Photo Editing: How to Curate Your Photos Like a Pro | KC Nwakalor | Skillshare
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Photo Editing: How to Curate Your Photos Like a Pro

teacher avatar KC Nwakalor, Documentary Photographer & Producer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      2:38

    • 2.

      Project

      2:28

    • 3.

      Photo Editing

      4:42

    • 4.

      Visual Narrative

      6:59

    • 5.

      Selection

      29:23

    • 6.

      Sequencing

      21:18

    • 7.

      Enhancement

      14:09

    • 8.

      Cropping

      7:38

    • 9.

      Resizing & Scaling

      5:16

    • 10.

      Conclusion

      2:11

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About This Class

Unlock the power of storytelling through creative photo editing techniques used by leading photographers and photo editors.

There is no shortage of talented photographers in today's world, but true storytellers are rare. One of the keys to becoming a better storyteller lies in mastering the art of photo editing. Photo editing goes beyond mere image adjustments – it involves the skilful selection, adjustment, enhancement and arrangement of photographs to create a compelling narrative. In fact, the importance of photo editing is such that publications and organisations employing visual content often rely on dedicated teams of photo editors to make crucial decisions about photographers, featured images, quantity, and arrangement.

Mastering this seemingly simple skill can be the difference between a visual story that resonates and one that falls flat. Many photographers, despite capturing amazing individual photographs, struggle to showcase their work effectively when self-publishing on their websites or social media due to a lack of photo editing skills. It's time to change that.

Join KC Nwakalor, a renowned documentary and photographer with over seven years of experience working for prestigious publications like The New York Times, Bloomberg, and Financial Times and esteemed organisations such as UNICEF, USAID, and WFP. KC will provide practical tips and insights to help you, as a photographer, elevate your photo editing skills to take your work to new heights.

In this class, you will learn:

  1. The essence of photo editing and why it is essential for effective storytelling.
  2. The key components of a compelling visual narrative.
  3. Techniques for analysing and selecting photographs to extract their storytelling potential.
  4. Creative cropping methods to optimise composition and visual impact.
  5. Strategies for sequencing and arranging your photos to follow the narrative arc.

This class is suitable for photographers of all levels. If you're just starting out, you'll gain a solid foundation in visual storytelling. Intermediate and advanced photographers will discover how to showcase their work in a way that truly captures their storytelling capabilities.

Don't miss this opportunity to take your photography and storytelling to the next level. Enrol now and unleash your creative potential!

Meet Your Teacher

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KC Nwakalor

Documentary Photographer & Producer

Top Teacher

KC Nwakalor is a Documentary Photographer, Producer & Educator based between Manchester, UK and Abuja, Nigeria. He has worked extensively across West Africa, and through his work, he humanizes real socioeconomic, health and environmental issues within Africa and the African diaspora.

He has been commissioned by notable International publications and Organizations like The New York Times, Bloomberg, The Financial Times, CNN, Le Monde, USAID, UNICEF, World Food Programme (WFP), Médecins Sans Frontières (MSF), Adobe, Seplat Energy, OSIWA, OXFAM, Global Citizen, NPR, Rest of World, Open Government Partnership, Sightsavers, Mines Advisory Group (MAG), International Rescue Committee (IRC), Amnesty International, ... See full profile

Level: Intermediate

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Transcripts

1. Introduction: It's not hard to come across skilled photographers capable of producing technically proficient images. However, only a select few photographers truly excel in the art of visual storytelling. These individuals can lead viewers through an entrailing visual narrative, keeping them engaged and evoking lasting emotional responses. If there is any possibility for a photographer to achieve this level of mastery, it's hinges on their proficiency. Photo editing. Photo editing encompasses the thoughtful process of selecting, adjusting, enhancing, and arranging your photographs to communicate a unified visual narrative. My name is Casey A Call. I'm a documentary photographer and producer. My work focuses on humanizing real socioeconomic, health and environmental issues in Africa and the African diaspora. My work has been featured in numerous international publications, like the New York Times, Financial Times, and Business Week, just to mention a few. Throughout my career, I have collaborated closely with renowned photo editors to various stories with the world. Since 2020, I have co produced a print and online photography magazine called Noahala Magazine, which publishes inspiring African stories through the lens of African photographers. If you've ever sifted through hundreds of photographs to choose and sequence just ten images that tell the complete story, you know that it's not an easy I'm here to lead you through the photo editing process in a relatable, practical, and functional way. You will have a deeper understanding of what photo editing entails and elements that make up a compelling visual narrative. Also, learn how to analyze photographs. Make the best selection creatively crop photos to enhance their composition. And how to sequence your photos for maximum visual impact. My goal for the class is to equip you with the creative skills that can transform your photographs into storytelling masterpieces. I'm thrilled to be teaching this topic because I understand the benefits of photo editing. Photographers and everyone involved in visual storytelling. If you're ready to delve into the heart of the conversation just as I am, let's begin. 2. Project: I'm excited that you've made it to this point. I highly recommend participating in the class project to get the best value from this class. Engaging in a project will solidify your learning, as it provides an opportunity to share your work and receive valuable feedback from me and your fellow students. Remember, improvement comes through practice. I strongly urge you to participate in the class project. The project is to upload five carefully edited and sequenced images that tell a cohesive visual story or narrative. You can take photos in your backyard, inside your home or your neighborhood featuring your friend or your pet. You can even use images from your archive, or the ones that I've provided in the result session. It doesn't have to be an award winning series. It's simply an opportunity to apply what you've learned. So don't worry too much about perfection and enjoy the process. To showcase the concepts taught in this class, I will edit photographs from a traditional boxing event in Northern Nigeria known as Dab. These photos were taken by me many years ago. Throughout the project, I plan to apply all the photo editing techniques covered in this class. Additionally, I have provided a variety of unedited low resolution photographs from the Dambe project in the resource section of this class. And you're welcome to download and use them while working through this class as part of your project. Note that these images are copyrighted. Refrain from using them outside the scope of this class. To take your own photographs, you will need a camera such as a DSLR, a point and hot, or a smartphone. Pretty much anything that you have that is capable of capturing descent images, That's perfectly fine. You also need a photo editing software like Adobe Bridge, which is some what I will be using in this class. Photo Mechanic, A light room on your laptop or Snapseed and light room mobile on your smartphone. Having a notebook and pen nearby is also very useful. Us. You can use it to write down and jot down notes. With all the preparations in place, I guess it's safe to say that we are ready to dive right in into the class. Come on, let's do this. 3. Photo Editing: Photo editing has been around almost as long as photography itself. In the days of analog photography, editors would spend long hours laboring to achieve the desired results. They would paint over, use magnifying glasses to zoom in, and use air brushes and erasers to bring their photos to life. To be successful in this field, a steady hand or an eye for detail and patients were absolutely essential thanks to modern technology and software. We can now accomplish this task and more with just a click of a button. It's crucial to differentiate photo editing from photo manipulation or retouching. The latter involves removing blemishes, smoothing skin tones, removing objects and other similar manipulations that can be done using software like Adobe Foot Share. While there is nothing absolutely wrong with these practices, they do not align with the type of photography that I practice, which is photo journalism and documentary photography. My emphasis is on capturing real and authentic moments rather than pursuing a perfect image. It's important to note that retouched or manipulator photographs can mislead the public, misrepresent the photograph subject. In my practice, this would raise many ethical concerns. Photo editing is the skillful selection, adjustment, enhancement, and sequencing of multiple photographs to tell a cohesive story. It is the process of treading multiple photos together to achieve maximum visual impact. It is an integral part of visual storytelling process. As such, it is essential for anyone who takes or works with photographs to grasp some of its basic principles and procedures. In documentary photography and photo journalism, multiple photographs are often used to narrate a story. The essence of photo editing is the ability to piece together a story using the right selection and sequence of photos. Think about a newspaper or a magazine feature story. Someone deliberately chose the opening shot that visually introduces the story, the subsequent photos that followed, and what concluded the narrative. These choices are made with great intentionality and requires significant creative time in the newsroom. For a story featuring ten photographs, the order in which these images are arranged, what photo comes first in the middle or at the end, can make or break the story. Through photo editing, you can guide the viewer's attention and emphasize important details and invoke specific emotions. The photo editing process can be divided into five distinctive stages. First is the selection stage. It entails carefully setting and choosing photographs from what has been shot. The second stage is cropping. It entails creatively cropping photographs to enhance their composition and visual appeal. The next stage would be the enhancing stage, which is making non destructive adjustments, improve the overall quality and aesthetics of your photographs. Then we have sizing and scaling, which is resizing and re, scaling your photographs to suit their intended propose or display platform. The last stage is sequencing. It entails arranging the selected photographs in a compelling and coherent order to effectively convey the stories message. We will discuss these stages in detail in our subsequent lessons. In this lesson, we explored the concept of photo editing, its history and its significance in visual storytelling. We learned that photo editing involves five core aspects, which is selection, cropping, enhancing sizing, scaling and sequencing. And our understanding and applying good photo editing skills can be the difference between a visual story that Mrs. or hits its mark. For this lesson, the task is for you to choose a story idea that is accessible and easy to work on, which can be effectively conveyed using five cohesive photographs. If you haven't already downloaded the photographs in the resource section of this class, this is a good time to do so. Think of a story you can make from the photographs that I have made available to you. 4. Visual Narrative: Storytelling is an essential part of being a human being. It's our primary tool for learning, communication, and understanding the world around us. Stories have been passed down through generations and will continue to be told in the future. For example, in this class, I have woven together a series of stories to convey the ideas about photo editing. I carefully decided what to say in the beginning, what would say in the middle and the end, whether you realize it or not. We are all storytellers. Although some people are more skilled at this than others, to create a captivating visual narrative, it is important to understand the fundamental elements of a story. One popular concept is known as the hero's journey. In a nutshell, it consists of two spheres of existence, the known and unknown. In the known segment, a story begins with a character who receives a call to adventure, driven by a desire to achieve something or fulfill their destiny. The character leaves their comfort zone and enters the Unknown, facing self doubt and overcoming it. To embark on their journey. Along the way, they encounter a mentor or a helper who guides and encourages them. The road to the destiny is challenging, filled with resistance and conflict presented by another character, which could be a person or just nature. They unsuccessfully attempt to overcome some of these obstacles and get to the verge of giving up, but they don't. They go through a period of soul searching and self discovery, which gives them reasons to fight harder. Then they go through a phase of death and rebirth, emerging wiser and stronger and more determined to face their destiny. This transformative process equips them with the relevant skills and abilities that helps them to ultimately fulfill their purpose. Does this plot sound familiar? It may resemble your own life story or your favorite movie. Stories are constructed by slightly tweaking the positions of these occurrences within the hero's journey to create intrigue and thrill that captures and holds viewers attention. The same process applies in photographic stories, regardless of the medium. Every story needs a subject location, time period, and a catalyst subject character answers the question of who or what it can be. A person, an object, a community, a concept, anything central to the story, and it should be evident to your viewers. The next is location, which answers the question of where the location is in which a story is set, provides context and nuance pertaining to the subject and their journey. The time period answers the question of when it further contextualizes the subjects living conditions and experiences within a specific time frame. Then you have the catalyst which answers the question of why and how of your story provides the rationale behind the story. This is where the plot is carefully crafted to captivate viewers. It showcases the challenges, the resistance, the temptations that the character must face and overcome to achieve their destiny. In photography, a well crafted visual narrative requires a thoughtful combination of white shirts, close up shots, portraits and action shots. It has to align with the story structure. These shots are placed strategically into the story arc, serving as opening or establishing shots. Rising action or conflict, climax, falling action. And Norman, I'll provide more details when we get to the sequencing stage of the class. Why shots are used to show the environment and the landscape. It helps to set the scene of the story. For example, if you've watched the movie and you saw drone shots of high rise buildings or Statue of Liberty the, in New York, you know that the movie is set in New York. Another type of pictures are the close ups, which are used to draw the viewer's attention to crucial details that advance the narrative. They can focus on objects or specific body parts. Portraits also play a role introducing the subject, the main subject of your story. They are often featured during the rising action as he allows people to identify the central character of the story, Alien. You also need action shots to capture subjects or other characters engaging in actions that are relevant to the story. These shots are usually reserved for climate and the norment segments of the narrative are, represent the highlights of the story and should be dynamic. Often carrying significant emotional way that evokes feelings in your viewers. Such as feelings of happiness when the subject achieves their destiny, or sadness when they fail. An in depth discussion on sequencing will provide additional insights into how these shots can be strategically placed in the narrative to create a compelling visual story. By incorporating these components, you will establish a solid foundation for creating a captivating visual story. Selecting the right photographs effectively captures the who, what, where, how, and when of your story. Arranging them in sequence that follows the hero's journey will help you craft a more compelling and engaging visual story. In this lesson, we explored the concept of the hero's journey, which outlines the various stages and steps a character must navigate to fulfill their hypothetical destiny. We also discovered that every story must address essential questions like who or what. Which is the character subject, where, which is the location, when, the time period, why and how, which is the catalyst. Furthermore, we explore the visual narrative at which involves the deliberate placement of wide, close up portraits and action shots within specific stages of the narrative. These stages include the establishing shot, rising action or conflict, climax, falling action, and denomment. I want you to evaluate the photos you've taken or downloaded to ensure a well rounded representation of wide close ups portraits and action shots. 5. Selection: When it comes to selecting photographs, photo editors consider various factors. But without strict guidelines, two major factors influencing their decision making are capturing and holding viewer attention and the photographs potential for visual storytelling. Here are some standard features or qualities to consider. The first is drama. Photographs that tell the story and have a high dramatic quality are often chosen for publication. These are the pictures where readers can clearly understand what is happening, sometimes with multiple events occurring simultaneously. Second is emotion. Pictures with emotional qualities often tell the story. They may not necessarily be the highly dramatic or narrative driven, but they evoke emotions in viewers. These are the kind of pictures that make readers feel something. Another quality to consider is action. Pictures with action or movement tend to attract people. Images that suggest any form of movement are more likely to be seen and observed than still live pictures. Although a photograph cannot move if its content indicates movement, it effective attention grabbing device for editors, Artistic or technical quality, which is also a factor. Well, executive photographs with shaft focus, Clare framing, and unusual pleasing composition will often make the car. Another factor is bizarre unusual subjects because they are also a standard feature pictures. Showcasing something unusual, rarely seen by viewers on everyday lives may make good candidates for publication. Another quality that a photo editor considers is prominence. Just as the news value of prominence, editors often consider the prominence of people in the pictures. Photographs of famous individuals are always likely to be published, even if they don't possess the aforementioned qualities. Readers are drawn to the pictures of well known figures and editors take advantage of this to effectively choose the best photographs from a large group. You must develop a strong visual vocabulary and train your eyes to analyze the basic elements that make a good photograph. A good photograph is one that has a class subject or theme, and its visual components work together in synergy to guide the viewer's gaze towards the main subject. A good photograph is also harmonious, where every element within the frame contributes to advancing the story. In photo journalism, we often capture real life situations and cannot control the elements present as we would in maybe a studio setting. Our goal, however, is to piece together visually interesting photographs based on what is available to us. In my practice, I select photos in three tiers. In tier one selection, I loosely selected well composed and technically sound images that covers all the scenes that are photographed. I limit similar shots to two to three copies. If necessary, I may delete photographs that don't meet these criteria or temporarily store them in a separate drive for future deletion to save space. Dube is a form of martial art or combat sport of the Aus people in Northern Nigeria. The tradition was originally dominated by fishermen and butcher case groups. But it evolved to become some part of a local harvest festival entertainment ritual. I shut this project in 2018. I shut it for a day. These are all the pictures that I captured whilst I was out there in the field. I'm using this project to help us to know how to select pictures regardless of how many files that you've captured during when you are out there in the field. In this case, I have 731 pictures. Pictures, they are quite repetitive for various shots, things are happening and they are captured more than once. The idea in selection is to be able to select the pictures that are relevant based on the ones that the composition is. Right. The one that has some drama or emotion. The one that has action and just technically sound images. We're starting off with tier one selection. In tier one selection, we're going to just restrict duplicates of pictures to maybe like two. Um, it's better to have fewer pictures than to have too many and you become too confused. In this case, just looking at this P, this one I would say, I go a bit closer to the shop. Yeah, there isn't much happening in this picture, but it's a relevant picture because it of sets the scene and just shows what the environment looks like before people arrive amongst the few pictures. Which one should I select? I'm looking at selecting one or two pictures. Composition wise, I think. Yeah, composition wise, I think this one works like these other ones. This one is also good, but this one there is cropped, and I think the tree gives more information about the environment. This is also good, but there seems to be like a lot of space here. But yeah, this is also good. Yeah, this one, the house is a bit cropped out. I wouldn't spend so much time in selecting this one because at the end of the day, I just need a picture that tells the story of the environment. I think this one works. I'll select this, I'll use the number one to star. You can see the star here. Remember we're just selecting two. Pair location or pair scenery. I would select that one and maybe this one. This one is a bit straight. Yeah, I typed the number one. I have two pictures from that. Then we move over to this one is similar to the other one, just the seats, very similar. Maybe I can just add this one as one picture because it's a similar but it's different. Then we move to this one. This is the actual space where the fire happens. These are not like best pictures, but it just sets the scene and anyone that sees it can understand what that environment looks like before people actually attend. For this one, this gets a bit too close, it's not very clear what it is. I'll select this 11 for tier one. I'm using one, the number one to start it as one star. I think this is a more interesting picture I just on the leading lines, how it just leads to the tree. It's a good picture that shows the environment. Now people are arriving. I need a picture of people checking out the match roster. Who are the people that are going to fight. Yeah, those are the pictures I have. I have to select one or two pictures from the ones. I like this one because it's it's pointing as someone you can see. Get information on the poster. I will select this one just because it's pointing. And then find one more, which would be this one because it shows a group of people in as much as this is point is a good picture but I like this one shows more crowd, four people. I'm selecting one more. Remember we only select two pictures per duplicate. At the tier one selection, we're getting rid of pictures that we probably wouldn't need. All these pictures are repetitive, we don't necessarily need this one. Yeah. Then people are now sitting down, settling in. People are taking their seat. Nothing is happening in these pictures. These are some of the fighters. They are warming up. This is a good detail shot. Their hands are painted and you can see the injuries on the hand. I have to select one or two from this one. I would say this. There is more interaction in this picture. I would select the hands are coming, interacting as opposed to this one. That is a bit not very clear what's going on, so I'll select that 11 star. Maybe I can include this one. No, maybe not. Now we get to the detail shots over exposed is out of focus. I will leave those ones. Yeah. This looks a bit more interesting just showing how they tied and fasten their hands before the boxing starts. Let me see how many of these shots are here. Think without going. I can just increase the zoom to show me at least three pictures so that I can just quickly make my selection as opposed to viewing it in high resolution. I know this picture is interesting. Yeah, I'll make this picture one star. Look for one more E. One is showing his face, his blood out. I can just make a selection for this 11 star. Make it one star. Yeah. Then we keep going. This is the face. Yeah. There isn't anything happening. This is another person tying up the hand. Because I've seen first of all, my selection as well would ball down to the story. I'm trying to tell you not to. In the boxes. Yeah, This is I can include one picture from crowd. In this case, I need to enlarge the picture so that I can see what's going on. Maybe I can select this 11 store. Then we go, these are the kids fighting or boxing. This is a good it's not the best picture, but yeah, I like the point of view. I would include this picture one store. I can include this as well. I can include this for the crowd reaction. Yeah, these are nice pictures, but these are young folks that are boxing and I don't want to include their pictures. Then I see this guy grown. I might include this portrait, you know, just shows the details, You know, some of the charms, scars on their body. You know that the warriors have one. Okay, I have a bit more portrait of him, so I'll have a look at all of them. I make a decision on which ones I would include. I think they are very similar, but I would include this, this. Because of this pace in the background, it doesn't stand out as much. This would have been nice as well. But his hand is a bit towards the lower part of the frame. Yeah, the face in the background is a bit. This is a bit at the end of the day. This is still the best portrait we have. You see how we are making these decisions based on what is available. This is a nice picture. I can include this as part of his own set up and look at the pictures. Yeah, he's getting set. The angle is not that great. It's not working as much as it should is showing the hand when it's tying. But also I'm trying to get the face. Maybe this works for that. Yeah, we can use cap improve the quality of this picture. Maybe we can select that the rest is not showing his face. I like this picture like the expressions cutting off from his head. We can select this picture for now. Yeah, then the young lad. Then, yeah, it looks like I'm getting better angle of him getting set, but then he's covering his face. It's one thing to get a bit of his face while he's tying his hand. Which one would work? Maybe this one works. We just select this one. This is his hand. One is completely tight. We can select that. This is our tier one selection. Then this is the crowd, again from another angle. This picture, the only difference between this picture is this person hawking stuff. I just like that. This one is a bit neater. I'll just select this 11 star. Another opportunity to get a portrait of him. We have something similar to this, so we can just select this one. This is a nice portrait, boys under age. I'm not including his pictures. Yeah, he's still adjusting his hand, he has tied, so maybe I can include this. Yeah, This documentary. At the end of the day, you can't change every single thing happening. He just picking the best out of what you have. Yeah. It's like this person is getting in on self, ready a bunch of boys together, but I can see some young lads and I don't want to include that. Then we have this guys getting set. A bit of his face, the expressions are different. I don't know where I would need it, but I would just semel this one. Remember to keep your duplicates to two. Now he's taking some weed, I guess. Yeah, some of them. Do that to increase Yeah, morale. I guess. I'll select this one shows his face. I'll select this one as well. This old body shows here and you can see it's getting set. I don't like. This one looks like he's posing for me, but this one just doing his thing. It's not like actively looking at the picture. This is a bit of a close of the stuff that they wrap around their hand. If you look at this three pictures, you can see that this is still the best. Why? Because there isn't enough space. This one, there isn't enough space, like the hand is stepping out of the frame, but this is relatively better than the other. I select that one, I think I show this project on a 35 millimeter lens. I go to lens is 28 millimeter just because I know I want it a bit wider to include a bit more. This is really an interesting picture. The details of his hand is not showing, but I like the expression. It shows that some of them have fans, they have supporters. And you can see that expression here. It's a bit of drama. I'm selecting this picture just because of the drama inside this one. And this one is similar, but his eye, the action is dropping already. Here. Here is like at the peak moment, that's why I'm selecting that one. Then I can also select, this one is not the best picture, I like the activity happening. That's how I keep selecting the pictures in my tier two selection. I would narrow down the selection phot from tier one. I would get rid of similar photos and only include unique images that are relevant to the story. We're done with our tier one selection and we have around 121 pictures from the initial 733 pictures. M, this is our tier one. We're going to select only that tier one pictures. Now we have 127 pictures in this selection. We are going to just get rid of duplicates and select the pictures that we think will make the story. The next tier, which is tier three, would be the actual pictures that we will be picking from when we are actually sequencing our pictures. The aim here is to have as minimal as possible, getting rid of all the duplicates, and making sure that our pictures has like a mix of wide close up portraits and action shots also is critical as well. Because looking at the pictures I've created, my focus is going to be the main character of my story because I'm able to get like a story out of his own appearance and interaction. In the set of pictures I have is Abdullah, who have decided to name Abdullah. From a selection of his pictures, more of my tier three pictures would be centered on him and other aspects of the story, or denby boxing or the activity that is connected to him. Because I'm going to build my story around him. I remember there is a, I have to include only five pictures at the end of the selection. It's very important that at this stage that you know what your story is about. What you're trying to tell with your story. Which is something that you should have had in your mind before you set out to take the pictures in this case. I knew I wanted to document this dambe boxing at the same time I had to gamble on who could be my main character. And I photographed a couple of boxes and Abdullah, in this case, his first fight, he lost. And then he happened to go again and he won. That's more like the type of story I want to tell. That's the thing you can tell, all the stories. You can tell like a full story per se in five pictures. Because now I will not be able to show where he lost because it's hard to show that in five pictures. I'm going to do like a simplistic curve of the hero's journey which just highlights how he sets up, goes into the ring fights and gets victorious with the selection of pictures of provided there are so many stories that can be made out of it. You can make your story be about the referee. You can make the story be about another dam, be boxer. It could be about the fight in general, or the type of like whatever you want to tell the story around. It's entirely your choice. But the most important thing is that you tell a coherent story using five pictures. As I've already said, I'm going to select my tier three pictures, this is clearly an important picture. I'm going to tap two now to give it to Star, which is my tier two. Both are similar. I'll just keep it simple. We have our tier two pictures and we have to take it to tier three. Then we get to tier three, which is the final selection from which I would choose the final sequence of images. For a five pictures photo story, I would have a maximum of 15 in the tier three. For three pictures we are looking at taking out pictures that wouldn't make the cut. We are making sure that we have a mixture of wide close up portraits and action shots that we're going to use to build a story. In the sequencing phase, I'm going to select the ones I think would be in the three. This is definitely the only core portrait of him that I have. I would have loved to get a picture of him, a portrait of him without necessarily smoking and stuff like that, but that's what I have. Then This one is him getting set that. This is Edit that. There's a good moment right here. Select that. Him getting said, Select that. This is not him, the referee. I don't see how I would use the referees picture. The crowd. This is a good picture of him. Select that, the crowd. I like the moments of celebration. This is also can select that as well. This is a good shot. I use three to select a. Yeah. In this lesson, we covered the process of selecting photographs into different functional tiers, considering the specific requirements at each stage of the narrative art. Additionally, we explored techniques for analyzing photos to determine the most suitable choice when faced with a plethora of similar shots. For this lesson, I want you to perform the selection process to obtain your tier three photographs. 6. Sequencing: Sequencing involves arranging photos in a way that follows the narrative arc of your story. Every story should have a beginning, middle, and end. The scale lies in carefully selecting images that fit into these different stages of the narrative arc. A visual story can be effectively told in five phases, which is known as the narrative arc. The first is opening or establishing shot. This photo sets the scene and introduces the story. This photo will determine whether people will be interested in the story or not. Make sure that the photo is both striking and informative. The second photo is rising action or conflict. This is the photo that introduce is the action of what's happening or the character, what the story is about. A powerful portrait of the main character will come handy here. Then after that, the next phase is known as the climax. It is the highest action or intensity point of your story. This is the most dramatic aspect of your story. It is typically captured in a photo with the most drama and energy that pushes the story forward. Then we progress to the falling action phase. This is the photo that appeals to emotions and may be less dramatic, but it still holds a significant emotional impact. Then close up shots can come handy here because it draws you in into the details of the story. The last phase of the narrative arc is called The Norman. This is the closing shot that captures the resolution or outcome of the story. You should leave your viewers with emotional resonance. The two most important photographs are the opening and the closing shot. The first determines whether people will view the story, and the latter determines whether people will remember the story. You have to really, really pay attention to that. Carefully selected our tier three pictures, it is time to arrange them in a sequence. Our decision making process will be guided primarily by our understanding of the narrative arc. For this project, we are looking at selecting five pictures that tells a story. Photo, one would be the opening or establishing shot and it holds a significant importance, should be one of your strongest photos, essentially capturing the essence of your entire story. Think of it as the poster photo that will either draw viewers in or make them walk away. It serves as the hook. So we need to select an image that is both informative and powerful enough to pique viewer interest. Ideally, a captivating white shot would work here, although an action shot may be more appropriate in certain cases. Then you head over to photo two, which represents the rising action or conflict. This picture should create a sense of suspense, briefly introducing the main subject or building some form of anticipation for upcoming action. It sets the stage for the conflict in the story. Depending on the narrative, a compelling close up or portrait could be a good fit Here, photo three marks the climax of the story. It is usually a highlight of your story and it's portrayed through action shots. Then the next one for photo four would be a picture that represents the following action. It's often complements photo three while preparing viewers for the story's resolution. While it may have less action, it should carry more emotional weight. Action shots can still be used here to evoke feelings in viewers. And close ups or portraits may also be utilized. Photo five says, as the Norman it closes the story. Similar to photo one, it should leave viewers stunned and curious. Emotive action shots are often utilized to illustrate this part. Utilizing striking photos in the closing aspect of the sequence is strongly advised because it leaves a lasting impression. It is important to note that the sequencing of the photographs should not always be based on the chronological order of events, but rather on an arrangement that is visually trailing and memorable. I mean, also it has to make sense. As much as this process is entirely subjective, the principles guiding decision making often stay the same. Understand the process and execute them based on your personal vision and style. The first two pictures that you want to look up for is your opening shot and your closing shot. The closing shot is also the Norment. And in this case, when I look at this selection of pictures, always remember that you can also go back to tier two to make selection if there are pictures that you want to bring up. But I've looked at this I think would be enough for me to tell a very simple story of this young guy that is part of this Dab boxing. First, I start with the establishing shot. Look through all these pictures. Let me increase it a little bit. We can see better. Yeah, this makes sense when I look at the pictures and I'm wondering which picture would be good to set the scene to introduce what the project is about. This would have been nice, but it's not very clear what's happening in the background. It's not just about M fights about this very guy. This looks like a good shot to start with. This is not very clear. I can start with this since it's five pictures. Honestly, I do not have the time to play around. The viewers just need to look at the story and you get an idea of what it's about. I will go with this one first. I'll just drag it up a little bit. Drag it up, yeah. Let me reduce the size a little bit so I can see what I'm doing. I probably will start with this picture. When I look through this selection, which picture should I end with? Is a picture of celebration or just closing the shot. This might be a good closing shot also. Yeah, I think it is a good closing shot. This could also be a good closing shot. This could also be a good closing shot. Maybe I can choose this. This is really a nice moment. But it can also be a part of the main, main story. I would start with when you look at this picture, you know it's about Dabi boxing. There is a re, there is a crowd of people ching. Then the second picture should be the picture that draws you into who the subject is, their personality and stuff like that. It's usually for your rising action is usually good to use like portraits. In my case, I prefer environmental portrait. This can also be a good picture, but it doesn't really introduce us fully. This could be that portrait, but it looks posed. It looks like he posed for the picture. And it's definitely something I don't want to go for. This is also good, is a moment there, but it's a bit posed. Yeah, this would work. It's not the best composition. There is a lot of people in the frame. His hand is a bit cropped here, but it shows this person the activity is doing, how he's getting set for his boxing, gives us a bit more information as to how they prepare their hands before the actual boxing happens. It's not the best technically, but it serves the purpose. This would also be a good detail shot, but we just have to include five pictures. It's a bit hard to include only this one. Maybe I'll go with this. This is because it shows his face. You can see his face. Then you can see some of the activity that is happening. He's getting set. That might be a good rising action. Then we look at the actual, when the fight begins, we drop right into the main action. I would look at the two pictures, or not the best composition there, bit more space in the sky area. I would have used that space to include their legs. But we can probably improve this picture using cropping. Well, yeah, there isn't good use of space here. But it looks like that's the main action. There is good action here as well, but the climax is like when the main thing happens, you get what I mean? It seems like this is that moment where he dropped him. In terms of composition, this is N, this is nice, but it doesn't really capture that key moment. In that case, I will just probably go with either this or this. Um, I will go with this one instead because it shows Yeah, I like the facial expression. I like that the hand is right on the cheek at that moment, like I said, the issue with this picture is that there is too much space here. And this space here should have been used to include their legs properly. If I'm taking this picture today, I'll definitely have a better composition. I like the activity happening here, and this is a key moment. Maybe I can do something about it in post production. In editing, I would include that. Here we have four pictures we need the fifth. When he punches him, he drops. Clearly, this can be our last shot because it's like the sequence after this one. This happens for this picture, I would probably crop it in a way that it goes into the action so that we can use this one as the next one that shows a bit wide action of what's happening. Then for the closing shot, I've changed my mind now. This won't be my closing shot, but the closing shot, I'm thinking about this one. This one, the picture is a bit poetic. It's more like what next? Then it's a bit poetic, but honestly, it doesn't have the feeling I would expect of or anything. This is really a nice shot. I like the blank sky. This is one place that the sky works a little bit because it makes you focus on him and there is, his hand is Clare inside, if I'm to choose. I think that's the best picture, in my opinion, for the closing shot. It can be this or this. Let's, maybe I would just use this, I drag it. It's a lot easier to just see the sequence. When you look at the pictures together, it starts making a bit more sense. Remember that we can still improve some of these pictures in post production, especially this shot. I think we can go in that this one will be the white shot that shows people celebrating. I selected this picture as well. Now we're selecting any picture of anyone celebrating here. That is because we already have people celebrating here with this action. Because you're selecting only five pictures, we don't have a lot of options to choose from. It makes more sense to use 1 stone to kill two birds. And that is selecting this picture where he has hit down the specenderfrees, helping the guy. And then there are people celebrating in the background, which is a really good picture. Also, if you look at the picture, it's not in focus, but honestly doesn't matter at this point. The moment is very critical and that's all that matters. Again, if I'm taking the picture today, it would be in focus and the technical quality would be a lot better. I'm also thinking about using this picture as a closing shot, but it kills the mood. It doesn't work. I think this is a good closing shot. Just find a way to crop it, straighten it a little bit more, create the idea that he's on top of the world with all the crowd of people way below him and the sky. I think that works, in my opinion. We have our five pictures. It's not a one size fits all. You have to know what your story is about. That would really inform how you select your pictures and sequence them. In this case, I think this five pictures does the trick. I'm happy with this, to be honest. That's what I'm going to go for. 23 years later. I might look at this pictures and I'm like, oh, I would prefer this one to come first or that one to come first. If I have a wider edit, like ten pictures, my selection will be a bit different. But because we have five pictures and we want to tell the story, we want people to look at the pictures and just understand what the story is about without me having to even tell you anything about the story. I think the five pictures really does that. Let's see, we start with this, you see the environment, There is, the story is about fighting, it's about boxing. Um, this is the referee, this is the stage or the ring, and they are just spectators looking at the whole stuff. Then you move to the next picture. Oh, it's about this guy here. There are two guys, but now I draw you a bit closer, you know. Oh, it's about this guy. He's getting ready, tying up his arm for the ring to get ready before it starts to fight. Sometimes the smoke to increase their energy and their ginger, as we would call it. Like I said, it's not the best composition, but it does the work. It tells the story. Then you jump right in. Oh, back to that person he was fighting initially with. Now he has given him a blow. The fight must have gone on for a while. And now he lands a blow. Boom, the guy falls to the ground. People celebrate, then he walks out of the stage. This is very simplistic but powerful story telling that tells the story obviously with the pictures or the select pictures that I've provided for you to work with. I'm sure there are different types of stories that you can make out of them. This is the most simplistic one that I can find because I like to have a main character in my story to tie the story together from the pictures I've taken. This is the guy that his story wounds up somehow. Feel free to explore and choose pictures the way you think. That works for you. The most important thing is that your story has a character and you follow the whole opening shot. Rising action, climax, falling action, and the nomen. In this case, this is my opening shot. It does everything an opening shot can do can be better. But we have five pictures to work with and I think it's okay. This is my rise in action. You can see the temper rising. There is some hype people in the background. There is a bit of smoking, there's tying of the arm. Things are getting heated up. Then the next thing you get into the climax the job. The punch gets it, then you go to the fallen action, falls to the ground, people celebrate. Then you go to, he's on top of the world and he's stepping out of the ring, which is the Nomen. This is a fantastic five picture story. I'm looking forward to seeing what you would produce given the variety of pictures that you've been given. There are numerous types of stories that can be told based on the pictures that I've provided. But remember, include this type of pictures and this could serve also as the portrait. It's not the best portrait, but it gives us some information about his face. He also can serve as the detail a bit because we can see a bit of the stuff going on. But not the best. But yeah, these are the type of pictures that you can work with. In this lesson, we learned how to sequence images effectively. We also learned that a well constructed visual narrative should include key elements such as the opening or establishing shot, the rising action or conflict, climax, the falling action, and the denomment. The final tax is to select your five photos and sequence them in a way that it tells a compelling story. 7. Enhancement: Photographs often require slight adjustments or enhancements to come to live photo editing software lets photographers alter exposure. White balance enhanced colors increase sharpness and the likes Photo editors often approach these adjustments with certain principles in mind. It is preferable to make subtle adjustments rather than overdoing them. Now, we've imported the pictures from our tier three selection, the ones that we selected and sequenced. We've now imported it into light room. This is where I'm going to do like the adjustments and the color grading and stuff like that still based on the sequence we have. This is the first picture, this is the second, this is the third, this is the fourth. And this is the fifth picture by light room has arranged it here based on the time that the pictures were taken. When you're sequencing pictures, what is most important is that you have a flow of pictures that tells a story that is interesting to look out and not necessarily based on the order in which the pictures were taken. This is to say that in as much as I took these two pictures before this ones, but for the story perspective and for visual interest, it makes more sense to put this ones before them. Always remember that you are at liberty to do that. So far it tells a good story and it is visually interesting. Let's dive right into the adjustment phase. Personal story I would like to tell in black and white. Because I feel I want my viewers to focus on the story as opposed to all the other distraction that is happening in the picture. Because for most of the pictures that I have here, there are quite a bit of things happening in the background that might be a bit distracting for me. I want people to zoom in on this character, Abdullah. I want people to look at him and connect the story and understand what the stuff is about. I'll go to, I'll quickly changes to black and white just by clicking the black and white tab on Light Room, which gives you like basic black. And a good space to start working from not looking bad. But I can improve the black and white to have the aesthetic I wanted to have here. I would just reduce the exposure by half Stop, which is 0.50 I have just a bit more detail in the sky because it's black and white. I would want to increase the contrast a little bit, so maybe 20 then highlights. I want to reduce the light in the high light area. Then for the shadows, definitely, I need to add a little bit more light in the shadow area. I want to darken the whites a little bit, then the black, I want to brighten it up a little bit. Maybe I can duck in the blocks as well to give me that nice contrast that I want. Then for the texture, I want to increase the texture just a little bit. I want the picture to retain the originality, but I want to enhance the picture. I would want to add a bit of clarity because this is a combat activity. A bit more clarity can bring all the details to life. Leaving there at 25. I don't touch the haze. The adjust the colors in as much as black and white colors still play a role in how the pictures turn out. The red, I like the reds to be a bit the orange, which is the skin tone. I can just add a little bit more light there. Then the yellows, I can make a bit darker. Just ye a little bit. Then the green, I make it a bit darker. Those are pretty much the colors that I care about in this regard. Yeah, I don't play around with much of this. I also try not to do the sharpening at all. Then I don't want to add vignette in the picture. Maybe we can add just a tiny little bit as to bring in the, the focus into the middle. Yeah, that makes sense. Let me be sure. The vignettes on the side makes it darker, the other side makes it brighter. Okay, I'll just add very little. This is too much messes of the picture and photographers that do this, unless it's really your style and it represents what you're trying to achieve. Please try to keep your vignette minimal. I'll leave it at minus ten if you want. You can also adjust roundness and stuff like that, but I try not to engage with that. Then for the story, I would want it to have this grain fill. I can add a bit of grain to the picture because I like how grain feels. It works. And I'll leave it at 20. Yeah, I'll leave all this adjustment. I think the said is nice, thin the picture. There is a bit of drama in the picture now and I think the picture is a live. Rather than doing this in all the pictures, I will just copy. I'll either save this as a preset. Maybe I can say create a new preset and give it a name here. I'll call Skillshare, black and white. Then you choose the group that goes. Then you take all the aspects that you've worked on, which it does by default. Then you say Create. Once you click Create, yeah, it becomes a preset here and you can use it in future if you want to retain that consistency that you want to your pictures. In that case to work on this other one. There isn't much I can do in terms of like cropping from the other picture. We go to the next picture, we apply these, Just apply it directly. And once we apply it like the only things that we can work on now is just make any minor adjustments, which I can already see from this one, that it needs a bit more light. It looks a bit too dark. Yeah, it looks a bit too dark. I would want to remove this exposure and just let the light work the way it's the picture was shot. One thing I will do in this picture is top and straighten the picture because I can see the crowd is a bit tilted to one side. I don't like the edge of this house. Remember, if you're showing something, show it properly. If you're not, get rid of it in a way that is acceptable, I would straighten this a little bit. I can still see here, and I'm also careful so that I don't crop off his hand. Straighten it a little bit more without crop in the hand. From here you can see it's just a tiny little bit, then I can crop it in a little bit more if I want. Remember to leave your aspect ratio on locked so that when you're adjusting sizes of things, it doesn't affect the overall arrangement of the picture. In this case, I think this looks good. I like the feel he has conquered the world. He's stepping on the world. There is just a bit of space on top of the frame. I don't like this, but there's nothing I can do about that. He has just won his fight and he's stepping out and stepping out powerful, which for me I think is a good closing shot. Yeah. That's pretty much what I would do in this picture. I think the space. Yeah. For some reasons I think it works. Then we'll go to this one, same thing. The picture is well composed, the edges are looking nice. Everything is working. We just select a precept and wait for it to. I know I need to increase the brightness a little bit because the exposure is perfect. Any reduction in the exposure would affect the outcome of the pictures gets loaded in into the picture. I know that I need to bring back the original exposure of the shot because it works as it was. Yeah, this is looking nice. It's a very sunny day, so there isn't much to do about like the shadows and stuff like that. Let's see if we increase the brightness a bit more, if it will work. Let's see, maybe for this picture we can just reduce the shadows just a little bit more so that we can see the details of their face a little bit more. In this lesson, we discuss the various adjustments that you can make to your photographs to enhance its quality. While enhancements can be made, the fundamental content or subject of the pictures should remain unaltered. Editing should not modify the essential elements captured by the photographer. Remember not to overdo these by just doing what is necessary and be consistent across board. For this lesson, the tax is to enhance the images in your tier three selection. 8. Cropping: Cropping involves removing parts of a picture primarily for two purposes. Which is eliminating unnecessary elements and emphasizing specific parts of the picture. Some elements in a picture may be relevant to the subject and the purpose of the photograph, As such should be cropped. Often these parts not only waste space, but also distract viewers. Efficient use of space is crucial for photo editors and proper cropping helps achieve this. Cropping of pictures is as important as editing text to eliminate unnecessary elements from the story. A single photograph can contain multiple pictures within it. A skilled picture editor can identify these smaller pictures and choose the one that best serves the intended purpose. Cropping allows editors to highlight the desired part. Directing reader's attention. A seemingly ordinary picture can become a dramatic one through effective cropping while capturing the right photograph in the field is always the best advice. Sometimes life chose unexpected situations and you may not get the perfect shot. In such cases, you may still be able to salvage a photograph through creative cropping. It's important to note that in photojournalism, there are ethical boundaries to consider, especially when it comes to cropping. Excessive cropping can distort the original image and misrepresent the people that you photographed. Which leads to misrepresenting and misleading the viewers. Working as a photographer, journalists for publications try not to alter images in a way that it distorts the material truths of the photograph. On the other hand, for personal projects or documentary photography, there is more flexibility with cropping. Nevertheless, it's crucial to remain as truthful as possible. Consider whether removing elements alters the story's outcome or misleads the viewer. Strive to maintain the story's integrity even while using cropping as a creative tool. And always be mindful of its ethical implications. In addition to cropping, I straighten my photos to achieve a more polished and professional appearance. Straightening an image is another factor that can elevate an amateur photograph to a professional looking one, unless a slanted angle is intentionally part of the aesthetic aiming for. Which is a picture that we've decided that we're going to get a bit closer to the action. Let's select the black and white. The problem with this picture is that it was cropped in a place that shouldn't be cropped in the first place. This is because there is space up here when we need to crop their legs, which pretty much this is a schoolboy mistake, a mature mistake that I made earlier in my career. I just like to use this type of stories to teach because it shows you that everyone makes all that mistake. I will adjust the exposure to the original one because the exposure is right here. I would this picture, I think all the action is happening right in the face of the two warriors. I would crop it down to show that moment in the purest form possible. So it's one logic that utilize in when I make pictures. If you want to go it to crop the picture, crop the picture right, but don't be in the middle. Don't confuse your viewers here. I think this might be working a little bit, but there is too much space here and there is nothing happening there. So I might want to explore this a little bit and just see, um, crop it a little bit more. With this type of cropping, at least you know that you are seeing the action right. As opposed to cropping, needlessly, cropping off people's body parts and cropping the picture in the wrong place. I can use Rule of third as well. This is all the action I want you to notice, This is most of the action. I can use rule of third to bring all that action to this place. You can see the line, um, let's see what it looks like. Yeah, this is an interesting picture now, don't you think? I think it is better than when it was wide. Brings people into the action. The detail in the body, In the face. You can pretty much see as the punch lands on his face. I think this works better. The background is looking good. I think I can straighten it up a little bit. It feels a bit slanted to this side and let's see if we can straighten it up a little bit. Yeah, Yeah, this looks better. Yeah, this is a moment. You can see the eyes just a little bit above the knee. Above the knee, it's, it doesn't look very aesthetically pleasing. Doesn't look very nice when you crop people from their crop photos of people from their joint. So that's why I tried to move it up a little bit. Do I think this works? Now? Don't you think this is how cropping can definitely improve the quality of your picture? In this lesson, we explored how cropping can enhance the quality and composition of your photographs while ensuring that you do not mislead your viewers. Additionally, I demonstrated how straightening a photo can make the difference between amateur looking and professional looking images. Review your tier three collection of photos and identify any images that would benefit from cropping or straightening adjustment. 9. Resizing & Scaling: Scaling involves adjusting the size of a picture area by either enlarging or reducing it while maintaining the original proportion. After an editor has selected and cropped a photograph for use in publication, it is likely that the picture will not match the required size exactly. Enlargement or reduction will be necessary to fit the standard column weights of the publication. In addition, the editor may need to modify the resolution of DPI dots per inch of the picture, particularly if it will be used on a website. The recommended DPI for web pictures is 72 DPI. Those are like the main things I do before I export the picture. Once I'm done, I select all my pictures and export. That is shift command E. I have the folder where I'm expecting. If you want to rename the file, you can give it a name, but I want to retain the names because that's what I'm relying on for my sequencing. I don't have to think about which one comes first, which one comes second. Then the image format, I leave it in Peg, the color space, I leave it in GB. Then the quality, I live at 100 here. You can limit the size of your pictures as well. If you want, you can say, I don't want this pictures to be more than 1,000 kilobytes, That's one MB, approximately. You can make all these adjustments how you please. In this case, I would say I don't want the pictures to be more than three MB. I would say 3,000 kilobytes, let's say five, because it's black and white. There's a bit more detail in there. Then here you can resize images to feed the long edge, short edge, all that kind of stuff. If you want, you can enlarge the pictures. If you choose something larger than the original sizing which the picture was shot in, it would need to enlarge. What this does is add small pixels to the picture. I don't do this. The only thing I adjust is the resolution. If you're putting this picture on the web, 72 DPI pixel per inch works. Or you leave it at 300 if you are printing or it just boils down to you here. You can also sharpen the pictures for screen if you're printing all that stuff here. If you want to include your meta data, you can choose to remove personal info. Remove location info, right? Key words as light room hierarchy. You have all these options then for people to add watermark to their pictures. You can do that. Then the next part, you tell you the program what to do after exports. That's pretty much how I keep it. I just adjust to 5,000 Leave my resolution at 300. If you want to keep it optimized for viewing online, then 72 DPI is okay. But I just like to leave it at 300. Then you export. Now our pictures are exported. Boom. Once we're done with the pictures, we're good to go. Another thing that would help is after you have edited your pictures, after you've processed it and made your adjustments, you have to take our time to look at the picture just to be sure that it looks like, you know, what you thought you saw when you were editing. Because sometimes the programs render the pictures in a way that it's just enough for you to work on them, but it's actually when you spot your pictures that you actually see what it looks like. And if there are any, anything that you need to work on, then it might be a good time to go back and make those adjustments and export again. In this lesson, we've learned how to size and scale your photos proportionally to suit their intended use while avoiding any distortion or stretching of the content. For this task, I want you to adjust the size and scale of your chosen photos according to your personal preference. 10. Conclusion: It's amazing to see you get to the finish line. I'm super proud of you and I hope that it has been an amazing journey for you as it has been for me. Before we sign off, let's go through some of the key things we've discussed in this class. We define photo editing as the skillful selection, sequencing, and presentation of photographs in a coherent manner to achieve greatest impact. And its core aspects are selection, cropping, enhancing sizing and scaling and sequencing. After that, we delve deeper into the components of visual storytelling. Including the narrative arc and the hero's journey, which provide a strong framework for effective visual storytelling. We also learned how to use crapping techniques to enhance the composition and how to sequence selected images for maximum impact. Just like with a good movie, carefully sequenced images can draw your viewers in, hold their attention all the way to the end. To continuously improve your craft, you need to keep practicing. I encourage you to participate in the class project, which is to upload images that have been carefully edited and sequenced to tell a cohesive visual story or narrative. You can use your own images or use the ones that are provided in the resource section of this class. The most important thing is that you practice the photo editor skills. I look forward to seeing what you applaud and will happily provide feedback. Please remember to drop a review as it helps other students make a decision about this class. Do well to hit the photo button here on skill share so that you can be notified when I launch a new class. You can also follow me on Instagram at KC Wacalo to follow my photography work. Feel free to check out my other classes to continue learning and improving your craft until we see again, stay safe and creative.