Creative Camera Movement Made Easy!!

1. Introduction: Hey everyone, welcome to creative camera movement. I'm so glad you're here. Let me tell you a little bit about what we are going to learn today. We're going to get a clear understanding of what creative camera movement actually is. And we're going to understand the difference between a long exposure and creative camera movement, or otherwise known as intentional camera movement. This is the one time that we're trying not to get a sharp photo. We're going to learn about panning, swiping, Zoom blurs and a lot more. I'm going to show you guys examples in the field of how to set up your camera and the best way to get a good result. We're going to talk about what tools you need in order to do this. Finding the right speed because it's not always the same. We're gonna talk a little bit about working with a light box, which I think is a lot of fun. How to create fluidity and make sure that these images, images don't end up jerky or have lines running through them. And we're going to do a quick Photoshop processing tip to show you how to combine those intentional camera movement images with a still photo for something completely unique. This class is for anybody who wants to expand their creativity without extra fancy equipment or super complicated techniques. This is just fun. Alright folks, let's get started. 2. What Tools do You Need?: Okay, Let's talk about the tools you're going to need. First of all, you gotta have a tripod for this, okay? Maybe you don't gotta, but it's a really, really good idea to get this technique down in a more professional manner if you have a nice solid tripod because see, I mean, even the penguins want to use the tripod. So why shouldn't we write? Everybody wants to use the tripod, okay, maybe want us too strong of a word. But it's highly recommended. So not only do you want a nice, sturdy tripod when you are out there photographing? But it's a really good idea, especially for a technique like this to be using a ball head. Now, I have available in the resources for this class, a recommendation list for ball hits that you can put on just about any tripod. So feel free to download that and have a look at that list. It's not all-inclusive. I have no affiliation with any of these brands. It's just good quality gear that will help you get a nice smooth flowing photos when you're doing this technique because it's not as easy as it looks. It's not just moving the camera around. And we'll get into why here in a little bit. Now in addition to working with a tripod and having a good quality ball head, you're going to want a camera that is capable of changing the shutter speed. Now, just about any camera can do this. We can get a 2.5th or a full second exposure just in about any camera that I've ever seen, point and shoot cameras, your phone will even do it. So this is not complicated, but we do need to understand how to change the shutter speed on your own camera. And I will have some recommendations for a couple of apps that you can put on your phone that will allow you to change shutter speeds as well. So you don't have to just do this on a DSLR or mirrorless cameras. You can use your phone as well. Let's get into the next lesson. 3. Long Exposures vs. Creative Camera Movement: Welcome back, folks. Just gonna spend a couple of minutes talking about the difference between a long exposure, any creative camera movement or unintentional camera movement image lie exposures involve using a long shutter speed, and that could be anything from a 2.5th or a quarter of a second to 30 minutes or longer, to show movement in objects or subjects that are in the frame that are in motion while maintaining sharpness on stationary objects. And I'll show you some examples of this in here in just a minute. Creative camera movement is kind of the opposite. You're going to want to move the camera itself. Long exposures, that camera is totally steady and you're just allowing things like water or cars or something like that that's moving through your frame, recorded as a blur while camera movement, you're actually physically moving the camera. So long exposures are done on a tripod. They maintain that sharp focus on stationary objects, but they often need special darkening filters called neutral density filters. And it's an intermediate photography technique. You have to understand manual exposure. In order to do this, the moving elements in the scene are going to be recorded as a blur while the camera is completely stationary. So in a long exposure, you can see here that the traffic lights are being recorded as a blur because those were moving versus the bridge, which is completely still is being recorded as sharp. Again, here, the water is moving, the tree is sharp. So you have two major elements in long exposure photos. You've got something that's still, something that's moving and it's recorded on a nice steady tripod. And even here, note the stars aren't moving, but we sure are. The Earth is turning, so you can record that at night. But again, very steady tripod, no movement. Intentional or creative camera movement can be done with or without a tripod, although I recommend width and everything or nearly everything in the photo is blurred. So this can be done with any camera, even your phone. Contrary to a long exposure, either the whole camera or the lens itself is going to move. Almost nothing is recorded as stationary with an intentional camera movement in ICM or creative camera movement. Photo. From the trees, the flowers in my backyard, to the beach photos. These are all some sort of swiping motion left and right or up and down to create these abstract images. And this can be so much fun. The ones that the beach, I was just out at the beach with my son and I was playing with my iPhone while I was out there and doing these creative blurs with, It's just a lot of fun. So let's talk a little bit about panning. Panning is one of the more difficult versions of it, intentional camera movements. So let's get into that lesson and I will see you there. 4. Panning 101: Hey everyone, welcome back. Let's talk about panning. If you've got ahead of me there, but you can see the first thing written up here, that panning is hard, not going to lie to you with this one. It is difficult. And the point of panning the camera is to actually follow a moving subject. So following a bird, a dog, running cars driving down the street, something like that while using a longer shutter speed. Most of the time when we shoot birds or sports events or something like that, you want a super fast shutter speeds so that you are freezing that animal or that car or whatever it is in motion. But with this, you're using a slightly longer shutter speed, starting around a 2.5th or so in order to show the actual movement of that animal or person or car moving across your scene. As I said before, a 2.5th is a really good starting point. Now, if you're following a bird, a 2.5th is a good number so that you can kinda maintain sharp focus on that bird, but blur the background. And if you find that your background is not blurring enough, you could go for like three-quarters of a second or even a full second. But when we start getting into one full second of trying to maintain sharp focus on a bird as it's flying, it gets harder and harder. So if you are photographing something that is just a blur, you could try speeding up your panning instead of changing your shutter speed. So just move your hands faster from side-to-side. And you might add a little bit more blur to the bird itself, but sometimes that's okay. It can be fun and very artistic. So typically painting is done from side-to-side. So you're following things like vehicles, bikes, cars, trains, planes. If you've ever been to an air show, this is a lot of fun to do when they come down close to the runway and you can blur the background, you can blur the runway and the buildings are trees behind it. While maintaining sharp focus on the airplane itself. With wildlife, birds in flight, a cheetah running. You may have seen this type of photograph online somewhere, maybe National Geographic or something like that where they have a nice sharp image of the cheetah itself. Legs might be a little bit blurry, but the background is definitely blurred. It makes for a really intriguing image. So anything that runs you can practice this with your dog in the backyard. Kids think about when they're playing soccer, when they're on a skateboard or biking, surfing or running, it's a good time to practice this type of intentional camera movement. And like I said, even the household pets, whether it's a cat course, they they sleep all day, so good luck with that. But go out and play ball with the dog and catch him running back and forth. So have him play with somebody else, throw the ball across the yard and have them run across in front of you. So perpendicular to u, if he's running right at you, it's little bit harder to do this. You don't get to blur the background because you're just you're not moving the camera hardly at all if he's running towards you. So this is definitely a side-to-side motion panning it. Okay, so when I pan, I actually do use a tripod and just kinda keeps things steady. But again, I loosen that ball head so that I have all of this motion going on in here. So what I'm gonna do is I'm going to put this, make sure I am in continuous shooting mode. And I'm about an eighth of a second right now. And so what I wanna do is I want to focus on my subject. And I go ahead and toss the ball. Would try and get my dog running here. You want to try this technique off of the tripod. Bring your arms in close to your body. Use the viewfinder instead of the LCD. Because when you're out here with the LCD, you tend to get a little bit more shaky, less steady. So if you bring the camera in, and here we go. Nice blurry background. Success. This image right here down at the beach, it was a bunch of pelicans flying by and it was only a 15th of a second. We're not talking a 2.5th or three-quarters or a full second, a 15th of a second. But they were moving fast enough. And I was painting fast enough that you could tell that they were in motion. You can see that the waves in the ocean is being recorded as a blur. And you know that they're birds, so they're not really sharp. But I'm still implying motion. And I had a lot of very unsuccessful images. I must have taken photos of at least five or six different groups of pelicans flying over the water. And a lot of them just did not turn out very good. Like I said, it just takes a lot of practice. And so I was doing a lot of panning or sweeping left to right, trying to get the ocean and the clouds itself to look at cereal and smooth. And then when the pelicans started flying, flying and I just kinda took advantage of the situation. So I change my shutter speed a little bit so that I can get those birds without being completely blurred. If I had done a full second, I would not have been able to even distinguish the fact that they were birds. They would have looked like little black blobs instead. But like I said, it's a tough technique, but it is a lot of fun. So enjoy practicing that. You don't have to go very far. Like I said, dog in the backyard, kid on a bike someplace in your neighborhood. And you'll have wonderful subjects to practice with. I'll see you in the next lesson. 5. The So Much Fun SWIPE!: Okay, Let's talk about the swipe. This is one of my favorite things to do. It's probably the one that I do most frequently. Maybe that's because it's the easiest one to do something to do with it. But here's a few ideas for you. Anytime you are around. Grass, grassy fields, marsh grass. I live near the ocean, so I've got marsh grass available to me here. The image on the bottom right was actually a field of grass is up in the mountains of North Carolina that had some beautiful couple weeds. Those are weeds growing throughout all of them, but it really, really worked for a swipe and the wind was just howling. So there was no getting a sharp shot if for macro work that day. So I just literally went with the flow and started doing some creative cameras, swipes up and down. So things to look for when you're doing this is some variations in color like that one up here from the mountains. With that purple in it. You want some contrast, be at shadows or highlights, not, not terribly blown out highlights. You can see the image on the top left has got some brighter areas behind it, while the image on the right has darker areas behind the grass. And this is the same marsh but different days and different tide levels. So the one on the left, the tide was up, so I've got lots of water. But you can see reflected the one on the right, the tide was out. So the darker areas are actually marsh mud. So either one works. Just look for contrast when you're doing this. Alright, so I'm on my tripod. I have loosened my ball head so that I've got some motion in here. I'm going to put it on a 2 second self timer. I'm going to aim my camera starting below where I actually want the capture to start so that I'm already in motion when the shutter trips. So I'm going to click the shutter. And then when the 2 second self timer starts, I'm going to start counting and go 1, one thousand, two thousand. I already want to be in motion so that I don't get that jitter. That sometimes happens when you're doing motion shots like this. Let's focus and press the shutter. 11 thousand to one basket. Excellent. Now the thing that I'm photographing here, there's actually a lot of backlighting up above. So what I'm trying to do is I'm aiming mostly at the reads that are on the on the ground here. Because as soon as I get really high, those highlights will show through and they'll come through and looking like just a incredibly white streak running right through the middle of the photo. And it really does take away from the overall effects. So I'm just trying to avoid that by staying low, zooming in tight and making sure that I'm not raising my camera to include those really bright highlights that suffering from behind here. Let's keep going. I like started talking about it. Of course. Unchanged position. So oh wow. Here we go. Find something else. Very cool. So when I was out taking those pictures that you just saw, this is the straight up and down motion that I was talking about. And then this one, same area, same basic composition. But I went up and down with just a slight little jog from side-to-side. During that, I think it was about a 2.5th exposure. Sometimes you could try a little just a little left and right movement in there for kind of a zigzag. Let's try that. So click 110021 thousand. That's cool. I like that. That worked out nicely. Little bit of zigzag, not crazy, just a little bit. So we'll start below where I want to actually capture. So I'm in the third year. That was too slow. Lots of trial and error. It does not take much. I'm not talking about wild swings left to right here. We're talking a little shift left to right to create kind of a zigzag motion. Remember what I was talking about, those highlights? That is it right there, you see that one white streak just coming straight through this image. For me, it ruins it. I don't like it at all. So look for, again, contrasting colors and textures and shadows for contrast. You don't want it to be too flat. If the scene is just too flat, it doesn't work as well. So these are actually cypress trees and all the pink that you see is pink lichen that was growing on these trees. Just really works for a nice contrast in colors and textures. And then the overall feel. Left and right here on the left side, we've got just a straight up and down. And the one on the right, I did upward at a just a very slight angle. So I didn't go back and forth during the 2.5th or three-quarters of a second exposure, I just kinda went from bottom-left to top-right, just a little bit of an angle. And it kinda gives almost a twisty candy cane field to these bamboo shoots here. So don't be afraid to play. These are only pixels. You can always throw them out if it doesn't work. And believe me, I throw out a lot. So here's some more examples, more cypress trees on the left. This is the crepe myrtle with some blooming a zillion behind it. And that crepe myrtle was unfortunately riddled with graffiti. They had carved and carved and carved into this tree. And it almost ruined it for me. But you do a little creative swipe and you can't see it at all. This is a lot of fun. Definitely give it a try. Now let's talk about the zoom blur. 6. Zoom Blur with Confidence: Hey everybody, welcome back. Let's talk about Zoom blurring, which is fun, fun, fun. So let's talk about what subjects are really good for zoom blur. So we're looking for things that have radial symmetry. So things like flowers, plants, wheels, tunnels, pathways, things that have the ability when you zoom in on it, you're gonna get those lines just coming from all directions right down into the center. So here's an image of Sweetgrass in bloom in October. And you can see how just as the grass just naturally kind of laying down there, it's got some nice radial symmetry. So when I aim the camera directly in the middle of it and I zoom in or zoom out during an exposure. This is what I get. Now, watch your placement of the center before you start zooming, because in this image right here, I placed my center right here. And everything looks wonky. Where you aim your camera to start with is very important with the zoom blur. So here's an image. It's got a nice road and I loved these overhanging trees and you wouldn't necessarily think that this would work for a zoom blur because there's not a lot of symmetry going on. But I zoomed out before I started to record my image and I ended up cropping half of it away. And that's the only way that you can actually do this. So you still have to aim that center right down the middle, but you end up cropping off almost half of your photo. If you want to just see the kinda similar composition that I had in the other photo where the road is at the bottom and everything is radiating out from it. So let me show you for a quick sec kinda how I had this set up in the field, and then we'll come back to the presentation. Now, the same technique applies when you're doing a zoom blur. Except in this case, you're going to aim the camera perpendicular to your subject. Make sure that you're gonna get that radial symmetry. This time you actually want to lock down the tripod. You're going to make sure that you're kind of zoomed out further than you want to be. Okay. You don't want to be perfectly composed, perfectly framed because the motion itself is either gonna be too far forward or too far back. And so I'm going to start out, I've got it on the 2 second self timer again. I'm going to click the shutter, 110021 thousand. And while I have it here, since I'm already zoomed in, I'm gonna do the same thing except this time I'm going to zoom out. And that way I have a variety of images to choose from. When I'm done. Here we go. Focus, click 1, one thousand, two thousand. And I just keep that motion nice and smooth. You don't want it jittery because you'll see little lines inside your image if you, if you've stopped midway. So just keep doing that back-and-forth. So I'm going to press it again. 110021 thousand. And I'm gonna go back out. Make sure it's bogus first, 110021 thousand. There we go. Then we get our Zoom blurs. I managed to find a plant, not a flower, but a plant that has some nice radial symmetry. So they come in over this and you look at it, you'll notice that it kind of radiates outward from the middle here. So what I'm doing is I'm setting my tripod up directly over this painting straight down so that my frame in my camera, it looks about like this. And so when I zoom, I'm going to be zooming in Word. And I'm going to be zooming back out. Now it looks a little scratchy on my phone here. Doesn't zoom as smoothly as my lens does. So let's break out the big girl camera and start over. Okay, So here's a couple of the results from the zoom blur of that little plant that I've found at Magnolia Plantation. So there's one image right there and another one right here so they can be tighter or they can be a little bit further out. I just don't want to record too much extra stuff around the image that doesn't help focus your attention on it. Like the gravel that I was standing on or things like that. They do not need to be included in this image. Here's another one that I kind of zoomed on the face of this peacock here. And in order to get the composition that I did here, I just cropped it afterwards so that I got his eye on that rule of thirds line. And it just, I just liked that better, but you can leave it dead center if you want. That's the fun thing about a Zoom blurs that you can crop it in post-processing to change the composition a little bit. So here's a thought. Your subject doesn't always have to be symmetrical. So this is the fountain that I'm taking a picture of here. Now this is an image that I took at twilight, so it's not the same as same time of day is the one here on the left. But I just wanted to see what the actual subject was in case it wasn't obvious what this is. This is the pineapple fountain at waterfront park in downtown Charleston. I just focused in on a small portion in the middle of the fountain here and did a Zoom blur over maybe a quarter of a 15th of a second. It was not very long, but it was long enough to blur the water. So it is a technique that you can use on non-symmetric, symmetrical objects and scenes. But you just kinda have to be a little bit picky. So here's another one that's not symmetrical. This is a palmetto leaf and it was kinda radiating out from the middle, but it was also curved and going off in one direction. So it didn't necessarily lend itself to a Zoom blurb, but I figured what the heck, it's only pixels, right? Go ahead and try it. And I actually ended up really liking the result. Definitely have fun with that. And I will see you guys in the next lesson. 7. Everyone Should Have a Light Box..and a phone!: Okay, Let's talk about working with a light box. One thing I want you to try out when you do finally get a light box or start working with One is the background. These three images that you see right here are just out-of-focus photos of foliage, flowers and a weed. I took and I had printed and put on some foam core banking. And now I just use these as automatic soft focus backgrounds behind my images. This is also great for macro photography if you are a macro shooters. So here I am setup in my bonus room with my lightbox. I've got a, I've got a black backdrop, but I decided to go with the green one. So that's the green foam core that you see right there, the out-of-focus photo that I use for background material from time to time. So I'm on a tripod and I have myself set up so that I'm aiming directly into this flower because I want to do a zoom blur here. But working with a lightbox can be a lot of fun. It has some definite advantages. There's no wind, there's no bugs. You can control the light completely and you can do this any time of year. But do remember that you are in a tight space. So if you zoom out too much, actually see the background. I can see the glass that this flower is sitting in. And I can see the lightbox itself. So when you're in a tight space like this, you just can't zoom out too far, you get too much. So just be cognizant of that while you're working in a lightbox or even in the field, even in the field. I don't want to get all this extraneous stuff. I really just want zoom in and out from the center to the outer edges of the flower and back again. So back-and-forth, back-and-forth, tried a bunch of times. You'll get some slightly different results depending on your shutter speed and how fast you turn that lens. And just a little reminder, I have available in the project resources, a PDF document that you can download that has some recommendations on finding some light boxes that you can use. So here's a couple of examples. So here's one that I shot in my light box where you can see some of the green background. And this one was another image that I shot and I zoomed my lens. I turned the barrel of islands a little bit faster, so I got longer streaks with this one. And I simply cropped it a little bit off center so that I can put that central part of the flower here a little bit off to the right for a different composition. Don't forget to have fun when you are postprocessing. So capturing the images is just half the battle here. We want to have some fun on the computer and really bring out their best in case you're curious about this. This was run through. Next color effects Pro with the solarization filter. It can be a little psychedelic. Sometimes it's just fun. So obviously not a lightbox here, but I just wanted to show you real quick that you can do this with your phone. So here's a couple of apps that I recommend for this. There's one called slow shutter and then specter, which is also a long exposure app. They just allow you to change the actual shutter speed that you're capturing. So slow shutter is the one that I use most frequently, and it can go from a quarter of a second all the way up to, I think 30 seconds. I mean, it's a long time so you can get some really creative stuff here. So this one was taken down at the beach with a little side-to-side swipe. And this one was done at the gardens with an up and down motion with again, that slight little jog left and right. So that's what gives me the kind of swirly lines going up, especially down here towards the bottom of this tree, I get these little swirly lines. And that's from the ever so slight left to right motion. Lightroom Mobile is another app. If you have Lightroom Mobile and you are a subscriber to the Adobe photographers program. You have access to the long exposure capabilities of that app as well. So this gives you the ability to practices even if you don't have your higher-quality gear with you. It's all about having fun, right? Alright, let's talk about your project. 8. Your Project. Yes, you should totally try this!: Okay, Let's talk about your project. This is gonna be super easy. I'm only going to ask you to do two photos. And of course it's not a requirement. So if you only want to do one, that's cool, but I would love to see too if you are up for it. So photo number one, I want you to try and do some swipe and it doesn't matter if you're using your phone or DSLR or mirrorless camera. It doesn't matter. Just practice the motion and have fun with it and do something creative and interesting. Again, with the swipe, look for contrasting colors, some shadows and things that can add some depth to it so that things aren't quite so monotone. If all of this was just green without the darker shades in between, it wouldn't work as well. You need that contrast. And for the second image, I would love you to try a zoom blur. So it really doesn't matter which photographing here. Just go out and look for something with some radial symmetry. That's the easiest thing to photograph. So any old flour will do. Or if you want to do the hub cap on your car, you know, gotten photograph the wheel. Something that just radiates out from the center can be fun. Again, give it a try it like a 2.5th, that's a good starting point. And the important part about not only the swipe, but the zoom blur as well, is to start the motion before the shutter trips so that it's a nice smooth fluid motion from the beginning to the end. I'm going to let you off the hook with the whole panning thing because chasing animals and kids and trying to blur the background at the same time with a 2.5th shutter speed is not easy, so that May 1 just frustrate you too much. But definitely give it a try at some point in the future. And I'm super excited to see your results. 9. Simple Adobe Photoshop Motion Tricks: Welcome back. Everybody. Just wanted to spend a couple of minutes in Photoshop showing you a few digital tricks that you can use to create that feeling of motion in an image. So this image of this sunflower, I took it many years ago. And while I was out there, I just didn't occur to me to try and do zoom blur, but I thought it might be fun to try and do this digitally. So what I'm gonna do here is I'm going to duplicate my background. I'm just going to drag my background to the new layer button. And so now I've got a background copy. I just want to make sure that I'm able to put this effect on another layer so that I can mix the two looks together because that's actually something that I want to try here. So I'm gonna go to Filter down to Blur. And I'm going to come over to radial blur. Now, this one, the first time I tried it, I had it on spin for the blur method and it just did not look right as it what did I do wrong? I was like, oh, I had it on spin so we want to mimic the zoom blur. So I'm going to make sure that the blur method says Zoom. So the blur center can be put anywhere I want. So I'm just clicking on this with my mouse and dragging it around. So based on the composition of my photo itself, I'm going to say that the center should be right around here, so pretty close to the left edge. There we go. The amount slider will give you an idea. You can see how long these streaks will be. But I just want kind of a subtle effect. And I want it to really only apply to the yellow petals, not necessarily the green. So this is why this layer is involved here. So let me drag this back a little bit. I'm gonna be in the mid 30s somewhere. And I'm going to click Okay, That's actually a little bit stronger than I want. So I'm going to Command Z to undo that, and I'm going to try that again. The different numbers so blur, radial blur, make sure I'm still on Zoom. And I'm gonna go down to about three. See how that does. Okay. That's a little bit better, more like what I was thinking. Okay. So what I wanna do now is I want to bring back maybe not all of the detail here, but some of the detail in this green. Not for any particular reason, other than just my own ideas, my own vision, and the aesthetic value of having something solid to focus on for this image. So I'm going to add a mask. I'm going to select B for my brush. I'm gonna make sure that I am painting with black and my foreground so that I am cutting through this mask and seeing the background photo behind it. Right now, my opacity is set at 90. Let's just go ahead and crank it up to a 100. Use the bracket keys to make my brush a little bit bigger and we can see what happens very quickly here. So anywhere that I'm brushing, I'm bringing back detail. So if I want to be more specific in some of these areas here, I can kind of zoom in, get a smaller brush, and bring that detail in. Just depends on where I want to go. If I start dragging my mouse a little bit too far into here, it's going, you're going to start seeing this yellow become sharp as well. And I don't necessarily want that. I just want the green. So I'm just going to paint in here. I'm going to type the X key. So I'm painting with white again and paint over that yellow that I kinda blurred there. You can spend as little time or as much time in here as you want to do some sort of creative effect. But I just wanted to give you some extra possibilities of things that you can do on the computer to add another element to the creative possibilities here. So let's take a look at this type Z for zoom. And I'm going to do just a before and after of that mask. So here's before and after. So I've blurred most of this, but I've kept these inner portions of the flower nice and sharp. Just a little creative possibility for you. Have fun with that. Okay, I just want to show you one more trick. We've seen how to do a radial blur and also how to add an amazing as a mask. So let's see if we can't make it look like this bird is running just a little bit faster. So instead of creating another layer on this one, I'm actually going to go ahead and operate on this layer. If you want to duplicate that layer, you can see that it's completely non-destructive. Sometimes that's helpful if you want to go ahead and bring back a little bit more detail somewhere. So I am going to select my subject. And see how good of a job this does. And it's selected some stuff in here that I actually want to remove. So I'm gonna take my Quick Selection Tool and I'm going to hold down the Alt or Option key, which turns it into a remove from the selection. So I'm gonna go ahead and come in here and just kinda remove that. Now, I am doing a what I would consider a sloppy job in the interest of time. So I don't want to be in here forever with you guys. So take your time with this. When you zoom in tighter, it will get up to be a little bit more specific as to what it grabs. So I'm going to hold the Shift key and start right along the bird's belly down here. And again, selected too much more than I wanted. But I do want this ligand here for sure. I want this foot. I do not want. So let me go back to the Alt or Option key. I don't want this whole area in here. So again, I could be a lot more specific and spend a long time in here creating the absolute perfect mask. But I'm just not gonna do that right now. So let's go and decide what we wanna do here. I want to affect the background and since I chose something that was select my subject, I now have to invert this selection. So I'm going to say Select Inverse. Now since the marching ants are on the exterior of this image, I'm going to make sure that lets me know that the outside of this bird is being selected, not just the bird itself. Okay? So now that I have the background selected, I'm going to go to Filter. And this time we're gonna go to the blur Gallery. And I'm going to choose a path blur because I really want this to go in a particular direction and I want to be able to change essentially the speed of how fast this bird is going. So you can see immediately that I have blurred the background. And I've also got some more tools over here. So we've got the field blur, Iris Blur, tilt shifts. So I'm on the path blur right now and I can change the speed. I can change the direction by dragging this arrow if I wanted the direction to go that way, but I don't want it to go this way. Sometimes it'll take a second to update and I can change the speed. So if I drag this slider to the right, you can see that it looks like he's moving much, much faster. That looks a little too fake to me. So I just want a little bit of movement so that either the bird is rushing or the water is rushing. Either way, it adds a little bit of movement. Okay, So when I feel satisfied with it, I'm going to click Okay. And then I'm going to click Command D to de-select. This will get rid of those marching ants and see how it turned out. Not too shabby. I would definitely do a better selection because this foot just does not look right that was included. So obviously I could have done a better job. I accidentally selected something in here that was part of his leg. A little bit more time making a better selection, being a little bit more careful with that, we'll make that a little bit more believable, but let me turn that layer off. Where everything is nice and still and make it look like there's a little bit of motion in there. Again, just something to get you thinking more creatively on the computer. If everything didn't go just the way you wanted to in the field. So I hope that helps. I hope you had fun experimenting with that in Photoshop and I will see you guys later. 10. Final Thoughts...: Hey everybody, just some key takeaways from this class. Definitely use a tripod. It will help avoid left to right motion if you're doing an up and down swipe or up and down motion, if you're doing a side-to-side swipe, use a ball head. If you have one, you can do this with a pan and tilt it. It's a little bit more difficult. So a ball head is a little bit more flexible and it'll be a little bit more fluid. So you had a nice smooth or images better blurs. So keep it really loose for swipes and for panning. Or you can hand hold the painting. Sometimes I find it easier to just handhold with the painting because I can keep my hands close to my body and I don't have a tripod physically in my way. And then keep it nice and still for those Zoom blurs because when you're zooming in on something like that, you definitely do not want any left and right and up and down motion. You just want to go right down the barrel of whatever it is that you're photographing, start the motion of your shot before you actually trip the shutter. So if my image is going to be framed right here, I'm going to start counting and aim my camera away over here. And so by the time I get to write here, the shutter is tripping and I just continue that motion all the way through. It's very important to just continue that motion even after the shutter closes. And that's the next point on my list here. So because the anticipation of it closing can actually make you stop moving too soon and you may notice it in some of the blurs, especially with the longer shutter speeds. So experiment with different subject matter, different shutter speeds. You may have better luck with a 15th of a second, then a 2.5th. And try different hand motions. Try some some swirls, are some twirls, zigzags and spins and things like that. It can be a lot of fun, especially with the phone. And take a still image as well as the blurred version. If you have some Photoshop savvy and lead to more options on the computer when you're all done. But above all, this is supposed to be a fun technique. I take my son to the beach and I use my phone for these little panning and Zoom are not Zoom blurs, but the swipes constantly drives him crazy out there for an hour and I'll end up with a 100 swipes. But like I said, it's fun. So I'm glad you were here. Thank you for joining me for this class. I hope to see you in another one. And if you have any questions, just reach out to me and I wish you luck, Have fun.