Mobile Photography Course: Your Complete Guide

1. Welcome to the Mobile Photography Course: Hi friends. Will here. I'm Sam Shimizu-Jones. We are so excited to bring you this course on mobile photography. Cameras these days in your phone are amazing. They can take some really wonderful photos and the technology has really advanced. We want to show you how to do that with your mobile camera. In this course, we will cover smartphones as a camera. Why use one? We'll then go into camera basics, really shooting with a smartphone. Then, we're going to talk about photography basics, three keys to making a great photo. After that, we're going to into smartphone advanced features. We'll then go out into the field and take some actual photos, and then talk about editing and the different apps that you can use on your smartphone. Finally, we're going to talk about sharing, social media, and printing. We're really excited, so let's get going. 2. Why Smartphones Make Great Cameras: Why are smartphones such great cameras? These days, everyone has a smartphone camera. Technology has moved so quickly that these cameras are so much more advanced and can really be on par with a higher professional camera. Not to mention, you have it with you all the time. That technology has allowed for more dynamic range, better lenses, more depth of field. You can also see the image on your phone and you can share it instantly. You can go right from taking the photo, right to sharing it with friends. On top of that, the megapixel count is high enough that you can actually print some images from your smartphone camera at a very high quality level. So having a camera on your smart phone at this point in time has become maybe not a complete replacement for professional camera, but it is definitely up there and can take some really, really awesome photos. Why are we talking about smartphones as cameras? Really, if you think of the past decade or so, smart phones have evolved greatly and our whole interaction over social media and really with just movements around the world, smart phones have played a key role and it's through the camera technology. The fact that we can now instantly share a photo we take on the phone with the world. This is also why Apple, Samsung, Google have put so much money into camera technology because they see the value of it. Nowadays, those smartphones, those cameras within the smartphones are as powerful as a professional photographer's camera. Now, of course, there's limitations, but it has all the features I look for when purchasing a new camera. Is it weather sealed? Does it have a high enough megapixel count to be able to print or to share on social media or online? Has a battery life. They keep getting better and better with all these different things. There's even now cameras with three different lenses on them. So you can get wide angle, telephoto. There's so many features and we're going to unlock all the secrets of how to really take amazing photos with this little device. Because at the end of the day, the best camera is the one you have with you. 3. Course Project: The #5PhotoChallenge: Welcome to this lesson. My name is Phil Ebiner. I'm one of the partners on this course, more behind the scenes than in front of camera. But I will be popping in now and again with lessons of my own. In this lesson I want to welcome you to the challenge for the course. Our challenges are relatively simple one, but we hope by the end of this class, you can see true improvement with your own smartphone photography by implementing what you learn in this class. The challenge is to take 3-5 photos during one day, during a little adventure, outing, whatever you have, even if you're just sitting at home, get creative. Take 3-5 photos, you can edit them and then share them with us. Now I have done this already. I went out on a little adventure with my sons, they're twin boys, two-and-a-half years old. We like going out on bike rides. I put them in the trailer. This past weekend, I went out with them. I brought my phone with the mindset of I want to capture a few moments from this day. I'm going to share them with you, but make sure you take action in this course. I'll be sharing how you can actually post your photos and share them with us in the following lesson. We went to the local university there. I find that universities often have some interesting architecture and nature, plants, things like that, that make great photos. Got out of the bike, walked around, and one of the cool things that my sons like to do is run up ramps. So if there's a ramp, my kids are going to run up and down it. There was this ramp here that was really big ramp, it was like super exciting for them. What I was trying to do was photograph one of my sons with the leading lines of these handrails leading your eye towards him. You can see this photo that I edited made it black and white to give it a little bit of drama and also makes the shadow of him pop a little bit more, creates somewhat of a silhouette. I actually really love this photo. I've got the tree up in the top corner as well, and the building on the left. That frames everything within this frame. All of these things we're going to talk about in composition-wise, lighting-wise, of course getting the sun behind allowed me to get more of the silhouette of my son. In terms of editing, like I said, black and white, making it a little bit more dramatic. We walked around and there were some beautiful flower bushes and we saw some with some bees. Even with my smartphone, I was able to get some good photos of the bee and the flower, some macro shots. But one of my favorite ones is just of this rows right here I love the delicate way that the petals flow together. It doesn't have a lot of contrast, so I edit it to boost the contrast of the darks and the highlights. Again, if I'm going too fast, try not to worry we're going be covering all of these things in depth in future lessons, but basically making the darks darker, the brights brighter to make it pop a little bit more. I added a warm filter, just editing it right within my iPhone using the iPhone standard photo app. All of the features that I use to edit this photo are available on most smartphones. It's fall here in Southern California. We don't get a ton of color, but if you look around, you can find it. My goal was trying to find some leaves on the ground to give it that fall vibe. Here's one that I actually ended up picking because it's got that five point maple leaf, you don't actually see the points in this photo, but you see the veins of this leaf converging in the middle of the frame. I edited it and cropped it so that the stem of the leaf was right in the middle. The top half is just this blurred out background of the leaves in the background, and then the foreground of course is the leaf itself, again giving it a warm vibe playing with warmth saturation and some filters to make that warm fall feeling come alive. But I love this photo as an example of how you can get a really blurry, nice background. That shallow depth of field is something we'll talk about in this course, where it makes your photos look a little bit more professional, or at least has that professional style to it, and you can get that on a smart phone, even if your smart phone doesn't have what's called portrait mode, which is a newer feature in the past couple of years that allows you to get that shallow depth of field on some higher end smartphones. But even without that, there's ways to get a blurry background. This is one of them. I just got really close up to that leaf, really close to the ground. The background was pretty far away. I didn't add any blur or anything like that in editing it just had that, look because I was so close to the leaf and then the background was a little bit far away. Stairs, another thing, my sons love, practicing walking up and down stairs. There were a few staircases. There was one that I tried to get a good shot of, but it was boring, I just had some shadows from the tree above. I got low to the ground, tried to change up my angle, but even though I was a symmetrical shy it wasn't that good. But we walked around to the other side of the building and I noticed because the sunlight was casting shadows on this new staircase, this other staircase in a different angle, the shadows looked pretty cool. The original photo, just standard, but when I'm looking for creative shots like this, I'm often looking for shadows, I'm looking for things that can have contrast, especially if I pull that out in post. As I edited this photo, I cropped it, I strained in it, so that the lines perfectly horizontal across the frame and then the shadow of the wall and the handrail above it just looked really cool in my opinion. This is more like an abstract shot, but I thought it came out pretty cool for a photo that I shot with my phone. Then lastly we walked around and there was this really cool building with these big glass windows. At first I was trying to figure out how I can get a nice reflection of the outside setting because that's what you can see and I got a decent photo of these succulents and plants that I thought looked cool, looked mirrored. But then one of my sons ran up to the window and was looking at himself and he was having a really good time. I thought it looked pretty cool, we had this balcony at the top that created these leading lines that draw the eye's attention down to my son's head. He's wearing his big helmet and he's just looking at himself in the reflection. I cropped it square so that this would be a good photo to post on social media, on Instagram, and then I made it black and white. There's just something about this photo in color that didn't look as interesting to me. One of my tricks is just to drop the saturation, see what it looks like in black and white and often times to me it looks a little bit more artistic or creative when it's in black and white. I don't mean to say that this is something you should do to every single photo that you take, but for me, that's what happened with this photo. It just looked really nice in black and white. I added a little bit of a vignette and a filter to make the contrast pop a little bit more. No. This is a photo that while the composition and the lighting is somewhat interesting, it's not perfect, but it's more about the story of this photo than anything else. I think out of all of the photos that I've shared with you, the other ones were interesting in terms of subject matter, in terms of composition, and lighting, but this one is the one that I'm going to look back on and remember, "Wow, that was the time that I was there with my sons and they were having so much fun running around, looking at their reflections, running up the ramps, trying to climb up steps," and that's really the story that I want to share with my photography. I hope that this overview of my photo adventure helps inspire you to take your own photo adventures. I know it's just the beginning of this class, so go ahead and watch through the lessons in the next one, Sam and Will are going to cover some photography basics. Then they're going to come back and dive deeper into our three key elements of a great photo; lighting composition, and story. Thanks so much. I'll see you in another lesson as well. Bye. 4. Introduction to Camera Basics: All right, everyone. Now we are going to talk about camera basics. This is really more of the technical side of photography, the next Section 3 will be all about the creative side. But understanding these technical aspects are really key for helping you when you want to get more creative, so you know how to use your camera to take a great photo or really what's in your mind, what you're trying to achieve. A lot of the things that we'll be talking about, they're really applied to photography as a whole, whether you're using a professional DSLR or [inaudible] camera or your smartphone. Now, of course, we're going to be specifically talking about the smartphone and how to use these things to take great photos. It's really important to understand these camera basics, the technical side because that enables you when it comes to the creativity to not think so much of what you need to do with your camera but more so, "I wanted to use these different things to achieve this look or this type of photo." Through that, we're going to be talking about depth of field, the exposure triangle, different focal lengths, resolution, all these technical aspects that will help you take really wonderful photos. Let's dive in. Will's going to be talking about the exposure triangle next. 5. Understanding Exposure: So one of the most basic terms in photography is exposure. Typically we have three variables for finding exposure. That's ISO, your aperture, and your shutter speed. Now when talking of mobile photography, we can't necessarily control all those three things depending on your phone. But let's talk about what those are so we can get a good understanding of finding exposure. Typically, using those three variables, we use a triangle. Let's just talk about what they are. ISO, ISO is the sensitivity of your sensor, that means how sensitive your sensor is to light. Meaning if it has a higher ISO or it's more sensitive, you'll be able to gain more light onto your image. If you have a lower ISO and is less sensitive, your sensor will be less sensitive to light, which means you need more light to get your image to exposure. Aperture or f-stop, that is typically the hole or the area that light is allowed into your lens. Now either you have a large hole or you have a small hole. When talking about measuring your aperture or your f-stop, we typically use numbers. Now, these numbers aren't necessarily typical towards measuring other things, they're very specific to f-stops and apertures. Some numbers for f-stops would be something like 1.8, two, four, five, six, eight,11,16 and 22. Those are sometimes also called, with an f in front of them, so f2.8, f4, f8. That way it distinguishes between any other measurement on your camera. The f-stop is also your aperture. Now, what do those numbers mean? The lower the number, the bigger the hole or the more light that comes in. The higher the number, the smaller the hole, the less light that comes in. So let's talk in extremes, an f16 has a very small hole and will let not very much light in, and f2 is a larger hole and will let more light in. In smartphone photography, we don't necessarily have control over your f-stop, but it will come across in some phones where you can actually see what f-stop you're using. Shutter speed, is the speed at which you open and close your shutter. Now typically in photography in normal cameras, the shutter opens and closes and allows light to come in. Your speed is how long you leave that shutter open. Obviously, if you leave it open for a longer time, your shutter speed is lower and you're letting more light in. If you open and close it quickly, meaning you're only opening up for a little bit of time, your shutter speed is higher, mostly because we measure shutter speeds in fractions. A fast shutter speed would be two-thousandth of a second. A slow shutter speed would be like 30th of a second. You can measure those on a camera to work in junction with your f-stop and your ISO. This is when the exposure triangle comes in. These three variables again, ISO, one, f-stop and aperture that's two and three, shutter speed, will allow you to create a nicely exposed image. Adjusting all three things based on what your situation is and what you want to achieve creatively will allow you to create that good exposure. So all these three things are central and important to photography as a whole. That's photography across the board, when we're talking about mobile photography, you are limited to what you can actually control and not control when you're taking photos. There are actually apps that will allow you to get into your system in some cameras and some phones where you can control all these things. But honestly across the board typically, you can't necessarily control all these things with your mobile photography. However, it is important to understand what these things are so that when you can control them when they come across, you can use them creatively. 6. Understanding Focal Length: Now we're going to talk about focal length, which is really talking about lenses. You've probably heard the term wide-angle lens or telephoto lens. These are the two defining types of lenses that exist, and they really are just related to focal length. wide angle means that from right here, I'm able to take in this field of view, it's a very wide field of view, you are able to capture a whole lot. Telephoto is zoomed in. It means that you're really focusing in on a specific subject. Then you have mid-range, which is somewhere in the middle. This is important to understand because when taking photography, there's certain times that a wide angle or telephoto is preferred to achieve a certain look. A wide angle traditionally would be thought to use for a landscape where you want to capture the entire scenery, and the sky or the sunset, whatever it might be. But also it can be used really cool to create jarring effects when getting really up-close. So when you're out taking photos, just consider what focal length you're using and really how it's going to affect your image. A wide angle is going to add a lot to your field of view, but you can always get really close, in case you have a disorienting look. Telephoto, much more so for portraits. But that's not to say that you couldn't use that for landscape, and really hone in on a mountain or a specific subject. But really choosing your focal length is going to add a lot to your creative style and something that you should always with your mobile phone balance between the different focal lengths and try different looks for the same image. Ultimately, understanding your focal length or your lens choice is going to help you on the creative end of things. Later on, we'll be talking about how to use these to evoke different emotions and different styles in your photography. 7. Understanding Depth of Field: What is depth of field? When we talk about depth of field, we're talking about how much is in focus and how much is out of focus. Typically, in photography, an f-stop aperture is the thing that affects the most in addition to your lens itself. Now, and talking about f-stop in aperture, the smaller the hole or the higher the number of your f-stop, the more will be in focus. The smaller the number or the bigger the hole, the less that will be in-focus. I like to equate this to a paint brush. When you have a tiny little thin paint brush, you can get really detailed things and more things are in focus, when you have a big open or whole, big open brush, it's just more all over the place and things are more out-of-focus. Also your lens will also affect what's in focus and what's out-of-focus; depth of field, right? The longer the lens, the telephoto lens, the less that will be in focus, the wider the lens, the more that will be in focus. Now why is this important?Mostly because to me depth of field creates a sort of higher-end look. More things that are in focus sometimes necessarily don't look as aesthetically professional as your professional camera where you have a less depth of field. That means less in focus and more out-of-focus, like that really nice portrait where someone's nice and sharp but the background is out of focus, that aesthetically typically looks a little bit more professional. Now when talking about mobile photography, this again is something not necessarily we can control all the time. Recently cameras in the last few years have created what's called the portrait mode. The cool thing about that is it creates that illusion of something really in-focus and something really out of focus. Now technically, cameras are doing this using multiple lenses and algorithms and computer power. It actually isn't the real way that you create depth of field in a camera, it's doing it digitally. But it still has the same look and vibe. In a lot of cameras, you can actually adjust that later on, where it's making things all in focus, but then it will detect what's in the background. You can actually adjust it to be more in focus or less in focus. That's what we're talking about when we're talking about depth of field. It's something that you can use creatively when really doing close-up macro shots or portrait shots or things like that. Also when thinking about depth of field, just because you don't have that depth of field or you have more things in focus, that doesn't necessarily mean it's a bad thing. In fact, typically a lot of landscapes, everything's in focus. So that can be something when you're thinking about taking a landscape shot, or even a close-up of someone. Maybe that creative style is something you're going for where you want more things in focus. 8. Understanding Lighting: Lighting, contrasts and dynamic range are really key elements to understand as a photographer. Lighting is really what we're doing as photographers. We're capturing light. Contrast is more or less the range of bright highlights in the image to the darkest shadows in the image. So how much contrast is there in an image? By having a lot of light, there might be very little because everything has the same amount of light on it. By having more light on my face, but less light in the corner over there, that creates contrast. It's a really important tool that can be used creatively to evoke different things. But we'll talk about that later. Dynamic range is really your cameras ability to capture that contrast and how much contrast can you have while still having information in a really bright spot and a really dark spot. Our eyes are amazing cameras in a sense because we're able to have great dynamic range. We can see details in dark shadows while it's still being bright outside. A camera can't do that. So knowing your camera's limits will help you to take better photos. When we talk about dynamic range, it's important to understand that we're talking about your camera's ability to capture that contrast. How much contrast can your camera capture while still looking like a good photo. For now, the important thing to understand when it comes to lighting, contrasts, and dynamic range is all about knowing what your camera's capable of. What is the best lighting to achieve this look? How much contrast can you have in your image? When looking at where you want to take a photo, "Oh, well there's a bright spot there, that's going to look bad for this image. Instead, I'm going to move over here." Ultimately, when you get into editing, you'll understand what your camera's dynamic range is capable of because you'll see that certain information is lost, or that you've exposed it really well, and you have a nice-looking image with information in both the highlights and the shadows. 9. Understanding Flash Photography: Let's talk about flashes on mobile photography cameras. A flash is pretty self-explanatory. right a light that flashes when you take your photo. Now, a lot of mobile photography cameras on the back camera have a flash, and on your front-facing camera where the screen is, a lot of cameras will flash a white screen on your screen to help illuminate. Flashes on cameras haven't really gotten super advanced on your mobile phones yet, mostly because it's hard to pack in that much power. So it just depends on how you want to use it and what your style is. I personally, I'm not a big fan of a flash. Sometimes it can look a little artificial. If you're trying to create some sort artistic thing, it might be overpowering. Other times, it will just won't be strong enough. But so you know on most mobile phones, you can turn it off and on, or you can have it on auto. Really, it just creates a big powerful light as much as it can on your phone to fill in anything that's too dark. In selfie mode, the screen will actually flash a white screen to help illuminate your face. Now, there are also external flashes that you get like a ring light that you can put on your phone, or there are external flashes that you can get that you can sync up with your camera. 10. Understanding Photo Resolution: Resolution is something you've probably heard quite a bit about, whether it's the 4K television or the 12 megapixel camera. But really, what are we talking about when it comes to resolution? We're talking about pixel count. Twelve megapixels comes from 12 million pixels, 12 megapixels, and that is generated from roughly 4,000 pixels, little bit more over the top, and somewhere in like 2,500 pixels along the side. You times those two together, you get 12 million megapixels. A 4K TV means that it's 4,000 pixels across the top, it's 4K. Why it's important to understand resolution is really for two main reasons: on one end, it's the viewing possibilities. If I'm able to have x amount of pixels, I can print an image at certain size. Or if I'm going to view this image on a TV that has 4,000 resolution or standard HD, your resolution count will matter because it's going to affect how good that image looks. If you try and show something that has lower resolution on a higher resolution device, it's not going to look as good. The second way that resolutions comes into the realm of photography is, why would someone wants you with a 50 megapixel camera? Now, 50 megapixels, that's 50 million pixels. To some extent, if you want to print really big photos, you need that resolution. The other way that's used is to be able to crop in and hold the quality. When you really think about 12 megapixels, is roughly a 4K resolution. That image will look great on a TV or in most ways that we're going to view these images. By having 50 megapixels, I could crop in a significant amount, hold the quality, and still have it look really good on most devices today. 11. What is HDR Mode?: What is HDR, and why would you want to have this option turned on? Now, not all smartphones will have the option for HDR photography, but if yours does, it comes in handy when you're shooting in a very dynamic range in terms of lighting situation. Sam talked about in his course, Dynamic Range, that's basically from the darks and shadows of an image to the brights and the highlights. If a photo or a camera can capture a high dynamic range, it means that it can capture the information in these shadows, and in the highlights. If you have been around for a while and have used digital cameras or phone cameras, you'll know that in the past, if you were in a situation with a lot of shadows or if it was dark with a bright light, it was hard for your phone to capture a good image. Our eyes have so much power behind them to see into the shadows and into the highlights that cameras are just catching up to, and aren't there yet. That being said, there's a trick called HDR for our phones that allows us to get a more well-balanced, well-exposed image by actually combining multiple images into one. So on an iPhone it's in the camera settings for your phone. I'm sure you can google HDR setting for whatever your camera model is. It has an auto HDR, or a smart HDR option, depending on your camera model, and then the other option is to keep the normal photos. So what's actually happening is your camera is taking photos at a time and then combining them into one and by combining those images, it creates a more balanced image. So if you're worried about saving space on your phone, you might not want to have the keep normal photo on. I would say that you don't really need to keep the normal photos unless you want to be able to go in there and edit each individually. If you want. Or you might want to turn this off, if you are taking photos in a situation where you want high contrast in your photos. If you want really dark shadows, really bright highlights, and that's what you prefer instead of a more well-balanced photo. That's when you would want to turn this off. Otherwise, for landscapes, for general photography, I would say keep the HDR setting on to get better exposed photos. 12. Introduction to Our 3 Keys to Better Photography: Now that we've gone through all the technical stuff, let's get into more of the creative stuff. Now this is really where photography comes to life for me because while understanding the tech stuff, you can learn that and it's important to know, the creative side is really where you shine as a photographer and where you create your style. Now, in this section we're going to talk about the three key elements that we think it takes to create a wonderful photo. That is really composition, lighting, and ultimately sharing a story, really what is your image saying. We're going to dive into this and start off by talking about composition. 13. Improve Your Photography with Composition: Let's talk about composition. What is composition? Composition is how you compose your photo. Now this can vary with every photograph. Where do you put your subject? Where do you put the horizon line? Where do you put your camera? Composition is really important and really can affect your image. With mobile photography, using your phone is really awesome, because you can actually put that mobile phone anywhere. I can put that lens almost directly on the ground, creating a really awesome composition with the ground or the floor going right up against the lens. With some cameras, mobile phones, they're water-resistant. I can put the lens just on the edge of the water or right above the water and feel safe. Really having a mobile phone allows you to create these interesting compositions. Now, something creative for me that I've always said is when you're taking a picture and it's right up here, that's where we're always looking. That's where our eyes are. Getting creative will say more with your image and it will really make your image better. Take your phone, take your camera and put it somewhere where your eyes are normally. Put it low, shooting up, put it up high shooting down, put it against a wall, create leading lines, create other deep compositions where you can put your camera anywhere. When talking about composition, we also talk about horizontal versus vertical. Typically with a mobile phone, you're apt to normally try and use vertical photos, because your phone is like that. Typically with a normal camera, you're more inclined to do a horizontal photo, because you're holding it like this. Thinking about that in composition, what does a horizontal photo mean versus a vertical photo? A lot of times you think about TV or you think about movies, things are more horizontal and that's the way we view things. It's a lot more of a horizontal look. Think about your composition and do you want it to be more common like normal and have it be horizontal? Or are you looking at a building and you want to see the height of the actual building by shooting it vertically. Also talking about displaying your photo later on. How do you want your composition to be viewed? Do you want it to be looked out on a wall where it would look better as a horizontal, or do you want it to be on your phone, on the background of your screen where it will look better as a vertical photo? Thinking about your composition being horizontal or vertical is very important to what you're trying to say. You got to remember with a phone, you always are thinking about using it as a vertical image right away because of the orientation of your phone. Think about flipping it or moving it to change that composition. The rule of thirds. Now, the rule of thirds applies to where you're putting your subject in your composition. Now, over time, we've discovered that this is very aesthetically pleasing to the eye. Now, thinking about your composition, we split it up in two thirds, horizontally and vertically. It's really cool on mobile phones actually, you can bring up a grid that will give you two lines horizontally and two lines vertically, and allow you to really see where you're putting your subject. This is something that I think as a beginner photographer, you can practice and will really expand your photography and make you a better photographer pretty quickly once you start to learn and practice using the rule of thirds. Now, these aren't rules to abide all the time. You don't always need to be doing this and they can be broken. Just because you're not following these rules doesn't mean you can't create a beautiful photograph. But try to start to think about the rule of thirds. Bring up the grid on your phone, which most phones will allow you to do that. Look at your subject and practice shifting that subject into the intersections of those thirds. You'll find right away that you'll be able to express something differently with your subject. If your subject is in one section versus another section or at the bottom versus the top, you can really change your composition of what you're trying to say artistically. The more your practice is, the better you'll get at it. You'll also start to see and push your own style and how you can create wonderful interesting compositions, more so than when you used to. Ultimately the rule of thirds is there to help you start to think about your composition. It's a good place to start when trying to figure out where to place your subject as you start to practice and you get better at it. You'll start to see yourself growing as an artist and you'll be able to really push yourself in your own style and your own compositions. 14. Improve Your Photography with Lighting: Lighting is the next key element to taking a really great photo, where Will was talking about composition, more or less how you frame your subject. Lighting is everything inside your actual frame. The only way that a camera is able to capture an image is by having light. Now how you use that light is where it gets fun because really you're able to create so much emotion and feeling by the lighting that exists, or really just enabling things to look pretty and well lit and not thinking too much about the lighting. [inaudible] two key ways that I think is good to start your lighting experimentations. One is to go out during the day and just sun overhead, see what it looks like to take photos. Maybe find some shade under a tree or under an overhang and see how it changes when you have direct sunlight or when you have really soft lighting and more that shade look. From there, I recommend going out during sunrise or during sunset, taking photos and this is a great period of time to take photos because when the sun is up, you have this direct orange light hitting your subject. Once that sun goes behind the horizon, all of a sudden you just have this really wonderful soft lighting. This will be a great direct example of the difference that direct light versus soft diffused light can have on your subject. The other way that's really useful to begin this understanding of lighting is to be in your home, turn off all the lights, and turn on a single lamp. Now if you bring that lamp in front of your subject, they'll be evenly lit, everything's has light, but you'll see that the background that light falls off in and they're in a dark void. Now if you bring that lamp over to aside, all of a sudden, part of their faces lit but the other side is dark. It creates much more contrast and mood in the image. Now this is how you create a feeling in the image and when using this type of lighting, you can create a lot of drama or you can create softness. In another part, you might remember us talking about dynamic range and this was talking about lighting and contrast. Now knowing what your camera's capable of, what your smartphone's capable of, is going to be a big part of how you use that lighting and how far you can push it. A lot of times I recommend for smartphone photographers to use that more shaded, diffused light opposed to that direct sunlight. Now it's not to say that you can't take great images with that direct sunlight, but it's going to create more contrast and you're going to want to expose to the highlights opposed to the shadows. A lot of times on smartphones, by tapping on the part of your image that is that brighter area, you'll expose to that and you'll see the rest of the image get a little bit darker. A lot of times I notice this when taking photos of a sunset, I'll tap on the sun so the phone exposes to the sun opposed to the surrounding areas and it creates a much more rich in color image. 15. Improve Your Photography with Story: We've talked about composition and lighting. The third key is sharing a story. Photography and photographs are sharing stories, right? They're saying something, they bring something to the viewer as art, as expression. The greatest thing about having a camera with you at all times on your mobile phone is that you're not limited by bringing along a big, bulky camera or equipment or technical things and when something happens in the moment, life, when life happens in the moment, you're able to capture it. Not only are you able to capture it well and tell that story, but using all the abilities of a camera and the technical aspects, you're able to tell it well, right? You're able to expose correctly, your able to be artistic, use your composition, capture the light, and tell the story. Taking in the composition and lighting is really where telling a story is the most important part, right? You could do it technically, but now you're in the moment. The cool thing that I love about my camera phone is that I don't have to think about I'm going to take all my equipment and my photo camera out on this walk. I can just take my phone and I can be in the moment, I can be there, I can be present. But when something happens like a thing happens in the street or you see a nice flower or the lighting is wonderful at sunset. I can capture that now with the camera that I have in my pocket. Taking your phone out of your pocket does not disrupt the scene. This is allowing you to really capture an emotion. Imagine being with your family and the kids are doing some fun or your partner's doing something fun and you take your phone out to get that image. It's not going to disrupt life and you'll be able to really get that image that you want. Here are some images, some examples of times where we've had our mobile phones out and I just don't think we would've been able to capture them without using a mobile phone. 16. Introduction to Practical Demonstrations: Welcome to this new section of the course. In this one, we're getting out in the field and putting into practice, several of the techniques and tips and tricks, that we've been sharing in the past couple of sections. We're going to get out there, show you what it means to compose a better image. Talk about lighting. Implement some of the specific styles of photography you can take with a smart phone like time-lapses. If you aren't aware of all of those advanced features of your phone, we have a section later on that covers each of them, but we really wanted to just get out into the field and show you our method of taking photos. Awesome. I hope you enjoy this section. 17. Choosing the Right Lens: All right. So we're out here in the field. We're at a pier on the beach. Basically, we want to talk you through three different angles or three different lenses that we can use on our phone just to show you an example. Let's pull out our phone, and we'll look at Sam right there, and right now the phone is middle medium range, right? So we can take a picture here and that's middle. Now let's go to wide, now that would be a typical wide shot, we can see much more of the area, we can see up into there, we can see down. I'll take a picture here, wide versus medium versus telephoto, that's the long two times telephoto on the mobile phone. You see the difference between the three photos here as they're lined up? But you can see even at telephoto, I can zoom in a little bit more and get a different photo. You see those people down there and stuff, but you can see the difference between telephoto and wide, and those are two huge different aspects that we've been taking photos of, and I haven't moved my feet, I'm in the same spot doing three different sizes, one, two, and three. Let's talk about compositionally. Now in the wide shot, look at this composition, you see a lot more, you see the leading lines in the upper left. I can tilt up so I can see more, and take a more interesting photo or it until down, and I get a lot of foreground, so you can have that shot. Now, mid range, you can see how I can select a mid-range cycle here, I can take a photo right here, or I can go up and you see I have less lines on the top now, I don't have as many leading lines, and the bottom is getting cut off a little bit, and I don't have as much foreground when I'm looking down. You have a little bit more choices. Now when we go long lens, things start to get compressed a little bit and everything is really tight, right? It's got a little bit of a different look, you can see longer down, you don't get to see as much leading lines, and obviously the foreground is just sand. The benefits of the three are really different. I like using the wide angle a lot in a situation like this because you can really see everything that's going on and there's a lot going on. Now, if I wanted to shoot a person really far away and you weren't as close, that would be the benefit of having a long range zoom lens. Then the mid-range is just that normal like pickup and see what you see. It's much more similar to my eye right now, that's what looks normal to me. But for me, creatively, I really love this wide-angle lens. I mean, look, even if I go down, if I get down really low, you can really see some cool sand objects, and this is talking about moving the composition around, but see how cool the wide is when you get stuff really in the foreground. So let's look at this from outside the pier. Now the sun's facing right into my face, it's a little hard for me to see, but let's take a look at our cam. This again is a mid-range, that's a nice composition, maybe we'd move it up and shoot with the pier at the bottom. Let's see it looks like on the super wide, man, look at that. We're almost get Sam in there. But if we shoot super wide, see how different the composition is? The pier looks really far away, really long, and we look like we can see a lot of things again, the sand is in focus, sand is in the foreground. Now what does it look like with a telephoto lens? So mid-range, and then telephoto, man that's actually pretty cool. Looking way out, you can see the pier, and it's silhouetted because of the sun but it changes quite a bit, the look. So go from a long lens like that to a wide angle like that, two hugely different emotions, and you can see how that would make a huge difference when you're shooting something. For a landscape, I would tend to go wide so you can see everything but what's really cool about this is because we have a center point like the pier, you can silhouette the sun right behind it, and really get as close as you can and over the water. These are just some basic things to consider when composing photos and thinking about your lens choice. Keep in mind whenever you throw up something and take a picture, you can always switch quickly between all three lenses or really in-between the lenses on some cameras. The cool thing about mobile photography again, is your entire landscape is in your pocket. Don't just adhere to what you have that pops up in your camera. Remember you can change it, and really try and say something with your compositions using that focal length forward and backward. 18. Practicing Composition: We're on the field of just taking some photos, we've got golden hour nice lighting. We got the Manhattan beach pier here, which is a fun thing because there's lots of lines, there's people around. I just want to talk about some different composition techniques. Now Will talked about rule of thirds earlier. Just to set up to what that would look like. Right there, the pier's pretty much straight in the middle. If I want rule of thirds, I move a little bit up, I'd put the sky in the top two thirds, and appear in the lower third, or I do less sky. The top third is the sky, the middle third is the pier, and then the bottom third is the sand. We'll wait for these people. It's cool to get them in there. Let's do one with more sky. Having them right in the middle there. Let's go more telephoto to really hone in on that. Going wait for these people to come in. Cool. There's a couple of photos of people within the rule of thirds, we have the pier, and so the middle third, sky above, and sand below. Now let's play with some other composition techniques like negative space. Now, we have some clouds in the sky, but really mostly blue skies. We'll go really extreme here. I'm in the wide-angle lens settings, so I'm getting a really wide field of view. We're just going to go super wide, and have tons of negative space up above. It just adds a sense when you have pretty skies, it fills in that negative space a little bit. But your subjects are just smaller in the screen. It's just a pleasing thing to look out. Again, here we have this leading line that's taking you to the sun. But lots of negative space up overhead. Now finally, let's play with some more telephoto. Again, within composition, finding lines that lead your view as eye to a specific subject, the sun's at the end of the pier right now, so it's a nice leading line to have in your frame. But do you put that at the bottom of the frame? Do you put at the top of the frame? This way is a bit more in the middle. It's a nice composition. It feels nice to look at. There's nothing too extreme. But if we tilt up a little bit more, maybe I'm going get a little bit lower. It looks nice to have that little bit more sky up above, the pier's filling the bottom of the frame, it's just a nice composition in that sense. Now, how lighting plays into this? What lenses you use? These are all tools for composition, but really it's just paying attention to what is around you, and how you lined that up within your frame. It's fun to be out here. There's just some fun people watching, and you have this nice lighting right now, beautiful sky, a lot to play with. But, those are just some tips to think about when you're out in the field, just because you see something, and you can go up, and it looks nice right like that. Getting a little bit lower, playing with vertical. What I always like to do when thinking of composition is look at your entire frame. Yes. There's the sun, and the pier. Those are the main subjects. But what else is in the frame? What else is not in the frame? Is there anything else I could throw in there that would add to that composition? 19. Practicing Long Exposure: All right everyone. It is now night time. It's a brisk night here in California, but we are going to play with the long exposure mode, which is something that's brand new to most mobile phones today but it's just such a cool feature. I love long exposure. I love being outdoors at night and doing these photos. Enables your camera to see more than you're able to see. Now, looking out here, I'm going to start off. You can see that in this lower left corner there's a little illuminated yellow box. That's saying that it wants to do a three-second exposure. It automatically tells you that it's dark, it wants to do a long exposure. I'm going to go ahead and turn that off just to show you this is the frame that we're seeing. It's not completely dark, but it's definitely pretty dark. That's the moon up there. Actually, to be honest, I like the moodiness of this shot as is, but we're going to go in and do a long exposure just to see what it looks like. Now, what's really amazing with this camera is that it has internal stabilization for the lenses, so it actually keeps it quite still even if hand-held. That's not to say though that you don't need to keep things steady. I'm going to lock my shoulders in, select my shot, let the autofocus do it's thing. It's three seconds. Click. I'm just doing my best not to move. It brings this little cross in the middle of frame that you probably saw there, and it shows you're moving a little too far this way and helps you adjust. There you have it. That's a three second exposure. If I zoom in, there's definitely some noise. It's a little softer. I think these long exposures with how the phone brings it all together, it gets a little soft. When you fully zoom out, it's a pretty good-looking photo. Now, let's go into this and see what more we can do here. I'm going to go ahead and send it all the way to 10 seconds just as so to see what happens. I'm going to set up, and maybe I expose out there. I'm going to drop it down the exposure. Ten seconds. I click, and you can see it counting down. Now, doing this handheld is definitely not the best way, but again, like I was saying with that internal stabilization, the phone does a pretty incredible job. Now look at that, that's 10 seconds. You can see the water out there has completely flattened off. You get that water motion. It's just a beautiful looking image in my opinion. The clouds have been smeared across the sky. You get some of that movement. But doing this handheld is definitely a bit rough. I'm going to go and take a couple more photos by stabilizing the camera by placing it down and getting it to sit still just to see what the difference is if we really have it secured and locked off. All right everyone, so we are now back by the house, get a little lights because we went out into basically just the darkness. The moon is up, and so we were taking some photos just by moonlight, and so let's check out. First one I looked North, and pretty cool. You have the city lights illuminating the clouds. There's a bunch of clouds out here. It feels like there's some mist maybe coming in. First off, I switched to the wide-angle lens. Most astrophotography, most night time photography I do at least, I like wide-angle lenses because you get the whole sky, you get a little bit more scenery. Obviously though with this moonlight, we don't have many stars, and so you just really see all of the other clouds coming over. Not my favorite photo. Has a mood though. Moving on, I pointed towards the ocean. I was up on the stairs and I looked at it. It's a nice image. It's pretty incredible. You can see the rocks that are on the sand there. Figure definition. There's definitely some noise when not in the light of where the moon is. There is a lot of contrast in this image. I then went down onto the actual beach opposed to being on the stairs, and I was really excited but then I realized that you can see my wallet in the left corner there. That's why I was using to actually prop up my camera because the thing is when taking these long exposures, if you're handling, just the slightest amount shake is going to make the photo a little softer. So you really want as little movement as possible. Then this last image I actually use a timer. I made sure that when I clicked, it go off without any movement and got this image, and I think it's pretty incredible level of detail of those rocks. You get the moon overhead, and then the water becomes this really shimmering flat plane out there, and I really like that image. I then walked up the steps and I attempted some handheld ones, which you can see a lot of just shakiness and just doesn't look as good. It really does make a big difference by being stable. If you have a tripod that has an iPhone holder, that's the deal if you're really trying to get into this. It's also just a fun thing to play with. Professional cameras are going to be a lot better at long exposure photography. That being said, it's pretty incredible what these can do. I was actually on a camping trip recently and we had some raccoons visit us at night, and a skunk. My buddy couldn't see what was outside of his tent, and so he used the camera to take a long exposure photo and then saw that it was a skunk outside his tent, and he couldn't see it. Pretty incredible. The camera can see a lot more than you can actually see. I highly recommend going and playing with his feature. You can do it in your backyard. You can do it inside. Just turn off the lights and see what you can capture. If you're in complete darkness, we have the moon at least, it might not be able to pick up too much. So typically, having at least some light is going to be beneficial to really make the long expose work well. I would love to see some submissions of star photography from your mobile phone, and I'm definitely going to try that next time there are stars out because this is a really cool feature. I hope this has been useful for you, and so let's move on to the next lesson. 20. Practicing Panoramas: Hi, everyone. Now we're going to talk about taking panoramic photos. Now on most phones, this is going come up as pano, which stands for panoramic. Really it's the idea of taking multiple photos, as we'll explain, as you slowly move the camera steadily across the wave. You can see here on screen that we have this little yellow line and this arrow. Depending on where you start, so let's start right here and you click and you slowly hold it. Now if I move down or up, you can see that arrow moving off of the line so you want to steady as you can right along the line. Now when do you let go, it'll finish taking the pano. Now you could see how much was left in that rectangle. If I really wanted to fill out the entire thing, it'd be a massively long photo. But even at that just first low quarter of the panoramic field, you took this really nice photo. With this camera, we're going to start down here and I'm going to get the entire pier. It's going to be a really long panoramic look, feel cool. We're going to get Will in there. You start here, you have the yellow line, I click, I then move and you can see if I move up or down that the arrow wiggles. You want to keep that as level as possible. Keep going. Now if I move too fast, it'll tell me to slow down, but it's actually keeping up. So there, got it all. I let go. Now let's take a look at this, this thing with low panoramics, you have to move to the horizontal mode to really get the whole thing in vertical. It's just so small. We go in here, we can zoom in. Look how cool that is. It's like it captures the entire pier in one shot and you can see this guy that was running. The cameras taking a photo every few seconds. It captured the sky at different moments of his run. You can see this one part where it was merging two photos together and he got funky. But these other parts, it's actually cool to see him in those different parts of the frame. Now, let's play with another way of taking a panoramic photo. So if I were to take a horizontal photo of Will, I'd have to come all the way back here. But let's start taking a panoramic. So we're going to start down here. Slowly move up. Click. All right, so he has to stay very still for that and typically doing this with a person you can see he got compressed? Why the tripod looks weird. It's not a very flattering photo. But this would be something to use on if you're in the woods and you want get photos of trees, or if there is a building and you want to capture the entire building, it's really cool for that thing. Maybe don't use it for your friends because it's not very flattering, but it's fun to play with, and that's just some of the ways to think about panoramic photos. If you have people like we're out here on the beach, there's a lot of people around. If you try and do that, you might get some weird separation, some weird like fragmenting of people. So it's better when you don't have a lot of things in your frame that are moving around. Let's look at some panoramic photos that we've taken just to see other examples of out in the field what we were able to get with our pano setting on our camera. 21. Practicing Portraits: We're here out in the field, and I wanted to show you some tips, and tricks for taking portraits with your phone. Now, when you have a mobile phone with you all the time, and you're hanging out. A lot of times, you're taking pictures of your friends, and family, and such. Let's take a picture of Sam, and I'll show you some cool tips, and tricks to do this. First of all, I have him sitting, we're in shades, so we don't have to worry about exposing. Right now, I'm in the middle lens right now, on the camera. Now, we get a full body photo which we can take. But it's not as intimate. It's not saying a lot. Let's move in a little closer and see. It's a little tough when we get too close, because we start to see some bowing. When you look down on someone or have a weird shape, it distorts the image a little bit. You can see his body becomes smaller towards the bottom. We'll have him sit up, we will have him smile. Smile Sam, cool. I'm more facing down because it's a little bit more of a flattering position to take a portrait. We could be like this, and take a portrait. It says a little bit something different. He's a little bit more menacing or a little bit more in your face, so the harder. Now, this is never really the best flattering shot. Sam, look down at camera. So he knows it's a bad angle. He's not looking down, so look down. Not the most flattering of angles. I would say off the bat, being right on level or just a little bit above is usually the best angle. Smile Sam. He's already automatically doing it, because Sam is such a good model, and a photographer. But typically people are going to have their face straight towards the lens. This is the normal shot that your friends are going to do. Now to adjust that, you want to pose them just a little bit. Sam, can you turn to your right shoulder towards me. Can you move your head this way a little bit to your left, and keep your eyes on me. Tilt your head done just little bit. There you go, thick smiles. Yes. Now, that's a really quick way to pose again. Taking them off kilter. Bring one shoulder towards you, taking their face away but keeping their eyes on you, and smile. Sometimes heads tilting down, just a little bit is good. Now, a lot of aesthetic sometimes, if you're doing a higher-end models, we will have them look, Sam, can you right at look right at camera. Just open your mouth a little bit. That's a little bit more of a fashion look. Less expression, more just in the moment. Now, we're taking this on the middle lens. What if we punch in? This is the long lens. This actually looks nice, and we can actually step away, which makes your subject a little bit more comfortable. Same pose. Set your head done a little bit, Sam smile, smiles. There you go. You can see our background has shifted a little bit, and we don't see as much bowing, because the lens is longer. It compresses it a little bit, and we don't get that wide weird angle on the outside like you see here. Again, long lens, close lens. We're back on our camera mode, and you can see the phone itself is trying to detect the face. Now, that's doing it for exposure, and it's doing it for focus. That's a really cool automatic feature of a lot of phones as they become face detect. We'll turn away and look right at Sam, and see it automatically detects his face, and it focuses, and exposes to that face. Now, we talked about portrait mode earlier, so let's move into portrait mode. Immediately, we've jumped to the lens, and we're close up, look how out of focus the background is. Look how there is a square around Sam's face. Now we can immediately take the pictures. Sam look at us, smiles. We can see now, that this photo has a blurry background, a sharp foreground of Sam, and it's creating that depth of field look in phone really. You can see though, if we get too close, portrait mode will still work, and it's detecting where it thinks the out-of-focus and focus should be. Now, it just depends on how your camera adjusts to it. We can step a little further away, and it's going to start to get lost a little bit. Again, the background is still out-of-focus, and our subject is in focus, and it's doing this in the computer itself. Real quick. If we actually went to edit, we could completely adjust what we see. As you can see here, we can see where the computer is finding our subject, and cutting it out. Now, this is just a way of editing in app. Also in the upper left, we can actually change the f-stop. This would create more things out of focus, more bokeh, if we move all the way other side more things in focusing, and it's always slowly shifting how the things in the background get out of focus. That's an aesthetic that is looking more professional, looking more beautiful in some people's eyes. The way that a phone can really up your photography. In my settings, I can go, and turn on grid right here. Now, that we're in grid mode, we will come over and we'll see, there's a grid now, over my screen. I'm going to zoom in. You can see how it's basically, again, referring to our rule of thirds. For portraits, it depends on your style. You can be something really interesting, and putting Sam at the intersection of the bottom third grid, or we can have them dead center. But I'm still putting his eyes at the intersection of the top third, and the left third. Just because that's a little bit more aesthetically pleasing to me. It's really nice, as you can see having that photo look like a really well composed photo. Using the grid will sometimes help you figure out what's looking good, and what's not going good until you're used to framing things up, even like this, something with some space behind him. Looks pretty good. It's a little bit more interesting, it has some more leading lines. Yeah, it's super helpful. Now, let's put Sam in a more difficult position as far as lighting goes. We're here with Sam, and step in the shade, Yes. I wanted to put him in a hard light situation. Step back, Sam. You can see how our video camera can't handle that highlight. That's not a good look on Sam, and still seeing me in the shade. So when he moves forward, he's fine. Now, let's look at it on the phone. Here, on the phone Sam is in the shade. It's an okay photo. We'll move it in the portrait mode. The background is cool, basic. He's got this nice halo light behind him. Sam, move back into the sun. Now, you can see the phone's trying to adjust to actually try and get all that information in, but it's not that flattering. Let's use our posing first to see if we can get over it. Sam, can you pull your right shoulder towards me? That just position him more in the sun. Not great. Can you move your left shoulder towards me, and move your head again, yes. Move your head that way. Yeah. But keep your eyes on me. That's an okay portrait. But again, the sun is hitting his face, and there's a lot of contrast, and the skin tone is very different. How do we avoid that? The best thing is, put them in the shade as much as you can. But if you cannot, I always like to have the sun back lighting our subject. Let's move over in this direction. Now, look at Sam's face. He's got a nice halo on his hair, his faces is nicely exposed. He's got tons of hair, and he's got a good smile. See, now that's a good shot. We've achieved a way of around this hard light. Now, if you want to get more creative, you can move into the light and get a fun little flare. Sometimes, cameras don't necessarily like that. You can position it around, and move it around until you get something like that, and then we move in the portrait mode. You see the camera is still trying to find the background. Again, pretty cool. We are getting a flare so it's a little flat. You can see I want to cover my hand with it. That flare goes away, and we get a more flat image. We'll try to move the camera out of the sun, and take a picture of Sam. Smile. What a smile. Again, it's really nice. Let's look at this photo. This is really great, because we're getting this nice highlight on the back of his head, and his whole face is exposed correctly. The background is blurry out-of-focus, because we're using portrait mode. Again, the tip for me, and not just using your mobile phone, but working with your subject, working with your lighting, having the sun back light your subject when you can, and having their face be incomplete shade or at least singularly exposed. If we move to the other side, and shoot Sam, not only can you not see, but as soon as I move my camera to where it would be a good shot. My shade is on his face, which is not great. The idea is singularly exposed away from the hard light, if you can. If you're trying to be creative, and get interesting shots, you could always do something like this where, if you're trying to expose and see the eyes, there are reasons for doing that. That's a pretty cool shot. But in general, portraits, even face sun back lighting. That's the best way that you can start to take great photos of people with your mobile phone. The best thing to do is just go out there and practice, and like everything else, try, try again, and you'll learn real fast. Let's go into the next lesson. 22. Composing a Subject in Multiple ways: Hey, Phil back here with another demonstration of the techniques that Sam and WiIl have been sharing in this class. In this lesson, I want to go over how you can compose one subject in a lot of different ways. So this morning, on a very boring day, my wife and I were actually returning some clothes to the store. So I had the kids and I was walking around a plaza of the shopping center. There's this really really cool old-fashioned clock tower there. It's right in the middle of this plaza. So I thought this is a great example of a subject that I can compose in multiple ways. So let's go through them. The first photo I took was this photo of the clock tower in front of the AMC sign. AMC is the movie theater chain. This portal tells the story of where this clock is. I use the Rule Of Thirds with the clock in the top left, third intersection. Not perfectly, but I wasn't like trying to put the clock right in the middle of the frame. I was trying to have somewhat of a balanced frame. So I have these lines going across the middle at the top of the building and then the bush down below. In terms of it being a creative shot, it's not really a creative shot, but it tells the story of where this clock tower is. Next, I walked towards the clock and I wanted to use the compositional technique of negative space where you put your subject. You try to clear away all the distractions so that the attention of your viewer goes directly to your subject. Now this could be something like this where I put my clock tower in the bottom third of the frame with just the sky. I changed it up In terms of vertical and then horizontal. I even got a little bit closer and I also cropped this photo closer to have the face of the clock at the bottom and the bottom third of the frame. Again, using negative space with nothing to distract from the clock. That doesn't mean though with negative space, that you have to have a blank wall or a blink sky as your background to your subject. Here's another example of negative space where I put this tree in front of the clock to give it a little bit more depth and make it a little bit more interesting but I would still say this is somewhat using negative space because the tree is just this pattern of leaves and colors that your eye isn't really distracted by it. Your eye still is drawn towards the clock, which is again using the Rule Of Thirds in the bottom right right intersection, but still using somewhat negative space. This next photo I wouldn't call it using negative space at all. It's still somewhat using the Rule of Third. I tried distributed this out and post, but it has more elements and color that I think makes this photo pop a little bit more. There's these nice bushes in the foreground with beautiful flowers. There's this Arbor on the top left, again, creating these leaning lines towards the clock tower, the flowers and the arbor and the rooftop converge where the clock tower is. This one I just really loved the colors more than anything. The blue sky, the green plant, the yellow and red flowers, and then that clock tower just right in it. I would say this is one of my favorites. This next one I thought might even be more of a favorite. This is where I chose to have the clock in the backdrop out of focus with the flowers in the foreground, in-focus. So I shot a couple of these and I think I like the vertical one a little bit better, just the balance and everything with one single flower head. It wasn't as interesting to me as it ended up looking. But this vertical one just I think, looks really cool and it hopefully gives you an example of where your subject. For this photo is the subject, the flower or is it the clock tower. If you didn't see any of the other photos, you might just think the subject is the flower, but if it was in a series of photos, you would know that the subject is the clock tower and even though it's blurred in the background, it still plays a part in the story of this image. I like the balance of if you put a line diagonal going from the bottom left to the top right, how it basically has half of the image, the clock in the sky, and then half the image with the greens and the reds of the plant and it just has a nice balance. Again, using the rule of thirds with the clock tower on the top left and the flowers in the bottom right intersection. All right. Well, I hope that this is an example of multiple ways you can photograph a subject in different compositions and I hope it gives you some ideas for when you're out taking photos instead of just your standard, here I'm going to be at eye level, take a photo of you dead center or maybe get a little creative, put you off to the third. Get creative with it, walk around your subject, put your subject in the background foreground, cut off parts of your subjects so It's super negative space. Go up really close to your subject, change your angle. Get creative with it. Awesome. I hope you enjoyed this lesson and we'll see you in another one. 23. How to Get a Blurrier Background: In this lesson, I want to show you how you can get a blurrier background with your smartphone when you are not using portrait mode. Right now with most cameras in most modern phones, if you do have a portrait mode, it's doing that digitally, so it's not actually having a blurry background based off of the lens. That doesn't mean though, if you are using that phone or if you have a different phone without portrait mode, you can't get a blurry background. Here are a few quick tips to get a blurrier background in most situations. Today, I have my buddies William here, a globe because I need two things in my frame to share with you how you can get a blurrier background. Bill here has been with us for a while. He was a major contributor to our photography masterclass if you're in that one. You can see here that if I have William here with the globe and Bill here is standing right in front of the background, the background isn't that blurry. We're saying the globe here is the background. Let me just take a shot so you can see that. Slightly blurry but really most of its in-focus. The first thing you can do is move the background away from your subject or move your subject away from the background. If we move our globe little bit further away and we still focus on Bill here, you can see that the globe has gotten blurrier. Another thing we can do is move our camera closer to our subject. What we're doing here is, if your subject is actually closer to the lens, it's not just moving everything away from the background further, that's going to help, but it's actually moving your subject away from the background, and then a step further, moving your camera closer to your subject. What it's actually doing is, the proportion of space between your lens on your subject is now really, really tight compared to that, the percentage or the proportion between the subject and the background is a lot greater. You can see here the lighting is terrible, but if we are super close were doing a macro shot with Bill right here. Let me see if I can get on this side, if that looks a little bit more interesting. Just Bill's eye. Now our globe is even blurrier. The last thing that you can do if you have the option is switch to the more telephoto lens. On a DSLR or mirrorless camera, where you have a lens that can zoom in, you can use this option to create a shallower depth of field. With my iPhone 10, I just have two lenses; one is a wider lens, one is a little bit more telephoto, and with that two times lens, you get a little bit more blur compared to the one times lens. Here's the two times, here is the one times. Now, if we combine all of these to get the blurriness background we can, let's put Bill right there. We are getting closer to him with our lens. He's further away from our background as possible. We're on our two times more telephoto lens, and right there, that's going to get the most blur with a standard phone. Now, not all your phones are going to have all of those options in terms of multiple lenses, but those first tips of moving away from the background and getting your phone closer to your subject will get you a blurrier background. Cheers. 24. Introduction to Common Camera Modes: On your smart phone you not only can just take normal photos, but there are some key advanced features to every smartphone within photography. We're talking about, you can do portrait mode, you can do panoramic, you can do time lapses, you can have a selfie mode, things like that are at your fingertips inside your phone already built-in. Let's talk about a few of those. 25. Panoramic Mode: Panoramic mode is a mode that will allow you to create a panoramic. What that means is, being able to create a long horizontal photograph by taking a lot of photographs at once. The way it works is you take your phone and you put it into panoramic mode and you spin your phone around like this. It'll actually give you a guide on the phone with an arrow, and it will tell you to slow down or speed up. The cool thing about this is that you can create a really big photograph with a lot more resolution than you might with your other phone. You'll also be able to gain a bigger field of view. With your wide-angle, you can only get so much. In panoramic mode, I can see even more. What's really cool about this is because your phone is internally taking multiple photos and stitching them all together to create one photo. Your resolution will be higher, your print will actually look better if you decide to print it. It's a little bit easier to keep it all in line. Now you could do this manually by taking photos yourself, and then taking them into an editing app and stitching them together. But your phone will do that itself which is really awesome. Now, there are little pro tips to be thinking about when you're doing pano mode. That'll give you a starting place and an end place on some phones, but don't have to go the entire way. In fact, if you go the entire way your panoramic might be really small and long. You could only go for a little bit and it'll create a different dynamic photo. It's up to you to play with what your phone's parameters are and see what you can create out of it. It's really fun to get creative. Something to keep in mind when you're shooting a panoramic as well, is moving bodies. Because you're taking multiple images, if there's a moving body in frame or something that's moving across your screen you ought be taking multiple images of that object. It could show up or split up and look a little weird and unnatural. Adversely if you want to play with that, if you took a picture of someone here and now it's going pano, and they run around you and they're back in the same spot. It'll be the same person in the same photograph because you're stitching it all together. Just be aware of what technical difficulties and what technical things will happen when you're taking multiple photos across a plane. Another idea is that you don't always have to be going horizontal. You could flip your phone and go vertical and make maybe a photo of a big tall building or something like that. There are endless possibilities to using this advanced feature and I recommend really playing with it. 26. Portrait Mode: Portrait mode is something that when I first saw it, I was really amazed by the idea that I could have such a cinematic, dynamic-looking professional photo from the phone is incredible to see. Now, as Will talked about this depth of field created is computer-generated, it is not actually from a lens or from the F-stop that's creating this depth of field. It's that it is seeing that there's a person in-frame or the subject, and there's stuff behind it, and so it blurs that out, and you can even go in and adjust in portrait mode on some cameras now, the amount of blur you want, so how auto-focus is the background, and that's really what we're talking about when it comes to portrait mode. It's that we're focusing on a subject and everything else in the frame becomes blurry or out of focus so that the person, is the main and clear subject of the photo. Now, there's a few times that I see portrait mode not working great. Sometimes if you're taking it of not a person, for example, the algorithm can't really figure out what it's supposed to focus on and what it shouldn't, and so you can tell there's this splotchy areas around it that are somehow autofocus and some in focus. The main thing when using portion mode is to really make sure that it looks good while you're taking the photo. You can do this by just of checking so the outline of your subject, making sure that everything looks like, there's a clear line between what's in focus and what is being blurred by the camera. Now, the only way to really work around this is to move your subject, move your camera, find the sweet spot when it looks like the background's blurred and just the subject is in focus, and this is really going to shine when you're more or less focus here serve like this shot. This would do really well as a portrait mode photo. That's the basic just a portrait mode. I really think that this is a cool feature of love of smartphones and something that you should play with down the road because it can make your images look as if you're using a very high-end camera, even though it's just your smartphone. 27. Selfie Mode: Selfie mode, pretty explanatory, you just take a picture of yourself. On a lot of cameras, there are lenses and camera sensors on the front-facing part of your phone. It acts as like a mirror sort of and you be able to take a picture of yourself in selfie mode. Pretty self-explanatory. What's really cool nowadays is that what Sam talked about portrait mode, they've now applied that on some cameras to be on the front of your phone. So your selfie mode is now turning into a better quality image by blurring the background and putting you in focus. You can activate that on some phones. I think normally if you hold your phone out a little distant from you, you can create that image a little bit better and easier with that active in selfie portrait mode. Here I'm in selfie mode. Now you can see it's an automatic portrait. The background is blurry, this is in focus, but if I shift over to regular photo mode, everything is in focus. So not only am I using the front-facing part of my camera, but if I switch into portrait mode, now I see a blurry background and you can see how it changes as you go. Pretty cool. Selfies and taking photos of yourself and your friends have become such a big thing nowadays, especially in sharing social media. A couple of pro tips about this is using selfie mode is so much easier because you're able to see what's on screen versus trying to take a nice photo with the backside of the camera, you can't really tell what's happening if you're using it in selfie mode. Also a good pro tip is if you're taking a picture of you and your friends, go ahead and flip your camera into horizontal mode and you'll still be able to take a picture of you and your friends and you'll have more space to do that. Sometimes it's a little hard because it's hard to push the button, but you can also set the timer for that and use the selfie mode, or on some cameras like my phone, you can use the volume button on the side to actuate the shutter. So you can actually just push a physical button, take a photo, works really great. 28. Timelapse Mode: Time-lapse is one of my favorite things in photography because it mixes my love of photography with video. While ultimately the final image isn't an image, it's a video, the concept is photography based; you're taking a series of photos that will then be compressed by your phone to make a video. I think this is a really cool way to show a passage of time, to show the movement of people, to show the movement of nature. It's just such a cool thing to sit there, be hanging out, and you set your camera, it's just taking a photo every few seconds, and then you get to stop it, look at it, and watch this video. Watching the clouds fly by, watching a takeoff from an airplane, it's such a cool feature that our smart phones are capable of doing. How do you do this out? You go into time-lapse mode. For most smartphones, you can't really adjust too many settings here, but the basic principle is you want to set up the phone to not move. Now, by placing it either on a tripod or using something to prop it up, you click "Go", and then you just don't want to touch it, and you leave it there for as long as you want to. Most of the times I find that at least five minutes is needed for a quality time-lapse depending on how much movement is taking place. I love doing time-lapses when I'm taking off in an airplane because you see the airplanes are moving, it starts and it goes and then takes off, and that's really only several minutes long. We've also used it for watching the clouds pass by, and I have done it for much longer, closer to 10, even 20 minutes, which I think gives another really cool perspective of movement of nature. Like I said, the only real thing to pay attention to here is that your phone doesn't move too much. But there is, to contradict that, a whole another way that you can use time-lapse, and that is hyperlapse. A hyperlapse is same concept, you go to time-lapse mode, you hit the Shutter button, it starts taking photo every so many seconds. Now, what you want to do is keep your phone at the same level, at the same height, and then slowly walk towards a subject. Now, what is key with this is that you have a specific thing that you're focusing on. Let's say there's a statue off in the distance and you start really far away, and with each photo you take, you slowly walk towards that image and keeping the phone more or less in the same position. When you finish that, you come up and at the end you're looking up at the statue, maybe you do a circle around the statue. You then hit Stop and the video will do this hyper -lapse, it'll look like you're just flying through space and then spinning around the statue. It gives such a cool look. Ultimately, the end result isn't going to be a photo, it's going to be a video, and so this is more so used for videographers, but it's a cool tool to use and something that can be fun when watching a sunset or while hanging out somewhere, to set your phone and just practice doing these different time-lapses, getting interested compositions here, or paying attention to maybe light moving, cool for really dynamic time-lapses. I recommend trying it, it's a fun thing to practice, and a really cool thing to share with people after the effect. 29. Introduction to Editing: Now that we have learned all the technical and creative skills behind photography, we've gone out and taken a bunch of photos, it's time to talk about what we call in the industry post-production. Really, what is this? It's just what we do after you take the photo. Throughout this section, we're going to be be about storage. Where do all those photos go? The apps that we use to edit the photos and really what it is that, why we use certain apps and how we use them to really make the photos that we take the best possible, and that's through editing them and fine-tuning all those little things. So let's dive in. First up, we're going to talk about storage. 30. Storing Your Photos: So let's talk about storing your photos. One of the most awesome things about using a mobile camera on your mobile phone is that the photos are automatically saved to your phone. They are stored in your phone along with all your other music, and phone stuff, like your phone numbers, and texts and all that stuff, they're automatically on your phone. Now that's all well and great. But you never know when you might lose your phone. The disadvantage of having your phone with you all the time is you're raising the risk for breaking it, or losing it, and now it has all your beautiful, wonderful images on it. How do we fight against that? Well, there are two ways. One, the most popular way to store your photos that you're taking from your phone, not just on your phone, is in the Cloud. Now on my phone, my photos automatically go up to my Cloud subscription. Some services and some phones will allow you do this for free. Other ones will charge you after a certain amount of space. Now because I'm a photographer and I do this all the time, I think it's well worth taking photos and having them send up to the Cloud, so they're safe. I know they're up on the Cloud. I can pull them down onto my laptop, onto an iPad, onto any other device once they're up in the Cloud. So I recommend doing that. Now they're in two places. They're on your phone, and they're in the iCloud. Number 2, the second way, is actually putting them on a hard drive. Now, nowadays, because they're going up to the Cloud maybe automatically, you can then pull them onto a computer, put them on a hard drive, and store that like you would with any other camera that you're working with. Now if you don't want to deal with the Cloud subscription, you want to stay all localized, you can either send your photos to an e-mail, or to your computer, over what's sometimes called a local network, or you can plug your phone directly into your computer and transfer them over to a hard drive. Now that's a little bit more localized. You're staying off the internet. You're able to keep them physically in a spot on a hard drive. Most phones these days aren't having big files, so you're able to keep them and save quite a bit actually on a hard drive. I actually think that using all three ways is probably the safest bet for you. Take a picture, it goes to your phone, send it up to your Cloud, put it on a hard drive. I take so many photos with my phone that I don't typically do the hard drive aspect of it, unless it's for something professional, or something I want to print, or any of that. 31. Our Favorite Apps: Now that we've talked about backing up photos, let's talk about the actual editing of photos. What I've really loved about taking photos on a smartphone is that it's a smartphone. You have tons of apps that you can use to edit your photos. I think while there are so many choices out there, these are still the ones that we have time and time again used even as we download new ones, we keep coming back to these three apps. Now, the first is Lightroom. Lightroom is part of Adobe's master suite. You can connect this with your desktop, your tablet, your phone, and it all integrates, but you can also just download Lightroom for your phone for free, and it's a really powerful tool for editing images. You can do a lot of fine-tuning, customization, but it's very pro level, it's very simple. There's not necessarily a bunch of filters you use or presets you're really dialing in. Then based off of your own creation, you can create a preset to then copy across photos. It's amazing tool. The next is PhotoSeed. The next is Snapseed, which is created by Google. It's another really powerful tool, but a little bit simpler, I think, in some ways, and little easier to digest than Lightroom at times. It's something that just over the years I've always come back to it and thought that it's really well-created, user-friendly, and easy to use. Lastly is VSCO. This is a great tool. It has its own social platform. You can do tons of filters through it, but you can also do that fine-tuning and editing in app. Now, these three apps, I think, are really powerful and we're going to show you how we edit on them in the next videos, just with all the photos we went in and took, we're going to go in and play with different styles, different looks, and show how each of these apps is used. We'll lastly cover in-phone editing. If you don't want to download an app and you just want to use what the phone provides, we'll also cover editing with that. Let's dive into actually editing some of these photos now. 32. Basic Photo Editing Method: Now that we're back from being outside in the field, we're going to go ahead and we're going to start to look at editing our photos in camera. Now, there are several apps that we're going to go over, but first, let's go over what we want to do to edit a photo, and let's go over what the in-camera editing looks like. This is a little different on our phones. Just keep in mind that some things are different on your phone in particular, but most of all it's generally the same. We'll go over some buttons and we'll go over what I would normally do with a couple of photos. Let's go ahead and take one of our starting photos. This photo was taken today while we were out in the field, and it's pretty good. It's really low angle, it's at super-wide lens. What we're going to do is tap on it. In this phone, in the upper right, there's a button that says, '"Edit." We're going to click that, and right away we get the photo with a bunch of little do hickey's over here on our right side. Now, let's go down the line, starting at the top right. For this phone in particular, is a live photo, which means we can actually pick a few seconds before and after it was taken. You can see how it's adjusting an exposure. I like this photo, that's going to be ours. Also in the upper left you can, because it's live, but it's also taking audio. Now let me turn that off just because we're not worried about video, we're just doing photos. We're going to settle on that frame. I think we're good to go. The next one down is the adjustment. Now, this is where you would normally edit all your basic editing tools in the in-photo app. Starting at the top, there's the auto edit. Now if you click that, you see how the computer and the algorithm are looking at your photo. They're adjusting to what they think has the most dynamic range, the most amount of exposure. I don't typically necessarily like to use it. If you're in a quick fix and you want to use that, you can go ahead and tap it and you can see how it just does its own correction itself. It's a magic wand, that's what it looks like on this phone. Moving down, this is the exposure. This is how bright and how dark your overall photo is. Now we click it and there's a little bar that pops up on the right. You see can move it up to make it brighter, you can move it down to make it darker. There's those little numbers there so you can remember, zero is where we started. I sometimes like to use this as a base level. Maybe let's bring it up just a little bit. I don't want to lose the brights in the background. I like to have a nice overall exposed photo, but this is a good way just to adjust the brightness. Next is brilliance. This is more of impactful, almost saturation, but brighter version of exposure. You can see how I bring it up. It really focuses on finding the shadows and bringing those up when you move it up versus the overall exposure. Or in the other way, it focuses on bringing all of those down so you can silhouette. So you can see what a different photo that is if we bring the shadows all the way to darkness. It really focuses on more the darks than anything else. It's a good way to just adjust your shadows itself. Now, that looks to me a little bit fake. There's not that much brightness in the sand as there would be in the sky and the ocean. So I'm going to bring it down, maybe just about there. For me, I want to make my photo look as natural as possible and as cool as possible as far as this goes in my style. There's ways of doing stylistic, which we'll get into at some point. But this is just a natural, good-looking photo. Next one down, we have highlights. Now here you can see the background. We can blow up the highlights even more. Make them super bright, or we can bring them all the way down. You see the sky just gets more blue. We're basically pulling out the bright exposure in, the highlighted or brighter spots of the entire photo. Again, I think this looks fake. It's too blue. I don't know, I feel like we actually exposed it pretty well in the first spot. I'm only going to bring him down just a little, just to save him a little. I like that bright spot at the end of the pillar, and I don't like the sky to be too crazy. Next one down is the shadows. Now, this is more particular with the shadows. That brilliance mixes them, whereas the highlights and the shadows are more specific. Again, since we're in the shadows mode, if I want to pull them up, go up. It does the same thing that brilliance does in this photo, or if I want to bring them down, it brings down the shadows quite a bit, but it leaves the mid-tones out, so it's more contrasty and not as overall arching with the shadows in the mid-tones. This keeps it in the center. I do like to crush my blacks and my shadows just a little bit just to add a little bit of contrast, but not too much. See everything in subtleness. For me, editing is about little subtle corrections to get it to a place that you want. You'll see what a difference it makes. Then you can actually tap on the photo itself in some apps, not this one necessarily, it becomes a live photo, but you can see the difference that we're doing. Next one down, contrast. Now, contrast is more definition, more deeper blacks and higher highlights. So it's basically what we just did with the highlights and the shadows, but it's doing them at the same time and you don't have independent control of them. If we add more contrast, deeper blacks, brighter whites, there's more contrast in tones. You can see where all the way up at 80,100 super contrastsy. Again, that looks a little fake to me. It's a style. If you go the other way, less contrast, it's a little softer. Not as harder, but again, it just doesn't look natural. To me, contrast is great. I like to add a little bit, so that's 14. Just, again, subtle. Subtle movements when you're editing add more than you actually think. The next one is brightness. This is like exposure, but it's more mid-toney, so you can see, again, it's blowing out the highlights, pulling out the shadows. It's an overall correction. I don't actually tend to mess with that one too much unless I'm in a quick edit mode. The black point is really cool because also, just so you know, you can tap and you can see what the original was and where we're at. So we bright them a little bit. The black point focuses specifically on what your camera sees as black. If you want those blacks to be even darker, blacker, see how it brings down. It actually adds contrast. Brings our shadows down a little because most blacks are in the shadows, all of them are actually. It just depends on what you want to do. You can take the blackout and you can see how faded it gets. It doesn't really have any contrast. Now, little subtle just make the blacks a little bit more black because I think it makes them stand out. It adds contrast and actually adds sharpness in detail to your photo, I think. Coming down here, saturation. That's how saturated your colors are. Like how green is green, how blue is blue. I want it to be even more blue. If you're going to turn up the saturation, you would scroll up and see how all the colors just got more colorful. Like they're more their color. Again, this is a style choice. I don't think this looks very natural, so I'm going to pull back. If you go the other direction, we're taking saturation out or we're taking color out. Black and white, no color. This is a real quick way in camera to make your photo black and white. You would take it all the way out. We'll talk more about black and white in a little bit. For me, this photo, I'd say, I'm just going to add again a little bit of saturation. Now again if we tap, look at the original, we'll get this one original is flat. Not a lot of contrast, not a lot of color. It goes back to what we're doing, more color, more contrast, a little brighter, a little bit more vibrant. The next one is vibrance. Kind of like contrast, but a little more punchy. We'll move it up and it's just adding a little bit more punch. It's making those colors more vibrant versus more colorful, if that makes any sense. It's all brighter color in inner guard. Again, we move it all the way up. It doesn't look as unnatural as adding saturation, but I do feel it does feel a little unnatural. So again, I'm going to add just a tiny bit of vibrance. Again, we tap. Look how plain [inaudible] the last photo was and look how colorful our new one is. It's a little more bright. Warmth. Now this is specifically warmer colors or cooler colors. Now, if we want to add warmth, warmth in the photography world means warmer tones as like oranges and reds, and think about fire and heat, it's always warmth. It's more that color versus cool is like ice or water cooler, blues, greens, that thing. So we're in the warmth section, if we start to add warmth, see how orange our photo becomes, it looks actually more like a sunset. If we go the other direction, it looks more like just cool tonality, cold, wintry. Again, it depends on what your photo is, I like the natural look, so sometimes I'll add, maybe we'll just add a little, just a little bit of warmth, 36. It's a little bit more than a little, just to get that nice tone of a sunset, I think that helps a lot. Next one down is tint, now you can see how it just colors, one end is going to be more green in aqua, and the other end it's going be more pink, and now that's another stylistic choice. I would actually tell you that I don't mess with tint very often unless I'm going for a very specific stylistic look. Now that doesn't happen that often, I like natural editing, so I would say don't mess with tint that much unless you're going for a specific look. Sharpness, now I deal with sharpness quite a bit, and mostly on bigger professional cameras when you're doing raw photos, you probably want to add a lot of sharpness because your photos aren't necessarily being run through a sort of sharpening post and editing end. Now, if we go crazy, all the way to a 100, you can see how sharp that gets, it's really detailed, our original photo looks so soft when you add all that sharpness, how weird is that right? So I don't want to go too crazy, but I also want to add some for sure. I end up usually going around this area, I would say 30, 31. Just so it's not too much, but it does take away some of that softness that sometimes these lenses on cameras can add. This is also a good way to get around, maybe there is moisture on your lens or you got finger grease on it or anything. That sharpness will actually help you get rid of that a little bit. Definition is the same thing, the problem with definitions, when you add it, it starts to get a little grainy, and a little more contrast, but again, it takes away some of the softness on the things that are of focus. We'll look at this in another photo, but I don't tend to use the definition all that much, maybe just a little bit, just a little for this photo, but just so you can see what it does, that's what we're doing. Noise reduction, now there's not a lot of noise in this photo in particular, but typically when you do add noise reduction, it softens the photo, so it's doing the opposite of sharpening. It's taking all those noise dots that you'd see typically in darker areas, and it's making them softer so you don't see digital noise or you don't see the grain, and that makes it softer. Now, I'm not a big fan of this unless we actually have to use it, so we're going to leave it at zero because I don't see any noise in this photo, maybe up in the upper side here we can take a look. There's a little bit of noise there, let's see when we add it, see how soft the photo gets. But that makes it not as sharp and not as contrast in which I'm not a big fan of. But if we take that away, go back to zero, there's more detail in the photo. It's really meant for darker photos when you're trying to get rid of noise. The noise is so far into the photo that I don't mind not using noise reduction on this one in particular. So vignette, this is something I do sometimes now, there's two ways of vignette. There's a dark vignette and a light vignette, if we move this direction up, we get that dark vignette, it's like a focused in old timey photo. Again, stylistic choice up to you, I don't typically use a vignette all that much, and if I do, it's a very subtle. On the other direction, it's a white vignette, which is nice when you're doing more bright things. But let's see, I'll probably add just a hair of a vignette. Now look at this. This is the photo, we went to this photo, like that's crazy, just in your phone in editing, and I did that all real quickly, just standing here after taking it. So let's move down the list, this is more of, on the right side, we went from editing down to this a filter basically, so you can just adjust without having to edit at all. This is actually adjusting after what we've edited, so I would say if you're really into filters, maybe use the filter first and then go back and edit. You can pull them down, you don't necessarily have to be right up in the filter, and there's some cool black and white ones here you can see they're more contrast. Every phone and app has a different filter, it just depends on the style you want to do. This one's pretty cool, it's a very interesting style, and see our original, let's say we wanted to use this sort of artsy desaturated one. If we click that and had it left it there, and we went back to our editing, we can actually edit the filter itself. We can add or lower contrast after we've created this filter, and you can see again, look at the big difference between this. This is the photo we took, and this is the photo we've edited. Editing pushes your photos a lot, and I think it would behoove you to really practice this and get good at it. Next one down, straighten and crop, you can also flip your photo in here. Now, I think this looks a little crooked, in fact, I also think that I want a different crop. Now in the upper right, we have a bunch of different aspect ratios. For me, most photos, most professional cameras, their aspect ratio, which is how tall, and how wide your photo is, doesn't actually shoot the same as your phone. This is a normal phone aspect ratio, which is a little bigger than the normal 3, 2. If we go through all the aspects, you can see how the square changes and how it looks. The original one is a little bit taller than most phones, or most professional cameras, and I actually really loved to shoot that professional look, which is 3, 2. So see how it gets a little bit more thin. I think having that longer aspect says more. I mean, if you wanted to do something like a movie 16 by 9, this ratio is actually the ratio of your screen on your phone, so would fill out your whole screen. It's also what you would see like on Netflix or on your TV in your living room. The other ones are a little bit more fun, the square is very common, that's very original Instagramy. So play around with the aspects and you can see what you like, and this is a really good representation of how it would change. But to start with, let's go back to the original, I actually want to get out of here and I want to straighten it. Now, this little meter on the right and the left allows us to spin it around, but this is really a strainer and it brings up a grid like that. So I can just move it just a little bit, it's a little straighter and you can see how it basically zooms in crops in a little bit so it can straighten it. You're going to lose some edges on the side, but now look how much more straight it is. Now, let's go back to the aspect ratio, go to 3, 2, and I want it to be centered and pulls up a grid, how cool is that? I want to be right there, that's a very rule of thirds heard of situations. So now we're done and this will save the photo, it's basically edited the photo that we just did, and look at this brand new photo. This is so cool, this very similar to somewhere when we just took, and this is what we just edited it. Look at the the difference that it makes when you edit a photo and you take your time to go into adjusting those things, there's a lot that you can do just in your phone with editing. Let's take a look at a couple of the photos and go through the same thing and see what we can do. Let's look at another photo, I think it's a little different when you're editing, say a person or a portrait. So let's click on here, and I'm not a big fan of looking at myself, but we're in vertical mode. Let's move our phone over to horizontal just because it's easier for everyone to view, and in the upper right will hit "Edit", and again, we're back into our editing view on our phone. I'm going to move this one actually into the vertical space just because it is a portrait, and it's probably the way most of you will be holding your phone. So again, auto just brightens up my face, it's desaturated a little bit. I'm not a big fan, so let's turn off the auto. For this one, let's go right away to our filters, and let's just cycle through our filters to see if we find one. I mean, this one's pretty artsy, vivid cool is the name of that one, dramatic warm, dramatic cool. I don't know, I'm feeling the black and white, but I'm always feeling black and white. So maybe let's go with dramatic cool, we'll start with this filter, we'll move over to our editing, and let's go to our exposure. Now, I don't want to bring it, see if we bring it up too much, see how the highlights get blown out. That doesn't look great, so we'll just bring it up just a little. I'm still a little shiny, but I know that there's a highlights section, so we'll come back to that. Brilliance? I'm not going to mess with it too much. I feel like it's already pretty contrast enough, we'll leave that at zero. Here's the highlights section, so if we bring the highlights down, you can see how it brings my face, but it makes my face so orange. There's some pluses and minuses to what we can do here, and I think we'll just leave it in that area. The shadows, now the shadows are deep on my on my right side here, my left side actually, but we're looking at right. If you do that, you can bring up the shadows a little bit, but you can see we're starting to pull in a little bit of noise. You can see the noise mostly right here, up here in the whites. Maybe just a little bit, zoom out, let's see how our edit's going. This is our original, this is our new edit, it's a little artsy, a little scary, so we have pull up there. Now let's go play with, I want to mess with noise, so here's noise reduction. Let's add the noise reduction again, this smooths things out. Wow it's actually smoothing my face out quite a bit. Maybe let's go to 40, now that's a nice smooth aspect. We probably losing the noise a little bit, but not a ton. Also, it smooths out your face, so this is actually a good way to think about when you're trying to smooth out someone's face. It's a good little trick to do, add a vignette here. Let's do sharpness, add a little sharpness. That's too much. See how sharp that gets? It takes away the quality of the photo, I think. It just depends on what you need and what you don't need. We'll bring it back. Bring it back, maybe just a little bit. There you go. I'm not that excited about this edit, I'm not going to lie. I think I'm actually just going to hit Cancel and you can discard changes. Now that will just go back to zero, so discard changes. Now we're back to our original photo. Let's move over to horizontal so we can get a better look at it. The picture we took actually isn't that bad, but I think I want it in black and white. Let's click Edit, and I'm going to use the saturation actually and do this myself versus going to do a filter. Let's go find saturation and that's the first thing we're going to do. We're going to pull it all the way down to just straight black and white. Now, it seems a little dark to me so we're going to go to exposure and just pull up the brightness just a little bit. That's nice, that's looking good. A lot of editing is just how you feel, how you think it looks good, what looks good to your eye, and as you practice and you develop, you'll get a better eye. Not everyone is going to be super good at this right away and it takes practice. It's like learning a language or playing an instrument you have to practice at, it. Take photos. Every photo has its own way of editing and way you see it. That's what's so great about your phone, you can take a photo and edit it right away. I'm going to leave brilliance alone. Let's play with the highlights a little bit, and you see if I bring up the highlights too much, it just looks bad, and if you bring them down, it's bad too, so I think I'm just going to leave it at zero. I was right in front of a light. Now, shadows, we can make this more dramatic by bringing the shadows down. Now that's cool, I'm into that. Then let's mess with the contrast. I think I'll leave the contrast alone because I like the drama that we have here, but I don't want to go too overboard and I don't want to make it faded, so let's leave it. Again, I was pretty okay with the brightness, but maybe let's bring it up just a little, okay. Again look, here's where we were, here's where we are. We're going to stay away from the warmth and the saturation at this point because it's black and white and there's no color. Tint? Same thing, sharpness? I want to sharpen it just a little bit. Let's flip this vertically just real quick. That's pretty good. I really like that, is like a pretty nice portrait. We'll go back to horizontal. I think we'll leave the detail at that. Let's see what definition does. See, it's too much. Adds too much contrast and it breaks it down too much, so let's go back to zero. I think the softer version of it is nicer. Now, maybe let's zoom in. Let's see what the noise reduction does as we add it. Oh yeah, it's softening my face. That's too soft, that's almost out of focus too soft, so bring it all the way back down to zero. Maybe just a little, and let's zoom back out. That's a pretty nice portrait. Add a vignette. Add a vignette just a little, just to bring down that corner in the upper left and here we go. It's not too bad. I'm not a big fan of [inaudible] myself, but that's a quick little edit on how you can do a black and white photo and how powerful the in-editing app is in your photo, especially if you're just starting out. It can actually do quite a bit for you right at the gate. Let's take a look at two extreme photos as far as lighting goes. I want to show you where the phone and the camera breakdown and what we're talking about when we're talking about dynamic range and what not. Let's first take a look at this photo. Now, this is a selfie that we took out in the field. Well, let's move into horizontal mode. This is a photo that we took out in the field. Really bright light. It's pretty blown out. Let's click Edit in the upper right. Now, let's go immediately to exposure. Now, I can expose it even more to bring out any of the shadows or I can bring it down. But you see, as I start to bring it down, the sun doesn't get any darker. Now this is what we're talking about with the limitations of the camera on your phone. There's just no detail in the highlights. It cannot grasp any detail if it's too bright. Now that's why lighting is so important, when you're paying attention. I can't really save this photo, even if I go over to highlights and try to bring down the highlights, you can see, no matter how far I bring them down, the sun is just gone, the sky is just gone. Like there's no real detail in it at all. How would you save this photo? Well, it just depends. I mean, I would probably go to Exposure and bring down the exposure just a little bit. See how it makes it flatter. You can balance that out by going to your shadows and bringing those down a little bit and then adding contrast. It's saves the photo. It also is a way to bring back some detail. Now, I think it's a little muddy now as far as color goes, so maybe we would just add a little bit of saturation and the skin tone is a little pink. Maybe we'd bring back or add some warmth to it just a little bit to add some sun city vibes. There's ways that you can do that, you just have to keep in mind that those highlights, once they're exposed like that, they're gone. Now, if we go back to our photo here and look at some other photos that were taken around the same time. This one is a little easier, a little bit more manageable. We'll click Edit, and you can see even if we click Auto, the phone does it itself, it knows that those highlights are gone and it brings up the shadows. But again, I would do the same thing. I would bring down the exposure just a little bit, find the highlights, bring them down just a little. Find the shadows, bring those up or actually bring them down just to add more detail to them. Add contrast and maybe just bring up the whole image a little bit. Again, it's not great, but you can see the difference between original and edited. It just depends on what you're shooting and where the camera phone falls apart as can it handle that bright spot and those darker areas? So there's no light at the same time. Let's go back and let's look at a little bit more difficult photo, like our sunset here, our silhouette sunset. Again, this is the same situation but the other way. Let's say, man, I really wish I would have got the sand, let's bring up the exposure and see if we have any detail. Not really much detail, It's just totally dark. Even if I went to the shadows and brought up the shadows, as much as I can, which is cool and all, but again it's starting to blow out the background there. The phone can only handle so much. Now I'm going to cancel all that because I actually took it by tapping on the sun, if you remember, to expose for the Sun because I wanted the silhouette and I think that silhouette looks awesome. If we go and we edit, this is the direction that I wanted to have it in. See I'm moving here, bringing up the highlights just a little bit, and I want this to be contrast. I want it to be silhouetted and I want to see the sun and all that, like sparkliness, down there. I really want this to be more warm. I want it to be more sunset vibey, so let's add a bunch more warmth right now. Look at that, that's cool. That looks like a total sunset, super into that. Now, you can tint it to be more arty, more direction and more stylistic, if you want to be, but I'm cool with that. I will add a little bit more sharpness to get it more clear. Then I think this is so cool that I'm actually going to crop it to be a little bit more interesting. I think cropping in aspect ratio can really set your photo apart, it adds to the composition. I'm actually going to bring in the bottom and I'm going to bring in the top and I think that's really cool. Saving photo. Boom. Look at that. That's just a really nice, just almost panoramic. If those people weren't there, I would almost print that photo out. This will hold up on pretty sizable print when you're doing it. But you can see again how editing something that quickly, cropping it, adds so much to your photo and also that the way you shoot it, the exposing for the Sun, just is what we had to do because the phone can't handle both the shadows and the highlights at the same time. Some phones are getting better at that. But, in this aspect, most cameras can't do both at the same time and still maintain that kind of quality, so there you go. 33. Editing with the Lightroom Mobile App: There are many apps for your phone that have to do with photography editing. For example, there is Lightroom. Now Lightroom is one of my favorite ones because I, in my normal photography career, use Lightroom and Photoshop on my laptop and my desktop. Lightroom Mobile will actually, if you're subscribed to their business, will bring in your photos and you can actually share your photos across all your devices, which is cool. It's helpful for professional photographers who need to edit on the go or if you want to share devices. The cool thing about the phone one is that it's very powerful for your phone. I think it's actually probably the most powerful editing app on the phone, and it's what I would recommend if you're getting serious about it. Let's go into Lightroom on the phone. You can see here this is my normal Lightroom library we're going to add by clicking in the bottom right from our camera roll. Now these are all the photos that are on my camera roll that I've taken with my phone, and let's go find a photo that we've been working on earlier, like one of our peer photos. Let's go with this one. We'll tap it and it's automatically dumped right into Lightroom. Now I have all the tools here on Lightroom, another so many things you can do in Lightroom. I can't go through everything. But some of my favorite things for example, are being able to basically do all the same things that you would necessarily do inside your phone itself, like auto exposure like that. We can go back as an undue setting. You can actually go in and now you can see things, I like the way it's laid out. It's laid out to me a little bit more easily. You can see everything in front of you versus going in hunting for something and it has sliders with numbers which I think are really fun. It's really pretty self-explanatory. It's got all the same things that the other phone does. Something really cool is the curve. Now if you're used to Lightroom or you're used to Photoshop, you're able to select precisely your highlights and your shadows and create your own curve as you see fit if you're used to that. That's a very powerful editing tool for professionals if you're used to doing that. You can select colors, RGB, pretty much anything you can do in Lightroom, on your desktop you can do right here, which is very cool. I think that's kind of what sets it apart from the other editing apps. Another thing it also has more detailed things like dehaze. You can actually add grain, which is cool if you're looking for that style. It does have noise reduction, which I actually feel like is a little bit better than the in camera noise reduction. Again, you can do the sharpening as usual. You can do color noise reduction, which is just based on the colors. You can add distortion, which you can't really do in other in camera photo apps. That's pretty cool if you wanted to get into funky, fun stuff like that or if you're creating some other content for something. I can always back out of here. It also has just a normal color filters that you can use. All pretty cool stuff that is incredibly powerful as far as editing in your phone. If you're going to go with an editing app and you didn't know which one to go with, I would say Lightroom is the way to go. One really cool aspect of Lightroom that I've used pretty quickly in the past is this healing tool. It's a stamp. You can clone things out by just clicking there and you see how it just can disappear. Just disappears just like that. You get finessing at it and it takes practice, but yeah, you have the ability to basically clone things out quickly if you need to, pretty easily. There you go. Look at that. Boom, gone. Not my best work, but you can see how fast and how easy it is to do that in Lightroom, which I think is just something really beneficial. Look at that, person's gone. Let's do one more. We can add a bag. Now there's two bags. Lightroom's get really powerful. It's got all these really fun tools that you can use to really amplify your editing. I would highly recommend if you're starting to get into this stuff, to really look into Lightroom and see if that's for you. 34. Editing with Snapseed: Snapseed is another very powerful photo editing app, and it's actually built by Google and it's been around for a long time, maybe it was purchased by Google, but it's been around for a long time, and Google owns it, and it's very powerful and pretty intuitive to use. Let's go to the phone. We're here in horizontal mode and we'll tap anywhere to open photo. We'll tap this. Yes, we want to allow it access to our photos and it will come up with open from device or you can plug it into your camera, we'll go find one of the photos we've been working on quite a bit. Let's go back to our under the pier shot. We want to tap on that. We'll click "Use" and it will come up right here. Same thing. It's got a lot of very intuitive ways, but you can also see it's got a ton of different filters that just adds a bunch of stuff, which is really cool. We're going to etc that. But it can also do all these things which, for another app's pretty powerful. It's not as detail-oriented as Lightroom would be, but it has a lot of good beginner things. One really cool thing that I like is it'll change your head pose. You can click on that, there's no human here. But it would change your head pose if you needed it to, you can do a glamour glow, which is really cool. It's got different levels of that. Again, it's more specifically to Snapseed that it has these fun specific tools. There's a grainy film filter that you can add. You can do different frames. You can do double exposure, which is really cool in camera by adding, let's see if we add another photo here. We can do a double exposure, which is fun to play with. There's things that you can really mess around with in snap seed, the other photo editing apps don't normally do. My favorite thing though, that other affording apps are starting to get, that Snapseed he has always had, is a selective editing. You can pick a spot like we'll pick right here, and you can see how I just want to affect that area. I'm basically pinching with my fingers in and out to just select that area. Now we can change the brightness to contrast or the saturation or a structure of just that area by sliding left and right. Basically I just made that area black and white. Let's add another area down here. I just want to affect that area and I want to lower the brightness to just make that area dark and not the sky. That is a really cool part of Snapseed that I really enjoy. That's something worth playing with if you're into that. Another fun thing that they have is the lens blur. That can be radial like this and you can adjust and change how blurry it gets or how blurry it does not gets. The cool thing about that is you can make your photos look like they're shot with either more professional lenses or make it look like it's a toy camera. It's really cool. It's really an intense way to think about your photography and being able to adjust the lens blur that you would normally get from a more professional lens. Again, Snapseed has some really powerful tools. It all depends on what you're looking for. Personally, I actually keep all photo editing apps on my phone because I never know exactly what I'm going to need. I might have to jump over from one app to another app. My photo by the end, before it's done, will have gone through three different photo apps before I even share it or send it anywhere. They all have different specific purposes and you can decide what photo app you want to use. If Snapseed is more your style on but easier to understand, your usage, you can tailor it to what your style is and what kind of photography you're doing with your mobile phone. 35. Editing with VSCO: The app that I personally use for quick edits when I've basically taken a really good photo with my phone, something that doesn't need a ton and ton of editing is VSCO. Now VSCO at its base level is free, but you can also subscribe to it and you get more features. I actually do pay for it because, if you've ever been to my Instagram, William Carney Hen, I use a border around my photos. Now, a lot of people ask me about that because my gallery is very sectioned off and you can see the entire photo in the gallery. I actually use VSCO to create that border. So even if I edit the photo in another app, I bring it into VSCO before I post it to Instagram, and I create the border per that photo. Let's go into VSCO. You can see that it actually has a social app within itself where you can look at people's photos, and they have their own network of photography. If you click in the center here, or click in the upper right, we're going to add one of our photos that we've been editing. Let's go find it. Here is our peer shot. Again, we import. Here it is. Then we click "Edit" at the bottom-left. The thing with VSCO is that it's always in portrait mode. It's always going to be vertical. It immediately starts you with the filters. Now that's one of the most popular things about VSCO, is that it's got all these just really awesome artistic filters that really have no rhyme or reason to their names, KU4, KU8, and it's a really quick way to get to filters, if you want to. Let's pick a filter really quick and then you click on the next section at the bottom, and this is your editing. Way more simple than any other photo happening. You have exposure, you move up and down. You have contrast, adjustment. It'll let you straighten it as usual. It's got all the normal aspect ratios that we can pick. It also has sharpening. I personally do not think that if you're going to edit your photo a lot, if you're not going to put it into a lot of post, VSCO is not necessarily for you. It's a quick editing app, it's got minimal things to do, it's got filters, that's its biggest thing, and it's got other border things that you can do. The tonality actually is really interesting because whereas in Lightroom the snap seed you can raise the shadows up and down. In VSCO, you can only save them. I can only bring the highlights down or bring the shadows up. You can't go the other direction. I'm not a big fan of VSCO. But, if you ever need it to do quickly, it does the job. The skin tone, we're not on the skin tone photo, but the skin tone in VSCO is actually pretty good. The vignette, very simple, it's only a black vignette. You can't go to the white vignette without adding on things. I do like that it has this fade. It's this cool faded old film look that's just automatic. You can achieve that in other apps, but this one just has a slider right away that you can get to. Other than that, if you click on the border, it has any type of color border that you want if you're doing them. I typically go white and then I bring it in like that. Now when I export this, it'll export this as a 1 by 1 photo with the border aside. That's how I create my galleries, and that's really why I use VSCO. I had to pay for a subscription to get to the border aspect of it, but I can keep it consistent across my gallery and you can adjust it pretty well. I've used it for other applications as well, if I needed to like, other social accounts or other social photos that I might need to help another client or something like that. That's a quick overview of VSCO. Again, it's not necessarily for you. My favorite thing about it is the borders, the quick and easy filters that you can adjust on the fly. If you get into it, the social network inside of VSCO is actually pretty fun and interesting. For me, pretty inspiring, a lot of times. There's tons of great art in photography and creativity if you're looking for inspiration on both the shooting side and the post editing side. 36. Intro to Sharing: Photography at its core is an art form, but it's also a way of documenting things. Once you're done shooting, once you're done editing, once you're done finishing your art, what do we do with it next? Well, we share it. We share it on social media, or we print it and put it up on a wall, or we give it to someone. Let's dive more into those two things. Sharing on social media. When would we do that? How would we do that? Where would we do that? Let's talk about printing. How do we do that? Where can we do that? Is our phone good enough to make prints or share on social media? So let's dive into those. 37. Tips for Social Media: To complete the full cycle within the smartphone as a photography device is social media. This is where I think a lot of us who are ultimately be posting our photos is to share it with the world. What I think is so great about this is that with this one device we are able to go out, take an amazing photo where it'll able to edit in app, and then we're able to post it onto whatever platform it is that you use, whether that's Instagram, Facebook, Twitter, whatever it might be. There are always new ones coming up, and I just think it's an amazing tool that it all fits within one device that you can do all this with. Now, it's important when taking photos and we've shared some of the creative aspects and the technical aspects, how to edit these photos, how to use them, even out in the field. But ultimately, if you're using this device to build maybe a following on Instagram, or maybe you're just using it to share moments from your life with family and friends, it's good to consider that as the end goal. Now, it's not to say that you're only going to use these photos for social media, but if it is part of what you're doing, it's good to sometimes all take photos, edit them, and save them for later. It's called Instagram, but lot of times I do later Grahams where I've taken a photo and I post it a few days later or a few weeks later, and it's nice because I can create folders on my phone and store them for later. This is a great way that the phone is used for social media and a lot of people create entire businesses now by using their smartphones because they're able to take all those photos, store them, load them, use different apps, and then present them to the world on their social media feed. Another thing to consider with Instagram is that you can post on your story, which is going to be a vertical frame, you can then post onto your actual feed which is vertical or horizontal or square, or you can create galleries where you have multiple photos on there as well. So that's the presentation of how you want to bring these photos into the world. Alongside that is adding hashtags and captions that add a story or add something to the image you're seeing, whether it's satirical or it's serious or it's something light just to share with friends. That's another aspect to photography is, how you present it with actual words and actual context. Really when it comes to this, the ease of having it with your phone, you don't need to, it's not a complicated process. It's all right there. It's what makes it really nice for social media and I do think a good thing to keep in your mind is, is this for friends and family? Because there's a lot of just great personal moments you want to share with people, or are you trying to create a business, or you're trying to create a very specific style because one is a little bit more loose and just fun and you don't have to think too much of making the most amazing images, and then the other is really trying to find your style and create a look that's going to fit within your brand. Maybe those two come together, maybe they don't, but it's all possible because of this one device and I think that's what's so amazing about smartphone photography and social media. They are just, the two have risen together to be this amazing full ecosystem. 38. Tips for Printing Your Photos: One of my favorite things about photography is printing. As you can see the photos behind me, I like printing photos and having them on a wall. Something to inspire, something to say something, something to show, something to have memories with. Back in the day, phones maybe weren't necessarily that great and ready to print. It wasn't that long ago that photos started popping up from your smartphones. They are becoming advanced enough. As Sam talked about earlier with resolution, they have enough megapixels to print. Some of these photos, actually these sunsets, and here I'll put them up on screen, these photos were taken with my phone, and I've printed them as big as an 11 by 14. They hold up enough. I think this photo specifically of a sunset with a lifeguard tower in the foreground is a really prime example of how I was able to be in that moment out on a walk. I didn't have my camera with me, but I had my mobile phone with me. I was able to take the image in that moment and print it, and now I have it on my wall forever. Where do you go get these things printed? Well, once you're done shooting with your phone, editing your photo, you can send it online to several print shops, and they will print it and send it to you. In fact, one really cool thing about doing that is they'll tell you what resolution, what size you can print and still maintain the quality. Will actually detect your file, and you can tell if it is going to be printable and maintain quality. That's one cool thing about doing that online. Something that I do is I go to my local print shop, it's a mom-and-pop store, it's local, and I take my phone in or I'll have e-mailed it to myself without having to lose any resolution, or I'll put it on a flash drive, and I will talk to them and see what capabilities they have of printing on what paper. You can do fine art paper, you can do matte paper, you can do glossy paper. The big thing is that your phone these days does have the capability to print images. Now not all phones will be able to print a big giant 50 by 50 billboard, but a lot of them will be able to print a nice size, 11 by 14, eight by 10, and definitely 4 by 6 or 5 by 7 image on regular photo stock paper. Another way to print photos is just at home. A lot of printers these days will print images onto photo quality paper. Now you have to have a printer that is set up to do photo printing. Even now, again, we have a camera on a mobile phone, we have an editing on a mobile phone. We can share directly to the Internet, but you can also print directly from your phone to a Wi-Fi capable printer with photo paper, and you haven't even touched a laptop yet. Now you can print images directly from your phone to a printer, and you'll be able to really see the quality of your phone. Most printers are going to be small enough where you really won't have to worry about the quality. The biggest printers can print big giant phones, but basic printers like your home printer will print an 8 by 10 from pretty much any mobile phone perfectly. As long as you didn't crop in and it changed the resolution, the quality that you will be able to get from a current mobile phone is fine for an 8 by 10, even 11 by 14, you should be fine. Well, ultimately, sharing your photo online and in social media is a great way to expose yourself or your business and your photography. Printing your photo is a whole another thing. It's something that you can use to share your art, it's tangible, and honestly it will make you a better photographer. I can't tell you how many times I've printed things out. It's really pushed me as a photographer like, "Oh, man, I wish I would have done that," or "Oh, man, that is great I want to replicate that and do that again. Give my prints as gifts, share them at home." Remember the moments that you're in. I highly recommend printing your photos if you can. 39. Thank You: All right, everyone, thank you so much for joining us on this mobile photography course. We hope it was informative and instructive and inspires you to go out and take more photos with your mobile phone. If you enjoy the class, please give us a five-star rating, review us. If there's anything that we can do better, please reach out. We're always happy to take feedback on what we can do better, what we can add, what we can expand on, and we want make this the best course it can be. If you're looking to expand your photography skills, Will and I and Phil, we have tons of other courses. You can find them at photographyandfriends.com. You can search us on Udemy or you can go to videoschool.com where there are tons of other courses that Phil has made. So check it out. Thank you again so much for being here. We hope it was a good time and we'll see in the next course. 40. Bonus: Free Lightroom Presets: Welcome to this new section on Lightroom Presets. This is a bonus section that we've added to the course since the launch of it because we love giving things to our students and making these courses and your photography better, more fun, easier, and more affordable. What better way than to give you some amazing Lightroom Presets? If you've never used Presets before, perfect, we have a lesson coming up on how to install and use them, and then I'll walkthrough the different packs that we add to the course over time and share ideas for when and why you would use those certain types of Presets. We'll be adding one new pack of Presets to the course every month until we have 12 full packs ranging from black and white style, to bold colors and contrast, HDR nature, soft pastels, vintage vibe, street grunge, all kinds of fun packs that you'll be able to use for your own photos. I just wanted to explain what this section is. It might not be applicable to you if you don't use Lightroom or if you don't want to use Presets. But regardless, we hope that these bonuses are a nice gift for you and a special thank you for taking our courses. Thanks so much. 41. How to Install Lightroom Presets: In this tutorial, I'll show you how to install Lightroom presets into the Lightroom Desktop app, both classic and the regular CC version, as well as the Lightroom mobile app. If you don't have a desktop computer, just skip ahead to the timestamps which I've included below to the app you're looking to install. Thanks a lot. Enjoy. From the library page or module, go to the develop module. On the left, you'll see your presets panel. You might have to drop it down to see if you have any presets installed already or if there are the ones that are already installed when you load Lightroom. Click the plus drop-down, click Import Presets. Then if you're downloading any of ours from video school, click the Desktop folder. It will have all of the XMP files. Select all of those files and click Import. They will import into a folder, which we will see here. Now, we have all of these presets. To use them, you just open up a photo in the develop module and then hover over to get a preview of what it looks like. Then when you find one that you like, click on it and you will see that the preset has automatically applied different settings. Sometimes depending on the photo, you'll need to make some adjustments like exposure or contrast adjustments, things like that to make it look good for your photo. The beauty of these presets is that it's a non-destructive way to edit. You could always go back, reset things. You can adjust any specific setting. You'll notice that some of these presets in this pack are italicized and that's when there's an option. Usually, it's a color profile that we might have selected when creating the preset that will work for a raw photo, but it's not a setting that works for a JPEG compressed photo. That's totally fine though. These presets will still work and they will still look fairly similar to what it would look like on a raw photo. But that's why some of these are italicized. For any other presets that you download, you can rename these groups or rename the individual presets if you want, just by right-clicking the group or the preset itself and choosing rename. That's how you download, install, and use presets in Lightroom classic. Cheers. Here's how to install and use presets in Adobe Lightroom. This is the Cloud-based apps on my desktop. From here you go to the Edit tab, click on Presets, click on the drop-down menu right here, the three dots, and choose Import Presets. Now, if you've downloaded one of our video school preset packs, you should unzip that pack. You'll see two folders in it, one for desktop and one for mobile. Still use the desktop option if you're using Adobe Lightroom, select all of the files. These are XMP files and click Import. Once they've imported, you will now have this new pack. You can click this drop-down to see all of them. Then you can hover over the presets to see what they look like. Click on one of them and you can see that they've adjusted some of the settings as we've created these presets. Now, depending on your photo, you might need to make some adjustments. Typically things like exposure. Your overall exposure might be the one that you want to adjust. But we've tried to make these work for fairly any photo that is well exposed. That being said, this is a non-destructive way of editing, which is great because you can always undo this. You can always adjust individual settings until you get it to your liking. You can also right-click the group or any of the presets to rename them in case there's ones that you really like and you want to give a special name too or things like that. The other cool thing about importing presets via the Lightroom app on your desktop is if you use the mobile version and it's tied to your same Adobe account, these presets are automatically going to load in your Adobe Lightroom app on your mobile device once it syncs. This is the quickest and easiest way to do that. We'll have another video if you don't use the Adobe Lightroom Desktop app and you want to download and install presets on your phone. But it is quite a bit more work than just this. Here's how you install presets on the Lightroom mobile app. Here I have a photo open on the Lightroom mobile app under presets, I have this video school Flat Matte pack automatically applied. I can just click on any of these presets and it will automatically apply. Now, let's go ahead and I'm going to actually delete this pack from Lightroom Mobile and then I'm going to show you how to manually create presets if you don't use the desktop app. Now, you can see I've deleted that folder. The way it works in Lightroom, the mobile app is a little bit different. You can't just this time install XML files as presets. The process is actually creating a preset from another photo. What we've done is created photos that have all the settings applied that will copy them from and create the presets. The first thing you'll need to do is download the folder. You can do this on your phone. If you have a desktop, you can download the folder, unzip it, and then send the files to your phone. However you do it, you need this mobile folder of files on your phone. If you download the zip file, typically it's just clicking that zip file, and your phone will be able to unzip it. You'll see these two folders and then just know that you'll be using the mobile photo. Back in Lightroom. The best way to do this is to stay organized. The first thing we're going to do is actually create a new album. Create new album. We'll call this, for now, we'll just call it VS Flat Matte, click Okay. Now, click on that folder. We're going to add photos to it now. Click this button in the bottom right to add photos. We're going to choose from files. Then on your files, you're going to find that mobile folder. Open that up. To select all of these files, click the three dots in the top. Click the Select button and then go ahead and select all of the files. Each of our packs contains about 10 presets. Then click Open. These will populate into your album that we just created and you can see a preview of what these photos or presets will look like. Now, one thing I noticed is that the order of these photos is not always correct in terms of the order that we've named our presets. To view them in order, it's very helpful to click the top three buttons in the top right. Click Sort by filename. Then the view options. If you don't have photo info on already and show overlays, click Show overlays and make sure the photo info is highlighted. Now, they are in the order of the filename. The way that we've created them, which we try to order them in a more logical sense like all the black and white presets for this pack, for example, are at the end. The next step is to go individually. Open the photo, select the first photo, for example. What we're going to do is basically create a preset from this photo. Click the three buttons in the top again. Click Create preset. Under user presets, we're going to create a new preset group. Click Create New Preset group. We'll call this VS Flat Matte or whatever you want to call it. Click the check mark. We're going to put these under a group now and then just create a name for it. You can name it whatever you want. You can follow our naming conventions, Flat Matte 1, and then click the check mark. Now, let's go back and find a different photo from our library to practice this on. You would have to repeat this for all of the photos in that folder. But now let's just open up another photo. Here's a photo of my kids. We can go to the presets button down here. Now, we have this VS Flat Matte album or folder of presets that we've created. Click on that and we have Flat Matte 1. Here's an example of where we would have to adjust the exposure of this preset. Click the check mark. Now, because this is non-destructive editing, we can go in here and we can edit any of these other settings. That's how you install and use presets using the Lightroom mobile app. Like I said in the beginning, it's much easier to do this using the Lightroom app on a desktop. But at least there is an option. Just a reminder, you'd have to go through each photo again. Go back to our albums. We're going to go to VS Flat Matte, open up the second one, and from there, do the same thing. Three dots. Choose Create Preset. Then from there, you'll see under preset group, now we have the VS Flat Matte group that we could add this under. That's it. I hope you enjoyed this tutorial and I hope you enjoyed the presets that we share with you. Cheers. 42. Preset Pack 1: Flat Matte Style: In this video, I'll show you the flat matte pack of presets and I'll walk through how I would use these on a number of photos. So if you haven't gone through and installed them yet, go ahead and do that, I'll be editing in Adobe Lightroom Classic. But the same techniques apply if you're using the Cloud or mobile versions. Here you can see that I have this package installed and I can go through and hover over each individual preset. In this pack there are 11, there's four black and white, and seven color versions. What is flat matte? What were we trying to do in creating these presets? That flat matte look is where you bring up the shadows, the blacks, and so you don't really have a ton of contrast in the photo. It is exactly what we call a flat profile, a flat look. But all of these presets are very different. Let me just highlight, hover over and you can see this is a big bold bright photo. This was from Waikiki from several years ago when I was there. You can see that as I hover through, it adds that little flat matte look, but the colors change. Not all of these presets are going to look great on all of your photos. I find when I'm using presets that when I download a pack from someone, I might find one or two that I really like, and that's the beauty of using presets so that you can come up with your own style or take a style from someone else. But that being said, you can always edit all of the settings. For example, this first flat matte 1 does not look good for this particular photo, and we'll try to find a photo where it looks better. But I'm really digging some of these other ones, like 2, 3, 4, 5, that gives us a vintage vibe. Now, when I apply this, if I click on it, you'll see that all of our settings over here have changed. We've gone through and changed a lot of different things for all of these different presets, not just your basic exposure and white balance and that kind of stuff, but down into our color, especially in our HSL panel, you'll see that we've adjusted things like hue, saturation, and luminance of different colors for all of these different presets. Depending on the preset, some of these other settings as well, including color grading, it might be something that we use for creating that preset. So you can always go in here and change it. For example, if we like the basic look of this, but maybe we want to warm it back up just a little bit, go ahead, change the temperature slider. This photo is relatively exposed well for the situation, but there are times when you slap on a preset, for example, this one which I don't think looks great for this photo at all, it's desaturating a lot of colors except for this bright pink floating right there. But that being said, it's just dark, that's the problem with this preset for this particular photo. Maybe increasing the overall exposure makes it look a little bit better. That's actually a pretty cool look right there, I would say. When you're going through using these presets, make sure that you know you can make adjustments. Of course, that's going to change the look of the preset. So if you're trying to come up with one specific style, you want to stick relatively to the colors, and the saturation, and the HSL adjustments. But basic exposure and things like that, those are sliders that you might need to adjust. Let's just go to a completely random photo , here's a photo, this is not a photo I took, this is just a free photo I found online. Here's an example of where flat matte 1 actually looks pretty good for this particular photo, has a lot of drama, I might brighten it up still just a bit, but it looks pretty good. Now, if I hover over these other ones, you can see again just the style that this is going for. I'm betting that some of these flat matte, black and white presets looks pretty cool for this photo. So if I click on this one, notice how our exposure was the same as our previous edit. Just in case that doesn't look good for you, you might want to just go through and reset your edit down here before you add another preset. Depending on how they're created, sometimes they are layered on top of each other and if there's not a setting that's been adjusted for the new preset that you're trying to apply, your previous adjustments might still stay here. I like these black and white ones for this lion. Let's go to another photo. Let's go to this one. This is my lovely newborn Lucia when she was born. Flat matte, here's a great example of flat matte 1 looking really cool. I love the style of this photo. Some of these other ones, maybe like 4, 5, 6, the one that looked better for that Hawaii photo's not so great. Here's just a typical standard photo downtown, San Diego where I live, and it's got a quaint little downtown. This photo itself, not a terribly great photo, but it shows what the downtown looks like. But I think these flat matte styles might look pretty good for this photo. Some of them have a vintage, film-type, film vibe, especially with the colors, and this might be example where some of these are just a little bit bright. So we might need to bring it back down our overall exposure to get it to a decent exposure. That's pretty much what this pack is. I hope you enjoy it, you can download it in the lessons are on the course page here and install it if you haven't done so already, and make sure you refer to the video on installing it so that you know which files to use because we have both the mobile and the desktop version files. Thanks so much, I hope you enjoy this flat matte pack, and if you use these presets in any of your photos and you post them anywhere like on Instagram, please tag us in your photos. I'm at Phil Webinar and find us at video school online as well. Thanks so much and I can't wait to see what you do with them. Cheers. 43. Preset Pack 2: Street Grunge Style: Hey there. This is a new video school preset pack for Lightroom called Street grunge style. Let me just walk through a couple of these presets, talk a little bit about them, applying them to some sample photos. You can, of course, find all the files in the downloads of the course to play along with. Here, you can see we just made some fun grungy style photos, playing a lot with presets, that is playing a lot with colors to make your street style photography pop. Now of course, with all of these packs, you can mix and match some of them. We call it street grunge, but maybe it's going to look good for a portrait that you're looking for. This one is of cool, vintage retro vibe going on. As you can see with all of our presets, there might be some that worked for our particular photo and some that don't. For example, some of these like the street grunge style is a crazy Edit. Click it to apply and you can see that the colors completely desaturated except for some of those yellows, a little bit of the greens that might work for some photos, but it doesn't really work for this one. Now, maybe for this one, we bring up some of the shadows, we bring up some of the whites. It's not completely crazy with that backdrop. There's some other edits that we can make as well to make this look potentially better. But that being said, play around with them. Here's a cool shot that I'm playing around with. Another example might be, let's go find another street photo. Basic street photo. Apply one of these presets and it gives it a nice vibe. This one brightens things up, highlights the reds, lots of desaturated tones, and then some reds. This one, a little bit of a greenish tint to it. This one was that retro vibe brings back some of those blues. Another one that's a bit contrast here, but again brings out those reds. This one brings out some blues as well. Here's that crazy one, this one, total crazy style, maybe what you're looking for. I think for this one, when we're not looking at the skies, it looks a little bit better. Looks like apocalyptic scene. Perhaps. That's one more example. Then let's just look at one last example. Let's just apply this to a portrait. Here's standard portrait, basic edit. Even the street grunge portrait presets can have some nice looks, like for this one I love five, I love three, warms it up. Some of them desaturate the skin tones a little bit too much for my liking. Ten does not work for your portrait, but it's something that you could play around with. I hope you enjoy the street grunge style presets. As always, if you're using them or any of our presets tag us on Instagram, let us know, and we would love to share your work. Thanks so much. 44. Preset Pack 3: Bold Contrasty Colors: Here is the bold contrast and colors preset pack. I'm so excited about this one. We've got 10 presets that are going to make your colors pop, make that contrast here and really make a lot of your photos just pop with a little bit of extra umph. Here I'm just going through some of these presets on this great photo of Yosemite Valley. You can see the different styles. We play around with the colors. Some bringing out more of the green, some bringing out more of the red, some bringing out the blues, some giving the different colors a little bit of a tint or a change of hue to play around with it and give it a little bit of style. I love just the number 1. This is the go-to. If you just have a great nature wildlife shot, just want to make it pop. These are also going to work for other types of photos as well. Say we have this standard portrait right here. I think the flat mat look, looks pretty cool and we have that preset pack for the flat mat. But some bold contrast is also a cool look. Sometimes if you think, this looks pretty cool. It's a grungy look, it's too contrasty, but maybe we want to dial it down a little bit. Of course, some of these aren't going to work for certain portraits. Skin tones are very difficult to work with, and you don't want to play around with the colors too much. That's where you can dial back and adjust the sliders. This is a great starting point, but it's a little bit too bright. The highlights are too bright. Maybe we're going to just bring down the saturation just overall, you can play with all the individual sliders. It's a starting point. It's not a one-click fix for every single photo. I would say this pack definitely is more for the nature shots. Here is a sunset shot, raw, unedited. I shot this down in Encinitas, California, or Carlsbad, actually. You can see that it just makes the sunset pop. That one gives it a little bit of a pink hue. Very cool preset pack. Again, a starting point, say here, a little bit like the colors, maybe it's still a little bit too dark. Let's just bring everything up. Let's bring up our shadows. Maybe bring up our black point so we can see a little bit more information. Still, if you're using this preset and you're trying to get a cohesive vibe across multiple photos, use that preset as a starting point. If you're making just minor adjustments to the exposure, your photos are still going to have a very similar vibe. That's looking pretty darn good. This is the bold contrast colors preset pack. If you're in the class, you can download it from the resources of the class or of this lesson wherever you find those resources on where you're taking this class. Enjoy if you're using them and you like them. Let us know, tag us on Instagram. We'd love to check out your photos and share your work. Thank you so much and we will see you in another video. 45. Preset Pack 4: Light & Airy: Here is another Video School Lightroom preset pack. This is called light and airy, and I'm just going to shuffle through some examples of what these presets look like, give you some advice on how to apply them to different photos. Light and airy, this is meant to make your photos light, have that airy vibe like a Bohemian style that you see a lot. Starting out with a photo similar to this one that I shot up in Carpinteria, California. It's already a bright photo and you can see there's just a variety of different ways that we created warmth, coolness, some of them we brought up the highlights, some of them we made it a little bit flatter, brought up the blacks and the darks. Here's another example. Let's see, here's another photo of me and my daughter [LAUGHTER] with the little tiger hoodie. This one is already light and it just adds to that vibe. Newborn photography, some food photography, maybe like baking, this is a great example of where this type of style might help with that. Let's go to the newborn shot that I have as an example. here you can see a lot of those like oranges, red tones, really great for skin tones, softening some of those skin tones with some of these give a little bit of a warmer tone, but some warm are little bit of greenish, a little bit of magentaish, some yellow, lots of different styles for you. Here's another example, let's take this portrait right here. This family portrait, already a bright photo and it's just going to enhance it and saturate some colors, desaturated others sometimes for portraits depending on the skin tone it's not going to work. Airy 7, this looks great for this gray enhances that yellow warmth of the sun. It's just going to depend. Now for darker photos, let's take just one of these darker photos, for example. Here's a landscape photo. Let's see how that applies. It's not going to necessarily make it that bright, airy, Bohemian style, but it might work for you for these photos. I don't think that this is the best pack for nature and landscape though, I think it's better for portraits, newborn, interior, perhaps like real estate but I'll leave it up to you to play around with it. This is the light and airy pack, you'll see it in the resources of the lesson or the course wherever you download those resources and I hope you enjoy it. If you do use them, please tag me at Phil Ebiner in our Video School profile on Instagram or wherever you're sharing these photos so we can check it out, share your work as well. Thank you so much and enjoy. 46. Preset Pack 5: Vintage Vibes: Welcome to another free Lightroom preset pack that we're giving out with this course. I'm so excited to announce the vintage vibes pack. The vintage vibes pack is one that emulates different old film stocks and gives that retro feel for portraits and for pictures of people. It's a super fun and exciting pack that I'm excited to share. As you can see, I'm just running through some different examples of what this looks like. It has 10 presets. You can use it with any version of Lightroom. Of course, all of the information for how to install them has been given previously in the course and you can download them in the lesson resources or in the course resources, wherever you download resources for this class. It's a great pack if you're doing like classic vintage stuff. If you find a cool street shot like this, of this old train depot that we have in our hometown of San Dimas, California. It gives a very cool vintage vibe, and all of these presets are completely customizable. You like the colors in this one, but maybe those highlights are a little bit too bright, let's bring down the overall saturation a bit. Let me bring down those whites, bring up those shadows. Everything completely customizable after the fact, that's what makes these presets so awesome. Here is a cool picture of this clock tower and little clock, not related towers. Big clock. [LAUGHTER] As you can see, some look a little bit teal and orange, some have a little bit more magenta, some have some deep blues, all styles here. This is a fun one. I hope you enjoy this pack. If you do, let us know. Let us know if you're using these presets for your photos wherever you're posting them. If you haven't done so, take a chance to leave a review for the class. No matter what the rating is, good, bad, we love hearing from you. We just enjoy making these presets for you, giving out more bonuses to try to make this course even better. Much love, enjoy the pack. We'll see you in another one. Cheers. 47. Preset Pack 6: Desaturated Colors: Phil here with Video School. Thank you so much for watching this lesson of the class where we are announcing and launching the desaturated colors preset pack. This is a pack that might not be for everyone, but I think it's a pretty cool style. Desaturated colors what are we doing? With each of these different presets, we're basically dropping the saturation sometimes a little bit in just one area for example, this one desaturated 4, it desaturates the blues and then in some were just going crazy with it like some of these 7, 8, 9, 10 are pretty intense. Nine desaturates everything but the blues and so it's not always going to look good for all of your photos. You just got to play around with it and find the one that's right for you. If you are in the class, you can download these from the resources of the lesson or of the course wherever you find those downloads, let me find another one. Here's an example, even with people it's a cool style, drops the saturation, some are more contrasty than others, some have a little bit of warmth, some are a little bit cooler. Lots of brown's desaturation going on and so for this example, Desaturated 10 works, in that other of the Eiffel Tower, It didn't work so much. For this photo, for example, this is a bright neon lots of colors here and you might be able like Phil, why would I want to desaturate it? Well, maybe you want desaturate some of the colors maybe it's just a style you're going for. Number 4, this one looks pretty good for this one. I like that one a lot, let's see what some of these more intense ones look like for this pack gives completely different hues. Look at that blue sign. Maybe you don't want to see that, maybe you're going for the style. This is a very fun pack, not going to be for everyone, I completely understand night photography, this is a pack that might work really well for night photography because there's not a lot of colors that you're seeing perhaps and so it's really just playing with the tones and things. The overall exposure to the different parts of exposure that is going to give your photo a good or bad style, whatever you think about this pack. If you have downloaded this, if you are using it, let us know what you think. Tag us on Instagram at Phil Abner App Video School and also if you haven't done so, hit that Review button on the course. We love hearing reviews from our students no matter what you think, good, bad, beautiful, ugly, whatever it is, we appreciate it. Thank you so much and enjoy this preset pack. 48. Preset Pack 7: HDR Nature Pop: Phil here with another Lightroom preset pack, HDR, nature pop. I'm going to run through some examples of what this might look like for you. But basically, it is just making those colors bold. It's making the overall exposure of your photos just relatively not flat, but just make everything exposed pretty well. And so this is a good example of a photo where you can slap on this HDR nature preset pack and get some nice, cool. Looks like number ten is to an extreme. Maybe that's why you're going for, if that's too much Dalit back with one of these previous ones, eight is sort of a softer version of number ten. And they have different hues and tones. Some of them D saturate, some colors, some of them do you say out traits, others, some are a little bit cooler, some are a little bit warmer. This is going to work great for those nature shots for wildlife where you're really just trying to take a photo that doesn't have a ton of color in it. Maybe it's a raw photo like this, the sunset and ban at a little bit of life to it with this pack. Obviously, not all of these are going to work. This magenta sunset doesn't look great to me, but maybe that's going to work for another photo of yours. This number ten, go crazy with it if you want to be just psychedelic, That's where you're at. Number ten. Let's find one more example. While I talk to you, here's a good example, not a nature shot neccessarily nature architecture, but this is a pack or a preset pack that might actually look pretty good for this. Photo. Sharpens things, makes things super contrasty. And I kinda dig it. That's a pretty good 110 or nine. That is, I'm actually really dig in it. That's almost better than the edit that I did of this photo that took me like several, several hours. Let's look at this peacock bringing out those colors. Hdr, look the cool blue one. That's gonna be one. If you use number four, let me know. You'll get a prize. Hit me up on his crime and let me know when you when you use HDR in nature, preset number four, that one's pretty unique. Eight's pretty good, brings out those greens, those blues, lots of cool stuff so you can download it if you're in the class. Obviously you're watching this video. You can download it from the lesson or resources of wherever you're downloading on the course. And all I asked for an exchange is good vibes. And if you have time, leave a review and a rating for the class, good, bad, whatever doesn't matter to me. I just like hearing your thoughts. Tag is on Instagram if you're using these, Alright, Enjoy this pack. Make your nature photos. Wow. And we'll see you in another video. Cheers. 49. Preset Pack 8: Black & White Presets: Phil here with another Lightroom preset pack. I'm really stoked about this one because I love black and white photography. And here you can see some examples of what this pack might look like using my sister's cute pup, maple for this example. So you can see a variety of styles. Some like 67 are super flat, super flat look. Others are more contrast. Makes your brights brighter, darks darker, but just a completely different range of looks, all in black and white. So if you'd like black and white photography, this is a great pack for you as always, you can download this pack from the course, from the lesson or from the course wherever you do downloads and enjoy it. If you use this pack and you like it, make sure if you're posting on Instagram to tag us. We'd love to get those tags so I can share your work with the world. That's part of learning and growing as a photographer nowadays at Phil Webinar and at the video school page as well. We'd love to share your work. And if you haven't done so, leave a review for the class. Those help us encourage us to make more freebies like this to add to the class. Now it doesn't matter if you do a good or bad review. I take all of them, so thank you so much. I hope you enjoy this pack and we will see you in another video. Bye. 50. Preset Pack 8: Tropical Teals & Oranges: Hey, there, here is another preset pack, the tropical vibe, Orange and Teal pack. This is all for that specific sort of orange and teal vibe or style that you see a lot of, not only in photography, but also in filmmaking, where you're making your greens a little bit more teal or your blues a little bit more teal. And then also pushing those yellows and reds into the orange. And so here, as I run through, you can see some examples of what this looks like. This number three looks really cool for this photo. Lots of greens are golds and tails. They're going on some a little bit more contrasty than others. You can find these presets in the downloads of this course, and so check those out. You get it for free as a member of our course. And we're just so excited to be able to provide presets like this that might help you speed up your photography, give you some inspiration. I know Preset, we are always fans of presets because I don't think it's a great way to say that you're a good photographer by slapping a preset on your photos. But I do know that there's a time and place for presets, and that's why we're going through creating presets for you to give you those options. If you're using these presets, let me find the photo. This one, it's really, I think better for the nature scapes. It doesn't look great on portraits of people because I think it just makes skin tones a little bit funky sometimes, but like this one, it's generally a good shot. This is in Y key, key, but the colors don't give off that tropical vibe that you might want. So slopping on one of these presets, it makes that sky and the ocean a little bit more of that blue or that teal that you might be going for him. So I think that's where this works best. You can see this example of the photo of me and my wife and our twins way back several years ago. It's crazy when we went to Hawaii. It looks a little bit of funky. Now. Some of them might look a little bit better than others, but I think in general that the colors for skin tones doesn't look great. But for ocean shots where like this, where you're just trying to give it more of that tropical flair might be the perfect option. Alright, thank you so much for watching this video. If you're using these presets, make sure you tag us on Instagram and also leave a review for the class. We'd love to see what you think about the class, even if it's a bad review, whatever, we just like hearing your thoughts. Cheers, thanks so much and we'll see you in another video.