The Art of Travel Photography

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.