Transcripts
1. Intro iPhone Nature Photography: Hi, welcome to my iPhone
nature photography class. If you love the
outdoors and want to take better photos
with their iPhone, then I made this class for you. In this class we'll
do lots of demos like long exposure using
live mode to create a serial looking moving
water in places like Yellowstone will
shoot wildlife and beautiful landscapes and
also get close-up and shoot fast-moving subjects like bees and various types of light, will explore, adjusting
the focal point and shoot macro
photography of plants. We'll also take a look at how different types
of light effect or photos and how it is little as 7 min can
make a huge difference. And the type of light
that you'll get on those foggy days and days
where there's non-ideal white, we'll look at basic
photography principles like the rule of thirds to
add interests to our photos. And we'll also explore
some of the new features on the iPhone like
night mode to do long exposure photography and to create amazing photos
of the Milky Way. And if you're lucky,
you might even capture the aurora borealis. No worries if you don't have the latest iPhone as
there's something here for everyone and you can still take interesting photos, even on an older
phone or any camera. I taught myself how
to code iPhone apps. On my iPhone three came
out and my apps have been downloaded more
than 12 million times. I also studied photography with companies like National
Geographic and Adobe. I've visited 48 national
parks and would love to visit and
photograph all 63 someday, It's good to have dreams. So if that all sounds
good and fun to you, Let's go on with photography
adventure together.
2. Landscapes with Ideal Light & Sunsets: We're going to start out with
a sunset walk at the beach. This is pretty much a
photographer's dream scenario. You have dream light. You can get a good shot pretty
much everywhere you look, there's interesting things
with birds flying through. And it makes her job as a
photographer really easy. You're gonna get
different types of light depending on how close
it is to sunset. This one's at exactly at sunset. So you're getting some
pinks coming in and even a little bit of black
and some reflections. Most people leave at this time. But you really should stay
a little bit longer because this one is the same
shot 7 min after sunset. And you can see the reds
really come through, the blocks are coming through. And a lot of times
you can even get purples and even greens. If you're lucky. If you have
a good cloud dot like this, you should wait at least 10 min, maybe even 20 min after sunset, just see what happens and maybe it'll get more
colors coming in. It was just before sunset time you can see the sun's setting. A super simple shot. You've got clouds there to give you some color, the waves. And it's pretty
much just point and shoot scenario where
you just have to line it up reasonably well and light is really doing
all the work for you. And that's true pretty
much everywhere you go. This shot and the Tetons, there's a lot of photographers
trying to get this shot looking for that
pink to really light up. It has got a little bit of
pink with the cloud deck, but it wasn't quite look
like what they were hoping for in this next shot is more what they're hoping for with the pink cloud deck really coming in and just
spectacular colors. Sometimes the clouds will create cool patterns and you can get reflections in lakes
like Yellowstone Lake. Maybe add a little
interests with those little trees out there. But most of the time,
even at sunset, you're not necessarily
going to get all the spectacular colors
unless there's the clouds. This one's actually at sunrise and that's the moon settings. So you gotta get
a little bit more creative with the cloudless
sunsets and sunrises. Sometimes it's good just
to embrace simplicity and enjoy the muted colors. I think these look kinda
like Rothko paintings. And I love that look, but landscapes can get a little boring in general if you don't add a little
bit of interests. On the next one,
we're going to add a little interests and
put the rocks in there. And then get a little
closer to the rocks and add just a little bit
different flavor to it. You can change the shooting
angle and this one started even get a little bit busy
compared to the first one. That was very simple. But adding in the
surfer and the peer, it does capture the
scene and Pensacola, it's a pretty
touristy destination. Then you can change the
angle by doing things like shooting from above
and having the surfer, it's watching the sunset. And instead of shooting
directly into the sunset, a lot of times you'll get really good light
opposite the sun. So in this situation it's
lighting up the cliff. Then you can start doing things like varying the composition. Maybe you want to tell
the story that you were walking on the rocks and Big Sur and how
that would be more the focus of the shot
and capture that feel. Most of the day you're not
going to get ideal light, like in the previous photos. It'll be really harsh and
bright like this one. Or it could be a foggy day
and it just looks kinda blah. It's not like that
first one where we had the dreamy sunset, where you just walk up and the clouds are there
and it looks beautiful. So the next section
we're gonna look at less ideal light and
how to deal with that. But when you get a
great cloud like this, roll in and reflect in the sand, just soak it up and enjoy it.
3. Landscapes Less than Ideal Light & Adding Interest: We're gonna go for another
walk at the beach again, but this time on a foggy day, we don't have all the great
light that you get at sunset. And it's a little bit
less interesting. Since I've walked this
beach many times. I know at sunset this
is what it looks like. If you're trying to
take better photos, it's great to take shots of the same thing over and over and get to know
him really well. And what they're like in
different types of light. But today we've got fog, so we're going to
make the most of it and see what we
can find a shoot. Let's go closer to the pier and see what's going
on over there. Getting closer to the pier, It's a lot more interesting. You have all the pelicans
lined up here comes on flying through and that's a
pretty cool shot right there. But let's take a look
at another angle and see if we can get
the birds coming in, going from this perspective,
lining up the shot, you can see there's
leading lines with the peer that goes
towards the cement ship. And you've also got
what's called a lot of negative space in the
upper left-hand corner. So let's see if we can use
the negative space and maybe get a bird in there to add a
little bit more interests. So here's our first shot. We got a seagull
soaring through. It looks pretty cool over there with its wings spread out. And you can see the pelicans
lined up on the Pier. As we continue to shoot, the birds coming in closer. Maybe it's going to land. You can't really tell it's
lined up with the ship. If you put the rule
of thirds on there, you can see that the ship and
the bird are about lined up and our peer is lined up in
the lower left-hand corner. That'll draw your
eye to those points. And as we continue to shoot, we get the bird
closer to the pure. I think it gets a
little bit more crowded and starting to blend it into the
pure a little bit. I like the other shots a
little bit better personally, but it's all
personal preference. And then this last shot is just to show how different it looks. You have the surf in there which makes it a little
bit more noisy. It's not as clean, so it draws your eye a little
bit away from the bird. And the bird isn't as prominent, It's just in there. So it's not as clean looking and not as visually
appealing as the others. Out of the shots we
took, I like this one, the bust because you have more space between
the pelicans and the bird that soaring the Segal and its wings
outspread. I really liked that. I also like the one where I had the rule of thirds
graph as well, but I prefer this one, but it's all
personal preference. So that was a much more
interesting shot than what we got when we first walked
up to the beach today. I took this photo earlier in the same day before the fog
had rolled in quite as much. You can see that on the
right-hand side of the photo there's a little bit more light because it's not as foggy there. But once again, you
have some interest in this photo with
the leading lines of the water on the shore, the bikers and the
trail that they leave in the focal point, going towards the pier
and going underneath it. Here's a day that's smart. Overcast than foggy. And overcast days can be really great because they'll
make colors pop, like the green on the clefts. And you've got some bikes
in there for interest. And then taking another
angle at the bikes, you can see the surf board
racks and tell it it's surfers bikes and that's their beat up cruisers
that they left there. The other type of light is
going to be harsh bright sun, which I find to be the
hardest to shoot in. It gets pretty washed
out and you get a lot of glare and it casts a lot
of shadows to this shot. I put myself in
there because I was leaving Yellowstone
after working there, given the piece out,
which might be a little corny but whatever. But to show the principal, if I wasn't using
it as an effect, it would look horrible
having my head in the photo. But you can always find
something to shoot even on a bright day and like this under
this pier and use focal points and
symmetry on here. If you look really close, you can see the Sun
is really harsh on the left-hand side
compared to the right though. You can also use negative
space like we did earlier and take a photo
of the palm trees. And then you could also
embraced the shadows. This one I took when I was
biking across America. So I took it from
the perspective that I was biking
through the shadows. But it would also
look really cool if you would stand in the road and take it from
that angle two would give a little bit
different leading lines. These are pecan trees that
are just starting to bud. And this is another
one I took while I was biking and cost America. And it was in the
harsh bright light. You can see the really good
contours and the sand dunes. But if you took it at
sunset or sunrise, you might get a little bit
better light on there. But this is what it
was like biking, it was harsh light. You can see that the Sandia
in there, Sam was blowing. So part of photography
is telling your story and this
is the way it was. And just for fun, There's
me finishing biking across America from key
west to San Diego. And I eventually backed
up to Santa Cruz too. But this is the worst
possible light you can take a photo and with the shadows
and it kind of flattens out. I went and took a shower and came back and watch the sunset. And there was this guy
walking is good on the beach. So I was setting up the
shot and people were doing a movie about me biking
across America or something. They would put me
where the goat Is. It would look a lot better. There wouldn't be
all the shadows, it wouldn't be so harsh. And this one I just
put in because it's on an iPhone success. So I just wanted to show
that you don't need to have the latest iPhone to take
an interesting photo. This bird looks like
it's just walk in at the beach and if you put
some dad's shoes on it, it would just look like an old man with its
wings in its pocket. It's really about
telling stories and finding something interesting to shoot more than
about your phone. So in the next section
we're gonna do some macro photography and move away from landscapes so
bit and get close up.
4. Macro & Close Ups of Plants: Great day is like this are great for doing macro photography. There's no harsh sun washout
colors or to create shadows. So let's take a look at few
of the plants in the backyard and see how to do macro
photography and set up our phone. The first thing we're
gonna do is go to Settings and then select camera. And then we're going to
go down to macro control. To use the macro
controls setting it uses the ultra-wide camera lens. If you don't have the ultra-wide camera lens on your phone, you're not gonna be
able to do this. But I'm going to show you how
to use the telephoto lens. If you have a telephoto
lens, do close-ups. And sometimes I
actually prefer it. The macro can get a little bit
annoying going on and off, and I'll demonstrate
that a little bit later. So turning on macro control. And that takes us
to the photo frame. Then you can see
the yellow come up, the yellow flower and
the left-hand corner. And that shows
wearing macro mode. You can shut it off by
touching it and then it goes to a strikethrough
line just like that. And they touch it goes back on. I don't really like
shooting in this mode because it's constantly
going on and off. So if I'm not doing macro mode, I just turn it off. Coming back outside on a
little bit snow your day. We're going to try to get
some ice and some plants. This rosemary is
just a little bit to Wendy to take macro,
It's hard to do. But I just wanted to
show how to switch the focal points where you
can go in on the rosemary. And then you can really
capture the next season with the autumn colors coming
in on the tree behind it. Video works really
nice sometimes to, I know this is a
photography class, but sometimes it's nice to do a little video to get that feel. So we're going to
try to get some ice on this plant that's a little less windy and
the macro mood goes on automatically and you
can get close to it. But as you get closer, it's just going to
not focus properly. One of the advantages
and the macro is you can get a
little bit closer. I don't particularly enjoy macro that much because
a lot of times I don't want to do moving subjects like bees and we're
gonna do next. So I've turned it off
and then just put on the a3x lines if you have a telephoto lens on your camera. So here's a look at our macro shot of the
ice on the plant. And here's the zoom shot as
well with a three-times Zoom. I think a lot of times these winter flowers
can look kinda nice with a filter on
it if you put more of a blue colored filter on it. So we're going to do
that real quick here. So going into Edit, we're gonna go into
filters and we're just going to look at
some of the bluer ones. Vivid cool looks pretty cool. I like dramatic cool brings out a little bit
more of the detail. Here's our filtered shot
of the ice on the planet. Here's a few photos. I took an other seasons as well, the summer rain on a leaf with the leaf underneath it that hasn't been washed
off by the rain. It still has sand on it. And this one's in autumn. The leaves are starting to k, So the water isn't pulling as much as it loses its waxy genus. The next section we're
going to up our game and take close-ups of
fast-moving subjects, in this case bees. And we're also going to
see how different types of light effector close-up photos.
5. Close Ups of Bees and Flowers: Let's go for a walk and see if we can find some bees to shoot. Here's a B list flower, but let's just take
that for practice. Turn on the Zoom. Take photo. Here's the flower. It looks like in the shade you see there's no shadows and it's got
pretty rich color in there. Here's another photo
I took in direct sun, and you can see
it's really washed out and there's a
lot of shadows, so it doesn't look quite as
nice as we move forward. Let's try to find light
that's a little bit softer. Here's our first B, and of course it's right
in direct sun, exactly like we don't want. But let's just take
a photo of it just as an example of what not to do. So here's our b and direct sun. You can see it's
really washed out and there's some
shadows in there. It's not a very
good photo at all. So let's see if we can
do something better. Here's one I took
in the shade that the bees in a similar position, but it's much richer color in both the B and in the flower. And you see there's
not shadows in there. And then I also put
in that little bud to make it look a little bit
more summary or springy. There's another being a
little bit different light. It's not quite as harsh
as the bright sun, but it's filtered a little
bit through the trees, but it's not changed either. So let's take a few photos
and see what that looks like. So here's the softer light. It's not as harsh
as our first photo, but you still can see
some shadows along the base of the flowers. And here's a similar shot
I took in the shade. There's no shadows at
the base of the flowers and the colors are just
a little bit, Richard. Here's another shot
and the software sun, you can still see a little
bit of the shadows. And then really just look
at the wings of the b, how the light is
reflecting off the wings. And here's a shot in the
shade where you don't have the shadows and looking
closer at the wings, the B, you can see the transparency
of the wings and more detail rather than just the sun reflecting
off the wings. The species had it, it's headed back to the hive
with its nectar. So let's move on to the next section and we're
going to do more wildlife, not just bees, but
larger animals as well.
6. Wildlife with Various Composition: Let's go looking
for some wildlife and see if we can find and there's a moose in the
willows and the Tetons. It's so pretty. Let's zoom in and see if we
can get a better look at her. Unfortunately, the zoom on
the iPhone isn't great. It gets grainy if there's
one situation where I miss having a regular
camera with a zoom lens. It is doing wildlife
photography. So we will have
to do the best of what we can with what we've got. The Zoom has improved
quite a bit and can do as much as a3x optically now. But if you want to get those
really good close-ups, you're definitely going
to have to carry around a better camera
with a bigger lens. But you can also get close up to certain animals like this
meal and the Tetons. Also sometimes you
might get lucky and have a curious young
deer come towards you, like when I was
backpacking in Yosemite. But most of the time you're
going to have to keep your distance from
large animals and get a little bit more creative or find a safe place to shoot. There was a boardwalk to shoot
this alligator in Florida. This is one of those
situations where we're shooting and really bright
light and maybe you want to edit and get the sun not quite so harsh in the water. But it's also a
situation where it kind of works because
the alligators are basking in the sun and
it's winter in Florida, so they really only
come out when it gets warm and they
don't really feed much. They go pretty much dormant. So this fish swimming
by them just fine because they're not going
to eat because they eat maybe once a
week and winter. So to practice our photography, we're going to shoot a
more docile creature, in this case the banana slug. The banana slug doesn't
look as cool from up above like the
alligators did. So we're going to try to make it a little bit
more interesting. So you can try shooting from different angles and maybe try to get some of
the environment. And here the banana slug is crossing the path
very, very slowly. You can get up on its face and try to capture some personality. And some days you might get a little bit more sun than
the forest and maybe even capture a little
slime trail and get a little bit more
detail on its body. A lot of times the banana
slugs just blend into their environment on
the forest floor. So to see it on a rock like
this and see a contrast and color was a real treat to be
able to find it that way. And also a great way to show its environment in a
different way that you can still see the banana slug is there with the
contrast on the rocks. This photo was shot
on iPhone success. So if you have a newer iPhone that does better in low light, you're going to get a little
bit more detail in there. The colors will look a
little bit different. But as I've talked about
in class quite a bit, a lot about telling stories and working on your
composition to not just be filling limited
by what your iPhone could do. This shot of a water
striders and the same Creek as the banana slug. And this is a photo
where you're going to need a newer phone that has the telephoto lens. In this case, it's a a3x Zoom to be able to get the detail in the water and see the surface tension and the water strider on top
of the water like that. And it's exciting
to think about how the new phones will get
better and better with time. And you'll be able to capture more images like this
with even better quality, then have more options
in terms of Zoom. Sometimes they'll
go out looking for wildlife and you won't see any, but you'll see evidence
of wildlife like the elk trucks in grasp,
prismatic and Yellowstone. So it's a good opportunity
to also tell the story of animals and we're going to start talking about storytelling more. And also this is another
instance where it's nice to put the video on and maybe
capture the steam moving. And just get a little bit
different flavor to complement your still photography
with some videos. In the next section, we're
going to go backpacking in Yosemite and talk a little
bit more about storytelling.
7. Storytelling & Using Humans for Scale: Let's go on a backpacking
adventure in Yosemite. For this shot, I wanted to use my friend to show scale
in the mountains and then also capture what I
thought was smoke on the horizon and she
thought was clades. So let's see what this shot look like from where I was standing. This is what the cameras saw and this is a situation where I could see really good
light pass the shadows. So I decided to zoom in if I
was not just packing up my ten and trying to catch this impromptu photo of my friend getting watered
down by the lake. I'd probably would have
walked instead of zooming in. So I zoomed in a
bit and got this. It's getting closer to
what I was looking for, but still not quite there. There's still some shadows. You can't really
see the scale with the moon and my friend and then also the smoke
that's on the horizon, or maybe it's clouds. So zooming in a bit more, I got the shot that I was happier with where you
can see the contrast of the man and my
friend and get a little bit more of an idea of scale. You can also get a better shot of the smoke or the
clouds on the horizon. What do you think it is? Smoker clouds. It turns out it was smoke. And a couple of weeks
later we got totally inundated by ash raining down. This is what the next lake
look like, covered in ash. Not something you
could get water from. Some people actually came and tried to get water because
they're out of water. Thankfully, we had water but
it just clogs your filter. You're obviously not
going to get water. But it made me think
a lot about what does the wildlife do
in this situation? Then the meadows look like this. It was complete orange
and eerily quiet. We had heard lots of
wildlife the night before. There was coyote is barking. We saw a lot of moments, but after the smoke came, it was just silence. Here's a shot that's
just a few miles away from that meadow on
a previous trip, which was more what we're
expecting and hoping for. But there's a deer there. And how different
is it for the deer? They're not wearing
an N95 mask like we were to protect ourselves
from all the smoke particles. So that made me
think a lot about what it's like to
be a deer or for people in ancient times that had to live in
those conditions. They didn't have N95 masks. They couldn't get in
their car and go home. What was life like
for those people? Our trip couldn't have
started at any better. We did sunset yoga
up on puppy down. And it was completely
glorious sunset time. And there was a little smoke
from fires in the area, but it wasn't raining ash
like it was a few days later. Completely beautiful. And then it turned it into
the smoke apocalypse. And the death orange
sign came out. And it was a completely
different trip. But there was a little
ray of hope and a Clark's nutcracker
came out after we got rained on with ash and it was really the only wildlife
we saw after that point. In the afternoons, the smoke
would clear a little bit and it wasn't completely
orange button the evening the orange
skies returned. And I've always
just loved finding these little trees that
go into the rocks. I've dumped them
will to live trees. Because even though
this tree looks like it might be just a young tree. It could be 30 years
old or 50 years old. Who knows? There's growth has been stunted by living in sub-optimal
conditions for it. So I just love the way that life is so resilient and finds a way to keep on going even
when things aren't great. So as you're doing
your photography, sometimes it's nice to think about taking photos sets two, and using that to tell a
story however you share it of the animals that endure a wildfire or what
it's like for people. Many wildfires are
caused by lightning and the wildfire we
got stuck in was caused by lightening this shot I had taken a few weeks earlier and it sparked wildfires
all over California. This was 2020, And the whole state was
pretty much on fire. So in the next section, we're going to take
some video of lightning and extract is still
from that video.
8. Lightening from Video Demo: Let's go on a road
trip to Yosemite. I was driving audio
somebody around sunset to the backside
of the mountains east and there was
a big storm that came up and the
clouds were amazing, sunset, so everything was
pink and there was lightning all over and I tried
and tried to catch it on a photo but
I couldn't get it. So I decided to try videoing it and maybe I could
get it on video. So here's the video. And there was lightning
right there really quick. So this is the shot that
we're trying to get. So I'm going to show
you how to extract that from the video. So you can just go
ahead and open photos and go to the video you want, and then press the
slider to expand. There's our lightning. So we want to go
back to that spot. So we're just kinda
move there it is. So we captured the
screenshot by doing volume up and the power button
at the same time. And then tap on that and the
lower left open the editor. And then we're going to
crop out the Blackboard or just by sliding on the lines on the sides
to fit the picture. Then press Done,
then save to photos. And there's our shot. The video camera
doesn't take quite as high-quality photos
as the camera. So it's not going to be quite as high-quality
if you would have been able to just
capture it taking a photo. But it's a really good
photo for an iPhone. And this was several years ago, so it wasn't the latest iPhone for an iPhone. I'm
happy with it. It looks cool. It
captures the moment and it was a cool experience, one of my favorite ever, a little scary but completely
spectacular and amazing. The next section we're going to capture another moving subject, but this time water
and we're going to use the long
exposure to give it, in theory will feel.
9. Long Exposure of Moving Water: In this section, we're
gonna go to mystic falls in Yellowstone and learn how to take a long
exposure shot using live mode. That'll give the water are
really ethereal, misty. Look, we can go ahead and
turn my codon by touching the.in the upper right hand
corner and take the shot. And there it is, select live in the upper left. And then go down
to long exposure. And there's our shot where it creates that a theory
I'll look of the water. And just for fun, let's go take a shot than the other direction
going downstream. Even though the light
isn't quite as good. Let's just see what
that looks like. So do the same steps
we did before and go to live and do long exposure. And there's our shot gun
in the other direction. Super Misty. And there's our first shot. I just want you to notice
that when you took the live mode shot and you went too long exposure that
zoomed in a little bit. So the framing is a little bit off and
I don't really like this framing because it cuts the upper falls
off a little bit. So I was just doing it as
vertical for the demo. So I went ahead and
took a landscape shot. And it looks a lot better. Get a lot more of
both waterfalls. And looking at this photo, this is one that could probably
use a little bit editing. There's a lot of
yellows in there. It was autumn, so there's some yellow trees that you could really get that to
pop with editing. I didn't want to
go into editing in this class because people get
overwhelmed really quickly. So I might do one down the
road if there's demand for it. But just quickly, I think
this is a situation where using the auto edit might actually create
some good results. Maybe pop some of those yellows, maybe rich in the rock
in the front too. So let's just do that quick. So you just go to Edit. Hit the little wand. And there it is. That's looking a little
bit better already. You're getting a little
bit more yellow colors that rocks are a little richer, got a little darker. If you want to go in
and do more editing, you can do that on
your iPhone app, but also if you want to get
to the next level and do use a more professional level app that a lot of professional
photographers use. Lightroom by Adobe is a
really popular one to use. And if you're wanting
professional level photos, you really have to edit any photo that you see in
a magazine or anything. It's been edited. So it would really
take your photos to the next level once you
get the basics down. And just for fun, since I wasn't Yellowstone and Old
Faithful is pretty close. Well, why not do live mode
and see what it looks like in long exposure
just for fun. It's not what people typically
take with long exposure, but we'll see what
it looks like. It might look kinda cool. So again, you just go
and pop up that menu in live mode and select
lung exposure. And there's what it looks like. It looks really wispy
and spirit like. It's kinda cool. Just for fun, let's do some other effects. So go into that menu
again and choose loop. There you have the
steam just going over and over again
in a continuous loop. And just for fun, let's see
what bounced mode looks like. That'll have the steam go
in and out repeatedly. And then you can
just go ahead and shut it off if you want. So that was long exposure using live mode for daytime shots. There's another way to do long exposure
that we're going to cover next does doing long
exposure using the night mode. And it's a cool new feature, hasn't been around too long, but it's really improved in
the last couple of years. You didn't need a newer
iPhone to do this, but it's a super cool
feature that you are starting to be able to get shots of the Milky Way even. We're going to cover that
next using light mode with a tripod and
without a tripod.
10. Astrophotography Using Night Mode & Milky Way Demo: We're going to
close out the class doing some Astro photography. I actually ended up teaching
this class because I was camping in northern
Minnesota with my sister for her birthday. And I took a shot
of the Big Dipper, just seeing how it would
look with my iPhone. And to my surprise, I was like, Oh my gosh, everything's pink, unlike the auroras
are happening. And I wanted to see the
aurora is my entire life. I grew up in Minnesota
and I tried to see them so many
times and in Seattle. And then just randomly, they happened and I
happened to notice something because I took a
photo of the Big Dipper. We also saw another
phenomenon called Steve, which is strong thermal
emission velocity enhancement. And that's what we'll create when you see photos of the Raj, there'll be green
and purple ribbons. So we got a little
bit of that too, and the iPhone
just picked it up. In this section, we're going
to take photos like this. I just did this handheld. I didn't have a tripod and it was a three-second exposure. And I'm going to show you how to take photos like this
if you're lucky. And we're also
going to take photo of the Milky Way and our demo. My demo of the Milky Way. I decided that I wanted to add some
interests to the photo, so I decided to put my tent in the picture
and have it lit up. So I just quickly also want to show how to do that in case anybody wants to take a
photo of their template up. So I just hung small
mottled colored light and the top of my tent
using a carabiner. And it can be kinda fun to
use the multicolored light, especially for kids
or big kids like me. Because you can let your
tent up different colors, even though I have
an orange tan, I put the setting to
green in this photo and it makes my tablet green
dot with the Milky Way. What we're gonna do,
we use long exposure, which means you're having the shutter stays open longer to let more light in
so you can get the Milky Way, but it'll also let other
forms of light in more two. So in this photo, if you look at it
really closely, you can see that the light
is hanging at the top of the tent as the light is
concentrated at the top, some people will do a flat light in the
bottom of their tents. So it's more dispersed
light if you're wanting to get rid of that little bit of concentrated light at
the top of your tent. I've set up the shot
in the Badlands just in the regular
campground they have there. It is a pretty dark place, but the campground has some artificial light
which is an ideal. There was a road behind
my tent and then also on the other side is where all
the other campers were, the RVs and everything, which you're going
to see in the photo. Ideally, you'd be
somewhere maybe in the back country not have
that artificial light. But I think it's
also interesting that you can take a photo in a camp ground that has some artificial light and still get the Milky
Way in there. So just using it in hand-held mode to set up the shot and get the
Milky Way in there. This is a 10-second exposure and we'll talk about
that more later. I thought it was
kinda boring just having you see some of the
RVs and things in there. And that's why I decided to put my tent in there for
to add some interests. Here's the ten second exposure I just used to line up the shot. You can do 10 s handheld. Once you wanna do
more than 10 s, you're going to need a tripod. And this is the shot we're going for with a 30-second exposure, so the shutters and to stay open thirty-seconds and
let more light in so we can get the
Milky Way in there. You'll need a tripod. You cannot do 32nd
exposure without a tripod. It won't even let you go to thirty-seconds. The max is ten. So once you put it on a tripod
or prop it up on a table, if Iraq, whatever
steady surface you use, you'll get the option to do
the 30-second exposure to get more of the light in and get more of the
Milky Way captured. Starting with the demo. You can see that as we set things up in the upper
left-hand corner, you'll see 5 s and yellow. And that is the auto night mode that comes on and
with the tripod, it's automatically 5 s. If a tan huddled be 3 s, we want to go to thirty-seconds. So you just go ahead and move
the slider where it says auto 5 s over to 30
s. When I did that, you might have noticed
that it would pop back and forth between 10 s
and thirty-seconds. And that's just because
when it's unsteady and you're moving your phone, it will go to the default handheld setting, which is 10 s. So just let it stabilize and you'll be able to get
the thirty-seconds. So people have settled
down a little. We're just going
to take our photo and it's just going to
go for thirty-seconds. So we're going to skip ahead. And there it is,
just finishing up. And here's our finished photo. I really enjoyed teaching
this class and I hope you have a lot of fun out there trying some of these
new techniques. If you haven't tried it, especially the
Astro photography, this will just get better with time right now it's
still pretty grainy. But as the iPhone improves and the software improves as well, all these photos will just
get better and better. So thanks a lot for
coming to my class and I just have a few final parting words
in the next section.
11. Nature Makes Me Happy: I run it on a light out here, so that's a wrap on the class. I hope you enjoyed it. And if you're happy, leave a happy to
review down below and have fun out there
taking photos. Happy Trails.
Sue Andryk, I get around.
