right, - I'm still to the right. - But look how far down I am in the frame. - But I still love this photo so much because the background is interesting. - It tells a story of where I am, - and the background is just as interesting as the subject, - if not more so. - Here's one that's a difficult photo to take. - Um, - here's one where you're trying to deal with bright backgrounds, - and this is something you'll deal with a lot because you'll expose. - You'll have your camera on auto or whatever settings, - and it will just be way too bright in the background, - and this photo was a tough one. - What we should have done was set up, - turn on the flash so that the flashes lighting my face. - But we're still getting the detail from the background. - We in this photo we just turned up, - uh, - turned down the shutter speed and aperture toe allow more light in so that my face was - somewhat exposed. - As you can see, - they're still shadowing. - It's still too bright over here in the background on That was because the sun was in the - background but otherwise still a nice photo of me and still see my details in my face. - And the only reasons you can do that is because I edited it. - I edited it because it was a raw image, - so there was lots of details still in my face, - and it wasn't a complete loss. - Here is a busy background but a focused solution. - What I mean by that is there's a lot going on in background. - Were sitting having a snack here, - but the background is out of focus, - which means our subject's face. - My girlfriend, - my beautiful girlfriend. - She is in focus, - and it's easy to see her uh, - it's easy to see her features, - and the background does not distract from her face. - If everything wasn't focus, - if the family members behind where it focused here, - I would be drawn to them. - But our eyes are automatically drawn to whatever is in focus. - And so if you have, - like a lower ship Apertura, - if your F stop is lower, - meaning you have more depth of field, - this is what what I was talking about when I was in that lesson. - Focus up on your subject and the background will be blurrier, - so you can always send your Apertura lower to get more blurriness in the background. - There's a group shot with a flash, - just another example of a group shot, - and we're indoors. - And I combined the ambient lighting from around with the flash so that everything is in - focus. - And lighting is as well as possible on. - You know, - this is just an example of using a flash indoors, - so those are some great group shots. - Talking about choosing a good background. - Um, - you know, - I just make sure that when you set up your cameras on your looking for group shots, - put your subjects in front of something interesting and it's gonna make your photos 10 - times better. - That's a good place to start with. - Thank you so much for watching. - Have a great day. - If you have any questions, - please feel free to contact me. - And also, - as always, - check out video school online dot com for tips, - tricks, - tutorials and more about videos. - Dark be and more. - Thanks for watching. 17. Be Candid: - everyone, - Welcome back to another lesson in the art of travel photography. - Today we're continuing our section on shooting pictures of people, - and the tip for today is to be candid, - or rather, - take pictures of candid moments of the people that are your subjects. - You get the best shots when people are imposing. - Honestly, - I have experienced this and I love photos of people when they're just in the act of living - and not posing for the camera is one of my favorite photos of all time that I've taken. - I took it in India on my service trip to rural India, - and we were helping out at this malnutrition center where it mothers would bring their kids - and their babies who were suffering from severe malnutrition. - Sometimes these kids would come in weighing £8 they were 3 to 3 years old. - S o. - It was really awesome place for the families to come and be educated about what the reasons - for the malnutrition waas in. - In the end, - they helped save multiple, - many, - many, - many babies lives on. - This photo is just one of a mom and her her child in child, - while not posing for me is looking directly into the camera, - somewhat confused about who I was, - what that contraption was. - I'm sure they had never seen anything like it. - And the mom is just looking at the baby on just completely in love playing with them, - and this flies on the baby's nose, - and it's just a perfect moment. - One of my favorite photos a long time the background is really colorful on. - I love the framing of this one as well, - with each person on the edge of their side of the frame. - So this is a candid moment that I will always remember. - So catch people in active living again. - Here's another one that kids are running after me, - and while they're not just sitting, - playing with with each other and not paying attention to me, - they are looking at me. - But they're doing things. - They're laughing. - They're they're not just saying cheese for the camera. - They're looking at their little necklaces with flowers showing them to us, - and this is another one of my favorite photos of all time. - From that trip to India, - he was a great photo of a father or a grandfather with their son or their grandson captured - this again outside of one of the malnutrition centers. - And this man is exuberant that the trial is healthy and happy and alive and well. - So this is one of the sweetest photos that I took just a moment between a man and his child - and begin to see the emotion in his face and also in the child's face. - And then they weren't putting for the camera. - This was taken with zoom lens. - I was really far away. - This photo is nice. - I made it black and white just because sometimes black and white photos just add a little - bit of a motion to them. - Um, - but this is one of those photos where the subjects are focused. - The background is completely out of focus, - leaving your eye to focus in on what's in focus. - Tongue Twister. - Um and that is the subject. - The man and child love this photo emotion. - There's so much more emotion in a photo like this. - Then if they were smiling at the camera, - I think Anyways, - here's one where the kids are actually posing for me. - But I just snapping photos left and right, - and I kind of like this one where the girl is is looking off to the side. - They're not directly looking at the camera. - The language barrier was something that deal with so they could never really understand us - . - I couldn't really tell them to say cheese, - but there it is, - smiling and laughing up against this wall at the school where we were teaching in India. - And here's a funny picture of Isabella and our friend up in San Francisco, - walking along our next to the Golden Gate Bridge. - Another one where you know they're not posing for the camera is about. - She has this funny face, - but same. - Your friend is just looking off into the distance, - and I really like how this photo turned out on. - I like the composition where this photo. - Actually, - they are in the center of the frame. - There's a lot of head room negative space where, - you know you can clearly see their faces and their heads, - and there's nothing distracting in the background again, - a moment hot by a photograph. - So that's just the tip. - Be candid, - trying to have your subjects be candid or don't try. - Average subjects can't because then they would be posing, - but just take pictures of people in when they're when they're living, - and I'm sure you're gonna have a lot of great photos. - It's from that whether it's people in your group traveling with you or strangers, - locals in the towns and villages and cities and places that you visit. - Thank you for watching, - and I will see you next time. 18. Photographing the Locals: - eyes. - Welcome back to the last lesson in the section about photographing people on. - Today we're gonna be talking about photographing locals and just some of the common - courtesy and decency things to keep in mind. - When you are taking pictures of people, - how do we consider? - Consider it a photographer? - There's a photo that I took of one of our neighbors while we were living in a small house - in the middle of nowhere in the middle of India. - We were staying in a town called Job Wow and literally in the middle of nowhere. - Eight in a hour train ride from by the closest metropolitan city. - And we were staying with some volunteers or some workers for the Real Medicine Foundation - where we were we were volunteering with and right next door were a couple families, - um, - and a few Children, - and they were funniest and the best kids in the world. - They would always you will hide us, - and they didn't really have any more English in their vocab than that. - But when we came home, - they run up from the dry away and and say hi, - and a couple times we took our cameras over in retaining pictures of them and showing them - what they look like. - And they had never seen anything like it. - So, - um, - it was a really, - really great great experience. - So here is one photo that we took up students at school and I loved this vote. - This group shot just cause of all the colors and the green background. - Um, - and just make sure that your subject is okay with them. - Take you taking photographs of them. - Some people you know are embarrassed and they just don't want. - And sometimes there's a language barrier barrier, - so you don't know if they're okay with it or not. - Um, - and you know, - sometimes they're embarrassed to tell, - you know, - so it's always a good idea to ask them if you could take their photograph. - And so with this group, - we had become friends with them, - and we had asked them if they could come take a group shot for us, - and it turned out to be one of another one of my favorite shots from the trip. - But just make sure that it's okay with with subjects, - simply ask and say thank you. - Learn a little bit of the language if possible. - wherever you are, - just talk to them and in their language, - asked them. - Learn to say, - Can I take your photograph? - That would be really nice for them because it makes them realize that you're making an - effort to learn the culture and to be a part of the place, - not just some tourists coming in trying to get photos of the interesting locals, - because I don't know how you would like if, - you know, - people were coming to your town and they saw you and they just started snapping pictures of - you. - It might be really awkward for you. - And so, - um, - make sure it's okay with subjects. - And sometimes in certain places, - like it's, - it's common courtesy to give a little bit of a tip. - Teoh people, - especially in places where if you're taking photos off poor people, - homeless people, - because all over the world there's lots of homeless people and a lot. - There's a lot of really interesting shots of people who are homeless and needy, - and it's a great thing to do to capture those people in tow. - Tell the stories through photography, - but it's also nice to help out this subjects and pay them back a little bit for allowing - you to take a photo of them. - I heard about a photographer who had a $2 rule in the United States when he, - uh, - he goes around, - takes pictures of homeless people, - and in exchange, - he gives him $2 in exchange for the work of being the model. - And he gets lots of great photos of these people in their setting. - So just simply asked, - say thank you in their language, - preferably on. - You'll get some great photos. - And even if you're just telling them pointing to your camera, - uh, - don't get the idea that you want them to look at your camera just like this. - This one right here. - We couldn't speak to this little girl, - but, - um, - we could get her to look at the camera. - And it turned another lovely shot of a local in India. - So thank you for watching until next time. - Have a great day. - Keep practicing your photography. - Um, - and if you need any help, - send me a message. - My 19. Creative Compositions - Samples: - Hey, - everyone, - welcome to another lesson in the art of travel photography in this section. - We're talking about creative travel tips, - and I've turned off my video so that you can just focus in on the images here would I have - to say, - and then this be present toe what I'm teaching you in hopes that it will stick in your mind - so that when you are traveling, - you'll remember some of these tips. - So this section is basically, - uh, - to help you improve. - Uh, - the I guess uniqueness of your images. - Until now, - we've been talking about the basics of shooting with your camera, - playing with the settings. - How do go about taking pictures of people, - how to set up pictures of people with a nice background? - But in this section, - we're really getting into the heart of of making images, - taking photos that will last and will compete with the best photos around. - So I'm gonna go through some of my favorite photos from a recent trip to the Philippines - and talk about why I like the compositions. - So again, - this lesson is creative compositions setting up your photo for amazing results. - And so it's all about the set up. - It's all about pre planning and knowing what your photo is gonna look like before you take - it. - Because if you're just shooting around, - it's unlikely that you will get photos that are worthy of a magazine or a book. - Cover whatever you want. - But there are. - Sometimes when you do end up getting photos, - the blue that turn out to be great photos and I'll show you one of them. - In a minute, - we'll talk about this Photo were at the top of a hill in Carone, - which is a town on the island of Bruce Wonga. - I love this photo. - The composition of this With a staircase going down, - we had to walk 743 steps up to the very top of this mountain to get a great view of the - surrounding islands. - And, - uh, - just the town down below, - um, - is really awesome place to be. - And before going down, - I saw that I started walking down. - I was like, - Wait, - wait, - wait. - I love how this looks. - Just the staircase going down. - Um, - you see the city below? - Um and, - uh, - you have this wire coin from the top left to the middle of the frame, - which is the power line coming up the mountain. - If I would change anything about this photo, - I would play with The contrast of the image is back here. - The detail of the houses below in the trees isn't as as exquisite as it was when you were - there. - So I just boost the contrast of that. - The darks are a little bit darker and the brights are a little bit brighter. - Eso that things pop a little bit more, - as you can see here on the left side, - there is a little bit more contrast with the trees with the stairs. - They really pop the shadows pop down here. - Not so much. - Think about your foreground in your background and both of them, - and is the key word not just the foreground and not just the background. - This is a good example of that. - We were waiting at the airport to fly from Taiwan to Manila, - and there were these kids looking out the airplanes, - and I thought I was a really sweet moment. - Uh, - some of the planes from Eva Air are decorated with hello kitty characters on. - Um I thought that was really interesting. - I took some photos of just the planes, - but this image stood out. - So I got this kid in the back of his head towards me. - He has a teddy bear that he's holding up. - Um, - and I just really love the way that this looks. - It tells a story about this kid watching the airplanes. - The airplane is slightly out of focus, - but that's fine. - I thought about making the kid and the teddy bear a complete silhouette, - and I actually tried that out when I was editing it. - But I like how the I can still see the detail of the Tabor space. - The colors in the boy's shirt and it's a nice balance is kind of split along this line, - um, - diagonally across the photo with the boy on the left, - the right and the plane on the left. - So think about your foreground in your background when you're taking photos. - Also, - think about colors. - This is a great voter that demonstrates the use of color. - I don't know why these little tricks were colored. - I'm assuming they were toe help sell them. - This was at a market in anti polo, - which is a small city or smaller city outside of Manila. - And I'm assuming they color the chicks of that. - When you were pointing out the one that you want, - it was easy to find the one. - I really hope that they weren't hurt when being died or whatever they they did to these - chicks. - But that being said it was really interesting just to see this box of basically chicks - hopping on over each other chirping away. - And I tried to single out this one chick in green, - um, - to be the main focus of my image. - I wish I would have gotten down a little bit lower so that I can see more of the chicks - face. - But other than that, - I like how the rest of the chicks they're just kind of a jumble over, - you know, - one right here. - But the rest just looks like little proof balls of color. - So think about color when you're taking photos, - apologize for the train you hear in the background as well. - Um, - think about layers. - Here's a great example of photo with beautiful layering. - We're at the beach and boardwalk I during sunset and the waves and the sky has created - these beautiful layers. - This is something truly I would love to hang up in my room or put on a door somewhere, - create a poster like that. - It actually is a lot taller than what this image is right here. - It goes down a little bit and it goes up more. - But this is the main focus of when I wanted to show you with the different layers, - the blues and the goals and the blues and the goals and golds. - And you know, - the darker blues and the clouds create a different type of layer. - But then the ocean, - but still a great image and a great form of layers. - So think about layers when you're taking photos, - Of course. - Think about lighting. - Think about how lighting can affect your photo. - I love how the lying turned out to be in this photograph. - It's a really bright photo. - Even though there's clouds in the sky, - the brightness kind of just lights up the background and really makes you focus on this man - and his boat again. - This is just a candid moment this man is putting on hiss, - sure around his head to keep himself cool. - So there was quite warm during these days on again. - The lighting is really nice in this photos. - Think about lighting just to make sure that everything is exposed properly. - But also think about creative lighting. - And this is one of those photos I was telling you about that I did not mean to take Iowa - has. - Actually we were driving at this moment back from some hot springs in the Philippines and - Swingle Island and I just shooting photos driving down the street as a passenger and, - uh, - just luckily captured this moment this moment where this man is walking down this path. - This dirt road the sun is shining behind him through the trees. - Crane is angelic halo like, - uh, - lighting behind him. - And then this tree just splits the image and to laugh. - You see this? - This crowd of kids playing on the basketball court you have this hut has a border and the - tree to the top bordering image. - And then down here you have this dirt road, - and you just can see how this this road winds down into the city. - It's completely different stories. - You have the story of this man on the right walking down the street I don't know from where - from work or just walking down the street thinking to himself and on the left is this busy - town centre of the basketball court with the the advertisements strung up along the trees, - kids playing basketball on so much going on. - And just you know, - when there's a sun when their son out be, - uh, - be conscious of it, - especially if you're in trees and amongst buildings you might get some nice sun reflecting - through a window are reflecting against the building through the trees or something like - this. - Look out for patterns. - I love this photo of these toys that they have these little statues in the Philippines. - I love the pattern of all the statues going from small to big. - I love how the lighting is as well. - I made this black and white because I thought it looked. - It was already mostly browns, - and I liked how the black and white is this dramatic look of, - you know, - the highlights. - It's kind of this film noir kind of look, - if you can think back to the detective movies of the 19 fifties, - Um, - it's got this film noir with dramatic lighting and I really like the pattern of it as well - . - Use negative space wisely. - Um, - this photo, - uh, - this man is completely to the bottom right of the photograph. - And you can see every detail of this face of his hair with his sunglasses and, - uh, - the weather. - Whether warn face of hiss, - he's got his hat on in this yellow shirt and basically to the left is just this lots of - negative space. - But when you look at this photograph, - if you look away, - go ahead and look away. - Then you look back at it. - What does your I look at? - What is your eye drawn to? - Its drawn to whatever is standing out from all of this negative space at the same time. - The background is amazing. - You can see that the water rushing past us because we were on a boat. - You can see the island in the distance with the hills and the building. - You can still make that out. - Uh, - I blurry, - but this is the focus of our image, - and you can really see is the details of its face. - It would be a completely different image if he was looking straight at the camera. - in the middle of your photo. - That would be a great photo as well. - But I love how this is with the negative space on the left. - So that is the end of this lesson about travel photography uhm and different creative - compositions to look out for. - Think about all those things the negative space patterns, - creative lights. - Make sure you're lining is well done. - Uh, - you look out for layers. - Think about colors. - Think about foreground and background and you will for sure, - be setting up your photos for amazing results. - Thank you for watching and have a great day. 20. Sunsets & Silhouettes: - Hey, - everyone, - welcome back to another lesson in the art of travel photography. - We're continuing our section on creative techniques to improve your travel photos. - Today we're talking about sunsets and silhouettes, - taking beautiful photos with sons. - Help. - Sunset photos and silhouettes are some of the best photos that I've ever taken traveling. - I'll show you a few here. - This one above is one of my favorites. - You've seen it before on this course, - but it's not my girlfriend walking out into the water towards the sunset. - The lighting is is perfect. - The orange sun is shining through the clouds and the blue water. - Aw, - quit aqua green Water is so clean and clear. - Um, - and it just, - you know, - if it was completely cloudy or if it was during the day, - this photo would be completely different. - But instead we have this beautiful photo with the sun shining behind. - My girlfriend and I are in front of her, - actually, - and that creates a nice reflection in the water. - The wave looks so beautiful with the sun at that position as well. - Let's talk more about sunset photography. - Here's a shot I have from Joshua Tree of the Sun about to set over the horizon. - So one thing you really have no is Teoh how to change the manual settings in terms of - shutters, - speed, - aperture and eso, - and taking sons set shots and silhouette shots because sometimes you'll even be able to - take a shot that looks like this or that is a silhouette. - But the sun really isn't that far down yet. - It's still may be bright, - and that's the case with most of these shots. - Uh, - for the human eye, - I could still see the rocks and the details. - It wasn't completely black, - but I just said the shutter speed up high, - um, - and the Apertura up high so that everything was dark except for the sky here, - the silhouette of the thes rocks in the middle of the ocean. - And like I said before, - a silhouette is just basically a completely black image of something. - You just see the outline of it. - And here is another case of that where I to the human eye. - I could still see the rocks I could still see. - It was still a lot brighter in at this moment, - but I dropped on the exposure through editing actually, - so I made these rice completely black, - and it really made these reflections in the water pop and the clouds in the sky Papa as - well. - Here's another example of a silhouette, - um, - of a mountain scape. - Another nice image that I took in Joshua Tree. - And again, - this is the is actually similar very same image that I showed you in the raw editing - section. - In that lesson, - I showed you that really using the raw image. - I could bring out a lot of the detail in these rocks, - but I like how it's a silhouetted image, - like so. - Another idea is to get salutes, - objects or people or things rather than just landscapes. - Here I have a silhouette of a Joshua tree, - and I really like how it looks. - You can see all the needles of the tree and these rocks down to the left, - but the sky is still clear and you can see the clouds above. - But because the sun is right behind this tree, - you can actually see it poking through. - Right here, - I creates the silhouette look, - so think about getting silhouettes of actual things on, - not just landscapes. - Here's a shot with the sun shining through, - you see the lens flare and sometimes, - you know photographers don't like lens but flares And I You typically don't, - uh that's when you get these kind of look bubbles in your in your photo. - Uh, - but in this case, - I really like it. - You see this man in the distance taking a photo of thes sand dunes out in Death Valley. - But otherwise you got this son blaring through this mountain scape on It creates nice - lighting on this hill as well. - Hello, - Sand. - And here is actually the view of what this man is is looking at. - Here you see the shadows of the sand dunes, - um, - covering the dunes itself. - You see these mountains in the background, - you can see the people standing on top of the dunes. - And this is a great example of how sons that shadows can be used to make a ruling artistic - image. - So another one of my favorite ones and so just pay attended toe how the shadows look. - And you might get some great images like this one. - Here's another silhouette shot. - This one is from, - um, - Joshua Tree, - and this one, - I, - uh, - added a little bit of orange to the photo and post production because and it made it really - orange and nice. - I really like it. - The skies really orange. - And as you can see, - it's kind of a pattern with some of my images. - I like having the sun peeking over. - No, - the edge of amount inner or the edge of the horizon at, - you know, - right at sunset. - That's like the perfect time during this time, - you know, - a couple out from like, - an hour to an hour and 1/2 before the sunset to sunset. - You get this, - uh, - this natural glow, - uh, - this magic light, - what we call in photography. - Um, - and you get this magical hour of warm light that makes subjects look, - look really awesome. - You can also take silhouettes during the day, - though. - Here's a picture of Isabel looking out over the city of Vina del Mar. - We were staying at a hostel and she was looking out the window, - and I thought, - as a ruling, - cool image could see her hair and our hearings just the shape of her body. - But I exposed it to the outside so that you can still see the details of the outside and - she is just a silhouette so you can take can take silhouettes during the day, - especially looking out windows. - Here is a great shot, - one of my favorite shots that I've ever taken. - Actually, - it's was in India, - and we were staying at this this house and across the street there was one house, - but mostly just, - you know, - a natural landscape. - There was just one night where the sky was completely orange and people were walking by and - I got some video of people walking by and bikes driving, - buying cars, - driving by on Guy ended using that shot in a documentary I made, - and luckily I took some photographs as well. - I love how this this lady is walking across, - and you can see through her Shaw here in here on, - and you can see the texture of her shawl. - But the rest of her is just a silhouette, - and again, - the perspective is that the sun is directly behind these images and also again to the human - eye. - Everything's not black. - It's usually you don't see complete silhouettes to the in the with the human eye, - but I decrease the exposure by increasing the shutter speed and increasing the aperture or - the F stock and decreasing the I S O. - And that's what you got here. - You can also do a long exposure, - especially at night if you want to capture stars. - So these are actual stars seen in Death Valley. - And this glow over this hill is just a light pollution coming from cities beyond the hill - where we were taking this photo. - We were in the middle of nowhere on this long high highway with no streets or towns within - miles. - And I you couldn't even see this light with the human eye by set this exposure toe 30 - seconds so that I could get the maximum amount of light coming from these stars. - And it actually picked up some of this light coming from the city beyond this hill, - something that I couldn't see with my human eye but could see through 32nd 32nd exposure. - And like I said before, - when you're doing the long exposures, - make sure you have a tripod. - I definitely had a tripod for this photo, - and it's amazing to see how many stars were out that night. - So that is it about silhouettes and sunsets. - It's great type of photography. - I love Sunset photography, - and I love trying to create interesting compositions with it, - especially with horizons and landscapes. - I think they all come out really nicely. - So use some of the photos that I showed you today as inspiration and go ahead and try to - get your silhouette and sunset shots. - Have a great day and I'll talk to you later. 21. All About Landscapes and Nature Photography: - everyone, - Welcome back to an exciting lesson in the art of travel photography. - Today we're talking about landscapes and nature photography, - capturing nature at its finest. - But before we continue, - let's first look at this beautiful Imagine, - just realize how amazing our earth is and how amazing it is to be able to capture these - moments with the camera. - It's a pretty amazing invention on, - uh, - Earth is amazing. - Mother Nature is amazing, - and I'm really grateful that we have such beautiful places to to see left in our world. - And I hope that, - you know, - over the years to come, - we still have these pristine beaches and these these empty pockets around the world Teoh to - explore, - but not to exploit. - Another thing I wanted to mention, - though, - to before continuing with these lessons is that I hope you are out practicing your - photography because, - honestly, - that's the only way you're gonna get better. - It's the only way you're going to get photos that that you love that you think are the best - that you can do. - It's all through practice, - and you know it's easy for me to sit behind a desk and talk to you and say look at these - photos and this is, - you know, - amazing. - And look at the types of photos you can get, - but it's it's hard for me to get you to actually go out and doing it. - Do it. - So I really hope and encourage that. - You know, - every week, - every weekend you're out there spending a little bit bit of time trying something new. - Um, - on Yeah, - it's only where you're gonna get better, - but let's continue. - And let's talk about landscape and nature photography. - One of my favorites. - One of my favorite types and types of photography and one of the ones I love doing the best - . - So here is the beach. - Wonderful. - But ah chi beach. - At sunset we saw a an image of those rocks on the side I used in the silhouette chapter, - Um, - those with rocks that we saw the sun creating the silhouette of them and the reflection in - the water, - sky, - earth and water. - A wonderful combination in this photo, - we see nature of this volcano in the middle of the tall volcano near take I tie in in the - Philippines on um, - you know, - it wasn't erupting, - thankfully, - although that might have been somewhat interesting for photos. - It still is an active volcano on as it erupted since the seventies, - but it has destroyed a lot in its path. - And it's past. - Um So what I love about this photo is not only do we have this beautiful sky, - the clouds on the different types of clause, - you have the clouds forming down low. - Uh, - and then you have these wispy clouds that up in the sky, - you can see the blue sky, - and they're reflecting in the water below. - You see this clouds right here, - reflecting in the water below. - Of course, - we have this landscape in the back of these these hills, - this mountain, - this giant leak with the island's volcanoes in the middle. - And then in the foreground, - we have the silhouette of the treat, - the grass and the weeds that made up the hill that we were standing on. - And I intentionally took this photo with the grass in the foreground because I thought it - was an interesting border to the bottom of this. - This photo, - Um, - So when you're taking landscape photos, - pay attention to everything that's in your frame. - Pay attention to that. - What's in the foreground. - What's in the background? - What's up? - What's down? - Uh, - and as you can see with this photo in the last photo and future photos, - I cropped them wide. - So I actually before this image. - This isn't a panoramic. - I didn't take multiple photos to get this this image. - I just took one photo and then I cropped it. - So I cropped part of the sky out and I cropped part of the bottom up. - So So it is a wide photo, - and what that does is it just makes the image fuel Water makes the landscape fuel wider on - DSO. - That's one way to get your landscapes to look, - look even better by cropping them wide. - Here's Ah combination of animal in nature. - We have these cows sitting and eating in a field on Palawan with these green mountain in - the background and again, - I like the combination of nature and the beasts that we are on that these animals are, - um and I just like seeing them in their natural state. - Eso go and try to get some images of some animals eating here is ah, - dreamy photo. - This was on the swing island on top of the mountain. - And, - um, - you can see the islands in the background, - the light from the sun above shining through the clouds, - creating beautiful reflections on the water. - I decrease the saturation in this photo so that it's practically black and white. - You can still see some color, - the blues of the ocean and the sky and the greens of the mountains. - This mountain right in front of us in the foreground is a silhouette. - And and that's because I exposed to the background s so that we can see the detail in the - mountains behind. - If I had exposed to this foreground, - all of this would be bright, - bright white. - Um, - and then at the bottom left, - you can see a little, - uh, - man made. - I think it's a rice paddy field, - um, - or some sort of feel down here in the water. - Some sort of doc. - Um and yeah, - so that's a combination of man made in nature again. - It's cropped wide. - He was a wonderful picture of some rocks out in jumbo rocks in Joshua Tree. - It's a camp grits, - lots of formation of rocks. - And there's a campground there, - and another one. - I split this image completely in half. - Yet on the bottom half, - you have the rocks on the top half of this blue sky, - this empty blue sky down below. - You have all these rocks and a messy conglomeration of formations. - And as you can see compared to like these other ones, - it's like almost the same format if I flip back and forth between them really quickly, - it's almost the same format. - You have the sky above. - You have the line of the horizon and then the land down below. - But instead of islands rocks. - This one's different than this one, - because this one I, - I intentionally chose toe to shoot and crop this. - So the sky took out most of this image just down below. - At the very bottom we have this this lineup of hills with rocks and then the mountains - behind it by intentionally left all this negative space just cause I liked it like that. - Here's Ah, - nature shot of, - uh, - desert plant out in Joshua Tree, - playing with depth of feeling. - You have the background super out of focus on the foreground, - super sharp and pretty much centered in this image. - Here's another one that's of thes cattails or I don't know what they call him in Chile, - but these these plants that pop out up, - out of the ground, - some may call them weeds. - I call them beautiful. - And behind is three ocean with this bay right here is I'm sure surfers down there surfing - while this photo was taken Being taken, - Uh, - this is at golden hour where the sun is about to go down and the lighting is perfectly - beautiful. - Um, - I like how the cattails are are mostly silhouetted, - but you can still see, - uh, - the defined green and you can see the pink use around the top of these little plants so you - can still see the details in there. - So when you're not trying to get photos, - try to get something like this where you have a detail Oh, - um plant or object in the foreground with blurry background. - Here's the same place but completely different type of photo. - This one was taken with my whole gah with film. - And this one was with my digital camera, - my canon seven D, - and this one you can see there's a lot more grain. - The sunlight is is drastically brighter, - and you have the sun right coming into the lens. - But you can still see the the cat tell plants down below and you can see how this bay where - the surfers are in the water. - Um, - it's a little bit wider so you can see more. - But I really like how this looks really Grady, - Really grungy, - but still beautiful. - This one's out in Joshua Tree as well. - Um, - and this is where I have a couple other photos that are still wets of these mountain lines - . - But I like this one because even though everything kind of mashes together, - it just reminds me of like Impressionist art piece or something, - where, - you know, - you just have I can imagine is splashes of paint, - all sorts of colors just creating this landscape. - And here is one where I put the light on the horizon line up higher rather than right in - the middle. - I did that intentionally so that I can still see the details of this rock in these trees. - Otherwise they would be cut off. - I really like the colors up this one as well. - It really shows how the desert looks with all the browns and and the dark greens and the - blacks and beiges. - Here's one actually at the Santa Barbara Mission. - But you still get some nature there with these Louise, - well, - pads in the water in the fountain. - The mission is lined with shrubs, - and I like the depth of field in this one, - where this one flower flower right here is sharp and the rest is out of focus. - You can see the reflection of these plants in the water as well. - Look for reflections when you're taking photos. - They're really nice to work with, - and that about covers it for our chapter. - Our lesson about landscapes and nature. - Photography. - Uh, - there's nature all around us. - Even if you're in the middle of a city, - you can find plants poking out of the concrete jungle, - so I I urge you to go capture them. - But also, - I urge you to get out. - Get out of your city, - get out of your town. - I drive to the nearest desert, - that nearest mount in the nearest beach. - Here's Forrester Jungle and just take pictures, - starting pictures of Mother Nature because it's really beautiful. - And it's a really peaceful thing to do as a photographer. - Thank you for watching, - and if you have any questions, - please let me know. - Otherwise, - I'll see you next time 22. Depth of Field Explained: - everyone, - Welcome back to another lesson in the art of travel photography. - We're continuing our section on creative photo tips, - ways to make your photos and your imagination go wild to get better photos. - Today we're talking about depth of field, - and we're using a photo field explanation to give you a good idea on how you can used up - the field to be a creative photographer. - This image is crazy up above its of a rope actually go and is more more abstract than - anything. - Um, - it's completely in focus. - At this point, - it starts. - It's hard to see on this power point, - but it's completely and focus, - and then the rest of it is out of focus. - Um, - and that's a good you know, - basic definition of how depth of field works. - Depending on your lens, - depending on your camera, - some things will be in in focus, - while others won't. - And it depends on aperture, - which is that stops the lower. - The F top means the less depth of field, - which means that only a little bit of what's in your frame will be in focus. - Whereas if you have a high aperture, - um, - more things will be in focus, - meaning most of your photo will be in focus. - And it's really an artistic choice whether you want more death, - the field or not, - shall it up the field at the term that they use for this when there is less step the field - here is an image of, - uh, - monk full of coffee in our mocha in Seattle or San Francisco. - And just the bubbles on this Brent this edge of the rim aren't focused. - The rest of the image is not in focus. - I really like how that that looks is really artistic, - made it black white, - which adds a little bit more artistic quality to it. - And so I like the shot up the field of this photo. - Here's another, - uh, - another one at a bar in San Francisco on this Kulish glass right here, - and focus with a nice cold beer in it. - But this class that's only a foot away is still out of focus. - The lights behind it from the bar or out of focus, - which create this Boca Look. - Boca is when you have lights out of focus, - and it creates these like bubbles of light, - basically circles of light and So this is another example of shallow depth of field, - and this image is completely different than an image with all everything in frame in focus - . - I love that this photo is is like this. - It's very artistic, - I think, - Um, - and if everything was in focus, - it would just be another image that, - you know I wouldn't look twice at. - Here's another example of shallow depth of field, - this salsa bully of the salsa on the lip of the bull and right here and focus across this - line along the axis of the space. - The rest of it is out of focus again. - This is a lot more artistic and beautiful than if everything was in focus. - Out of focus, - background. - This is a great way to separate your subjects from the background by making it out of focus - . - So here's the Golden Gate Bridge with the help of the fog. - It's already kind of blurry and hard to see. - But the depth of field is also focused on our subjects, - even the background right here. - These plants are out of focus, - and it really draws your your eyes to the girls right here. - So, - using depth of field for Portrait's great to really focus your eye on the subject of your - photo. - We just saw this photo and I talked about it already. - Here you have the background blurry, - and then our subject is completely crisp and sharp. - And it's another example of how a crisp, - sharp image stands out on your eye focuses on your subject. - Here's another somewhat out of focus background, - still mostly in focus thes people walking right here. - But if they were more blurry, - if they were, - if you could imagine that the lifeguard pull with this this ring were the only things in - focus. - It would really dry your eye to this subject right here of the lifeguard pool. - But since there, - these people in the background are more and focus. - You know your eyes tends to wander, - and it's not just focused on this poll right there. - So this is a case where it might have been better to try to get more a shallow where depth - of field. - Here's one where is not shallow at all. - It's a deep depth of field. - Everything isn't focused. - I had the aperture way up. - They have stopped at its highest, - which means that Mawr, - things will be in focus. - And so plants up here close to me are justice and focus as the horizon line back here. - The's rocks on the people down here are also focused, - and so for landscapes in landscape photography, - having a deep up the field is very important. - I feel, - because if this stuff was blurry than it's just not the image, - especially when you blow it up, - it's not the same. - And so for landscape guitar, - if you try to make sure that everything is in focus and those air some basic tips for, - uh, - the depth of field photography. - So keep that those tips in mind and tried to print out different things even on a little - point and shoot camera, - you can get depth of field changes in depth of field. - Try out shooting something that's really close to the lens, - so within a few inches or so to a foot, - and put it in front of a background that's further away and see how it turns out and see if - the background is blurry and the whatever is the subject, - which is a few inches to a foot away from your your lens. - See if that's sharp and clear to play around with that I think you were watching and have a - great day. 23. Panoramas!: - Okay, - we're back with another lesson in the art of travel photography today. - We're talking about panoramic images. - When do you create a panorama and how do you create a panorama? - Later, - In a lesson, - we're gonna actually be creating one and editing one. - But for now, - we're gonna talk about the theory and just talk about the practice of panoramic photography - So here we saw this image last time of the beach on Bond. - . - This one actually is taken with multiple images on, - and it's really hard to tell, - but it's taken with two images and basically with photo shop, - and you can do this in a multiple in a multitude of editing programs. - Um, - you can basically stitched together photos in tow one. - And so what you do is you take one photo, - you turn a little bit and you take another photo of that completely escape. - You want to make sure that they overlap, - at least by you know, - 1/3 of the photo. - So you take one photo, - So if you can see my mouth, - there's one that goes about to hear about 2/3 of the way through. - Then I turned my body a little bit, - and the second photo goes about from the 1st 3rd to the end and then using Photoshopped. - It matches it up, - and it blends it to create one image with these waves ones. - It was kind of difficult. - I'll show you how to use the clone tool on different mechanisms in photo shop to blend - together the waves because, - as you can imagine, - you take one photo and then you turn and take another one. - The waves are at different parts of the land. - They're further up the beach, - and so you have to blend those together. - You can see right here it's still a little bit if you if you pay attention to it, - you can see that the waves don't completely lineup. - But to someone who's just looking at this without knowing that, - um, - they might just think it's a ripple in the water. - So let's look at some panoramic images on later will be learning how to actually create - them. - So here's another one on the beach at Wardak. - I I like this one a lot because you get the complete basic view. - If you were standing there, - you get the ocean, - you get the sunset and you get the beach with the people on the chairs and the trees and - buildings and things like that. - And so you basically get the whole story of what Wardak I is. - This one was a little bit easier to stitch together because being further away from the - waves from the details, - I was able to emerge the photos better. - This when I was also taken with, - I think, - four photos. - So I have no one photo for this section and I look for this section for here and one for - the last section. - So three or four photos and make sure they all line up. - And, - you know, - it's pretty amazing what Photoshopped can do. - Even with these people here walking it planted them together perfectly. - Here's one taken with four photos from the view atop the mountain in Carone. - This isn't Pelo on. - You can see here on the left. - I don't know. - It's hard to see in this photo, - but this mountain is what they call the Sleeping Man. - You have its face hear with its nose on his chin and he's lying down with his hands on his - chest. - It's feet right there. - It looks like a man lying down on its back. - And this one I really love a lot. - Um, - I got I have a little bit of been yet ing from the lens itself. - Right here. - It's a little bit darker. - You can see right here, - right here and right here. - That's where the image was stitched together with Photoshopped. - And because I was using a wider lens. - I I had some been yet ing have some A little bit of distortion from that, - but overall, - it looks fine. - Here is a sunset in boardwalk I so little of different view of that night. - I waited for the sun to go down and these are all natural colors. - This is how it looked natural meaning that this is how the pollution can look like in this - guy from Manila. - The reason why the sky looks so quote unquote beautiful here is because of the pollution. - This guy I doubt that this guy would naturally look like this, - but it still is beautiful with all the colors and it's a little bit darker. - And I had a little bit of problem stitching it together. - You can see over here the rise in line doesn't completely match up. - But if I spent some more time, - I could get it to match up pretty well. - Here's a panoramic of the tall volcano and took I tie in the Philippines and this one you - get a even bigger view of what it looks like and you can see that and feel the vastness of - this lake down below. - You can see how tiny these little boats and things on the lake are. - This little tiny village over here with the streets and the houses and see how far it is - and how massive this volcano is compared to, - you know, - a boat. - If it was down here, - you get really get a feel for what in this area looks like. - The only thing I would complain about this photo is that because the sky was really cloudy - and, - um, - it's not as clear here compared to other parts of of the Philippines. - Give this haziness eso. - It's hard to pick out the detail of these mountains in the background and even parts of of - the island in the middle of this lake. - You know, - it's hard, - Teoh. - It's hard to really see the details of it So I wish it wasn't. - It's cloudy or where I wish it had just rained, - so that sky was a little bit clear. - So those are our panoramas for today. - And basically, - like I said, - when you're taking, - let me just set up and take a picture, - Move to the right, - take a picture and keep moving to the right and take a picture and make sure it's an order - . - It doesn't have to be, - but it just makes it easier when you are editing them and we'll go over that in the editing - section, - which is coming up next. - So thank you for watching and have a great day. 24. Take the Road Untraveled (aka Thinking Outside the Box): - everyone Welcome back to another lesson in the art of travel photography. - Today we're finishing up our section on being creative and trying to get better photos by - thinking outside the box. - We're going to try to discover something new. - When we take photos, - I'm going to try to inspire you with some photos some of my favorite photos of the recent - past I showing you them talking to you about how I came about them and talking about the - different techniques of thinking out of the box that I used to get them. - So right here. - First off in this first photo, - you see the Space Needle in Seattle and I wanted to do something a little bit unique, - put it off to the side in the corner and have a lot of negative space. - I and I'm sure thousands of people have done this before but is different than the typical - space needle photo. - You know, - up and down photo with the needle covering the complete, - uh, - photo. - And I like that there's negative space. - I like that. - It's at an angle, - and it's a little bit more artistic. - Here's another shot of the space needle on the left. - We have something a little bit more interesting. - Maybe you might say you like it better. - You might like it worse. - I actually like both photos about the same but to the left. - I was looking up at the Space Needle as we were walking under some trees and I thought I - was really kind of an interesting combination of nature. - And this drunk man made structure on to the right. - Abbas. - I took a picture of the top of the needle on the viewing deck, - right in the middle of the frame. - More standard photo. - So the one on the left is a little bit more creative. - I would say You have to put photos of of the public market sign again. - I love negative space of the one on the left, - put down at the bottom right corner with the top of the building, - just at the very bottom of the photo photograph. - The one on the right is still a really nice photograph, - but it's more standard, - I would say, - with the public market sign being larger and taking it more of the frame next time, - I would have put this public market sign to the left of this frame because it is facing - that way. - Eso that might look a little bit better. - But nevertheless, - I think this one on the left again is a little bit more creative than the right, - so use negative space wisely. - Here's one from Chile in Santiago there's a reflection of this cathedral, - and I thought this was a really nice photograph again. - It was just walking by and we saw this the cathedral reflecting in the modern building to - the right, - and I snapped this picture and I thought I was really great and just the combination of - modern building architecture with the old ancient architecture of of the Church on Do you - know it's different than just a standard photo of the churches is top, - so something a little bit more interesting here is one of my favorite photos that I've - taken. - This one is in Paris and the Louvre Museum, - and it's a famous statue on And, - uh, - this one, - actually, - I took with a little point and shoot camera, - the Canon power shot and the one on the right. - I just found online, - and I figured this is probably the standard photo that that you would see it with this. - The statue. - And, - um, - honestly, - I have a little thing about against taking photos of art itself because I feel like you're - just taking a photo of, - you know, - piece of art that's already speaks for itself. - But this one on the left, - I thought was interesting because really, - it's about the people taking the photos of the statute of people looking at it rather than - the statue itself and its literally a side of statue that people might not have seen. - And I made it black and white just because I thought that was that was nice as well. - Um, - kind of adding to the old, - you know, - ancient, - uh, - statue aspect of it. - Here's a picture of a couple on the streets of output E So in Chile and I just like this - photo because of the negative space, - that perspective from above, - a little bit different than you know, - if we were looking at them, - strain on. - And like I said, - the negative space there here on the right side and the right third of this photo. - But there's so much negative space, - but their current, - the color of their clothes just directs our eyes, - attention to them. - So I like that a lot. - Here is one that I took in Venice on a gondola ride using a film camera. - And I really like this this photograph because, - um, - you know, - you can see you can see the gondola and you can definitely see where we are. - But you can also see this bridge in the background. - And it's not just a standard photo of a random gondola. - It's a little bit more artistic. - It's the point of view shot of someone riding a gondola. - And again, - lots of people take this exact photograph when they're on a gondola gondola. - But I think it's a lot more interesting than something like this on the right. - Here's ah, - you know, - just know our ticks artistic shot of eyes, - ball flying in the plain, - looking out the plane window. - I really like the light coming in from the window, - shining through her classes and just lights up the edge of her face and her hair. - And so it's, - you know, - basically black over here on the right, - white over here on the left, - on in the middle. - You have the detail, - and I just really like out how that looks. - And, - uh, - at first it's kind of hard to tell what it is, - but I think it captured this moment perfectly. - He was a couple interesting shots that I did using long exposures. - Both I really, - really love. - This one on the left is interesting. - It was out camping in Joshua Tree and the moon is the moon actually coming up over the - ridge of ah group of rocks. - And there were people standing up on the rocks, - actually, - and they had flashlights. - And I wondered how long exposure would capture those flashlights. - And sure enough, - it captured it like this as they were walking down the hill. - We're here on the right. - This is in the back of a tricycle in Boldak I in the Philippines, - and I just again left it on a long exposure about 15 seconds as we wrote down the street. - And all these lights are the lights of you know, - this red one is Ah, - um, - another car bike driving down the other way. - These lights on the side or are lights in the buildings this big yellow one in the middle - of the headlights coming towards us on. - You have all these different little lights. - I really like this image, - and it's kind of abstract art. - I would say, - Here's a couple images that I took up in Santa Barbara at the mission. - Um, - and here on the right is your standard photo of the mission and a nice photograph in itself - , - a great way to remember the mission and how it looked. - But here on the left, - I really like how Isabel and I were trying to get this reflection of the mission in this - fountain. - Earlier, - we saw a photo of the flower petals with the background all blurt out. - But I like this composition with the reflection of the mission in that photograph. - So those are some interesting ways to think outside the box. - I really hope you enjoy this lesson, - and it starts getting the creative juices flowing starts getting you to think about - different ways. - Teoh take photographs truly. - You know, - you just have to practice alive, - practice sitting of photographs from different angles from different places, - get down low, - get get a pie climate building, - climb a mountain, - get different perspectives, - changed the brightness and of your photographs of playing with the exposure might give you - something interesting. - Turn your camera on to the left or the right to get a different perspective. - Eso It's all about playing around and practicing with your camera. - Thank you for watching. - If you have any questions, - please let me know. - Next court, - next section We're gonna be talking about editing our photos, - and I'm going to be giving you some great tips on how to edit your travel photos. - Thanks for watching. - And I'll see you next time. 25. Lightroom Basics - Part 1: - everyone Welcome to a new section in the art of travel photography. - We've already looked at a lot of the basics of taking travel photos, - and now it's time to actually look at our photos and see how we can edit them to enhance - them and make them the best that they can be. - Because sometimes a little bit of editing can make your photo a lot better. - So in this course, - I'm gonna teach you how to use Adobe Photoshopped light room. - I'm using light room four, - but the basics of light room five and four and three are all the same. - So whatever version you have, - you'll learn in this in the next few lessons how to use light room. - And so when you open up light room, - this is what you'll find once you've imported some photos. - But basically you have a menu up here at the top. - You have your navigator here on the left side. - Uh, - you bring this a little bit smaller so you can all see. - Um, - you have different options up here, - Toe, - Look through your library where you're going to actually edit with develop and the rest - these. - Ah, - we won't really be using in this course, - Um, - down here on the bottom, - you'll see all the photographs that are in your basic tray that you will be editing with. - And when you're looking at your library, - you can filter through different, - um different. - Uh uh, - folders. - Basically. - So right now I'm looking at all the photos that I've edited, - uh, - with light room, - Uh, - and you can go through through these different folders that you've imported in the past. - So the first thing you want to do is Well, - first, - make sure you download light room if you don't have it used. - The free trial that I gave you using adobe dot com slash downloads Go to that web - addressing a download. - Photoshopped are Photoshopped light room for free. - Then you want to go import, - and then I will give you this import box And this is basically all of your documents and - just go through your documents and ah, - find the folder that you want. - I've already imported mine that I'm going to be using for this class. - So once you important folder, - they will show up here in your basic tray right here under your library. - Then we're gonna go ahead and select develop in here. - This is where we will be actually editing our photos. - And you could kind of see which ones were going going to be using for this class. - Um, - so basically, - I want to show you the basics of editing going through all the options you have over here - on the right because this is your edit station where you're going to be actually editing - your photos. - And I want to go through all of these options so that you know what they do. - And then the next few lessons were going to be taking specific topics such as correcting - white balance, - correcting exposure, - cropping when the crop creating silhouettes, - etcetera and learn how to do those. - But for these basics ones, - I just want to show you how to actually, - um, - use them, - use the light room options. - So here we have the standard photo that I took driving in the Philippines of this jitney - down the road. - So here I'm just going to go through all the options that you can do. - The 1st 1 is white balance. - So to correct white balance, - you can either use these sliders by clicking and dragging. - And as you can see when I drag him, - it makes it cooler or blue or more warm. - You can also play with tint, - which will adjust. - The white balance is well to get back Teoh original where it was before. - You can double click the text right here of whatever the slider is. - You can also have your mouse pointer over these sliders and press up or down on the the - keypad on your keyboard on. - And that will basically jump the slider. - Uh, - you know a little bit so you can buy increments of 50 or depending on the slider, - five or 10. - Another way to change the white balance. - We looked at this before. - You can go. - So this is basically how it was shot. - You can go through Oh, - and use these automatic ones. - So this is daylight, - and so this is probably closer to what it looks like in daylight. - Another. - If it was cloudy, - you know which it is a little bit cloudy. - You can use the daylight, - but that looks a little bit too warm. - If it was inside you, - would you use tungsten if it was tungsten light, - etcetera? - Another way is to If it's on the as shot, - you can select this eye dropper, - go over to your picture and find something that is white. - And so the thing that's white in this is probably the sign. - This is a good option. - Maybe this white on this wall over here or this white on the ground. - But let's try this line So it's gonna read that sign and try to make that white pure white - . - It worked a little bit, - and now it's a little bit too pink. - I'm gonna go back and try selecting this white on the ground, - and that's, - you know, - a little bit more blue, - a little bit more how it was. - How about this van in the back? - I said, - That's probably the best option, - so you might have to click around and try different things inside your photo to get the - white right white balance. - But that's probably about as natural as you can get it. - Or if you want to go do daylight, - which was also pretty good, - a little bit warmer. - I like that. - You know, - you might want a little bit warmer or a little bit cooler photos, - so that's white mounds. - The first way to play with exposure is through these expert, - This exposure bar right here and again. - You just slide it up, - slide it down, - depending on how you know how much you want to affect your photo. - And if you shoot in raw, - you will have a lot more options in terms of exposure and editing your photos as we talk - about contrast, - if you want more contrast, - you can increase as you can see when I really increase the contrast, - the darks get really dark and the brights get even brighter. - That's what contrast is with less contrast. - Everything kind of takes milky kind of tone with no contrast. - Everything. - There's nothing too bright, - nothing too dark, - especially if you look at the original. - So usually I like to add a little bit of contrast to my photos. - This exposure for this, - this photo is, - is decent enough. - If you want to play with the individual highlights shadows, - whites or blacks for exposure, - you can do that. - So the highlights. - That's basically all the the bright colors, - Um, - but not the white, - the what they call the whites. - Those air the over exposed color so highlight allies. - If you play with this, - you will see in the sky and this this sign up here because they're the brighter parts of - the photo. - If you play with that, - uh, - you can get some changes. - If you want to get more detail, - I would drop down the highlights for shadows. - It's the darker colors, - but not the completely under exposed colors. - So when I raise this up, - you will see that you know, - the dark and the tree and this truck over here by this wall that's increasing. - So if I increase that all the way to go back, - you will see really what it does. - If you drop it down, - it will add more contrast. - So if you want that style, - usually I bring up my shadows a little bit just to get more detail in what's in the dark - parts of my photographs. - For whites, - this is affecting the over exposed areas you can see over here in this hiss a gram, - you can actually see the different areas of your photo, - and when you hover over them, - um, - you can see what's over exposed the whites. - If you put your mouth on this triangle up here and what's under exposed, - um, - over here on the left. - But I don't really have much in the photo that's under exposed. - Um, - there's a really small dot right here. - If you look at it closely, - well, - I hover over, - but, - um, - you won't really be able to see it all. - I'll show you that on another on another photo again with blacks. - Those air the the really dark colors, - dark spots of the photo itself so you can play with the exposure for each of those sections - of your photo. - Clarity. - What? - Clarita Clarity doesn't add some sharpness, - um, - and defined your photos more. - You can see that it really gives an interesting effect. - When you really ratcheted up, - it gets. - Give this almost hdr look, - um, - which I don't typically like for my photos. - And if you bring it down, - everything gets a little bit. - You know, - it's a little bit blurry, - and usually I might increase clarity a couple. - So up to like 10 5 or 10 depending on the style that I'm going for vibrance and saturation - , - these air two very important things to look at. - Let's talk about saturation for saturation will take all of the colors in your photo and - make them more saturated. - So basically, - give them more color. - So the reds get more red oranges, - get more orange, - the greens get more green, - as you can see when I really ratchet it up. - If you go all the way down, - who will become black and white, - what vibrance does? - It kind of is similar to the saturation but doesn't in a smarter way. - So when you increase the vibrance, - um, - it looks more natural, - and it it makes colors more vibrant, - more saturated, - but in a smarter way. - It doesn't doesn't increase the saturation saturation for every single part of the photo or - every color. - It does it just in a better way. - And so usually I increase vibrance before I go straight to saturation saturation. - As you can see when I increase it, - it gives this really adds a lot of oranges and yellows that I don't like, - so I'm going to increase the vibrance a little bit. - This tone curve right here is similar to the exposure tools up here with the highlights - shadows, - whites, - blacks. - But it's just a different way of looking at it. - So you can edit different regions like here with the bars, - or you can actually just click up on the line itself. - And a lot of photos and photographers used the S curve as a standard editing rule. - They want the s curve of the tones to be be like this. - So you increase the lights on, - highlights a little bit and decrease the darks. - And so that adds a little bit more contrast. - And again you can. - I actually use the number bars down here. - The sliders toe affect that as well. - Uh, - this is a little bit more advanced. - We might talk a little bit more later about this. - These options, - basically you consume select specific colors to to adjust. - So, - for example, - for saturation, - we can take all of the greens in this image and, - um, - basically make them a different hue so you can make it a different you. - You could make it a different saturation. - So if we want to take all the greens out, - I don't see the greens. - You might want to take out a little bit the awkward and the yellows as well, - to get rid of all the color in the trees because As you can see, - there's actually a lot of yellow in the trees as well as greens. - If we want to get rid of these Reds, - you know, - you just take the Reds down and drop down all the red. - There is probably a magenta in there and purple, - um, - and orange. - So that gets rid of all that red of the the wall right there. - Lieutenants will make colors brighter. - So if you want to make, - uh, - the greens a little bit brighter, - we can, - you know, - increase this. - As you can see, - the trees are getting brighter in the background. - Uh, - and so those air different options for you as well? - Well, - I don't use those typically on most of my photos, - but, - um, - when I'm using editing landscapes, - I'll use those to increase the saturation of the greens and the blues in the background. - As you can see, - I trolled up. - Ah, - he's different boxes over here to get rid of. - If those options, - if I'm not using them split toning, - I'm not going to, - um, - use for now detail so detailed talks about sharpening your images. - So if your image is a little bit blurry or in focus. - You can actually affect it a little bit. - You know, - you This won't if your photos completely out of focus, - it won't make it in focus. - But if it's slightly out of focus, - you can add from sharpening to it, - and it will, - um, - help a little bit. - So here I'm going to zoom in on my picture. - And to do that, - you just click over here on the image. - And as you can see, - it's pretty much in focus, - and you can see when I increased sharpening it adds some grain. - But the edges of you know these signs and the greats right here are more defined. - So when I go back and forth, - you can see there's more detail, - but it also adds green and noise. - So all this little noise and the colors, - and that's something that I don't like and you know you want to try to do have as little - noise as possible. - You can play with, - you know, - the radius and the detail to affect the grain and the noise in the image so dropping the - radius will get rid of some of that noise and same with detail, - um, - increasing the detail will try to increase the details of your image. - But it will also add more noise. - So I'm just gonna leave those standards. - They are noise reduction will try to get rid of some of that. - That noise that you created wins sharpening. - So I would never increase sharpening to this much typically. - But I'm just using that as an example. - Eso If you're sharpening that much, - you can actually reduce some of the noise by increasing this loon. - It's noise reduction. - As you increase it. - It should make it a little bit less Ah, - noisy, - but it also makes it a little bit less detailed. - So you don't see all the grains and the noise and dust and your photo, - but it makes it almost like a picture like a painting. - And you can like, - again change the detail and play with the contrast to try to get something that looks right - . - But when you do heavy noise reduction, - you get this kind of watery look. - It looks almost like water colors. - So I typically leave these, - um, - how they are and maybe increased sharpening, - you know, - upto 50 or something like that just to make sure my edges are clearly defined, - as you can see when you zoom out, - it's really hard to see the noise that you added when sharpening lens corrections. - This is I sometimes use this if I'm using really wide lens. - Uh, - let me show you what it does you click, - enable profile corrections. - Um, - And as you can see, - the edges become a little less distorted, - or it tries to make it less distorted. - And it can read the lens that I was using. - Sometimes it doesn't if I'm using a non canon lens, - but it can tell I was using Canon 24 to 70 uh, - 2.8 lens. - And if you change this, - it will affect how it looks. - But I like how it looks without the corrections. - So I'm not going to use that effects. - You can add some post crop vignette ing, - which is Ah, - good tool to add to your photos. - Um, - not all the time, - but if you want, - if you increase the amount, - it will, - um, - add some white to the edges. - Decreasing it will add some darkness, - and, - as you can see when you add, - I've been yet it really focus your focuses your attention right here in the middle. - Without it. - There's a lot of information right here that your eyes trying to to read as well, - because bright. - But when you add, - and yet you're really focused right in the middle. - And that's why people admin yet and you could play with this. - You can change the midpoint, - make this vignette IDs circle bigger or smaller. - You play with the roundness if you want to be more of a circle or more of a an oval or - rectangular shape, - and you can play with the feathering to increase the feathering, - so it's not as dark or drastic as well. - You can also add grain if you want is another technique to, - you know, - either make your photos look a little bit more ought old fashion. - Or if your photos are out of Focus yuk unjust ads and green, - and that actually helps making it more and focus. - So that is a lot of stuff. - That is the basics of, - um, - basics of light room. - There are some more options up here, - such as cropping um, - red eye reduction, - split tone, - graduated filters and using the adjustment brush is in spot removal But for now, - we're not gonna look at those. - Those are more for advanced editing. - I'll use the crop tool in another lesson. - But now you know the basics of light room. - And, - um, - when you are done and you're ready to export, - you go up to file export. - Make sure you have whatever photos you want after you've edited them selected so you can - select all you can press, - command and click the ones that you want or shift and click and all select all the photos - that you want. - Ah, - but say we just want to export this one. - You go to file export, - you choose your folder, - you choose a name. - If it's a Siris of photos and you have multiple, - you can easily do a sequence so that it will name it Philippines. - 1234 etcetera Foul settings. - You can set your setting so I usually do J peg quality 100%. - If you want, - you can limit the size of you. - You know, - if you're posting them online and the website you're posting to only allow photos up to, - you know, - two megabytes, - you can do that. - You can also resize so a lot of these cameras nowadays take photos that are really, - really big, - like thousands of pixels wide. - And and you don't really need them to be that big. - If you're just posting online, - you know, - if you're putting them out, - that might be a good idea. - But for just posting online, - most monitors don't go higher than, - uh, - you know, - a couple of 1000 pixels, - so you can change that as well. - You can add watermarks and do different things as well. - And then you just click export, - and it will export it and save it to that folder that you looked at. - So that is it for the basics of light room. - I'm going to have another lesson where I just basically go over the basics again. - And then we're gonna dive into some specific topics in the future lessons about changing - exposure and and doing all sorts of things to make your photos look better. - But for now, - you might have to repeat this lesson. - Go over it again, - learn the basics, - play around with your images and, - ah, - until next time, - have fun doing so thank you for watching. - If you have any questions, - please let me know. - Visit video school online dot com for meat, - more free tricks, - tips, - tutorials and more. - Thanks for watching, - and I'll see you next time. 26. Lightroom Basics - Part 2: - everyone. - Welcome to another lesson in the art of travel photography. - We're talking about light room and basic editing. - Last time I went over the entire light room program, - and I'm sure you are as confused as I was when I first got into light room. - If not, - congratulations. - But for those of you that are I just want to go through another image just to, - um show you all the different options one more time. - A little bit more quickly, - though. - So I clicked on this new image to edit. - Ah, - and ah, - you have all these options over here on the right. - So first, - we're going to screw up toe white balance. - This shot is actually perfectly white balance. - I would say if I want, - I can try a different option. - Do cloudy, - uh, - auto, - or even just play within myself. - Make it a little bit more warm. - And again I am hovering over this slider and pressing up on my aero. - My keyboard, - um, - to make it a little bit more warmer. - But I'm going toe slight cloudy because there's a little bit cloudy and I like those colors - exposure. - I'm going to increase the exposure a little bit. - Um, - just because a raw I want this sign to be more properly exposed before it was a little bit - too dark for me and the background was competing for attention. - With this contrast, - I'm going to increase as well increase actually quite a bit. - Ah, - especially images that don't have people in them. - You can really crank up the contrast to get, - you know, - those darks And was brights really popping highlights? - I'm going to bring down highlights a little bit shadows and going to bring up shadows. - And again, - these are different regions of your photos. - Of the darker areas are the shadows. - The completely white over exposed areas are the whites. - I'm gonna not play with those blacks. - You know, - I might bring down a little bit just to increase the contrast. - Even more clarity. - I'll just pop up to 10 sharpens it up a bit and defines the edges a little bit more. - Byron saw increase 2 30 and sometimes all decreased saturation a little bit so kind of - balances out the vibrance tone curve. - All, - um, - increase a little bit, - create a little bit more of an s curve. - Uh, - and again, - just create more contrast. - Um, - I actually will play with these, - uh uh, - these h sl color and black and white options. - I'm gonna play with the saturation. - Something just clicks its saturation. - One thing I didn't tell you you can do is click this little circle up here on the left. - Then you go over to your photo, - find the color that you wanna to address, - click and then dragged down or up. - So, - as you can see, - I'm clicking the greens and the yellows. - And when I select down, - it really decreases saturation of those. - And it just leaves the browns and the whites of really just the browns of of the the sign - right there. - So I'm going to do that because these greens and yellows are a little bit crazy. - So I'm gonna go ahead and slick that, - select that circle, - then go over here, - select one the yellow colors and drop the saturation a little bit. - So that's good. - Um, - so I just makes this brands to stand out even more. - Ah, - sharpening. - I'm going to, - you know, - just maybe increased 35 noise reduction. - I'll leave, - and yet ing ah, - at a little bit of a vignette? - I think so. - And green down here. - I'm not gonna do anything with that. - Let me show you how to crop really quick eso because I want to crop this image. - Click on the crop right here. - It brings up options right here. - Uh, - I want to maintain this aspect ratio so you can actually go and select one the corners and - then make sure you're pressing shift as you increase or decrease the crop. - If you don't have ah, - the shift selected, - you can crop it anyway, - Like this, - As you can see you again. - Slept like that or make it really tall or wide, - but I want it to stay the same aspect ratio. - You can also lock the aspect ratio by, - um selecting an aspect ratio so original, - or you can enter your own custom or pick a standard and then locking it right there. - So that's Friday. - Easier way to do it. - So I'm just gonna crop it little bit so that it crops out the whites and the edges. - So then you press enter or return, - and now I am, - you know, - more crops that this sign is more in the center of my photo. - So I really liked the way that this is looking. - And I've basically go gone through all of these options and ah, - I think that's it for now. - So thank you for watching. - I hope this lesson has helped you even more to know. - Ah ah, - how to use light room properly. - Let me know if you have any questions. - Otherwise have a great day and I will see next time. 27. Basic Lightroom Edits: - everyone welcome back to another lesson in the art of travel photography. - We're continuing our lessons in light room, - learning how to edit photos specifically in this lesson, - we're gonna talk about basic edits I would to do to travel photos. - And now that it's much different than photos that are just normal photos, - not from traveling. - But, - um, - I have two photos here that I'm going to edit in this lesson from my travels to the - Philippines that both you know, - both images, - air different enough on the subject are different enough to show you really how I go about - my editing. - And I think really the best way to learn is to follow, - and Teoh actually practice yourself. - And so as you're following my photo, - adding, - I urge you to take some photos and edit along and maybe even take similar photos to take a - photo of a plant, - take a photo of a bus or something out on the street. - So here is basically my process, - and you're going to just kind of I'm just gonna kind of relay what's going on in my brain - as I look at these photos. - So if I was, - if this is the first image that I was editing. - First look at the white balance and the white balance looks really nice. - Maybe I would warm it up a bit, - Um, - by hovering over the temperature Ah, - scale and slider and increasing that. - The tent looks great. - As you can see, - if I add more green or purple, - you know, - I don't think I need to do that exposure wise. - It's actually in, - you know, - it's exposed quite well, - but it is quite bright, - and I don't think it needs to be this bright. - So I'm gonna drop down the exposure a little bit, - the backgrounds a little bit darker, - and then the details really should come out through the exposure. - So if we're zoomed in on this and we increased exposure back up, - you lose some of those details of the lines and increases in the petals of this flower. - And so I think my under exposing it are, - uh, - Lauren. - The exposure that helps contrast also boost a little bit. - They don't look at the crop, - actually, - and that's one thing that I probably should have done. - The first is to crop it the right way. - So I'm gonna lock this this aspect ratio and just zoom in a little bit more on these - flowers up here just because when it's so wide, - uh, - it's hard to see the detail of this image, - and still I still want this flowered be, - you know, - the main focus. - I'm not gonna crop it so that the flowers are in the middle. - I like having things offset just lightly. - And I think even if it's big like this, - this leaf right here is distracting to me. - Um, - and I don't want people to have to focus on that. - So I'm going to cut out as much of it as possible cropping that there is good. - I can still see this leaf. - So once I crop it, - there won't be a line through that leaf. - Um, - and then there's not as much white if I crop it toe to something like this. - And then this pedal the pedal, - the main flowers air right here offset perfectly for this image highlights. - Ah, - increased a little bit. - Just ads for more contrast. - Shadows all Ingres as well, - too. - Show more detail. - Um, - and as you can see, - some of these things that I'm doing kind of offset each other. - I decoded the exposure, - but I increased the shadow. - So overall exposure of the whole photo, - um, - is is is darker. - But I then increase the shadows and because the blacks add some more contrast, - clarity a boost to 10 vibrance. - We'll go ahead and boost about 30. - That looks good for these plant photos. - You know, - you might even booth a little bit higher to really show some colors in your images, - but you don't want to make it look unreal. - The tone curve will just increase the lights, - decrease the darks a little bit to add some more contrast, - you play a little bit around with that. - That's looking good saturation for these colors. - I'm not gonna play with or anything over here, - because I like how all the colors look sharpening. - Largest increase to 40 or 50 Um, - and that looks good. - Noise reduction, - maybe to 10 and then highlight or the crop vignette ing. - We'll decrease for this photo. - I'll go down toe 25 like that may increase the feathering amount, - so it's not as drastic, - and I think that's looking really good. - If you want to see how it looks uh, - before and after, - Um, - you can go down to this, - but in right here, - right here. - It looks like a why and why. - You can see before and after left and right, - you can split it down the middle. - So the left side is the before the right side is after you can just click it up top bottom - and again split in the top bottom and click this back to go to the normal viewing. - Or you can click reset, - and this goes back to the original control commands Ear control Z to undo that, - guys, - you can see this photo has gone come a long way, - and I really like how it looks when it's edited like this. - I Let's move on to our next photo. - So here we have a photo of our plane. - First, - I'm going to crop. - Make sure this is locked. - I don't I can't crop too much because then all cut off part of the plane and I don't want - to cut off the plane, - so I wanted to be that size, - but I actually want to rotate just lightly. - So when you move your mouse over to the side outside of the crop zone. - You will notice that you get this double sided mouse, - you just click and rotate, - just like so I'm gonna click and rotate it so that it's actually, - um looks like the plane is a little bit more level rather than the ground. - Something like that Maybe adds more headspace or not, - just play around with it. - Something like that is good exposure. - I'm going to decrease a little bit. - Um, - just a tiny bit because the skies a little bit overexposed. - But I'll fix that with the whites and the highlights below and increase the contrast. - Um, - highlights will decrease so that we can try to get some more detail in the sky up here - shadows I will increase a little bit. - Whites I won't me boost a little bit to get some more contrast. - Blacks on decrease. - So these the dark this of the shadows and the plane are a little bit more contrast e - clarity all boost to 10 and then vibrance well based quite a bit. - Then I will create this s curve, - Really making a more contrast e really bringing out, - you know, - the clouds in the sky and the blues of their I will actually try to make these blues a - little bit bluer. - So I'm gonna click this circle over here when you have saturation selected and click the - blue and the sky maybe somewhere right here and try to increase it. - So I don't want to go that much, - because that makes it look, - not riel, - but maybe just a little bit. - You can adjust these colors down here too. - So something like that is really nice, - actually. - Even play with the vibrance of the yellows and oranges to make that even more vibrant. - Um, - sharpening. - I think this is pretty much, - uh, - in focus. - You can check it by, - um, - zooming in. - And it looks really focused to me. - Who's got vignette ing? - I don't think I need ah been yet. - You know, - you might be tempted to Adam and yet Teoh all of your photos, - and that's one sort sort of style. - But try not to do that. - Um, - I try not to do that to all of my photos just because, - um, - I know just not all photos. - Need them. - And so there you have it. - This is a good representation of how I added my photos. - Let me show you something really quick. - This brush adjustment brush. - If you click on that, - you get this new menu. - Then once you move your mouse over to the screen, - you'll notice you have a circle. - You can change the size of the circle by playing with the size right here and the feather. - You can increase, - um, - and change some of the other options down there. - And basically, - what this does is whatever you click and brush, - it will effect. - And so, - if you want Teoh, - make your exposure lower in a certain spot and not across the whole photo, - you can do that. - So I dropped my exposure. - I'm just gonna brush. - You can see right here that that's completely, - you know, - the it's too too dark. - But let me just show you what I can do. - Though, - you know, - make sure you have your whole area painted in and you have it feathering. - So if you you know across the edge of you know, - the plane or whatever, - that's okay. - You can fix that. - Um, - but maybe you just wanna decrease the exposure just a little bit. - So instead, - something like that, - you know, - just decreased exposure of the sky a little bit so that the clouds are a little bit more. - Um um detailed. - You can see the billowing clouds a little bit better. - You can play with the clarity in play with the saturation of this area. - You can do that for different things. - So that is how you edit photos. - Now let me just show you the before and after of this image. - So we'll try this side by side. - Top bottom. - You can really see the difference in this photo. - In this view. - Right here, - you can see the sky is a lot prettier over here. - There's more colors, - more saturation. - But it's not completely ridiculous. - This could be somewhat natural. - Uh, - can you reset and due to see the original versus the edited? - I think those photos came out quite nicely, - don't you? - I So that's my process for editing photos. - Thank you for watching. - And I'll see you next time 28. Fixing Exposure: - everyone Welcome to light room basics in the art of travel photography. - Today we're talking about fixing exposure, - and we have to have a couple examples for you. - And I'm gonna just talk about exposure, - nothing else. - So in this image you'll see that the whole foreground of the images under exposed. - So basically, - I want to bring all of this up of this cousin drinking tea. - And so the first thing you can do is play with this exposure and basically just increase it - And as you can see now, - . - the lighting of his face is more natural. - You can see you know the details better. - The background gets overexposed, - but that's OK, - cause we don't really need to see what's in the background. - Um, - so that's one way to fix this. - Another way is just to go to shadows and increase the shadows, - so that will only increase what's dark. - So it's not. - As you can see, - the background is not becoming brighter. - Eso If you want the background details to be there, - you congest do the shadows, - and even the blacks increase the blacks. - You increase the blacks too much. - It gets a little bit, - um, - all right. - You just have this kind of like, - white haze, - uh, - over the image on, - and I don't necessarily like that. - Ah, - you can also play with the tone curve. - You can increase the darks down here, - Um, - and then if it gets a little bit when you're increasing the blacks and the darks, - it gets a little bit less contrast ID. - So then you go up to contrast and add some more contrast to, - uh, - combat the D contrast ing that increasing exposure did. - So there's a couple options again. - You can just use exposure, - Eric, - or you can go through the different color ranges and add it those. - So I'm just gonna increase the exposure of the whole photo. - I think that's the easiest. - And you still have most of the contrast. - And the colors are very similar. - Um, - so that's one option for when you're increasing the exposure of an entire photo again, - you're not going to be able to do this with all images on Lee. - If they're shot and raw, - will you be able to do this because shooting and raw format gives your you the option? - Because you so much information, - uh, - that you can do that. - Here's one. - Here's another one where the background we want to keep and we actually want to decrease - the the exposure in the background. - But the foreground eyes really dark and you'll come across this when you're taking photos - when the sun is in the background, - or if the sun's behind you, - the subject's faces will will be too dark. - So if we increase exposure so that my face is exposed correctly, - the background just gets way too over exposed. - So we're going to use the shadows. - It's gonna increase the shadows right here. - So now my face is about exposed correctly. - Whites were going to decrease. - Highlights is well, - will decrease so that the details back here we can see more. - The blacks will increase a little bit. - So now the photo is about exposed correctly, - maybe increased the back blacks even more because I'm still trying to get the background to - be, - um, - and exposed correctly. - I'm going toe over, - expose it a little bit. - So it's too bright and then take the entire exposure down a bit so that now you know the - background. - We still see the details. - Um, - all actually increased the contrast a bit so that it's not as washed out. - And we can still play with the tone curve right here. - Actually, - increase the darks through that as well. - Um, - and still try to create somewhat of an s curve by increasing the highlights. - Um, - you could maybe even boost the clarity a little bit and boost the vibrance to give it more - color so that it looks more natural. - You can see when you reset. - This is what the end product this is the for the how it started out. - So pretty good job, - Pretty good stuffing and do with light room. - The last one I want to show is this one where his face is completely under exposed, - but the rest is properly exposed. - So I don't want to play with I can try to play with the exposure through here, - but I'm going to use the brush tool. - So we're gonna take the brush going to decrease the size of it. - Um, - so I'm going to go ahead and decrease the size pretty small. - Now I'm going to just increase the exposure by 50 to start out with makes the size even - smaller, - but I'm going to just paint over his face, - maybe just even on his shirt, - where it's really dark. - And then you can change the settings after you paint. - So once I've painted like that, - it can increase the exposure. - And as you can see now, - the exposure on his face is proper. - The problem, - though, - is now he has this, - you know, - halo effect around him because the brush actually was. - I stroked past his his face and into, - you know, - the background. - And now that's over exposed. - So the restart, - I'm going to click that brush. - Delete it. - As you can see when you click it, - it will show up red where you've painted that I'm going to decrease exercising more again - and maybe increased exposure so I can see what I'm painting. - Does something like this may just on its face this time just give the shadows of his face - increased exposure or even just the shadows? - You don't have to do that. - The complete exposure just increase the shadows. - It's only like that. - So now we can see his face better so you can use the brush tool to change the exposure. - I could have even done that with this photo. - I reset it and then just painted my face, - um, - and exposed it that way. - But I like how it looks like. - So I said, - That's how you fix exposure in light room. - If you have any questions, - please let me know. - Otherwise, - I look forward to seeing you in the next lesson. - Thanks for watching by. 29. Fixing White Balance: - Hey, - everyone, - welcome back to another lesson in the art of travel photography. - We're talking about white bouncing our photos in light room and I'll show you some really - easy ways to do so and how to fix a couple of problems. - So this image I took have the airport in Taipei and I was shooting through glass and the - glass had this greenish blue tint that gave everything is weird kind of white balance. - And I didn't properly white balance while I was shooting just cause I was walking around - shooting really quick. - But I knew I couldn't fix it in post production. - So, - uh, - an easy way to do this is to select this white balance eyedropper. - And I know that this plane, - the part of the plane right here, - is supposed to be white or hello. - Kitty's face is supposed to be white. - So I'm gonna click on that and you get a nice white balanced, - um, - picture. - Now, - you know, - the green is actually the right green. - The yellows and the pinks are actually correct. - Um, - I might play around with this a little bit. - I think is a little bit too, - has his pinkish tint or magenta tint. - So I'm going to decrease this a little bit, - Um, - and maybe warm it up just slightly. - Um, - and of course, - playing with the contrast and the exposure will help this picture a lot. - But at least right now, - the white balance is fixed. - When a reset that and just show you that, - um, - if you go through these white balance options, - you can try, - But you're really it's gonna be hard to get one that matches for this case when you're - shooting through a green window because there's not an option for shooting through green - window. - Um, - and so you're just going to have to custom custom white balance it by selecting the I - dropped er selecting white part of the image. - And now you have it correctly White balanced. - Here's one that you'll come across quite often, - uh, - shooting indoors. - You'll have tungsten light, - and everything will have this orange glow to it. - My skin really isn't that orange. - The walls really weren't that or is there more of a white? - But because of lighting, - it looks orange, - so you can either use the white balance selector or you can just kind of use the slider for - the temperature and see how what you think is natural. - So I'm just gonna use that something in a decrease, - Add some more blues. - Um, - as I add more blues, - though, - my skin tone looks a little bit blue and pink. - So I'm gonna decrease the the tint over here the magenta. - And now you're getting something that's a little bit more natural. - It's looking like this, - and that's, - you know, - pretty natural compared to this. - Now, - the idea is to use the eyedropper, - select the wall or something that you think is white. - I think this wall was actually off white. - To me, - this cup will be a good. - So that cup actually gives probably the best white balance, - Um, - that you have. - I would actually add a little bit more blue to this. - Cool it down just a bit so that our skin colors look more natural. - But it's really hard because you have some light coming in from outside. - Over here that's shining on is both grandma. - And so her skin, - you know, - now has this kind of bluish tint. - Even though my skin looks more natural, - So white balance is hard. - You can always um, - decrease the saturation That can help with white balance. - Because obviously, - if there is no saturation, - white balance doesn't matter. - But just decreasing it, - you know, - by 10 or 15 points can help you in a pinch. - Here's one more option for White Palace again. - We have a really harsh yellow lights. - Um, - we didn't use a flash for this image, - but my shirt I know is white. - So I'm going to go ahead and select the eyedropper. - Click that, - and now you have a properly white balanced, - um, - image. - I'm going to reset that, - and then we'll see. - It should be tungsten lights, - so I'll do tungsten. - And so now you have a pretty much pretty close to a white balance image. - And try these other ones. - There were some fluorescent lights in there as well. - Now you can try auto, - um, - and auto comes pretty close. - Ah, - Shaw. - It's definitely warmer. - Um, - if it looks too, - you know, - too warm or too cool. - You can always affect change those with the slider. - But as you can see here again, - you have the blue light coming from the sun. - The cooler light, - especially when it was cloudy out and then you have the warm lights coming from the - tungsten lights above. - So it's really tricky to get proper white balance. - I think the best, - most natural looking skin tones come when I use the eye dropper. - That seems to be your best bet. - If there is something white in your image Teoh to use. - So thank you for watching this lesson. - I hope you now know how to white balance your images. - If you have questions still, - please let me know. - Otherwise I will see in the next lesson by 30. When to Crop Wide: - Okay. - Hey, - everyone, - welcome back to another lesson in the art of trouble photography today. - We're talking about cropping in light room, - how to do that and when to do that. - Um, - and this is a great image of a landscape and with a lot of landscapes you're trying to - capture Ah, - wide expanse of land. - And when you do that, - when you make your you don't zoom in when your lenses wide, - You also capture a lot of you know, - the top and the bottom of the frame, - which might not be as important as the horizon. - And so here I capture a lot of clouds and a lot of this mountain that I don't really want. - So to create a more panoramic wide look go up to crop click aspect right here just in this - glowing spot. - And then they have some preset, - um, - options that you can try to use. - Um, - but I like Teoh create my custom ones so you can just say inter custom and you basically - set the aspect ratio. - So say you want it to be for toe one. - You'll get a really wide aspect like this. - So for every four pixels or four inches with you get one pixel height, - one inch or whatever you aspect you want so that you can edit it. - You can move it around, - you press enter. - And now you have this nice wide panoramic of this photo. - And I think it looks really nice wide like that. - Um, - you can change, - you know, - you can enter any type of custom Ah ah, - aspect ratio that you want and it saves the past ones that you've used. - So I've used 3 to 1 in the past and something like that would be nice because then you - captured this bottom kind of silhouetted hill goes across the entire, - um, - photo. - But you can also still capture all these these islands, - but not too much of the sky. - So something like that would be nice for this photo. - Ah, - for a you know, - a photo like this where I would just want a crop closer to our crab here. - I'm just gonna It's like the original. - Make sure that it's locked over here and just crop into our little crab right here that we - can get really close up on our crab. - Maybe you want a square, - which is kind of popular now with Instagram and ah different types of online photo posting - . - People use square images a lot, - so you can select the 1 to 1 aspect like that. - No, - quickly edit it. - You gotta square here, - Do a quick instagram looking, - uh, - photo. - You're going to add a lot of by vibrance and saturation, - um, - and definitely adds, - hum some post crop vignette ing. - And now you have your own, - uh, - instagram creator using quite ah eso Ah, - that is basically how you crop you can crop whenever you want for landscapes. - I usually crop wide and then you can, - Like I said, - you can enter in your own aspect ratio and ah, - that's basically how you do it. - So, - um, - you can even rotate using this angle right here and for ah landscapes. - This is really nice that you get the horizon line like correct, - uh, - at a correct angle. - Um, - and then just press enter when you're done, - so that is how to crop in window crop. - And if you have any questions, - please let me know otherwise, - enjoy cropping your photos on making them look really cool. - I like the ones above. - Thanks for watching and have a great day 31. Creating a Silhouette: - everyone, - Welcome back to the art of travel photography. - Today we're talking about creating a silhouette, - and so if you want to create silhouettes, - you can actually do so in post production using light room and playing with exposure. - So this is an image of these kids. - I'll check it out this airplane and, - ah, - if I want to make them completely dark, - completely silhouetted, - it's not too hard again. - This is looking to this greenest class. - I'm just gonna really quickly white balance it. - So it's something like that. - And then I'm gonna play with exposure. - If I just decrease exposure all the way to try to make them silhouettes, - it's going toe. - Diggory's the exposure of the whole photo, - which I don't want. - So I'm just gonna play with shadows, - make sure the shadows are darker. - The blacks play with those and, - uh, - just kind of play around with them. - It's to make the darks as dark as possible, - you know? - Now this photo is gonna be really hard to silhouette because her green shirt is really - highlighted by the sun, - the side of his blue shirt as well. - But as you can see, - these two kids are already looking like more silhouettes than they were before. - Play with the exposure, - decrease exposure but also increase the highlights and the whites to balance out the - decreased exposure. - And now you have this pretty nice silhouetted image of these kids. - Ah, - here's another option. - If we want a decrease the exposure of the boat but keep the sky the same exposure weaken, - decrease the shadows, - decrease the blacks. - And now I just decreasing the blacks. - You have the silhouette image of the boat. - Uh, - the man sailing the boat. - Me, - He's the shadows just a bit increased. - The highlights in the white make the sunset even more vibrant. - And you have his silhouetted boat and the ship's captain. - And so basically creating silhouette is it just comes down to playing with the highlights. - Shadows, - whites and blacks really decreasing the blacks. - Ah, - if you bring it down all the way, - you get this complete silhouette. - But you also lose some of the detail of what it actually is. - We're gonna increase it a little bit, - so it still looks quite so wedded. - Um, - but you can see more of the waves and the boat stands apart of stands away. - from the ocean itself. - So thank you for watching. - That's how you create silhouettes and adobe light room. - If you have any questions, - please let me know. - Otherwise I'll see him the next lesson. 32. Enhancing Sunsets: - everyone Welcome back to another lesson in the art of travel. - Photography today were editing a couple sunset photos. - I'm going to show you how to really make your sunsets sparkle. - Eso Basically, - we're gonna be playing with saturation exposure and even cropping, - So sunsets usually are a landscape photos. - I'm going to crop this image wide. - I'm going to use, - like, - a 3 to 1 aspect ratio. - Maybe even a little bit whiter than that. - Something like 2 to 1 would be good. - 2010 to the one. - Same thing. - It's a sign like that. - Looks nice. - I'm going to increase the exposure a bit. - Ah, - raw. - Add some more contrast. - Bring up the highlights. - Dropped the shadows, - Bring up the whites. - I'm doing this really quick. - Um, - if I was actually, - you know, - editing this for my personal collection, - I would spend more time perfecting it. - But the goal, - the basic goal for sense it's is just toe increase. - The highlights decrease, - the shadows create more contrast, - and we want to definitely increase the vibrance. - Something like that looks really nice. - That alone, - uh well, - make your sense. - That's look really nice. - Um, - then the tone curve getting nice. - Ask her going. - Really? - Make sure that the sun stands out with the these color options down here, - we can play around the different colors, - increase the oranges. - Um, - increased the reds. - The saturation of these colors in the yellows. - I got the top. - Actually, - the first thing you might wonder is increase the color temperature, - make it a little bit more warm. - And, - you know, - now this is looking a little bit ridiculous. - I don't like how the yellow is so saturated and drop that down a little bit. - Um, - something like that is making your image really pop. - They decreased the vibrance overall, - but as you can see, - when you re sent this and look at it again, - you get this really nice looking sunset picture. - That's a good idea of how it can look. - You know, - I has a little bit of green in it, - so I'm going to maybe increase the magenta colors in it just a bit. - Increase the warmth on and you get this nice sunset. - Here's another image of the same sunset, - but the settings were just a little bit different and say we wanted to keep the blueness - and the yellow nous we don't wanna warming up too much. - Um, - we can increase the temperature a little bit because the contrast, - uh, - he was highlights the whites decrease the shadows in the blacks. - Really get that contrast going. - The Vire INTs we will increase in the overall saturation will also increase tone curve will - increase. - Ah, - and create this nice s curve. - Now you have this really amazing looking sunset will crop it to the one is good. - You for this one will do at 3 to 1. - It was nice horizon with a sunset, - and that's looking like something that I would put in my bedroom. - So just playing with the color temperatures and the exposure of the different regions and - adding more contrast can really make your sunsets pop. - I hope you're enjoying these lessons. - If you have any questions, - please let me know. - Visit video school online dot com for more tips, - tricks, - tutorials offer free on catch up on the latest video school online news, - get the latest coupons and and deals for my classes and learn a lot as well on there. - So thank you for watching this lesson on sunsets. - I hope you enjoyed watching me edit my sunset photos and it has inspired you to go out and - shoot your own. - If you have any questions, - let me know otherwise I will see you in the next lesson. 33. Better Looking Landscapes: - a lo and welcome back to another lesson in the art of travel photography. - Today we have a great lesson continuing our editing. - We're gonna talk about editing landscapes and landscapes are some photos where you can have - a lot of fun editing them in particular. - Because usually there's not people or architecture or things in the way that can get a - little wonky when you really boost some of these levels that we've been playing with. - And so let me show you basically what I do when I, - uh, - at my last game photos. - So first I'm going to crop my landscapes to a more landscape aspect ratio something a - little bit more panoramic, - maybe something like 2 to 1 ratio. - It is always nice compared toa the standard photograph. - So basically, - what I did is I, - you know, - kind of a little bit of the sky off cut a little bit of the ground Doc s so that the - horizon is in the middle and even Aiken add some more sky that might look a little bit - better with the cows in this green right at the bottom still can see a lot of the clouds - and sky above, - though. - Play with exposure. - Just make sure that the exposure and the white balance is right. - It looks perfect in this one. - And the main thing you're going to be playing with is contrast and clarity and sharpness. - Ah, - and, - uh, - vibrant since on saturation for for landscapes. - I'm going to boost my contrast a lot on and make sure that all the colors are really - punching a lot A Z you can see here up in the history, - Graham. - We have a lot a range of colors. - You know, - we have some darks. - We have some minutes, - but we don't have any highlights, - so we're gonna boost our highlights. - Uh, - and, - uh, - I'm just gonna go straight down to the tone curve to do that. - So, - as you can see when I boost my highlights, - uh, - up here, - the history ram shows that some of our our parts of our image our lighter colors a little - bit more contrast down below it. - Booster mids A little bit. - So that is green and the dark green of the hills Don't get get too dark. - Get a nice little s curve gone virus. - I'm going to boost something like 50 maybe back off saturation. - Just a little bit technique I like to do with clarity. - I like to boost a little bit higher than typical. - Um, - so I'm going to boost this up to, - like, - 25. - Something like that. - Even 30. - That looks good. - Um, - and it's already looking really nice. - One thing that you can do is to make your your sky really punch Is goto luminant with the H - sl color black and white goto Luminant. - Get your color picker right here. - It's like the blue and dropped the blue. - So that really creates a dramatic sky You don't want to go to dark. - This might be too dark, - but something a little bit darker than normal. - I'll make it a little bit more dramatic, - which is always nice sharpening. - I'm going to raise up to 50. - Raise the radius toe 1.5 detail 2 50 as well. - And that looks pretty nice. - Uh, - this is a good, - good looking landscape photo already. - I mean, - yet I'm not going to use for this one. - Um, - and then let's just see what it looks like when we see the side by side version. - So that's before and after you can really see that the colors on the right really punch. - Let me just show you that I'll reset it. - That's before it's after my even. - Want to warm it up a bit. - Something like this. - It's pretty nice, - even make it black and white if you want. - I was kind of cool to buy, - like with the colors. - So let's go ahead with one more One more landscape to show you how I work. - So here is the tall volcano into Guy Tai Philippines. - So first, - I'm going to crop it and do something like a 3 to 1 ratio. - Really crop a lot of this out. - I'm gonna actually try to crop out some of this grass at the bottom. - Um, - no, - it's nice, - but it's and I kept it in my other version, - but it is just going to be silhouetted, - so I'm just gonna crop it down here. - Something like this. - Then we haven't poking up from the bottom, - so I don't know if that's a good idea. - I think it's probably better to leave it in there so that people know what it is so you - don't see just a few reads popping up. - So we have the white balance. - This I don't think this is is correct. - So I'm just going to pick some of the whites and the cloud that might be a little bit too - blue, - so I'm just gonna back off a little bit. - But that looks a lot better. - Um, - exposure. - I'm just going to boost a little bit up there. - We'll play with exposure, - and with the tone curve contrast, - I'm really gonna boost like we did in the last image. - Uh, - you make it a little bit warmer on then. - Excuse me. - Clarity. - All boozed up tie like 25 vibrance. - Do you step again? - 50 saturation all back down a little bit with the tone curve. - I'm gonna ads and contras and nose. - When you add contrast, - you really are adding. - Ah, - a lot of some saturation as well. - The colors get more saturated. - Um so that's looking nice. - I like how contrast it is. - The only problem is that the volcano itself is looking a little bit too dark. - So I'm gonna take these shadows and boost the shadows a bit. - So that doesn't get rid of the contrast from the rest of the image from the sky, - um, - and the highlights and the whites. - But it does bring up the shadows, - and it takes away a little bit of the contrast, - but not too much. - Then I'm gonna go down. - We'll try Drop in the limits of the sky just a tad a little bit more dramatic. - It actually may increase the luminant of these greens. - Looks like it's just picking up some blues. - So I'm just saying, - Go to this green over here, - bring it up, - Increase the saturation. - A bit different colors if you want. - Really, - It's all you know, - playing around with it. - She dropping down the saturation of this are quote kind of separates, - uh, - the sky from the island because it has this little bluish tint to it. - Um, - but and it bleeds into the sky. - But driving that down kind of helps I sharpening. - I mean, - a boost upto 50 radius 1.5 in detail will go to 50 as well, - and that's looking really, - really nice. - I really like the way that this landscape has turned out. - Um, - there's lots of blues. - Um, - and that's really the dominant color. - So, - um, - if you don't like that you can try to warm it up with this with color temperature or what - you can dio is Leave it as white balance is possible within with the saturation. - Actually, - go ahead and bring down the blues. - So you have a saying a little bit more, - you know, - interesting like that might be cool, - even just taking out all the blues. - You just have the greens, - left the yellows and bring it down a little bit. - Makes it nice. - As you can see. - If you want super saturation, - you could do that, - too. - Let's look at the before and after, - UM, - done talking bottom side by side. - You can really tell right there like the difference in the landscape. - So it's really all about playing with contrast, - saturation color temperature. - It's really nice. - Photo is the original. - Here's the final product. - Okay, - I hope you enjoyed this lesson in editing landscapes. - I sure did. - Thank you for watching. - And until next time, - have a great day 34. Playing with Saturation / Black & White Editing: - run. - Welcome back to another lesson in the art of travel photography. - Today we're talking about saturation and how saturation can affect your photograph. - So I have a few quick options photos that I'm gonna go through and show you how color comes - in to the role of the photograph. - This this photo, - you know, - uh, - someone interesting. - Nice pina colada that we had on our trip to the Philippines. - Um, - but it does have some nice colors. - You got some greens in the background, - blues tank tops, - you know, - of the pineapple red of the cherry and read of this, - uh, - hat in the background. - And so I buy just boosting the saturation. - Your picture, - it gets a little bit more vibrant. - And that's a style that a lot of people like is if it's a little bit more vibrant, - you can use the vibrance, - as I mentioned before, - which tries to boost the colors in a more unique and better way, - more natural way. - So that's another ideas. - Well, - um, - for this one, - you can also go down Teoh H s l color and black and white. - Uh, - here We haven't talked about you. - One thing you can do is change the hue of a color. - So say everyone changed the reds. - We can select it, - click and drag and basically see. - I turned this this image that the hat that's read into pink or orange if you want, - so you really mess around with colors that way. - Um, - if we want our are pineapple to be another color, - we're gonna play with our our yellows. - But a lot of colors naturally have a lot of yellow in them, - and so skin tones and a lot of other areas of the photo might be affected as well. - So there's one photo where saturation, - you know, - is really key. - You can also take the brush tool, - make size a little bit bigger, - so you just want a certain area to be, - um, - basically saturated or oversaturated. - You can set your saturation, - boost it up just second future saturation your brush tool. - Basically brush over the colors that you want to be saturated. - We just want this to be saturated. - Do that could make him supersaturated. - If you want to add another brush, - press done and then click on the brush again, - we can do you saturate some of these other areas if we want, - so this might take a lot of time. - But as you can see, - maybe you want to rush out the entire photo except for the pina colada to really make it - stand out. - Get rid of that, - um, - red hat behind it. - That kind of distracts from it on. - You really gotta get in there close. - Take away that you get the idea. - Something like that would look pretty cool so you can use light room to come up their own - pina colada ads. - I So another idea with saturation is to make things black and white. - Here's an image that isa really sweet and tender moment. - Not the best image, - though I would say, - you know, - people aren't looking at the camera, - but we have is about my girlfriend holding her grandma's hand as they walk slightly out of - focus as well. - But actually getting rid of the color can fix some of those things just by making in black - and white. - Your eye doesn't catch the blurriness as much. - It becomes a little bit more emotional, - just boots to contrast really quick and then even adding some grain. - You had the bottom can make it look like an old photograph. - Really? - A lot of green. - Looks like you're using film or something. - It means the side of the grain even bigger with the roughness. - She's the roughness on. - So with some photos, - I like to just make them black and white to, - um at a little bit of emotion to them and photos that if they weren't black and white, - you know, - still a nice photo. - But not one of my favorites make a black and white sweet tender moment. - It's so yeah, - there's another photo where saturation can come into play. - Uh, - you know, - this rooster is right in the middle of our photo, - but there's so much green that is kind of hard to notice or recognize the rooster s. - So what I'm gonna do is go down to H s. - L good on the saturation. - Like a color picker. - It's like green. - I just dropped down the green. - Then select are red. - Who's of the red? - So you're just clicking and pressing up and even the lieutenant's I can drop down actually - may right in green, - it's a little bit oversaturated, - cropping. - This would also help propped this a little bit the more prominent and that, - you know, - really, - uh, - our eyes drawn to the rooster And that really helped when we played with the saturation. - Nothing you can do is add a vignette to this really dry in on the center of our photograph - . - So we said, - This is original. - Still great photo still concede the re story. - But now you know the rooster is there in the middle, - Grass is in a saturated isn't competing as much with the rooster itself. - Thank you for watching this lesson on editing on playing with saturation. - If you have any questions, - please let me know otherwise. - Have a great day and I'll see next time. 35. Quick Practice - Follow Along: - everyone. - Welcome back to another lesson in the art of travel photography. - This is Philip. - Inner. - Today is our last lesson editing in light room, - and I'm not gonna go cover any specific topic. - Um, - I'm just going to go through an edit, - these photos as if I was editing my own travel photos. - Well, - they are my own travel photos and something Edit them how I would want them. - And basically the reason behind this is that I really feel that the best way to learn is to - first be shown. - And I've mentioned this before within two practice. - And so the more I show you what I do, - I really think the more you'll pick it up. - And if you're the type of person that's in this class in the first place, - I really think that you are keen on watching videos, - tutorials online and there could never be enough practice, - Um, - videos online that you can watch. - And so here is another one where I'm just going to go through practice, - adding editing my photos and, - um, - basically, - you can fall along. - So here's a photo of me in the mind of museum. - It's kind of like a science museum in Manila holding up, - uh, - balloon. - You're making it levitate between my hands. - Well, - actually, - there was a little air blower beneath that was holding up, - but I thought was pretty cool. - And the conditions for this photo were were that great. - You have this really giant brain that was lit up behind me. - So most of light is coming from behind me. - The walls aren't white, - so it did reflect a lot of light. - But there's just a lot of overhead Life's creating shadows on my face. - Ah, - but I have this nice ball that can look really good if when you play around with saturation - and I just have to bring up my exposure of my face to make it look great. - So that's the first thing I'm going to do is expose it properly, - just going to increase the exposure just a little bit, - cause I don't wanna increase the back too much. - My face is still still a little bit dark, - so I'm going to boost the shadows. - Something like that. - That looks good and see 55 is about right. - I'm going to boost the contrast a little bit. - Just give a little bit more saturation of my colors. - Give a little bit more, - uh, - more information and make the darkness and the brightness punch a little bit more. - The color temperature is Let's just see what happens when we used this wall back here. - I think it's a little yellow. - Um, - so that looks a little bit better, - but now it looks a little green. - So I'm just gonna boost gente No, - not gonna do that. - That makes me look purple. - So maybe boost the blues a little bit backing off. - Okay, - so it's really like that might be the best that we can do the saturation. - I'm gonna use vibrance to really boost the vibrance so that my shirt, - um, - and the ball are saturated. - Clarity all boost a little bit with the tone curve. - You know, - this create our nice little ass care of depending on how much contrast you want. - Okay. - With that, - uh, - with the h of cell, - I'm going to go saturation, - get our color picker, - increase our blue just a little bit, - my green just a little bit and read just a little bit. - And so excuse me In a room like this, - where you have lots of yellows in yellow lights. - One way to fix that. - Um, - when you can just make the whole image a little bit warmer, - cooler can just fix the white balance. - You can actually just de saturate the yellows Something in de saturate a little bit, - but I don't want to look like a zombie. - I'm not going to go too far. - Just a little bit. - And the smartest thing to do would take me Take the brush tool, - brush her on my face so that I'm just getting the background. - That's yellow. - Not taking away the skin tone of my body. - Uh, - you might be able to tell that this all You probably can't. - It's, - but it is a little bit grainy. - Um, - just cause I was using ah, - high, - um, - s o for inside. - So I'm gonna actually do noise reduction. - Just boost this a little bit. - 25. - See what that does. - It takes a little bit, - but as you can tell that, - you know, - decreases the noise of the green added by the I s o. - Let's play around with these at the detail. - Increased the detail little bit. - And, - uh, - yeah, - something like that. - It's probably a little bit better. - So there you have me with this nice ball, - my add a little bit of yet I think I look a little bit too pale. - And that's because I dropped the yellows and oranges. - So I think we're going to select my skin tone and bring it back a little bit. - There. - I looked like a healthy kid again. - That's a nice image right there. - So I think I'm done with that one. - Let me just reset it as a result, - this final product. - Very nice. - I Here's a cool image of these two men, - uh, - putting together this brass statue. - Uh, - and exposure is looking really nice. - I want to see what it looks like when I drop the saturation and make it black and white. - I could be interesting, - but I also like the color may I wanted just to be a little bit de saturated, - though. - Something like that might be good. - Uh, - hello. - Temperature seems to be right. - All goings like this just to make sure. - Um, - that looks good as well. - Contrast. - Abuse. - Contrast. - Uh, - you tone curve to Brian. - Up the lights. - Dark in the dark's a little bit. - Adds more contrast. - We already have this been yet ing around the edges, - so that's kind of nice. - Their shirts are a little bit overexposed. - There's not too much information there, - so I'm gonna drop the highlights. - As you can see as I dropped the highlights, - their shirts contained more detail in the White SA's well, - and I even have to boost the shadows. - But it is kind of hard to see what they're doing because this that this image is really - busy. - Um, - because there's a lot going on around them. - There's a lot going on behind them, - so maybe cropping might help as focusing on what their hands are really working on. - So I'm going to cut off a little bit of their bodies. - But I think this is gonna look a lot better. - Something like this a little bit bigger. - So don't cut off his head, - look better. - And we can really focus in on this grass bird saturation hs l not gonna play with that - sharpening. - Maybe just boosted a little bit. - Been yet ing I think I'm gonna leave it, - and I'm pretty happy with this photo. - Let's see the original. - So not too much of a change, - but what's a little It looks nice. - May warming up just a bit just to get that nice, - warm feeling going. - That's nice On to our next photo. - We have our ship, - Captain. - Ah, - taking us across the bay to boat dock. - I we have this nice image right here. - I really want to play with the colors of the ocean. - And first I'm going to dropped the highlights. - Exposure of the highlights dropping down, - uh, - whites. - I'll drop those down. - Contrast. - Used, - like, - 30 vibrance. - There's not too much color going on over here, - so I'm really gonna boost the vibrance upto like 30. - I want him to be too vibrant, - though. - Clarity all boost 10 contrast with the tone curve. - Oh, - okay. - This nice. - Ask her as I do that. - I think he gets a little too dark, - so I'm going to boost the shadows. - Something like that looks good. - See, - um, - play with the HSE cell. - So with saturation, - uh, - I'm going to boost the Blue Ocean personally, - That looks really nice. - And with Luminant. - So I'm going to decrease the ocean so we could make all the blues a little bit under - exposed saturation might be a little bit too much. - So I'm going to drop off the saturation, - especially after I drop the room. - It's the sky. - What can we do with the sky? - I'm going to show you the, - um this graduated filter tool. - Basically, - it's similar to the brush tool where you can set certain, - Um, - you know all your options for saturation exposure, - etcetera. - I'm just gonna set my saturation so that I know what I'm working with all the way down. - And you go over here and you basically click and drag, - and you can see that it basically effects only one side of the line Gonna set that to my - horizon right above the mountains. - And once you do that, - you can move it up or down or rotate it. - So I'm gonna set to my horizon are my mountain line. - I just want to play with sky. - Um, - as you can see, - originally, - this guy didn't have much detail. - But if I drop the exposure and maybe just the highlights itself exposure even some more, - we get the details in the sky. - And that's really nice. - Clarity may just boost dexterity that the, - uh, - the clouds air really clear and sharp and saturation may boost the saturation a little bit - and then click done. - That looks really awesome compared to what it did before these hills over here. - Weaken mass with the colors back there as well. - Saturation. - Maybe boost the greens. - Now we have a nice saturated looks, - and this is going for a completely kind of serial image. - The colors in real life didn't look this way. - Uh, - but, - um, - it's still a nice photo. - My, - uh Yeah, - nice hdr look, - and so too add to that. - I'm going to sharpen it a bit. - Uh, - 60. - See what 100 even does 100. - Makes it super sharp. - Back up to 75. - You zoom in super sharp, - a little bit unrealistic, - but kind of a nice effect. - So that's super cool. - I think may add a little bit of been yet back off the feathering or increase the fathering - rather in the mid point, - making a little bit bigger, - like that's nice. - So let's see the before and after completely different image on the left. - You have this de saturated, - somewhat bland photo on the right. - You know this this image with lots of colors. - Lots of information. - Lots of contrast. - Lots of lines. - Really crazy. - Really crazy. - My room is so awesome. - So you can reset. - And there you have it. - There is no edited super cool stuff that you can do with light room. - I hope you've been enjoying these lessons. - Um and yeah, - I just hope that you're practicing and you are turning your images into Masterpiece says if - you have any questions, - please let me know otherwise. - Have a great day and I will see you next time. - Bye. 36. How to create a panorama in Photoshop: - everyone, - Welcome to an another. - To Taurel from video school online dot com, - Today we're talking about creating Panorama is with photo shop. - It is part of my art of travel photography course. - Or if you're watching this somewhere else while you're getting a great treat looking in on - one of my lessons on how to create a panoramic image. - So when you are out traveling and you're taking photos, - sometimes you just need it. - Ah, - capture an entire scene in front of you rather than, - uh, - just your your wide angled can't catch the entire photo on. - You might need to take a couple and stitch them together. - For example. - Here is an image of the sunset in Boldak I. - And here's three images that I took and I wanted to stitch them together. - Now I might have been able to step back, - zoom out even wider and get this whole image in one shot. - But by zooming in and taking three photos, - I was able to get more detail, - Um, - and by stitching together, - all haven't even more detailed photo. - And if I was just wider and took one photo as you can see when you're taking a panoramic - image that you want to stitch together. - So you're taking multiple photos. - You want to make sure that they overlap at least by 1/3 of the photo? - Um, - no, - you can go less, - but you want to have enough information, - uh, - overlapping. - So that photo shop can, - uh, - can stitch it together properly so you can see that these clouds right here in the middle. - I still have those clouds over here in the second photo and these clouds right here. - These boats in the water of the people in the water over here. - They're still in the water right here. - And the sun set right here is still there. - And so when you're taking photos, - just keep that in mind that you want to have some overlap. - Nowadays, - people can shoot panoramic images with their iPhone like super easy. - But I really think, - uh, - you get better quality using a DSLR or even just a simple point. - Shoot. - So how do you create the panorama? - First you want to know what the images you are stitching together, - So just know, - for me, - I have 3 48 3 49 and 3 50 in photo shop. - Whatever version you're using going to go down to automate and then photo merge. - It's gonna pop up with the dialogue box. - Uh, - you can select one of these. - Usually I just select auto click browse to pick your photos, - find your photos. - Mine are here. - They are 3 48 You can preview on a Mac just by pressing. - Ah, - the space bar 48 49 fifties. - I'm going to select those three selecting, - pressing shift and flicking or command clicking. - So now they pop up here and here you'll see what you want to blend images together. - Geometric distortion, - correction. - Been yet removal. - You can play around with us, - but usually I just select Linda images together. - Now, - this is gonna take a while. - Ah, - few few seconds for it to stitch together. - You can see it. - Working basically is really Each image is trying to figure out where to edit the images to - align them. - It doesn't quick work. - And now it is over laid. - And now it will blend it together using masks on. - And now we have this really great Anna Ramic image. - So basically, - it kind of stretch this image, - the ones on the left and right to match the one in the center and down here in your layers - panel, - and you'll see the different layers that it created. - And you'll see the mass that it created from the left center and right photos. - So it's all blended together. - Used information from all the images you will notice Ah, - few, - uh, - problems with this photo because of the waves. - Because if you're taking a standard Ah ah, - Typical photo. - Um, - you want to try to capture capture the panoramic image with that with the least amount of - movement possible across the number of photos that you take. - And obviously that's hard when you have waves. - Because even one second after you take one image, - the waves have moved eso for me. - I took the centre image and then the one on the right. - The waves had already come in. - So we're gonna have to do a little bit of work to edit these waves to make them look more - natural. - But first I want to make sure that we have a good, - um, - the size canvas to work with. - So first I'm going to as long as they look. - All right, - Right here. - I'm going. - Teoh merged layers together. - If you right click while you have them all selected, - their has emerged layers options. - And now it's just one. - I'm gonna take my, - uh, - rectangular marquee tool and then select the area that I want to be in my panorama so you - might not want the whole thing. - I want my son set to be, - like in the centre. - More. - I might even make this a little bit smaller is not enough. - I want those people on the edge over there to be in it. - I want to be the nature. - So it's only like that looks really nice. - I'm going toe copy it and go Say, - found new. - It has taken the within the hype of my, - um, - marquis selected. - So it's creates a new composition. - Paste it. - So now we have this great panoramic image, - and typically this is all you have to do. - Um, - but for me, - I'm going to have to fix it up a little bit. - So for these waves, - I can play around with the clone tool. - So over here at the clone stamp stamp tool, - make sure my layer selected decrease the size of my tool and then I'm going to with the - clone stamp tool, - you have the press option or all in click to make a selection, - and then you can kind of paint over the rest of your image. - I'm just going to try to blend these wave together so that it doesn't look like and take - different parts of the wave so that it looks like it looks more natural, - basically connecting the waves, - something like this. - My help And you can you can kind of get the picture, - get the idea of what I'm doing. - Um, - and it will take some time for me to fix that. - But all already, - those ways in the back look better. - And if you never would have known, - um, - that it was most up, - you wouldn't notice the waves from the stitch being messed up. - You could also, - I fix those before when these were three separate layers. - But the clone tool is an easy, - quick fix. - And there you have a beautiful anorak panoramic image, - easily export suitable. - I don't know if that's the word, - but you just can export or save it rather, - um, - in photo shop. - Save it as a JPEG. - Whatever image. - You want your great great image. - So that's how you create photo stitch. - A photo. - Panoramic photo with photo shop. - Thank you for watching. - If you want MAWR lessons like this, - check out video school online dot com. - You'll find for you tips, - tricks, - tutorials and more, - all related to photo video production, - creating just art and living a great life. - Um, - and then, - if you send it from my newsletter online that video school online dot com, - you'll get 50% off all of my online courses. - So check it out. - If you have any questions, - please send me a message about, - uh, - photo stitching and photo merging in photo shop if you're confused. - Otherwise I'll see you another lesson. - Thanks for watching and have a great day.