Travel Photography 101: A Journey Through Egypt | Indeana Underhill | Skillshare

Travel Photography 101: A Journey Through Egypt

Indeana Underhill, Lifestyle & Travel Photographer

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8 Lessons (43m)
    • 1. Introduction

      1:08
    • 2. Shooting on the Nile

      3:12
    • 3. Principles of Photography Review

      2:30
    • 4. Practical Approach & Excercise

      14:52
    • 5. Quick Portraits

      2:32
    • 6. Capturing History at the Bazaar

      12:24
    • 7. Shooting at Monuments: Pyramids

      3:34
    • 8. Camels & Conclusion

      2:33

About This Class

Travel is something that takes us to a new level of creativity and exploration. It's an incredible feeling to learn and devour a new country, city and culture. Capturing it is another thing. How do we capture a destination through our own aesthetic? Using the Nile, the Pyramids and the Bazaar- we will journey through Cairo, exploring history, architecture and the principles of Travel Photography.

In this class, we look at:

  • Practical shoots in ancient Egypt
  • Choosing your gear
  • Making decisions on location
  • How to explore & capture new places
  • Finding continuity within our images

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Transcripts

1. Introduction: Hi. My name is Indiana. I'm a lifestyle and travel photographer and welcome to Egypt. In this class, we're gonna be exploring how to capture a countries identity through the streets of Cairo. This could be applied to anywhere you travel. But we're going to be using Cairo's three main tourist attractions as backdrops. And that's the Nile, the pyramids and the bazaar Pyros vibrant and full of life. And so it's the perfect example of how to shoot when traveling. We're gonna be looking at gear safety, what gear to bring with you and also how to shoot when you're in these places. One of the important things, in addition to photographing the people in the identity, is finding continuity within your travel photos. Of course, all of us have our own aesthetic style, but it's important toe have a continuity within our aesthetic that we can continue to bring with us a longer journey. So I hope you'll join me. Well, we explore the streets of Cairo and learned about travel, photography and capturing those moments. Thanks 2. Shooting on the Nile: So here we are in the Nile, the world famous Nile, and we're shooting on an incredible fluke. A. That is very popular when you come to Egypt for the first time. Now, what we have to look out for more in this environment is what lenses are we bringing, what camera equipment and as well, what type of photos? Every after, although we're coming to experience it. If you're getting into trouble photography and getting past those tourists photos, it's important to be aware of planning. And then when you're on this Luca, you're not wasting your mentality concerning what do I capture next? What do I capture next? Could even be on the drive over that you have, you know, even just one lens. Or if you have a wide and telephoto and you have a range to cover, anything that you're planning could be in a 10 minute car ride from your hotel. So it's important that we plan ahead, but at the same time, we don't preoccupy our minds with the photos itself. Yes, sometimes we can have set up shots, and yes, sometimes we could have longer shutter speeds in the square. But travel photography is all about capturing moments and all about experiencing the moment and not getting lost in your own photography, at least to me. So here we are, on a fantastic Flicka. And what we have to look at is okay. What type of shot would you take if you were here right now? It's a long, long Fluker. Right now, there's not a lot of wind, so we're pretty much parked in the water were anchored down. But what kind of angle are we getting? Do we want a wide where we get all of this? Do we want portrait? Because we're taking a photo of someone here. Do we want to get ready to expose for the water and bright sunlight instead of the inside? How can we get creative? And how can we by passed this tourist photos? So begin to think about your angles and your lenses Wide lenses to display environment. Longer lenses toe. Give it this book. Hand up the field within the environment, placing more emphasis on your subject rather than the environment itself. And maybe a 35 or 50 35 millimeter lens on a 50 millimeter lens are the key to the human eye. A lot of people say that on a 35 millimeter lens, it's accurate to our eye. So we have to look at Do we want to obsess over the wide? Do we want to portray an accurate doc, You kind of documentary look? Or do we want to play it up and get that separation from our background? For example, when a second will take a photo of our model, where we'll look at what a separation looks like going on a mid F saw? Maybe an F six and exposing for our subject will get a very, very nice separation between an out of focus background and are subject themselves. A few other ideas are shooting wide. Maybe you have a 24 millimeter lens, which will see in a second getting a wide angle to show where you are and what the environment is. It's important to play with death and in travel photography, we have to figure out what that looks like for you. How do you incorporate your own style within the environments? Traveling to 3. Principles of Photography Review: it's important to keep us well in mind the principles of photography. So exposure I s Owen Aperture. How could we play with those three to capture the look we want, For example, if we're at a large square in the morning And there's not a lot of people around because you wanted to go when that was happening, but you still get a few people in the shot. What you want to do instead is travel with a travel tripod, set it up in the square, and then go on a longer shutter speed and then compensate once again with your aperture. And I am so get us lowest possible the I s. So because again, the longer the shutter speeds more light, you're letting in because it's time based, whereas aperture is obviously the amount that's in focus. So if you wanna square everything in focus, maybe you're going to an X 16 or in 22 men you're at 32nd exposure. Then people move so they disappear, becoming visible with your photo. It's one way, for example, of becoming creative, but if you don't want to travel around with a tripod, you might think about okay, maybe it's not shutter speed. Um, after maybe it's aperture. I want a lot of depth that's in focus. Or maybe want shallow portrait photography. Shooting from the hip is also a great idea. Shooting on a wider lens on maybe an F eight from right here won't have people looking at you because they don't know the photo is being taken on. They don't know the camera. Maybe is there so it's exciting because it's a bit more unplanned and it's a bit more static and you know the settings. But when you're on an FAA Morrison focus when you're shooting from the hip, people aren't gonna be looking when you're taking photos of them. And when you're on a static shutter speed, maybe a 1 60 over. If you can do that for lighting, then you're gonna be getting a lot more set. You're not gonna be risking if that's in focus, and you only get one chance to take a portrait photography of someone on the street. You're winging a bit more, but you're still planning. So it's a balance always between the creative and the technical. And of course, you control that with three things your own personal style, technology and tools you have so your lenses, and then it's, well, the theory behind it, which is your exposure. So those there three things to keep in mind whenever you're traveling. So next, let's look at a few different focal lengths on how we might shoot this environment now. 4. Practical Approach & Excercise: we've changed our position a bit. So we're going to be looking at how you might be dynamic or switch up your shots when you're in some sort of environment like this. Obviously, we only have so much room we can move because once again, we're on the Nile and Luca, how incredible is that? So we can't walk on water, Unfortunately, so we're gonna have Teoh stay within this area. So how can we be creative? How could capture the environment and how can we give it different styles? So maybe you're attracted more to the documentary perspective. Or maybe you're attracted more to a telephoto beauty Fashion photography vibe so shallow depth of field a bit more blurred all around. Maybe that's for portrait or small details. Way also could shoot wide to show exactly what we're looking at. So I have my 17 40 Ken and L series lens, which saw which starts at in F four, their minimum, and I've just been playing around with my exposure. So currently, by double check, I'm on the 4/100 of a second for shutter speed. So 405 6 because I want enough to be in focus But at the same time, I still want some sort of blur in the background. And then I'm on an eye. Eso won 60 so once again, keeping it low before the sun sets behind us. So we just do some preliminary shots. Let's, uh, let's take a look. So let's do a few tests for exposure so normally will start at maybe a 35. But when we look at that, I don't know if I like this pole in the center. So instead of landscape, I'll switch to portrait. Maybe we'll go to the side of it. They will come a little lower. My focus is on the front sail, but we could also put it on the shoes if we wanted to. Of course, I'm gonna move ahead because I'm on a wide lens. I don't want any of this in focus, So we're gonna be getting rid of that pool, getting rid of that poll, and then I really like that because we're getting some of this detail here. And if we compare it to the other photo, maybe I want more of this in it because this is giving us a bit of texture and color compared to the blue there. And so they're complimentary, of course. And then we have his shoes that he left there. So let's move back a little bit again, and I'm going to go right on a 40. So we're between the human eye of a 35 to 50. Okay, I'm gonna play with my focus is that we are under five sixes. I said now my elbows right over the water. So I can't really go past this. His remember photographers will do anything to get the shot. But we never want to compromise our safety and security in the in different places, and so have your limits. Don't lean over the side of things specially in this regard, but But where can we play? Work me. So I'm knocking out this texture of only keeping that we're getting a bit more color. We're getting a bit more texture. And then now I'm gonna come up. Maybe we'll stand up now. So it's more of a documentary perspective because we're just shooting from our own perspective are we could go a bit wider. I'm still saying on a 56 bit closer on a 40 I really like how those whites are looking. I like the texture here. I like the shoes, the human element, and I like the blue sale as well. So let's try that again. Maybe I really want to go on a wide cause. I still can capture this so captured the human element and I can still get the sale. So remember her depth of field is going to be a lot wider on a wider lens. We're gonna have more and focus now. I just noticed the sun came out from behind a cloud, so we're gonna have to adjust our exposure and watch our shadows because we can see the shadow over here. So I think we're on a shutter speed of 400. I don't want to change anything else. I have those low don't want to go lower. A 56 is where I want it, and we're going on a wide angle. So I'm getting enough depth of field. But now because the sun's out, I want to compensate. So you're looking at that and you feel how bright it is on your face. So I think instead of a 400 we're going to go to five and then 6 40 might be still a little bright, but let's check. Note. That's perfect. So we went up to stops on our shutter speed. So now we're 26 40 will pay attention to when that sun leaves again. The best way in travel photography to adjust for exposure really quick. And that's why you want to shoot on manual. The reason why is shadow. So we want to be able to pay attention to shadows. The harsher, the shadow, more light that's coming in this direction or that direction. Multiple shadows. You have different light sources. Eso you're gonna get more shadows on the face or shoes, for example, will shoot here and here with shadow. So we always want to pay attention to shadow and where that is so, yeah, when you're shooting photography for travel or any time, pay attention to that so that we can expose properly. I know it's important to get within the shot, and maybe you get a little preoccupied and your minds within it, but we also have to get the look we're going for, and it's until you press the play on the back T look at it that you realized everything's over exposed because the sun change our job is photographers to stay within the experience , No one to shoot, know when not to and expose properly for how we want it to look. Maybe we want silhouette. Let's try that So and said I'm going to stop down. Let's go on F eight. Let's go. 12. 50. I'm gonna check on the back of my camera. Quickly. Let's see. I'm gonna shoot the sky through the sale here. Actually, let's go wider so we can get more of this environment. And so I'm gonna shoot from here, hopefully to show a bit more of the boat. So, personally, this is not the best example. I don't think because I don't like these photos, but you're able to see that we're exposing for the sky right before it sets. So we're getting a nice angle. Rather been right overhead. Who is also a great time to do portrait photography, which we're trying a second. So if we come over here, Wait, Come over. Okay. Yeah, sure way. Come over here. We'll go. Our wide us, which is a 17 got all of those lines. We can begin to see what we can expose based on what Silas waken exposed based on what are Silas. Personally, I like to get this in focus, but I also like to get an 18% gray, which is a middle exposure, perfect, perfect exposure. And then I like to go a stop down or stop up to play with my highlights in my shadows. So this is on a 17 to 40. I prefer the 35 this photo we've taken here and I'm quite happy with that. The only thing in my orna get is this boat in the distance because it's close enough for us to get it. But let's try that. You're gonna go back to a 6 40 back to my 56 because I remember those seven on. We're gonna shoot higher up. Great. I love the colors of the 17 40. It's perfect zoom lens for travel photography. It's it's fantastic. So there's a boat coming across right now and I want to capture that. So we're gonna wait. We're waiting. We're waiting. There it is. It's got a landscape. Quickly weaken. Go wider if we want to. I prefer the 35 but there they are. So maybe the water. You might think it's too dark, but I know I can bring that up because I'm shooting raw. What I care about is that nothing's overexposed to. Nothing's under exposed. Some are losing light. We're losing the ability to edit that. So we want to keep it on a middle exposure, or we want to keep it on a proper silhouette for look. But remember way have to play with our environment here. Now what happens if we try and shoot this boat in front of us? But suddenly I have paid attention to and notice way. Have a 40 I want to go on a longer lens. So now I have the ability to go on a longer lens. I don't have my normal 72 200 so I haven't 85. So let's try and 85. So for this I'm really gonna sile eyes it. I'm going to go down to A to A and something That's really nice to keep in mind. Is that a lot of lenses? They go down to a one for one, too. But if you're gonna be shooting general and you want to be safe. They work best at a to eight or 56 If it's a minimum F stop of 456 works best if it's a minimum of stop of 18 or more open than the best is a 28 to shoot out. And so now I've gone on 85. This to Canon. Similar. It's a bit over the top. I love the colors that complement. That's great filmmaking, but let's try shooting the same thing on 85 let's see what our focus is, where's are drawn to, right? So now a big trend and photography Right now, of course, it's to shoot head on, Um, and so you may choose to do that and trying to get that angle, but once again, anything for the shot. So be careful and be safe in these environments because it's you can obsess over the photo to the extent that you're putting your safety. So just so this is manual lens, so I like that it's a bit overexposed. I'm going to go down to a 1000 cause I'm on a to eight instead of a 56 pullback of it in 85 . I still want the compression between the boat and the background, the building. But I want more negative space. Perhaps I just want the building. It's a bit right, so cool. Let's get a landscape in there now. One of the greatest lessons I've learned in photography, which came before I was a photographer. WAAS. You have when you put grid lines on, you have three and its rule of thirds. So you have three horizontal on three vertical right? So squares. Someone once told me when looking at the vertical. Photography's interesting. When you can frame in each, you can frame in each third. So you have something here. Maybe it's the water. You have the boat in the middle and then you trees in the back. Or you put 60% on water, 40% above or reverse or 70% here, 30%. It's interesting to put your own style when it's not a perfect photograph when it's your photograph, and so try and keep that in mind with composition. What's your eye drawn to, then? Also the framing? How can I take to the next level? I love the boat, but how do I play around to get the photo I like because photography for me is more than just one snap. It's the ability Teoh communicate through an art form and communicate the experience in the moments. So, for instance, we go up a bit and we're on a 1600 it just got a bit brighter. We have more reflection off the water. So snow and water, you're always going to get more reflection, meaning that you're always going to get more on the face. But you're always going to get more in general, and in addition, we're shooting white. So we're getting reflection on White, which provides us naturally for fun. If you're shooting portrait, a lot of bounce. So right now, before it was super dark in here, if I wanted, because the Suns reflecting here and it's white, we're getting natural bounce, so things they're gonna be more exposed here, even though it's brighter outside. So those things you want to keep in mind, which you'll learn to keep in mind the more you take photos that really benefit you, so just keep in mind we have bounced some and dark isn't gonna fill, so we got more shadow than if it's brighter here with the white. It's the natural environment, diffusion and bounce. So maybe now let's keep it great. So we're getting details now. Let's, uh, shoot through it this very coming in and I'm gonna blur out what's in front of me. The wood pillar? A little more. I want to open up a stop. Great. So these are just examples. I mean, even this rope here it's colored, so I want to shoot through. I'm sorry I want to shoot through here to show that we're on a boat way can so we can do anything. I mean, we can even shoot through the wires here. The cable waken get creative, Great perfect one in 85. It's great cause you get closer and there's there's not as much separation from the background, but for me, I just preferred the 35 to this on. That's because 85 I like to use for a portrait. So let's try portrait photography, illness 5. Quick Portraits: So we're here with I'm Rich Day and he's our lovely sailor. And of this flu cuts his boat. And let's try a portrait photography while we're here because it's something I want to remember. Andi I absolutely love his face. There's this kindness to him. So let's try photographing on 85 and let's go. So right now, just gonna frame up. OK, so perfect. So how do we get that anger? Right? So great. So he's a bit dark. I'm gonna stop down. And this is when timing matters because they're not gonna pose for you. Older. Perfect. Let's get one more. One more. I'm gonna back up and I'm on in 85. So I still want that. I'm gonna go on a 28 and said, Actually, let's go down to a four. Perfect. And I want him in his environment. Perfect. And one more perfect sugar. So that's an example of photographing or doing portrait photography. I absolutely love the 85 per portrait. I didn't like it for our close ups here. I rather shoot on a 35 and 40 but that's when it becomes important to have our own style because maybe you love the 85 here, and you love the portrait on a wide. The wide on a portrait is gonna be really close to their face. That's the only issue I have with that, because you'll be bringing up the features. But you have to have someone comfortable in front of the camera and to have a great impression in a place you've never been to and with people that are already being generous enough for you to take their photos. I believe you want to shoot on a longer lens 50 or 85 unless they're very comfortable in front of a camera and you can get really close. So so it's important to get the photo, but is, well, it's important to be respectful in the places you travel. So it's a balance between that balance between paying attention to our three things, exposure style and tools. But it's always about you buying the camera. That's an example of how we could shoot within this small environment with in Cairo on the Nile in a full Luca and something that everyone should do when they come to Cairo anyway. But something we want to capture and not lose the experience of 6. Capturing History at the Bazaar: So today we're in the hunt Khalili Bazaar, and we're gonna be exploring travel photography in a completely different environment. We've already shot on the Nile, where we were in a confined space and we had 3 60 around us open toe play with. We had multiple lenses. You know, it's pretty simple and calm, and today it's gonna be the opposite. It's gonna be chaotic, and it's gonna be interesting. And we're gonna be going around on a 100 millimeter lens as well as a 17 to 40 millimeter lens. These air both l Siris on a Canon five d mark three, and we're going to be playing around with the difference between getting into small areas and maybe playing up with our wide angle in smaller alleyways and then is, well, throwing off the background with 100 millimeter lens when we want a pinpoint something individually and let's play around within, hunt Khalili and take some cool photos. Okay, so we're right in the center of the bazaar right now, and although this is more of a touristic, part is you can see around me with the lamps in the background. We have the architecture of the bizarre still intact. So it's a beautiful area to walk around. And with all the lamps you get a bit of color when it comes to nighttime and and golden hour, which is what we've just hit. So I'm on my 17 to 40 millimeter lens right now because I just want to pick out the shapes and distorted event. And I'm starting on a one over 125th shutter speed and F four and A I s 0 1000 You know, when you're on a five d mark three. You want to cap it off it about 2000 I s O. But take a look online at your own camera body and what they recommend the highest shutter speed should be because after that, you'll start to get noise, of course. And then everything will degrading the image. So I want to start a 35. I don't really like going Teoh anything below a 24. It's just not my style. So from starting on a 35 and if we take a look around, we're able to really play around with everything in our area. So let's take a look around. Let's walk and let's see. See what? We can take Buddhism. So it's going on here. So we're going to a quieter part of the bizarre now, Um, and and I love the quieter parts, which means that they have a bit more. It's been more rustic, I find. So, for instance, right here I dio I'm in love with the street signs here in Cairo. I'm in love with the shop signs because they're normally really old. Some of them are old school painted with a brush. And so let's take a few photos out here. Now I'm testing on the back of my camera to see what my exposures like, and I'm going to go down to one over 100 to get that extra light, and I'm gonna push up to 1600. So let's take a look. Perfect. Let's go down a bit Now. The key to taking photos and travel photography is that you want to be open to exploration . Ah, lot of the time we over plan shoots, we over planned shots and we over plan exactly where we're going who are going with what can't we're taking, and the only thing I would say for travel photography is the opposite. Be open to explore. Know what's there, but also be open to go around that between that, go further and then you'll be able to get the photos that you're really looking for. You'll be able to pinpoint things and take your time. And also you may want to limit your gear because when you're around places like this and you don't know where you are and maybe you're even alone is a solo traveler. It's important to be aware of the gear you have on you and don't take too much of it, just in case. So that's why I have only two lenses that I'm pretty happy with their focal ranges. And I would recommend ones England's when you're traveling, if you can only afford that one lens. So something like a 24 to 105 which is a cannon L. Siri's in 18 to 55 or in 18 to 1 35 1 of the standard kit lenses, but something that's a bit different. That and that is a good all around lens, but you'll be able to use so let's let's continue to walk around. So I really love down here because of all of the tarps and the colors that heir apparent. I don't know if you're able to see into the back here, but if we take a few photos of that, we'll be able. Teoh, hopefully pinpoint that. Colors. Let's go. Coffee. Okay, Another example of something that might inspire you. When you're out taking quota, we're gonna stand or 17 to 40. And let's try this area working. What I'm falling in love with right now in this area is the mix right now between daylight and tungsten. Tungsten, of course, is the warm indoor light. And because the lamps are on display, that's what we're getting. So let's take a few photos of just what that transition looks like, and I also like how they're hanging them to, and you may like the idea of getting people passing within your photos. One great thing I love doing, and maybe we'll try that in a second if we find the right place is shooting straight at something and then having someone walked by and so they might be in Blur because there's movement happening and maybe you're on a one over 100 But in reality you're actually gonna be capturing them and the thing you wanted. And it adds a little bit of personality to your images, something you might want to do to spruce it up a bit. So now that we have this shot and I really like this shot, I'm gonna go on a 100 millimeter lens to show you the difference in how you personifying a country's culture and identity. So with lights, when you're on a 100 millimeter lens, you're actually getting everything compress, which could be super interesting. You'll see that there's a difference between the 17 40 100 immediately when we're trying to take photos, more elements than the wide picture move. So that's great. Now we also want to take a few images that inspire us. So you always want to be considerate when you're taking images within markets like this, because narrow alleyways and people are still trying to get to shop to shop, whether it's tourists or local. So it's important that we're keeping that in mind whenever we're in local places on not to interrupt them to ask for permission and as well Teoh be considerate and respectful. So we're just gonna wait for these people to pass, and then we're gonna take another image over here. So let's go head out Teoh mo s street now, which is famous for its architecture. And let's take a few photos. So we're in one of the busiest streets on R rated movies Street, and this is where you're gonna find a lot of the merchandise that you'll be able to get in the bazaar. But it's also great because it gives you a lot of variety to play with when you're photographing anything. Really? The main street is really great street to photograph because you're getting a taste of everything. And from that you can actually pinpoint what you're interested in shooting. So we're here a golden hour. The sun's about to go down, so we're going to be going to mow West Street. But on our way here, we have places that we're gonna be taking a few photos. So let's see what that looks like. We're gonna take a look on the back of the camera, got a general exposure, so I'm gonna go down to a four or 5.6 ideally and we're gonna keep it on the 1000 eyes, so which allows us to play around a little more. So let's walk down. So something like this I really love and I want to take a symmetrical photo of it. So let's do that. We're gonna wait for people to pass. So what I previously spoke about was the idea of taking something as a still image, but then having some motion blur. So I'm going to go down to a one over 100 currently in a 5.6 eso 1000. The sun is going down, but we're getting still a bit of warm, prominent its golden hour. So I'm going to be taking a photo of this perfume shock trying. Get someone walking by who doesn't know when taking a photo and get them blurred. So we're just waiting and someone's coming on. So let's take up. Uh huh. Perfect. So there's a photo in there that I really love of a man carrying a sack, and so I will probably use that in the end. And it's things like that that amp up your photos a bit and carry a different identity to them. And that's what we're looking for in our images. So let's continue to head down. So here we are. Mos Street in Hunt Khalili. This is gonna be one of our busiest streets and I absolutely love it because of the amount of mosques on the sides, the amount of street food and the the energy of the place. So let's take a look. Let's walk down. Let's take some photos. I think there are three words you should know when you're traveling, and that is yes. No. And thank you. So thank you here is really relevant because you want to say thank you and no to pretty much everything that they're offering us. You go. So let's continue. So, as you can probably see, we're currently in the gold souk with things on either side of us with different gold prices. Okay, so we're on a 40 millimeter focal length, So let's check out this architecture here that I want to take photos. Okay. So remember, it's important to pinpoint the things that stand out Teoh and leave a lot of times that you're able to actually take photos of the things that you didn't expect. You'd want to take photos up in the first place, so I'm happy here. Let's walk down a little bit. So we were actually here yesterday because I wanted to take a lot of photos of different doors in this area because it's famous for its old buildings. Of course, as you know, Egypt has a very rich history on DSO. I was here taking quite a few photos. I also wanted to take a few photos of the shops. They're actually built within these buildings because they keep all the same architecture. So a few of those photos yesterday you really fell in love with because I love that idea of doors within different cities. So it's a good idea to find commonality within places. And maybe you wanted to curate your own collection when you're walking and exploring different places. 7. Shooting at Monuments: Pyramids: We just bought some crazy hats for really cheap because of the fun right now. So if you love this, you could buy this here. It's very cheap, but besides that, the great part about the pyramids is because they're so mapped out already. You can show up, and they will actually already tell you the best vantage points for photos and a lot of the big monuments on Earth, like the Eiffel Tower or Niagara Falls or even Bondi Beach. They'll have different on either Google Maps or on the actual maps. When you enter, touristic places will tell you where the best photos you can take our. And as you can see right now, this is a fabulous one. I just took some photos of Paris. I switched to my 17 to 40 millimeter lens, and I kept it out of 5.6. Now these fighters are completely different than getting the close ups on the camel's. This is a wide angle. I went actually to a 24. It took some out of 35 40 and 100. So when we're looking at the comparison, we can actually see the difference and how not only the pyramid is framed, houses stacked. And how are we putting our subject into the identity of the photo and capturing them in a unique way? So this is when lens choice becomes really vital in our photos and our photography. Because, as you can see on a 24 millimeter lens, Faris is really epic. He, you know he owns. Seen in He's full front foreground, and the focus is on him with an epic background. But I'm 100. You can see that it's more being used as a background, and you can't even see the tip of it. So it's more of just having that contrast in texture and that compression on that 100 millimeter. So when you're at her monuments, it's important to take a look for where the vantage points are and then use on his inspiration and go beyond that. OK, I like that. What I like about it, How am I gonna move to the next part? How am I gonna take different photos and what are the what are the ideas I'm trying to capture within the places I'm seeing, and that will help you get a lot of photos that later on, when you import onto your computer or you see on your phone if you doing well while photography, you'll be a bit happier to edit with, because it will make it your life a lot easier. And you also have been able to capture the right look and aesthetic that you want. So currently there is no one around, and we're actually at right in front of the pyramid complex here in Cairo. And this is the benefit of traveling during off peak season, because you're able to get things to yourself, your able to photograph them without people in the way. And you're also able to take your time exploring a bit more on dure, not being high vocals. Much so one of the things you want to do when you first approached a monument is you want to think about. What am I here to take? Of course, you're here to experience, of course. You here to see things, But in addition, what kind of images are you looking to take? What kind of images are going to inspire you when you're here and leave a lasting impression rather than just capturing it for what it ISS. Maybe you have You want a documentary approach with that 35 maybe. Wanna have that compression with 100 you can play with all of these things when you get here. When you're in off peak season during peak season, it's a bit tougher. Maybe you want to come in the mornings or you want to come if you only have an hour right before they close things like that where it won't be the highest time of day for the sun. So obvious. Harshest. The shadows are right now, but you also be able to get photos where there aren't a lot of people in. So when you approach someone, or when you approach a monument, make sure that you're going during a time in which you're going to be able to catch those photos and does well. You want to know what your goals are for when you get there so you don't miss out on the experience of actually taking it all in 8. Camels & Conclusion: So I hope this class is brought on a few concepts concerning travel photography. Specifically, when we're looking at, how do we use our gears of tool? How do we set out on amount of time when we're going to explore, or how do we find continuity within our images? Now, Kyra is a great place to explore. But every single place has a different identity and a different way of approaching its own photography. Now, some of the footage I actually lost when I was at the pyramids and that was specifically dealing with the camel experience. So when you go to a Middle Eastern country like Cairo or Dubai or Qatar, you can ride a camel and specifically in Cairo. That happens, of course, at the Pyramids. Now, in those videos, I was photographing the camels, but I wanted to find a way to bring out my own style and to explore something I was interested in, and for me that was pinpointing and zoning in on actually what the camel is wearing for the rider. So each camel for the owner is wearing something completely unique. Different patterns, different textures, fabrics and colors all toe build their own camels, all to build their own camels appearance. When someone is going to ride them now for me, I could have taken a photo of the camel itself. I could have taken a photo of a portrait. I could have taken a photo of the rider, but instead I decided I'm going to zone in on something different. And that's the history of Egypt through the color of what the camel is wearing on its hump . So when we look at those photos, we can see that the difference is apparent, although there is a continuity within my own imagery. And it's those things we want to explore when we're on our travels or in everyday photography when we're out and exploring. So I hope this class has been helpful and interesting, and maybe it's even inspired you on your next trip toe. Look at something a bit differently now. The biggest thing we want to take away from this class and throughout photography as a whole, not just in travel is that we can be inspired by other people's photography. We can be Googling Antarctica or the Faroe Islands or Iceland, and we can love some of the photography. But the most important thing is finding our own style. We can be inspired by this one. Photographers approach to photographing and capturing Iceland. But how do we use that inspiration to make our own photos count? And then, in the end, that will make us much happier for at the end of our journey when we return home and start that processing. So if you have any questions or you just want to share your own travel photos, feel free to post them below. I hope you've enjoyed this class. Thanks.