iPhone Photography: How to Take Pro Lifestyle Photos | Fynn Badgley | Skillshare

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iPhone Photography: How to Take Pro Lifestyle Photos

teacher avatar Fynn Badgley, Fashion & Portrait Photographer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      The iPhone Camera Explained


    • 3.

      Camera Setup: Live Photo


    • 4.

      Camera Setup: Grid


    • 5.

      Camera Setup: RAW


    • 6.

      Focus & Expsoure


    • 7.

      Lighting: Hard & Soft Light


    • 8.

      Lighting: Front Light


    • 9.

      Lighting: Back Light


    • 10.

      Lighting: Side Light


    • 11.

      Composition: Rule of Thirds


    • 12.

      Composition: Sub-framing


    • 13.

      Composition: Perspective


    • 14.

      Lens Selection: Super-Wide


    • 15.

      Lens Selection: Standard


    • 16.

      Lens Selection: Telephoto


    • 17.

      Portrait Mode


    • 18.

      Portrait Tips


    • 19.

      Working with Your Subject


    • 20.

      Remember the Details


    • 21.

      Editing: Quick with Filters


    • 22.

      Editing: Lightroom Mobile


    • 23.

      Sharing Made Easy


    • 24.



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About This Class


Want to take engaging, professional-level lifestyle photos with the camera you already have with you? Look no further! Reach in your pocket, grab your iPhone and let's take some incredible images! 

Have you wanted to know what it takes to make your images stand out? How to tell a compelling story through photography? The techniques such as composition, lighting, and working with a portrait subject? If so, then this is the class for you! 

In this class, you will join me as we set up the iPhone camera for success. Then we will engage in a LIVE DEMONSTRATION where we will walk through photography fundamentals such as the rules of composition, working with natural light, and how to use different angles to create a full lifestyle story! 

Beyond what it takes to make a compelling image, you will also learn multiple ways to edit your photos right from your phone without the use of any expensive apps - that's right, it's all free! Whether you want to edit a photo quickly on the go or define your own look, we'll discuss these methods so you can polish your lifestyle photos and stand out. 

Within detailed lessons including many tips and examples, you will learn: 

  • How to set up and use the iPhone camera for the best results
  • Multiple ways to work with natural light to change the look of your images
  • Composition techniques to add more interest to your lifestyle photos
  • What professional photographers look for to make their images stand out
  • How to create a full lifestyle story through different angles and setups 
  • Styling tips to add context to your story
  • How to work with a portrait subject to get the feeling you're after
  • Both a quick and an in-depth way to edit your photos right from your phone

Whether you have never picked up a camera before, or are an experienced photographer looking for a better way to take photos with the camera you always have with you, this class will give you the tools for success! You won't need any additional equipment besides your phone, and you won't need to invest in any expensive apps. All you need is your phone, your eye, and a mind ready for some creative images. Follow me along as I tell a complete lifestyle story from start to finish, using only my iPhone. 

Attached below, you will also find a convenient PDF with notes and tips shared throughout the class. 

Without further ado, let's get to creating some great lifestyle photographs! 


Special thanks goes out to our model Myanna, here's her Instagram

Meet Your Teacher

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Fynn Badgley

Fashion & Portrait Photographer

Top Teacher

Hello, my name is Fynn Badgley. I am a Toronto-based Commercial Fashion & Portrait photographer, as well as a content creator. My work has a large emphasis on how light is used, as well as creating a feeling from the viewer. People have always been and continue to be a large inspiration in my work, and a driving force behind the images I create and stories I tell. Through working as a photographer in various genres over the years, working on high-budget Hollywood film sets, and creating short and long-form content for various platforms, I am excited to share what I have learned with you so that we can all become a stronger community of creators, together. 


Feel free to check out my instagram and Tiktok to keep up to date on my happenings, or my youtube if ... See full profile

Level: Beginner

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1. Introduction: A wise man once said, "The best camera is the one that you have with you." But knowing how to use that camera will get you better photos every time. Hey there, my name is Finn Badgley and I'm a commercial fashion and portrait photographer from Toronto, Canada. Welcome to iPhone photography, how to take pro lifestyle photos. In this class, we're going to go in-depth with the latest iPhone model to give you the tools for success. We'll walk through the four iPhone camera setup, the different modes, composition, lighting, and even how to work with a portrait subject and tell a full story. Even if you have never picked up a camera before, you will know what pro photographers look for to make their images stand out. There will be recap slides at the end of each lesson so you don't have to worry about taking notes as we go and do not worry, although we're covering the latest iPhone model, you do not have to have the latest and greatest. In fact, just about any phone will do the trick. Whether you are looking to create a breathtaking portfolio of quality images or just want some better everyday photos of life for your Instagram, then this class is for you. The best photographers tell stories in their images and by the end of this class that will include you. If you're ready to have some fun, let's get shooting. 2. The iPhone Camera Explained: Jumping right in, we're going to talk about what the actual iPhone camera is and the different lenses that you can use at your disposal to take a variety of images. Now, from the iPhone screen, what you want to do, I just have my icon in a little photography folder, but you can put it wherever you like. I click on that. We can see down here at the bottom there's a 0.5, a one times, and a three times symbols. Now those refer to the different lenses that are on your iPhone. Now, this is for the current model that I have, the iPhone 13 Pro, but you might have something a little different. For example, earlier models have a 0.5, a one times, and a two times lens. Definitely keep that in mind. Although these are the lenses that I'm going to be using for this class, you can get away if you just have a standard or older iPhone model with one camera lens, simply just move your feet back and forth as you need to get the angle that you're looking for. Now, getting right into this the one-time lens, as you can see here, is our standard lens. If you're familiar with DSLR or mirrorless cameras, this is going to be the equivalent of about a 26-millimeter lens. Then we have our super wide. This is our 0.5 times lens. This is equivalent to about 13 millimeters. A very wide lens. Then we have our three times, which is our telephoto lens. That is going to be equivalent of about 77 millimeters, at least for this particular iPhone model. Now, to keep things simple for the duration of this course, I'm not going to be talking about the different focal lengths, I'm just going to refer to these either as your standard super wide or telephoto lenses or your 0.5, one times, or three times lenses so that way you know exactly what I'm talking about and nothing gets confusing. Now, you'll notice if you look at the bottom of the camera app here, we're just going to be using the native camera app, so you don't need to worry about downloading any fancy apps or anything like that. We're keeping it very simple and this is honestly how I get the best quality out of my iPhone photos. You can see there's a lot of different options here. We have different video formats, panorama, etc. We're going to keep it pretty simple and only stick to about two of these modes throughout this class. That way, nothing gets overwhelming or confusing, and you just stick to taking some incredible photos. Now that we've covered what the iPhone camera is and how it works, let's get into how to set this up so that way you are in a position for success [MUSIC] 3. Camera Setup: Live Photo: Now that we know the different lenses on our iPhone, let's actually get into how to set this up to get the best results. There are two ways to open the camera app. You can either open it from your home screen like I just did or when you have your screen locked, you can just swipe to the left and you'll open your camera from there. Now what we want to do is when we have the camera app open, we're going to see this little circular icon at the top and this refers to live photos. Basically what live photo does is it takes a video 1.5 seconds before the photo and 1.5 seconds after the photo and the idea here is you can choose which frame you want from there. But we want to be selective with the images that we're taking and try to really be intentional with that. Also, these additional videos, I find they're not super useful. I don't really ever use them and they take up quite a bit of space because you're taking essentially about 48 or so, 50 photos instead of one. We can see when I take a photo here, we can see when I view it in the photos app that it becomes blurry and there's not a whole lot of uses for this. For that reason, I'm going to just tap here at the top and turn live photos off. Another way to do this is if you swipe up from the bottom, you'll get a bunch of these different options. You can turn the flash on and off. You can turn live photos on, off or have it on auto. I just have it off. We can do that and then we have our different camera settings with different filters and whatnot like that that you can have built into the camera. Sometimes these are pretty neat, but I just like to keep it standard so that way I can edit them, which we'll talk about later in this class. Then we have our different aspect ratios here. I keep it at four by three. That's what a usual DSLR or mirrorless camera will shoot at to get format there and keeps everything nice and standard, 16 by nine is more kind of that cinematic video style, a little bit wider than your four by three. Then we have our different exposure settings. This can brighten or darken the image and then we have timers, filters, etc. Now that we have live photos turned off, there's another fun piece to make us even more intentional when we are taking our photographs. [MUSIC] 4. Camera Setup: Grid: If you swipe over and go to your settings, scroll down to your camera settings, open that and you'll find this option called grid. Now you want to turn that on and we can see what it'll do is it turns on these little grid lines that you can see here. What you can do is use that as a handy composition guide, which is something we'll get into later in the course when we're talking about composition and how to frame your shots for the best results possible. [MUSIC] 5. Camera Setup: RAW: Now that we have the grid turned on, there's another setting that we can turn on to get the maximum quality out of our photos. Now, this one is a little different, so I'll leave this up to you whether or not you want to turn this on and that is you go into your camera settings and you choose formats. Now, there's this option called Apple ProRAW. What that does, it takes a raw file instead of a JPEG. Now, if you're familiar with photography in terms of a DSLR or mirrorless camera, a raw photo is something that is uncompressed and compression basically degrades the quality of the photo in a way to make it a smaller size and more transferable. But a raw photo doesn't compress the photo or it does a lot less and you get a lot more detail in that image. If your image is too bright or too dark, you can edit back a lot of that detail. Now, if you're the type of person that likes to edit your photos a lot, then this might be something you want to have turned on or if you want to play around more with editing later on in the class when we get to that, maybe this is something you want to have turned on just to see what it does. Now, I will warn you this does take up more space on your phone because these are higher size files, there's more detail there. It is a bit of a Catch-22. But if you want the highest quality and the most amount of room when you go to edit, then we'll turn that on. Me, myself, I like having that on, but I'll let you make that decision for you. Now, when you actually go to the camera app, it's not automatically turned on. We can see this little icon here at the top that says raw. If we want to shoot in raw, we'll need to turn that guy on and then those images are going to be uncompressed and of higher quality. We have our camera set up, now let's actually get into some of the different mechanics of it so that way you know exactly how this camera works and that way you can get the best results from it. [MUSIC] 6. Focus & Expsoure: We'll open up our camera app, and this time we're going to be specifically talking about auto exposure, auto-focus, focus tapping, and exposure tapping. Focus is basically what is sharp in the photo. If you ever see those photos where somebody's face is really clear, but the background is really blurry this is the effect that, that gives. If I hold my camera here and you can see the table is in focus down here at the bottom, and I just tap on the screen there to bring up that little square. If I want to focus here in the background, I'll tap there. You can see it's in focus, but the table here in the front or the foreground as we call it; what's closer to the camera, that is now blurry. You can see if I quickly go between the two, you'll have the background out of focus, and now it's in focus. Now it's out of focus, now it's in focus. This is a handy way that you can tap on whatever you want to be the most important part of your image. Wherever you want your viewers eye drawn to that is where you will tap, and then that'll become in focus. The eye is drawn to where its sharpest. When you want something to be the key part of your image tap on that, and that is where your camera will focus to. You'll notice there's a little sun icon that comes up anytime I tap to focus, and that refers to exposure. Exposure is basically how much light is being let into the camera. There's a way if your image is too bright or too dark to adjust this, what you want to do is just slide your thumb or your finger up or down beside that to either increase the brightness or darken it. If my image is too dark, meaning it is underexposed, I would want to bring that up and that's going to brighten my image. If my image is overexposed; meaning it's too bright, I will swipe that down in order to become a lot darker. This is also a way where if you want that really nice sunset photo drag that down so that way you can get all those clouds and that really clear color coming through rather than it being overexposed or too bright and then you don't get as much of that detail. Another way to do this, is you can swipe up from the bottom and we have this little plus or minus sign. We hit that, and that is our exposure. Then we just slide this little slider, and we can see there that it darkens it if we slide it to the right. If we slide it to the left it brightens it and then you can just dial that in nicely as a way to properly expose your photographs. Having a properly exposed photo is so important because it also tells your viewer not only what to look at, but if you see a photo that's too bright, nobody's really going to look at it because there won't be as much detail or if it's too dark they won't be able to make out what's going on. You can use this as an artistic effect, but generally speaking you want to have that nice and clear in this as a way with sliding either up and down or left to right from the bottom there that you can get your images properly exposed. This way they're not only in-focus where you want them to be, but they're also as bright as they should be. Now that we understand focus and exposure let's talk about how we can work with the light in whatever environment we're in so that way we can get our best lit photos. Not only will they be properly exposed, they'll be properly lit as well [MUSIC]. 7. Lighting: Hard & Soft Light: Now, that we've talked about how to actually set up your iPhone for the best camera results possible, we're actually going to get into how you can interact with light to get the best images. Now, I'm joined here by my lovely mother Mayana, and we're going to go through a couple of different lighting setups so that way you can see how to interact with natural light to get more flattering photos every time. We can see right now we're getting a lot of light coming in from the back here through this window. Now, this is what we would call a hard light. If Mayana, you turn your face a little bit that way, you can see there's a lot of harsh shadows on her face. Now, the thing about this is, that can be a really cool dramatic look, but we want something here that's a little softer, a little more flattering. A way to do this is, put something in front of the light between the light and her face to actually soften it. Another way to do this is just have a very large light source. While this is a very large light source, it is still quite harsh. [NOISE] We can just bring down that curtain there and you can see immediately it's a much softer light, a much more flattering light on her face, and that will lead to some great photos there. [MUSIC] 8. Lighting: Front Light: Now that we have a softer light source, we're actually going to talk about the different placement of your light and how that can change your image. What I'll do, Mayana, I'll have you turned, so if you're standing about here facing me. Perfect. Now, we have the light source here in front of Mayana. This is what we would call a front-lit image because the light is in front of her. I'll have you take a step towards me. Perfect. That's going to do is just have a little more light on her face. A great way to do this is if you have a friend or something like that who you want to take a photo of, you put the window behind you. If there's a lot of that harsh sun coming in like we saw earlier, take a curtain, take some blinds, pull that over the window, and that'll create a softer look. The other way to do this is just have them back out of where that harsh sun is coming from and you'll still get a lot of that light coming on their face. I'm going to open up the camera app here. If I take a step back here, we can see that there's actually a lot of nice light coming across Mayana's face. Now I'm getting a bit of my camera in the background here. Mayana, I'll just have you slide over this way a little bit and come towards me. Just a hair. Perfect. I'll have you just look out the window like you're just looking at something passing by. Perfect. You can also feel free, lean on different things. Actually, if you can lean with your one shoulder on that post right there. Perfect. You can see that lens to a great look. We have this other window here as well, but we're still getting that nice soft diffused light. It's working as that beautiful front lighting here. We can see if we take a couple of photos that that is just looking absolutely fantastic. Right off the bat, it's a very natural great looking light. It's a very flattering way to light things. Now, it's not the most dramatic, so let's get into a couple of different setups of how you can actually make this look a little more intense or a little moodier. [MUSIC] 9. Lighting: Back Light: Now we're going to jump ahead to the most dramatic lighting setup that we can get here, and that is where we have a back-light. We'll notice based on where Mianna is positioned. We have a light on either side of her framing her very nicely. If she just takes one step towards me, we'll get a little more of that light all around her. Basically, although the front of her is going to be in shadow, it's going to create a really cinematic look. I say cinematic because this is a lighting technique often used in a lot of different Hollywood productions, whether it'd be movies, TV shows, etc because it is quite a moody and dramatic look. We're going to go ahead, open the camera app. We're going to stay on the standard lens again for this one, just do one times. I actually think this would do well as a horizontal image. Now, Mianna, I'm just going to have you turn a little bit. Perfect. You can just look towards, I'd say roughly my right shoulder, or maybe where my right elbow is, and just move around as I take different photos. I know you won't be able to hear the shutter of this, but just casually move around and just act like you're just in your element, and just hanging out in your space. We can see here. Now, her face is a little dark based on the lighting scenario that we have here because the camera is trying to expose both her and the background. I'll tap on her face, and then I'll bring up that exposure we talked about. We can see here that is creating a much nicer image there. I can come in a little closer. Again, tap on her face, bring up that exposure. That is looking fantastic. Don't worry if the background is a little too bright because we actually don't want it to be too distracting anyway. If it's a little brighter than you would traditionally think it should be, that is typically okay especially for a back-lit scenario. Now we'll go in the vertical mode, and we'll do something of a full body. Perfect. You read my mind. I was going to say if you could do a one leg in front of the other type of look there. We'll bring up that exposure again. Fantastic. We can see there, as we take our different photos, how that back-light actually serves to create that moodier effect. Now, something to note here is we are in a bright white studio, which leads to a lot of that light bouncing around everywhere, which gives her a lot of natural filled-in shadows on her face. If we're in a black room or something like that, you might want to have a piece of white foam board, Bristol board, basically a large white surface closer to her face just to fill in some of those shadows. Because otherwise, you might get a completely silhouetted image, which could look cool, but it's not the look that we're going for here. Now, we're going to jump over to my favorite lighting setup, which is a little bit of a midpoint between the two. [MUSIC] 10. Lighting: Side Light: Now that we've covered hard, soft light and a front-lit and a back-lit setup, we've jumped over to my favorite setup by far because it has both the drama and that cinematic aspect of a back-light but it's still a little more flattering, similar to the front-light. That is the side-light setup. We can see here, based on where Mianna is positioned, we have a couple of windows behind her, but the light isn't coming from there. It's coming from around behind me, but the window that she's closest to is going to be the one where that light is going to come through most. If I have you turn to face me, we can see immediately that that light is now on the side of her face, hence why it's called a side-light there. We can see, based on how it's hitting her, that we're getting one side really nicely lit and the other side in shadow. Because we have so much natural light bouncing around in here, we're getting that nice, soft, subtle look on the other side of her face. If we were in a darker studio or if we just had that one light, the other side of her face would be much darker. This is where you sometimes see that really dramatic side-light, or sometimes even called split-lighting when it's really dramatic like that, and that can be quite an interesting look, but we want something a little more natural. We're going for a very lifestyle vibe here, so with that, that is why we're going to have it stay that natural and lifestyle-like vibe. If I can have you, you can even bend down a bit, put your one hand on the window sill there, or even if you want to, just have a little bit of like a sit on there and then just turn till your face is looking a little bit towards me, maybe off towards my shoulder a bit. Perfect. We can see there we're getting that beautiful side-light, and it looks just like she's in her moment, she's just having a quiet moment and we've just happened to catch her glance or something like that. If you even look out towards outside more, perfect. We can see how that light wraps around her face a little bit, which also lends to a very interesting look. Again, for this, you'll notice I'm on the 1X lens. For a lot of these, when we're talking about lighting, I'm just going to stay on this lens just so that way we're worrying about one thing at a time. Now, if you look back towards me, perfect. That is fantastic. Look towards my shoulder just for a second. Beautiful. We can see how that side-light really lends to a great image, and we can see based on that light being so close to her face, unlike the back-lit setup, we don't need to adjust her exposure at all. The phone picks it up perfectly, which lens for a really great look here, and I'm really happy with how this is looking. Take a couple more, gets some wider shots, we can take a step or two back. Fantastic. We can see with the background, this is just a great fantastic look, very natural, very elegant, but still keeping it casual. We can come a little closer for a couple. Look back at the window again. Beautiful. Something to note when you're working with natural light, is here we're working with all window light. But if you're outside and you're getting a lot of harsh shadows, look for somewhere that is shaded, that you can put your subject in to get more of that flattering look. But something to keep in mind here is, notice where the light is coming from in that shade. If you have your subject stand under a tree and the sun is behind you, even though the shade from the tree is going to be creating a more soft light on their face, because the light is still in front of them, there'll be more light that hits their face rather than if you turn them around and had it back-lit, where now they're going to have a lot more light behind them and their face will be a little darker. Just some things to keep in mind when you're not in a window-lit scenario and you have a little less control of your light there. Now that we have gone through and learned about how to work with natural light, we're actually going to talk about our different compositional elements and how we can really frame our shot. [MUSIC] 11. Composition: Rule of Thirds: Now that we've gone through how to work with natural light to get the best image possible, let's talk about how we can frame our subjects and the different rules that we can use to the best of our ability to get the best shots possible. Earlier, you will remember we talked about where we enabled the grid on the camera, where we get those different lines. You might have thought, why would we be doing this at the time? Well, this is the time where this comes into play. There is something in photography known as the rule of thirds. That refers to basically anything on the different intersection points of that grid, is where you want to put what's most important in the image, so somebody's eye, basically the focal point. If you have a specific tower that you want there in a cityscape photo, put that in one of those intersection points and that'll emphasize that to your viewer and have them naturally be drawn to that. Going ahead with that, we'll open up our camera, and based on where Mianna is sitting here, we see we get a nice sidelight setup going on, and we have a couple of props that we included in here as well. Because we're talking about lifestyle, we want to include things that reference little pieces of that story. So we can tell based on the wardrobe, this is somebody who has taste, who's maybe a little bit artsy, so we can add in some pieces of that. We have a croissant, we have a film camera here, we have some coffee, basically something that eludes to who this person is. Now, with that camera app open, we can see if we want her to really be emphasized here, rather than say, putting her in the middle of the frame, where, sure, that looks okay, and it's a decent image. If we come down and put her eye on the intersection point there, we can see it's immediately a much better image. But we can see here, we always want to keep an eye on the edges of our frame to see if we're cutting anything off. We don't really want to cut off any limbs or anything like that, because it's just a little bit distracting and throws the viewer off. I'm actually going to take a step back and take something like this. Mianna, I'll just have you look out that way. Perfect. We can see there that her head is right on that intersection point there, which just creates a much better image than if I were to move her in the center of the frame here, because that's just not as impactful. That's a really good way to understand the rule of thirds. Put what's important in the image on those grid lines. We can see, even if I do it in a horizontal image, her face is still on that intersection point and just on the standard lens here again, and we can see that lens to a much better image than if she were just in the center. Sometimes a center-framed image can be useful and can actually create a really unique look, but this is a great rule to keep in mind just for when you're taking photos, when you don't want things to be right specifically centered, and the only time really where you'd want that is if there's a lot of symmetry on either side or anything like that, where one side matches the other. But now that we've talked about how we can use the rule of thirds to our advantage, let's actually get into another aspect of composition, which is how we can actually frame our subject within a frame to create a little more interest, a little more mystery, and just really draw the viewer in. [MUSIC] 12. Composition: Sub-framing: Now that we've gone over the rule of thirds, Let's actually talk about how to sub-frame you're subject to capture a little more interests. This is basically where you want to have a natural frame of some sort. If you're taking, say, a landscape photo on a beach, if you want to add a little more interest, take some steps back and take a photo through the leaves, framing that beach. Or take a photo through a doorway framing your subject. In this case we have a perfectly positioned mirror that will then be taking some photos of Myanna looking into as if she's getting dressed, ready to go out, trying on a couple of different looks, playing around a little bit just to get that overall vibe, and this way it also adds into our story that we're building here across this lifestyle shoot. That way you can see the progression of how this story comes to be. Myanna I'll have you look into the mirror and I'll just capture you as you're just getting ready to go about your day. We can see here I am on the standard lens again, again just to keep things nice and simple. We can see I'm getting an over the shoulder look right now. But if I want to change it up a bit, I can even come in and frame her nicely just like that, and actually, what's happening, Myanna, if I can just have you take a small step to your right. Perfect. Now where she's positioned, where actually, if you notice, there's a frame within a frame, because currently she is framed by the window that you see here, and then she's framed by the mirror. We're getting an extra level of depth there that just creates a little more visual interest, especially when you're looking at the photo. You can see as I'm photographing her, I'm taking a couple of different shots from different angles, some I'll go a little wider, some I'll come a little closer. But the main thing is I'm always keeping her framed within that frame. I can even go horizontal, get a little bit of an over the shoulder look, tap on her face just to make sure it's in focus there. Perfect. We can see there's a nice use of negative space that's going on here as well. Because there's so much white wall and so much blankness in the frame, it really draws your eye to the contrast of her black outfit. It's another way that you can level up your photos is just play with contrast a little bit. We have this great white room. We have this really stark black outfit that really stands out and is a great way to set your images apart. We'll take a couple more shots here. We can see I can come in a little bit more and you'll notice even still while I'm sub-framing her, I'm also keeping in mind my rule of thirds, keeping her on that third grid line, and it just works to create a really interesting image that way. Now that we know how to use the rule of thirds, we can play with contrast, we can sub frame our subject. Let's actually talk about how we can change the way our subject is perceived based on utilizing perspective. [MUSIC] 13. Composition: Perspective: Now that we understand how to use different rules of composition, we're going to talk about how you can play with perspective to change the way the viewer is actually going to see your subject. This is applicable to all types of photography, whether you're shooting a landscape, whether you're doing a portrait, anything at all. But obviously for this particular case, we're going to be talking about portraits, but just keep in mind this extends to different styles of photography as well. We're going to be staying on the standard lens again, and what we'll want to do here is play with where we are. For the most part, I've been eye level with Myanna, but let's say we want to shift the way that we see her a little bit. If we want to make her feel really powerful and give a lot of strength to her, we're going to shoot from below. I'm going to come down at a lower angle and shoot up to her and you can see immediately, she has a lot more power, a lot more presence in the frame. Now, this is also a great way to elongate somebody. If you're maybe not the tallest person, you want to look taller in photos, whenever your friend takes a photo of you, tell him to squat down a little bit because it will elongate you in the image and also make you look a little bit more powerful. Now, if you want to do the opposite, what you want to do is shoot from above. To do this, you'll just hold your camera up like so and you can see it still looks great, but Myanna now has a little bit less power in the frame. Now, you can play with these in a lot of different ways. If you want to make a city feel larger than life, shoot from below looking up at all the towers and it's going to feel really, really large and really powerful, but if you want to make that city feel a little smaller, if you just casually have access to a helicopter or something like that, you can photograph the city from above to make it look a lot smaller, taking away that larger than life perspective, especially compared to if you're on the streets from below shooting up at those buildings. Now, you'll see more of the city, but the overall impact of how large it'll feel will be a little smaller. Now, if you really want to connect with your subject, you want to actually stay on an eye level with them. This is also something to keep in mind if you're photographing a pet or kids, for example, because they're lower to the ground, so you're actually going to want to go lower to get on that same level with them. But because my Anna and I are close to the same height, I'm going to stand at my regular level holding the camera about to her eye level and that way you can connect on that person to person or a person to pet basis. Then just to add to the story, I'll have you pick that camera up and almost just look through the viewfinder in it. Like you're filming something outside. Perfect. These are just little things that you can do to incorporate different props so you can tell a better story through your lifestyle photography. Fantastic. Then when you have the camera brought up, just turn your eye to me for a second. Perfect. You can see because I'm at her eye level, I'm really connecting with her. If I shoot from below, suddenly if she looks out again, we can see it gives a completely different look, especially if I shoot from above as well. You can see the different look that different perspectives give you there and how you can use them to change up the way your images look. Now that we've talked about the different ways you can use composition, let's actually get into using the different lenses on the back of your iPhone so that way you can really change up how your photos will actually look. [MUSIC] 14. Lens Selection: Super-Wide: If you remember earlier on in the class, we talked about the different lenses that are on your camera. For this, we're actually going to walk through where you'd want to use each one and some example photos for those. We're going to start off because we've already shot a bunch on the standard one times lens. We're going to change it up a bit and go to the 0.5 or super-wide lens, as we'd like to call it. We can see the idea here is Mianna is still in front of that mirror just getting dressed for the day. We still have some props in the background and whatnot, and we also have a clothing rack just to add a little more detail to the story. Round it out a little bit and make it feel a little more grounded in reality. If we're looking at this on the standard lens, we can see it's a pretty interesting look here, but if we go to the super-wide lens, we can see it adds a lot more information. That's what I really like about this lens, is it's a great way to establish the story. It's a great way to have an intro to things where it sets up the scene, and then from there, you can go in deeper and get those details, but it's a great starting point. For this, I'm actually going to want to go with a nice landscape shot or rotate the phone. Then we can see here if I take a photo, we're getting this really interesting look and we have a lot of balance in our frame. Basically, we got this dark area on the one side of the frame and we have a dark area on the other side of the frame with that black wardrobe in some of those colored prints of the wardrobe that is actually hung up and then we have this beautiful white room. Now, if you don't have the super-wide lens on your phone, all you'll have to do is on the standard lens, just take a couple of steps back and it won't quite be the same look, but it'll still give you that added context of what's happening in the scene. But if you do have that super-wide lens, make sure to make use of it. We can even come in a little closer there. Now, something to remember, something to keep in mind when you're using the super-wide lens is that because it is so wide, we encounter something called image distortion. Basically, that's when you almost get that fisheye effect. To demonstrate this, if I walk closer to Mianna here and get closer and closer, you'll see slowly she's elongated and almost warped in a bit of a different way than it would look to the regular eye. That is because when you have a super-wide lens, the things that are closer to you will be pulled even closer and what's farther away will be pulled even farther away. This also will have a lot more in focus. When we talk about a depth of field, it's basically how much of the image is in focus. With that super-wide lens, it's just about everything will be in focus because it is a wider lens. That's how the image optics work there. If I come in super close to Mianna here and take a close-up portrait. You can see she has this bowing effect to her. You can also see the background is perfectly in focus. Even if I tap on her and tap on the background, there's not a lot of shift there, and that suggests how that super-wide lens works. Now, that can be really great for an artistic effect, but it's something that you definitely want to keep in mind, especially if you're taking portraits of people. You don't want always to get super close to them with that because of that distortion. Now, we can switch over again to the standard lens and come in and get a little closer with some of those details. [MUSIC] 15. Lens Selection: Standard: Now, with this standard lens, I can come a little bit closer, and you can see, as I do, there is less distortion than you're getting with that super-wide lens. It is still a wider lens, so you will get a little bit of distortion, but you will get less in focus in the background and you will have a more natural-looking image. This is a great lens to just use no matter what situation you're in. If I come in a little closer, you can see it's just a great lens no matter what you're looking for. If you want to punch in for some details, you can do that. If you want to come back and get wider, you can do that, which is why earlier in the class I said, you don't have to have the latest iPhone model with all the different lenses in them, just the regular one times lens can give you a lot of flexibility. All you have to do is just move your feet. I do not recommend digital zoom because if you've ever cropped in a photo a ton, you're basically doing that before you even take the photo. It's just going to look really pixelated and weird and it gives this same effect as cropping anyways, so you might as well take the photo at that regular size and then crop in later if you need to, but the best thing you can do is just move your feet. Now, with that in mind, we're actually going to go over to the three times telephoto lens and actually see the results that that will give [MUSIC] 16. Lens Selection: Telephoto: Now that we've seen what we can do with the super wide and the standard lens, let's jump over to see what we can do with the three times lens. Now, something to keep in mind is, with this being a telephoto lens for portraits, it's going to be the most flattering. What it does instead of the super wide lens where it really exaggerates everything, this is going to compress that information. What is farther and closer to the camera will be compressed so there's less distance there. But this is also going to create a shallower depth of field. This is where you get that nice background blur, that really professional-looking look. This is how you get that naturally with the actual optics of the camera. Because of that, it's going to create a more natural looking, more flattering image. I'll get you looking back in the mirror, Mayana. I'll come over here. If I go to the three times lens. Now the one thing here is because it is a longer lens, you might need to take a couple of steps back in order to get the actual frame that you're looking for. With Mayana looking in the mirror, I'm going to take a couple of steps back to show you how this actually looks. Now Mayana, I'll have you take a step back and a step to your left for me. Perfect. We can see based on the image that we're getting here, even though it's a similar angle to what we had earlier, we can see that the background is a lot less in focus because of that telephoto lens. Now if I come even closer to her, we can see the background goes really out-of-focus. Basically, it further exaggerates the way that the lenses capture depth. The closer you are to your subject, the less of your background you're going to have in focus. Basically, it further exaggerates the distance between the two. So If you're looking for that blurred background look, this is one way to get it. I absolutely love the look that this lens gives. The image is a little overexposed, I think. So I'm just going to swipe down, there. Not quite that much, a little bit more. Perfect. Fantastic. That is a great look there. Now, if you want to even add to that background blur that you're getting with the three times lens, this is when we jump over to portrait mode. [MUSIC] 17. Portrait Mode: With this, this is where artificial intelligence and AI technology actually map out the photo and blur what's in the background. It tries to see what's in focus closer to the camera and will blur whatever's beyond that. Now, sometimes you need to be careful with this as the background blur can look a little fake, especially along the edges. Definitely use this cautiously, but when used in the right setting, it can create some very powerful professional-looking images. We're continuing on with this look. Actually, to continue on with this story, Myrna, I'm just going to have you sit by the window still again. We'll open up our camera app and what we're going to do is swipe over to the portrait mode setting. Now, this does have a lot of different lighting techniques and what have you built into the camera. But to keep things simple, we're just going to keep it on the natural light setting, which is just going to capture the setting as it is and focus more so on that background blur. If I come over to Myrna here, we can see immediately that the background is a lot less in focus. Then, if I went over and went to the three times lens, now go back over to portrait mode, Myrna I'll just have you stand up for a quick second. What I'm going to do here is frame-up so the wardrobe is in the background and you can see the difference that portrait mode makes. You can see immediately, a lot less than that is in focus and we're getting that really nice natural-looking background blur, and it just creates a really interesting image overall. The other thing that I love about portrait mode, about the three times lens, is it allows you to come in closer and capture more of those details. Within this whole storytelling aspect of creating this lifestyle shoot, we start really wide, get a lot of the establishment, a lot of the environment that your subject is in. Then we come in a little closer on the standard lines, get a little more information, a little more intimate with our subject, and then we come in with the three times lines, we turn on portrait mode and we really get to connect with our subject a lot more. Using these different lenses in conjunction is a great way to flesh out a full story. Now, Myrna, I will just have you look at me again, basically like almost as if you are looking at the window and you just happened to catch my glances, I walked by into the room or something like that. Perfect. That looks fantastic. We can see the difference. If I go back to the three times lens, you can see the difference that portrait mode makes in the actual background that you see here. You see with portrait mode, it's a lot more blurred, a lot more of the emphasis is on Myrna, whereas with just a regular three times telephoto lens. Yes, the background is blurred, but not quite as much, so we don't have as much emphasis on Myrna herself. [MUSIC] 18. Portrait Tips: Now, something to keep in mind when you are working with a portrait subject, whether you're photographing your pets, your kids, your best friend, your spouse, or a model. Whenever you have a living being in front of your camera, you want to keep something very important in mind and that is, that as, the great William Shakespeare once said, "eyes are the window to the soul." You want to make sure that those eyes are the most in focus. Whenever you go to take a photo, even if the camera, the autofocus is good and usually we'll nail that face in focus, but you want the eye that's closest to you to be the most in-focus. If you ever have any doubts of this, when you line up your portrait subject, you just want to tap right on the eye and you can see immediately that that is going to be what is the most and focus and will help draw the viewer in and connect more with your subject. These little things to keep in mind to elevate it, whenever you are taking photos of anybody in front of your camera. [MUSIC] 19. Working with Your Subject: You'll notice through the duration of this course, I've been giving Mayana little different directions along the way. A lot of these pertain to not necessarily, "Oh, put your one arm here, put your chin up like this," that kind of thing. A lot of it is more direction, and creating an environment; creating a character for her to be and letting her exist within that environment. I find that allows for a lot more natural looking images that look less posed, more natural, and just really lend to a better story overall. Now to continue this for example, we have the wardrobe here. I can even just give Mayana a simple direction of just look through like you're looking through the clothes, trying to find different options and that sort of thing. I can come in here with the standard lens which is what we're on now, and we can see lining her up in the rule of thirds like we talked about. She's just existing and I'm simply capturing her, and this lens to a really great look because it is so natural. Because we don't all necessarily have access to professional models who just know how to do their thing like it's nothing, these are great things to keep in mind to tell whoever you have in front of your lens. That way no matter if it's your friend who's never been in front of the camera before is a little shy, this helps break that wall down. That way they're just existing and you're existing with them, capturing them in that environment. Now that we actually have basically a full fleshed out story here, there is an important part that we always want to keep in mind and that's getting those details. Sometimes this doesn't even have to actually include your main subject. We're going to jump over to include some extra elements such as something like a flat lay photo that we can include just to give a bit of an added interest in [MUSIC] here with our lifestyle story. 20. Remember the Details: To really round out our story, we've collected a couple of props that we used in the actual shoot, some that Mayana was wearing, some that she was interacting with and now we're going to incorporate those in what we call a flat lay or top-down view image. This is something perfect for your Instagram page, different blogs, etc, and is a great way to add to your lifestyle story. We're going to open our camera app, and again, we're just going to be on the standard lens to start with. This is going to act almost like a backlight, with the window here, beautiful natural light coming in very soft, and then all we have to do is go right above our objects here and take our photo. Now, because some of these props look best, not straight on from the top, we can actually change our angle a little bit, to come down a little bit more and get a little more information there. Now, looking at this, I'm not completely satisfied with the look of the standard lens. I think it would look a little better if everything was a little tighter and less distorted, so we're going to swap to the three times lens and with this, we'll need to come quite a bit higher. But we can see when we take the image, we're actually cutting off some of these prompts because it will actually add to some visual interests. If we have everything in there clearly shown, it won't be quite as interesting of a photo. I'm also going to adjust these a little bit just to frame things nicely and have a nice level of balance there. What this leads to is having a nice dark surface on the one side, a nice dark surface on the other, and then a bit of a more bright spot in the center, which just leads to an overall more interesting image and creates a bit of balance. The photo feels more cohesive. We'll go back and open up that three times lens and we'll just play around, shifting the props around a little bit as we're going just to create that overall look. We can see or just take that nice top-down view. It's okay, like I said, if you cut some of these props off because it will actually work to serve the photo better. We'll move around them a couple of times and we can see this is just adding another level to the overall story here. It's something that is a great way to break up a lot of those portraits out a bit of interest and just sets that lifestyle look apart. We can move things a little bit more. Maybe put that there, have a nice dark spot here, dark spot there, bright spot, bright spot, and a dark spot in the middle, just keeping in mind how your image can be really balanced, even though we're not talking about composition and balance now, it's definitely something to keep in mind all the time. We can shift that around a little bit more and take our image and that is looking absolutely fantastic. We can review the photo, and it's actually quite an incredible image. We can play around with some of the props a little bit more, but what we're getting here is a really nice unique look. We'll open that again and if we want, we can even come in with that standard lens and get a bit of that different look. Play around a little bit more. I like the look of that. We can take something like that there and even that with the standard lens is a great look. We can pull back more on our telephoto lens. That is just a great way to add some depth to your story. Add a little bit more substance to your lifestyle images, that just set things apart. You can even do things like take photos of the background, utilize some framing, and frame out the window with the cityscape in the background, something like that will add another level of interest to your images, just to set things apart, to help establish and give more detail as to the overall story itself. These are some great things to keep in mind whenever you're taking lifestyle photos or any kind of photos in general. Now, that we have completed our photo shoot, let's actually talk about how we can edit these images and get a great lookout of them [MUSIC] 21. Editing: Quick with Filters: Now that we actually have all of our photos and have completed our story, let's actually look at a couple of different ways that we can edit our images. Whether you like the quick approach or you want to get more invested in editing, there are options for both of you, which we're going to get into right now. So the first option is using Quick Filter edits. For this, there are a couple of different apps that you can download, but we're going to keep things simple and just use the native photos app in the built-in editing feature within it. So we'll open up our photos and we'll take a look at some of the different photos that we took from today. So let's say I really like this shot here with that beautiful portrait mode we'll go up to the top and hit Edit. Then from here, we can actually change the different portrait lighting settings that we want with the built-in features. So this is great because it's all AI technology. You can go through and adjust the different settings if you want to give it a bit of a different look right away. Now you can see here there's natural light, studio light, contour light makes things a little bit edgier define things a little more stage light which removes the background just as the emphasis on your subject. Then we have the monochrome version of the stage lighting and what's called high key lighting, where everything's really bright background is white, but we're going to keep things simple and go with natural light for now. Now, we can adjust the different exposure settings if we want to brighten it up, darken it down a little bit, I might darken it down just by about negative 10 or so, just to bring it down a little bit, I thought it was a little too bright so that just brings it down a little bit there. Now we can change a bunch of these different settings. Brilliant is almost like your mid-tone brightness where it doesn't really affect the shadows and highlights too much just those overall mid-tones. Now we can adjust the highlights. Maybe I want to bring that down a bit, bring up the contrast a little bit, make it a little punchier. The overall brightness, I'm pretty happy with that. Then you have a bunch of different settings here, like your saturation warmth, tint, tint is going to be your green magenta hue as you can see here. Then your warmth is going to be how yellow or blue your image is. You have a bunch of different settings here that are similar to what you'll find in more intense photo apps, but a more basic version of them. Now we get over to the actual filter side. This is where you can just quickly slap a filter on and call it a day. So let's see what they have built-in here because I think they have someone that can work really well for this type of image. So we can just go through. Vivid is a little too much for my taste. Vivid, warm. It's okay. I like vivid cool. Dramatic I really like. Dramatic, warm. It's okay. Cool, it's all right. I like the monochrome, silver tones all right, and the noir is really cool. If I want this to be a really solid black and white image, I think I'd go with noir personally. But I think for this we're going to go with dramatic. Here you can actually take down the intensity, so that's about zero percent there, and here's 100. I'm going to take it down probably to about 70 or so. We'll call that done and we're ready to go now, you can go through a bunch of your different images and do this with them as well. Let's say I want to take one of these really wide shots and dial that in. I like the look of something like this where it establishes things nicely and you get enough context to what's going on. But it looks like you just walked into the room and caught her having a bit of a moment here. We can go through and let's see immediately what we're looking at here. Dramatic, I love the look of right off the bat. Noir again is a solid choice. We can go through. Something else that is important to note here, vivid actually, I don't mind for this one on the previous image was way too much. But it's not bad on this. I think though I am going to stick with that dramatic. I'm going to bring it down to about 70 percent or so, and I think that's pretty good. Now the thing to note here is it actually works to your favor to have the same type of filter for all your edit because it keeps things with a cohesive look so that way all your images work well together versus clashing or one has a really different look from another. We can do this with some of our other images as well. Let's say we want to play with one of the ones where we are playing around with composition and she was sitting by the window there. Let's find a nice image here. I like something like this she's looking off. It just looks really nice there. We'll go back to our filters. Vivid if we brought it down, it might look okay, but I'm not a huge fan of it. Vivid, cool, dramatic again, it's such a good filter. I absolutely love it, but I think for this one we might actually go with noir. Now, this if you bring that transparency down, it will just desaturate the photo so if you want a pure black and white, you will want to keep it at 100 percent which I think is what I'm going to do here and that looks pretty fantastic. Now, this is just a quick and easy way to get some great edits on the go on your mobile device. Super simple, super quick, super easy, and you don't need to know a lot about editing. You just put a filter on it and you can get a great look right away. [MUSIC] 22. Editing: Lightroom Mobile: If you are more into photo editing and want to learn more about it, that is when we can hop over into a free app called Adobe Lightroom. This is the mobile version of their main desktop application. That gives you the same functionality, just on a smaller footprint. We'll open up Lightroom and automatically we're going to find that all of our images are actually already imported because it syncs with your device. If that isn't the case, you just go down here to this little image sign with a plus, you hit that and you choose to import from camera roll or from a camera device. In this case, it would be from your camera roll. But we already have things automatically saved, so we don't have to worry about that. We can see our images coming through here. Let's say we want to play with something. When we were doing some of that side lighting, we can go through and really get a great look here. First off, I want to crop this a little bit. I feel like it's not quite completely straight or maybe I want to come in just a little bit there. It looks pretty good. We can also see there is this little bit of stuff on the wall here. We can take our healing brush. All you have to do here to adjust the size is tap on the size thing here, the little icon, and then you just drag down to make it smaller and drag up to make it bigger. You can see the size of it there. I think about 60 is going to do well, just drag over that and then we can drag over that entire spot there. Drag ones more over there. That's looking pretty good, but it's almost there. We'll just drag one more time. Didn't quite get it there. Reduce the size a little bit, drag right across that line, get that little spot up there. We can see that pretty much covers that patch on the wall there. We're done with that and we can focus on the rest of our image. First you want to go over to light where you can adjust your shadows, your highlights, your contrast, etc. What I want to do, this is a very properly exposed photo, but I just want to make it pop a little more, so I want to increase that contrast. I think honestly I want to make it a little punchy. I think about 25 is pretty good there. Maybe some of the detail in the shadows is getting lost, so I'll bring that up a little bit. The shadows is your mid to black range, whereas your blacks are your darkest darks. We can also pull that down a little bit if we want a little bit of intensity there, same as your whites are your brightest whites and your highlights are your mid tones bright areas. Maybe I want to pull down my highlights a little bit and increase my whites. We can do something like that. We can see if you press and hold on your image, you get a nice before and after, so you can see what your image is looking like. We can see it just adds a little more punchiness to it there. Maybe I just want to bring up the exposure a little bit about 0.2 there. Just to give it a little more brightness, some of that contrast, darken it a little bit because we are increasing how dark those blacks are. We can see before and after, it just makes a little punch here. With color, this is where we can get into really defining a look. That's what a lot of these filters do is they have a built-in look. Maybe I want this to feel a little warmer, because here's the thing, the warmer the image, typically the more inviting it is, the happier it feels. If you have a cooler image, psychologically, it will read as a little sadder, a little more melancholy. I want to increase the temperature, maybe by about plus four. We're trying to keep things subtle here, but enough that we get a nice look out of things. Now I think in terms of vibrance we're pretty good, but we can go into something called color grading. This is a technique used on just about every movie or TV show you've ever watched. This is how they get that look, that everything has to it that just makes everything really have that defined look and be really cinematic and quality. We have our shadows, our mid tones and highlights. What we can do is add a bit of color to each to give it an overall look and feel. What I'm going to do is I'm actually going to bring a little bit of a cool bluish green, almost like a teal color into those shadows. It adds a little something to it, which is actually a common technique used is to put a little bit of that cyan color into the shadows there. The mid tones I'm pretty happy with and maybe I'll very slightly warm up the highlights just a little bit about a saturation of, let's say three there, then we can slide over one more and this is your global color grading. This basically is putting a complete look on the entire thing. I want it to be a little bit warmer over all still. I'm going to give it a bit of an orangey look and maybe I'll bring the intensity of that up a little bit more. We can see that's looking pretty good there. Now we have also some effects that we can play around with. With that, we can get into different things like texture and clarity. These I would use sparingly because you can see, if you really up the clarity, you get this really gritty, grungy look, which can work for some applications, but it's not what we're going for here. If you bring it down too much, everything looks really glowing and you don't really have a lot of texture. The texture panel does a similar thing except just on a lesser scale. You can see you're still getting a bit of that crunchiness there if you really crank it up, so I'm just going to bring those back to zero. You can double-tap on the sliders and they'll go back to zero automatically rather than trying to fit it perfectly on zero every time. D Hayes will really just amplify the contrast, amplify the saturation, or conversely, it'll take it away. This is more so if you had a lot of fog that you want to get rid of or if you wanted to introduce some fog. Now I might throw a bit of a vignette on this. We can do a dark vignette or we can do a bright vignette. For me, I think I'm going to throw a bit of a dark vignette on this, nothing super intense, just about negative 16. What that does is it darkens the corners, so the main body of the image is brighter and will actually bring more attention to that. But then we can also change our midpoint here. You can see it goes in more and it goes out more. I like it out more about 73, just so that way we're not interfering with her hair and head too much. We can feather it out and that's just going to blend it in nicely so it doesn't look as aggressive. We have a bunch of different settings here. We can increase the grain if we really want to, but I don't think we will here. Detail you can sharpen things if it's a little bit out of focus. But we can see, this image is perfectly in focus so we don't have any issues there. With our optics, we have a couple different parameters here. Chromatic aberrations are these little lines that you get in the highlights of edges, particularly around bright areas. You would typically see them like that little green line up top here. We can see if we turn that on, it does a little bit, but it doesn't do a whole lot. I'm not going to worry about that too much. If you see a lot of purple around the edges of things, that is when you would want to remove those chromatic aberrations because that is typically the mark of it, is that pinky purple color. Let's see what happens if we enable lens corrections. We can see it just removes a bit of that distortion. But I like the natural way that the image looks from the camera. You have a couple of different things where we can adjust the distortion, similar to the lens profile corrections. But again, I'm pretty happy with how this looks, so I'm not too worried about that. This is a pretty solid image here. We can see, if we tap on it, we'll get rid of those settings and we just see the image. We can long press and we see the before and now the after. You can see it's not a super intense edit, but it cleans it up a little bit and it just adds some overall punch to it and makes it pop a little bit more. We can go up here to the three dots, and if you have a lot of photos that you're editing through, rather than going through and dragging the same settings for each one, you can just copy settings, choose the settings you want to copy. For example, when I did that healing brush on that spot on the wall, I wouldn't want to copy that because it would bring that over to another file and then things would just get weird. That's going to be selected off. I'll copy those settings. We can go out and then we'll go down to another image here. Now we can choose about any photo, but I like the one of her here with that eight millimeter camera. We're going to go ahead, tap those three dots again and hit "Paste Settings". We can see right away that gives it a very unique look. Now this is almost a little too warm for my personal taste, but it does match the other image pretty well. All we can do to bring that down a little bit is just go to her temperature, let zero that out. We're still getting a little bit of that color in there from our color grading tab, but we don't have it with the temperature as well, so it's not quite as dramatic. Now because she's right next to the window, let's say I want to make that window and the information there a little less distracting. That is when we can come over and hit the "Masking" button and we have this little plus icon here. We have a bunch of different things that we can go through. But right now, I want to go with a radial gradient. What this is it's a circular gradient where anything inside of that circle will be adjusted accordingly to how we set it. Anything outside of that circle won't be. It's a very selective adjustment. What I want to do is I actually want to brighten where this window is, have it so it falls off onto her nicely, but isn't super overpowering and it doesn't affect the rest of the image. I can start by clicking here and dragging out. Anything that's highlighted in red is where that mask will be. I just want to drag it out to about there won't say. Now we'll go over to our light tab because we want to make that a little brighter, we'll brighten that up a little bit. Maybe increase those shadows. It's just a little bit more of that faded look. This is actually where I want to have that dehaze. I'm actually going to add some haze just to give it an overall glowier look. We can see there if we give it before and after, it adds a little more mystery to the photo and that background becomes less distracting. If you have a distracting element in the background, especially if it's a window or something like that, that is a natural light source, you can use these gradients to create this effect that makes it not only less distracting, but it actually adds to the overall photo. Since we already have those settings copied again, we can go over here to our flat lay image. Let's say we like something like, let's say we like this shot, for example. We can go to those three dots again, paste our settings, and then we can just crop in a little bit here. We're just getting a little bit of that information, we're not catching the white up top. That's looking pretty great there. It fits in with the overall look that we're going for and adds a little bit more to it. Me personally, I like something like this image a little bit more. We can just paste those settings there as well. We can see right away we don't really have to do anything with this. Now if we want to, we can come here with the healing brush, change the size of it, and we can clean up all these little lint pieces on the hat, but this is quite a tedious process. This is where you'd want to break up the lint roller beforehand so you don't have to do this in the edit. But these are two very simple ways that you can go about editing your photos. If you want the quicker approach, go through your photos, add some filters to them, play around with different apps if you want to, but the photos app works great for this thing. If you want to get more involved with your edits, then you can hop over to Lightroom and really play around in there. [MUSIC] 23. Sharing Made Easy: Now from here, sharing your images has never been easier. In fact, I can have these to Myanna before she even leaves the studio. For example, all I have to do is come over here to our image right here, and I just hit the little box with the arrow here. Now to actually share your images, there's a couple of ways to do this; from within Lightroom, you can go "Share to" and then you'll see it'll export it and you can choose where you want to share it. Or another way you can do is actually go through, select one image and just do that by going back and long-pressing on it and that'll select it for you. Now let's say we want to go back down and select the image we edited earlier the black and white one. We choose that and we'll do the side lighting image as well, then we just hit "Share". Again, you can either hit "Share to" or you can also go "Export to Camera Roll" or "Export as" and you can see the different parameters here. Now a small image is ideal for sharing. It's nice and small, but it's not the highest quality. Or you can go with the largest available dimensions and that'll give you the highest quality possible. Just hit that "Checkmark" and it'll export those images. From there you can decide what to do with them. I'm going to hit "Save three images" and those are then saved as an additional copy in my photos, If I go back and open up my photos app, we can see down at the bottom here we have our three photos. Again, if we want to share those, just hit the little icon at the bottom and we can share them right away, we'll go up here to Instagram, we can go to Message, and then we can share them to whoever we want, and just like that, that image is now shared with Myanna and she doesn't even have to be out the studio yet she already has that photo right there, because how easy and quick it is to edit right from your phone. You can use this same "Share" option if you're using Lightroom or if you're using those "Quick Filter Edits" as well. Either way, this is a quick and easy way that you can share your images to just about anyone on the ground, whether you're commuting in public transit or a rideshare service, you can be in that backseat, share these away right on your way home, or we don't even have to leave the studio yet, you can share these right away. 24. Conclusion: Now, if you've made it to this part in the class, I want to thank you so much for your time and following along with the different lessons. By now you'll not only know the different specifications and ways to get the best results out of your camera, but you also have the knowledge to take professional-level photos no matter where you are, as well as telling a compelling story through lifestyle photography. The best camera is the one that you have with you, and this follows you everywhere you go. Now that you know how to use it, you can take the best images possible. For your reference, I also included a PDF in the class notes down below that you can check out and see a bunch of the different notes and different takeaways from each lesson. I hope you gained a lot of value out of this, and I look forward to seeing the projects and images that you take and share in the project tabs down below. If you feel like it, actually post some of these on Instagram and tag me in them as well. My Instagram is @fynn_badgley. I would love to see what all of you create and interact with you. Now also, if you would like to see different hands-on photography-related classes, I do have a bunch more on my Skillshare profile, so be sure to check me out there and follow along as I'm only going to be making more of these classes. Now, if you would like to see more bite-size consumable content, I am posting a bunch of photography and film-making-related videos over on my YouTube channel, so feel free to check it out there and subscribe if that's the type of thing that you're into. I can't wait to see what all of you create. Once again, thank you so much, work hard, rest often, and I hope you have a very creative day. [MUSIC]