Portrait Photography from A to Z | Vyara Georgieva | Skillshare
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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.

      Welcome to the course!

      3:10

    • 2.

      Types of portraits

      28:43

    • 3.

      Lenses

      8:19

    • 4.

      Lens hood

      5:55

    • 5.

      Reflectors

      12:10

    • 6.

      Aperture: what you need to know

      32:49

    • 7.

      Aperture: practice makes perfect

      7:53

    • 8.

      Focus

      7:19

    • 9.

      Manual focus

      15:56

    • 10.

      Macro

      11:09

    • 11.

      Place

      6:45

    • 12.

      Behaviour

      8:05

    • 13.

      Time for prints (TFP)

      4:19

    • 14.

      Formats

      7:46

    • 15.

      Composition

      3:40

    • 16.

      Crop

      14:28

    • 17.

      Mistakes

      13:16

    • 18.

      Series

      7:32

    • 19.

      Mini series

      7:09

    • 20.

      Tasks

      11:10

    • 21.

      Analysis

      12:02

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About This Class

Welcome to my Portrait Photography course!

Whether a beginner or advanced in the field, this course will be useful for you. Here you may find the answers to your questions:

  • What do I need to start shooting portraits?

  • How can I take better photos?

  • Which are the most common mistakes that I need to avoid?

  • What tricks may I use, so that to create memorable images?

  • How to work with my model?

  • What technical skills do I need?

My name is Denis Buchel, I am an experienced photographer and my goal is to help you improve your photography skills. I have been a lecturer in different photography courses, I have spoken about photography on various exhibition openings. What I noticed in people is that they are always interested in how things work, how they really happen on the field. How do I need to compose my frame, why does the background matter, why does the communication with the model matter?

We’ll speak about the minimal equipment you need (without focusing on studio light and studio portraits - that's a completely different type of photography). I’ll help you understand which the best practices are, which the most common mistakes are. And of course - how to avoid them.

Portrait photography may tell deep stories - when you learn how to pay attention to details. When you choose a memorable face with strong enough expression. When you include one’s hands. It’s not only about a beautiful girl in a square frame.

Portrait photography is about life.

Let me show you!

Meet Your Teacher

Teacher Profile Image

Vyara Georgieva

Technical Trainer & ESL Teacher

Teacher

I have been teaching for seven years now, always inspired by the enthusiasm of people, acquiring new knowledge. Keep It Super Simple - the basic principle to follow, every complex theory or concept turns out clear and easily applicable. Currently, I am a technical writer and an Android developer, aimed at creating educational software products.

Before going into technology, however, I have been teaching English as a foreign language for more than 7 years. Teaching is what my passion remained - as people need to be explained, to be shown, to be helped to start speaking. I have been preparing students for the Cambridge FCE and CAE exams for more than 4 years. At the same time, my adult student have been on various levels - starting from the alphabet (A0) to being advanced (C1 leve... See full profile

Level: All Levels

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Transcripts

1. Welcome to the course!: Hello and welcome to my photography course. I'm excited to welcome on board as there are so many new and interesting things for you to learn from now on. This is the creator of the course. Then it's portal, professional photographer and a lecturer in photography. During the course, however, you'll be hearing my voice. Would you be able to apply what you learn here everywhere? Literally, whatever photography genre you are keen on, whatever art you're in. Because we will be speaking about composition in portrait frame, about balance, about creating Coriolis, good portrait without the necessity to invest that much in your photo equipment. To serious oil. Discuss them. I'll show you what is important to know when you want to create a diptych or triptych. Mistakes. Also, how to avoid them and how to learn from them. Family photos. What about taking a better, more interesting ones? Photos out of the box. Photos that would be liked by everyone. Photos with an idea and to storing site or their photos. I'll help you learn how to choose the place, where decision to take place, how to behave, or with the model. How to help them feel more confident. With friends. The man with the camera is always in the center of attention. If you are keen on street photography, if you like taking photos of people that said you face portrait photography in action. Again, portrait in one word is life. You are life photographers. You are capturing the life of the people around you. Even more than that. You may create a portrait photo when shooting an element of a man's body, can't, for example, or shadows or not. The magneto portrait is moot condition parts of time. In order for you to take such portrait photo, you need the basics. You need to know how to create composition. I'll show you the variety of portraits out there. I'll help you create your own style. We will see how to make a story in an interviewing way. It felt to show the person in the light they do wants to be shown how to choose the most appropriate aperture. Where, what lenses? Evil, neat, excited. Let us get started. I have a lot more to share with you in my portrait course. 2. Types of portraits: Hello everyone. Welcome aboard. Glad to have you in my course on portrait photography. Let's get started directly. As I have for you, there are a lot of interesting things to share with you. For a beginning. What is support threat, and what types of portraits exist out there? This is the most common type of portrait sighting. I don't mean the light or the studio. Pay attention to the composition. Central composition, precisely. This is what you will see quite often. Why our photos usually take a non this way that our first question. Take someone who is a beginner in photography, for example, open their social media page or website, if any. In 99% of the cases, you will see a portrait in the center. Do promise you why it's quite important. In fact, at the beginning, we're looking at the viewfinder as if he knew target. The only dot we are using is the central one. We did not even start thinking about reframing the shot. This way, we simply miss what is going on behind the model. In the background, there is usually something else which is going on. It could be a passing by Doc, a man, some tracing the park, VRE something. Here's your life. Unfortunately, we don't pay attention to these. We are focused on our latest lens. We are keen on the images it creates. We are pleased because of the model. In fact, that's an honor for us, right? We are beginners in photography and yet there is a model who agreed to pose for us. So as a result, everything is in the very center of the frame. In some older DSLR cameras, even not that old, unfortunately, the focusing dot's in the sides were not that good. It's the central one on the dead through only worth it. If you do such camera. Or we subconsciously avoid using all of these dots, of course, they may ruin our image. We know the central dogma is the best one, so yeah, let's stick to it. Again. No reframing is done deliberately. Well, keep in mind please. The more recent cameras, in the newer ones, there is no such problem of the dots work properly now focus well enough. It's up to you only to start using them. In my camera if I'm not wrong, there are 256 dots. Of course I don't use all of them. They are not necessarily even, but they're in there. They fill in the whole frame completely. At the same time. It was not long ago when I used the DSLR camera. Not that old as technology. In fact, cannon mark three or with airline says, those of you who know what L is, get me right. These are expensive in outline says, well, regardless of all these, there were problems with the focus. I will simply trying to re-frame the image on the goal. As a result of what I've just explained, there is central composition. Later on, during the post editing phase, we may decide to cutting a square. Of course. However, there is a problem in this approach. We will talk about it a little bit later. One more example, nuts, that precisely strict central composition here. Just a beautiful girl. The background. You see it little bit more different. We are not in the studio anymore. What they've mentioned because of this different background, there is a different photo and we have something else as a result here, quite better than in a studio. Just imagine. Which means that our background thus matter. More difficult stories going on here, birthrate through glass. We would talk about this later on in the course as well. How are such photos taken? What you need to have in mind here, what you need to consider in advance. Everything is possible. Just you need to know how to do it. Improvised photo here with some light on LED light from a window. No studio can substitutes such effects, of course. Throughout the course, I'll be trying to give you some simple examples easily achievable. Know flashes would be required, no special technical knowledge. Just because that technique is not that easily affordable. It's not that everyone would want to enter that world. It's a completely different world. Idsa. When it comes to portraits, everyone who wants to be able to take just a beautiful images of their acquaintances, of their family members, their friends. So this will be the style of the photos you may expect to see here. You will not need to invest in any kind of equipment. Think it again, in order to take a proper, let's call it image. Our children, all of us like shooting them. And we'll be shooting them all the time. Well, why not then take better images deeper as Aegeus, not just the photo on the goal as we usually do. There is a way to do something really interesting out of this. To play with proper light. Young children, babies. Everyone likes sticking and looking at such photos. Although it's not easier TO believe me, they see animals and children are the most difficult to be taken image itself. They are simply unpredictable. Another type of portrait not staged. These are street portraits through all window, not an easy task. Gain. More details are to follow. Safe board for it. Something different one more time as a time pant as an approach, you can see it just, it didn't make a mistake with a selfish. That's something completely different. Self-portraits are different January, they form a different genre. It's probably each and every photographer that has a self portrait, myself portraits look on this way. I've been taking them throughout the years. There is a reason, of course, it's been for ages that I suffer from me green, quite severe at times. I've got these photos being alphabet. So please do not make the mistake. Self-portraits and selfless are quite different. Here we speak about serious photography. I've heard it several times from female photographers, especially who take portrait photos. They see that sometimes it's really hard to explain the model what they want. It's difficult to see the motion you need. So what they do is to enter the modes themselves and to take a self-portrait. Family portrait photograph, quite common, where their order Dora photo of relatives or friends. Everyone wants to have their moment saved. Large-scale Image. I hope you've already understood that this is absolutely, totally not do one and only way to take a portrait photo. Lot of people in fact, associate portraits with something like this, exactly in a square. If black and white will be better. You have a portrait. Well, sorry, but know, the story goals are really quite, quite deeper. It's not each and every fees that is interesting and it's worth being taken an image of this is say Kolkata. This is personal approach, personal preference. I'm a street photographer and it's all fun that someone shows me photo asking. Well, then is take a look. What do you think? I'm taking calloc? Well, there is really nothing there. Just to come and photo of the street nor story. A photo About Nothing Literally. But that same photo is converted in black and white. And that's it. It's a common misconception that street photography is exactly that photo of whichever's treat Watson people shot in the back, if possible, and convert it in black and white? No, sir. But that's not street photography. Seems there it goes here when it comes to portraits. Not every phase, not every site is to make a powerful portrait image just because it will lack the story and emotion. Common, not interesting portrait. Yes, you will have it. Just, I'm sure your aim is different or must be different, at least as you are part of this course of mine. Looked at this image. There is quite a good combination here of large-scale image, square photo, black and white conversion. And interesting phase. That's really a different world. In my view. At least that's an interesting portrait. It looks like Sean Connery. That's what they've heard about this picture several times. So once you have a proper combination of over these elements we've spoken about, then you may see the photo did happen. It was taken it was a good one. Street photography, street portrait. It's not necessary to separate these two genres, street and portrait photography. If you like, poor threats, you like portraits. It doesn't matter that this portrait was taken on the street or in the studio or at home. That's a portrait. This is what really matters. The equipment you use depleted truths, they do not change the fact that you are taking a portrait photo. As genre, such board threats as this one. I do like really a lot. They are not easy to be taken, of course. That's the reason why you will see not that many good, really good street portrait. What you need here is some more experience and more photos, some more practice. Because In the beginning, photographers are afraid. You need to dig your camera out to compose, to shoot all of these within seconds, because the moment would be gone otherwise. Here in the public transport, you can imagine how difficult it is to remain invisible. That's the whole magic of the photo. In fact, I think he seems to be staring at myself, not at my eye. Simpler. This magic is biotech. Two-letter acts mean taking such photos in teasing stories on the street. Another portrait on the street again, this one was taken in general, some lime. He's an American. Armenian priests, sorry. Yeah, he's an, a Romanian priest. Just look at the expression which is coming out of his face, brings me shivers. I remember I was teasing him for quite some time. I was too shooting with a long cleanse here, 7200. But I did my best to capture this frame exactly a good one. It turns out to be in my view, this is what we've already spoken about. An interesting phase and interesting expression in a square, black and white. Well, then it will work. Just draws a really proper phase and emotional one. That's an important ingredient for success. Let's call it. I have an acquaintance of mine not to mention names, of course. When you opened his Facebook page, you'll see only large scale images. A lot, lot of images one to another, O of them black and white, all of them cropped in square. Perfect. Just it reminds me of passport photos taken in a serious no interesting phases, nothing. Just alert skill images in a square. That's not the idea. This is what I'm trying to explain. It easier. Agree. But it's not worth it. Another street photography shot. Just I'm trying to show you what I I like both the typical let's go at portrait as well as this one, the street portrait. I did not separate them. In fact, I don't really like going up and down the streets capturing interesting portraits. Simply because there is nothing artificial here and nothing staged the emotional scenario. And of course everything is unique. Everything is going on in the twinkling of an eye now or whenever. You can't be late, you can't wait for a moment more. You can in fact, just, there will be no fault of them. Staged photography. On the other hand, you may try to repeat. At least try. Sure it will not be on a 100% as well. But you have the chance to increase the opportunities. You have the chance to recreate the mode, the motion in the street portraits, the expression of demand. These are impossible to be seen one more time. That's where the whole magic lies. Exactly. You have on the now. If you do it, you will care for an image. Otherwise, starts searching for another face and for another story. Portraits like this one I like a lot. Nothing fake here. Nothing that was created deliberately for you to come and short life. You see the life in these shots. They are of real people with real stories that you may just imagine about. As here, if you try to describe the image of a word, it's life. At the same time. You don't need anyone's consent. You don't need the model. We don't need to explain what you wanted to short. Just shoot what you see. Of course, it depends on the place you live in, depends on the loss there. Whether it's allowed or not, whether you may shoot in public or not, whether you need the signed document or note, you need to take at first. Inherited general people like being shot, personal observation. Another type of portraits, we will speak about them as well. Why I chose such places, we will speak about it. These are, let's say, business portraits. Not so much art in here. You just need to focus on showing some details on building some associations. Something I've mentioned several times in the other courses of mine. Can't. Hints are SMN, second phase. That's how I see them, how I think of them. The combination for a good portrait, interesting phase, interesting story, strong expression. Of course you can't. Then you can't found the perfect formula. Just to take a look at this photo here, hand can really tell you more than a fees, can be quite more expressive. Sometimes if you take a photo of hands-on low without the man's face, you still have the chance to tell more about the person than the face itself. Hands can be more expressive, more interesting, more thought-provoking. When there is some moot in the portrait itself. Here, you may find the triangle out of their hands. Then a better photo is guaranteed. Hence may help you realize a lot. As in this portrait, for example, the hand here are quite more interesting than the face. In combination with her body language, the fingers, the risks, and the shoulders. Really good enough. Her hands are quite more expressive. Seems story in here. A heavy metal fan, obviously. His hands form something as a mosque. The bracelets, the ring, all of the details on the hands, the really matter. I remember at the time the photo was taken. I can't even asked him to take off some of the jewelries. Just they were too many. Remember, hands are important. They may change the mood. In your photo. Back to our street portrait. An aggressive can't hear here as well. As if it's helping the kids to stay there or it needs place. Quite an interesting phase. You must agree as if a life map has been stamped on his face. Hearing officer TO, however its support or to gain. The most important meaning is carried by hint one more time. By the tension. It shows a lot of psychology hidden in here, quite deep as a meaning, as a message. Shivers up your body. Can you fill them? Something crazy in here or something out of the ordinary? It's not colonists but anxiety coming out of the image. One more time. Just to can't just some body language. While we do have portrait here. One more time. On the bolster though, let us analyze the photo a little but start. This is what the label says. We have the beginning of something. Take a look at the shape of the hands. Same association something keys as it's beginning. There is biblical message him and in here, at the same time, the Granny, the contrast. Nothing at the beginning here, absolutely nothing. Most probably she is close to the end. The other side of life. It was taken at the bus stop. Take a look at the painting. Even it is falling in pieces. In photography language, we speak about dialogue between the grandmother and the following pieces from the bus stop construction. More on dialogue you may find in the other course of mine composition in photography. Back to this photo, portrait may exist on this way as well. Philosophy, symbols, associations, everything works predefine if the idea is to create a good image. Another way to take a portrait shot, I'm just trying to explain that portrait is cooler is quite larger as a term that you may have support. It's not just a square and the large-scale image of a beautiful girl, birthright is life. Look at this shot. There is a number demand is in a bus the shortest taken as his bag. The perspective even matters here. All of these details there was quite more than the face OTF problem told us. If we go a step deeper, it's the system. We are all called in. Everyday. We go to work by bursts and back, we sacrifice our life, we full fuel somebody else's dreams. In fact, we work for somebody. Somebody pays his money to complete some tasks that lead to the moment when his dreams, what comes through? Just think over it. It's our whole lives that we are working for somebody day after the the majority at least of course, there are those who have a business of their own. Day after day. A number on the back, the associations I'm leaving for you. It's a real-life photo. These are the images I love and I am not ashamed to share with my audios a piece of advice. Look for meaning always. This, even in support for it. No people here, there is really no one on the photo. It's more like a game. Just an asterisk, just some cigarettes left, just a shadow. It's not a stage image in fact, to sync it, that is a street shot. Another perspective, the ear. It makes the portrait. You see just a detail. You may be really EOQ quantity. Now off, it does pay quite louder than the mass fees. A portrait, again, out of the books. Agree? Just take a look. The pattern on his coat, the wrinkles on his neck, DMT role to leading to nowhere. All of these details make us few of the atmosphere of them. There was a story. Portraits like this one are quite more important for me, quite more valuable. This is a real portrait. It doesn't matter that there is no phase within the frame. It portrays human life on the 100%. All of the details here, the NIC, the pet is the wrinkles built the atmosphere quite, quite better. You don't feel the necessity to look at his face, not TO. Hope you started understanding what my idea for portrait this. It's certainly something different, something unique, something specific. It's alive story. You don't need the phase they're within the course. We will have less portraits like these. It was peak about the classic portrait. The 10 of us are used to just am giving you some food for thought. I'd be really happy if you consider the topic a little bit deeper, if you start thinking over it in broader terms. Remember this one. When you portray someone, you create a portrait of their life. Another portrait here, quite a node quote. He has been hanging for ages. Most probably. The light at the distance has happened once or is coming back. Depends on your interpretation. The man is bent down probably feeling the burden of life. Of course, this is a portrait. It's describes the whole life. You can write the whole story here based on these details. Even this is a portrait, quite, quite an interesting one, not common at all. Well, I'm sure you've caught my message already. Portrait you may call everything which describes one's life. It has nothing to do with the typical square image in studio. Yes, that is supporter test. Well, just one of the many types you may find. There is no problem if you shoot different types of portraits it or do not ruin your style. Let's see. I've noticed that there are some photographers who go for only one. For girls, for example, those typical portraits or only grandfathers. No, photography gives you a choice. Take advantage of it. You can make a portrait of a donkey oven like this. Well, it's a different story if we speak about portrait of a man or a fund animal. Quite deeper as message again, this dog looks like a human quite more than a lot of people. In fact, well, I can have a whole series of mine with dogs on the dog's life. It is called. If curious for the link I will leave for after this lecture, you may take a look. Now their face not there for DOC. Again. Just take a look at his eyes. Photos for this series I've taken for more than ten years. You may have come across some of the images even they became quite popular online. Even I see a photo here or a gear without having any idea that my image has been used. Just Google it, then his Bhutto dog's life. You'll find the water for resources where these photos were shared. There is a YouTube video as well link again after the lecture. I know people even cry while watching this one. Why I'm telling you all these things. These are portrait on the a 100th percent just for threats of ducks. Well, I really hope you've got my message. How I understand what portrait test, how various it may be, and why it's so important to be captured. In short, portrait. That's everything. Everything that attracts your attention, everything that provokes some emotions. 3. Lenses: Let's see what you need when you want to show the portrait. Let's compare with the other types of shorting. A body, a camera, and the lens that TO reflector as an addition may be about o of these will speak in details. Let's go with looks like camera with the photosensitive lens. Not necessarily to be as expensive as the one on the image, plus a reflector. Optional saying it again, let's speak about VLANs first. For us, the best focal length will have different opinions here, a lot of suggestions. Time to take a closer look. The standard case, the 50 millimeters lens. Whoever you ask, this will be the answer. You will receive Y because it equals what the human eye sees. However, if you wanted to be really precise, the throat is a little bit different. The standard lens should be at around 40 millimeters. Why? Because the diagonal of the full frame is 43 millimeters. Keep it calm. I mentioning of these just to touch on the idea what these millimeters or about, there is nothing you need to think deeply about, nothing to worry about and to start calculating, in short, the standard lens, the classics, 40 millimeters. However, whomever you ask, it will be the 50 millimeters that you will hear as an answer. 50 millimeters is the ideal choice for portrait photography, for landscape photography, for still-life photography. In other words, you are going to use that. Three examples I've chosen here. O of them 50 millimeters. Whatever brand you choose. These three times 15 millimeter lenses will be there. You do always have an option. Let's see what the differences. Starting from left to right. This is the cheapest, 150 millimeters by 1.8. It's a plastic one. The engine speed is not that fast. But when it comes to beginners in photography, It's exactly this one that I recommend. If you're going to buy your first balloons, go for this one. When you understand what else you need. Then you may buy a different lens. As this one is the standard lens. You're always going to use it. And not to be sorry about buying kit. Considering all of these, of course, you need the cheap version, the plastic one. Then comes the second option, 50 millimeters by 1, for a little bit more expensive already. Of course, 50 by 1.2 d l, serious. The Canon L lenses you recognize by the red line, you probably know about this fund. All of these technical specifications, not what really matters. After all. I myself prefer the option in the middle, neither too cheap or too expensive. It's really stable enough at the same time, fast enough, precise enough. The next important question, when it comes to portraits, what's the best focal length IS lot of different opinions you'll hear here as well. A lot of different pieces of advice you may receive. And again, the classical approach in between 7135 millimeters, that's what you need. But what this means, in fact, let's look at it. You've probably come across this example online. It shows you face becomes distorted in the range from 20 to 200 millimeters. It's really interesting to look at it in detail. The wider the lens, the longer the distance between the ears. So let's say this way. It will be easier to remember. One more dependency here. The wider the lens, the flatter the face. Keep this fun in mind. It may help you at one moment in the eyes and the ears. Form one line you see, well, this is not an example for appropriately taken image. Sure, you called it because of that sink it once again. You need the photo lend to be between 71 defender 35. I like taking portraits at 80 millimeters. Otpf to write 135 as well. Just I don't have such lens at my disposal. In short. Actually, everything depends on the man behind the camera on you. Take a look at this example. For instance, you'll hear quite often that 35 millimeters is too wide for a lens when you want to shoot portraits? Well, yes and no. I can really distort demand on the way they are going to wonder what is going on. Or I can create a really, really normal portrait, a good one I dare say, as in the example, 35 millimeters full-frame. There is no distortion at all. There was some vignetting just while shooting. I knew this was going to be a square. Take a look at the bulk. I was shooting guard F2. In other words, absolutely. At 35 millimeters, you're not going to take a portrait up to the neck, right? Otherwise, it will look as if you are staring at the Idaho. Well, up to the waist varies really no problem at all. I know really a lot of photographers who prefers to think on this way exactly. Not only portraits but nude photography as well as treat. The 35 millimeter lens is a classic 11 that's worth having. I've always had it regardless of the system I was shooting at. You can take various kinds of photos. You can shoot in various genres. By contrast, that's a portrait taken at 200 millimeters. I've mentioned the distortion a little bit earlier. The side effects that you may notice on your photo when you think, well, it's again, a matter of usage here. If you know how to use it, it will work for you. What such a lens deaths is to draw to bring the background nearer. If you have ever taken landscape photos with a 200 millimeters lens, take a look at the images from your archive. This is exactly what you will see. It shortens the distance between the object and the background. A simple example, you're shooting a tree in the background. There are some mountains, for instance. Well, as a result, the mountain would look quite closer to the tree. The same story we saw with the ER's in our example. They seemed to come closer and closer. This is what they meant. The results depends on your skills. On the way you frame your image. At 200 millimeters. As you see, you may create quite a proper photo. Quite a good portrait. 4. Lens hood: Lens hood. Think, what do you know about it in advance? That's an inevitable part of the lens. In my view, thinking about the lens without thinking about the lens hood is pretty impossible. Here are some variations. You may see there isn't any standard here. In fact, I don't understand those photographers who have it end on Jews that the Duke have it. Absolutely. It's usually a part of the whole kit. And the same time I hear an explanation. Well, it's really not senior right now. Why do I need it? Trust me, your lens hood is not for the sunny weather on left. Of course, if should incur the stage or and there are three lamp on the street or in a blade, we do much extra light, yes. Eto help for that extra light, not still enter the lens. If there is strong, sharp sunlight seems story. The lens hood or to help. Well, there are some other advantages as well. Let me share some of my personal experience. Once I simply dropped my camera, it happens, you know what I'm talking about? I was with my full-frame at that time, 2470 lens, quite the Harrogate as a notice. Fortunately, I had bought the lens codon, so it fell on it Exactly. When I took it back. I was wondering if to look at it or not. You know, what could have the consequences being? Well, there was nothing broken, nothing at all. It had fallen on the lens hood and jumped out as a spring. It was the hood exactly that saved it. You have missed it and otherwise, in other words, accidental bumps. This is our best helper. Of course, we are trying to be very careful all the time. Just everything may happen after all. At that time, I was working as a reporter for a weekly newspaper. The camera was always on my shoulder. The events were one after another. I was in a hurry all the time. There could be some bushes, some branches, holes on the streets insured. It was quite possible something with the camera to happen. The less code works as a protector from your own already fingers even agree, it's not the most pleasant topic to talk about, but it's quite natural and deaths happen all the time. It's a predictor from the rain drops as well. If any, or from any other liquid that may accidentally appear. One more. Was that quite a few know or think about. It doesn't matter how hard you try. There are always some microscopic lattice and the lens doesn't matter how hard we try real. We simply cannot see them with the Berra, the general keys, the do not disturb our overall images. There is no problem while shooting. But there are some cases when light enters, control light, for example, or when shooting at a specific angle. Because of debt. When shooting, you may notice beaking auf, distortions or lack of contrast of these because of the microscope. Notice I've mentioned using Collins hood, you again are preventing your lens. You are minimizing the risks of distortion for the images. So it's worth it. Last but not least, take a look at these two photos. The one on the left or was taken without a lens hood. You want to underwrite width, a little. Contrast and saturation. This is what the photo on the left or lacks contrast and saturation. This is what the lens hood adds to the photo on the right. When taking a portrait photo, what we really need is a volume, volume and contrast so that our photo would look for life to keep the martensite. Because of that, the lexical decision must do not under estimate it. I really do not like when people started talking this way, that's not very important. Why do I need one? After all, this accessory was carefully thought of and created by a group of engineers. They have certainly not made it up without a reason. An original lens hood is expensive enough. And the same time, again, for a reason. We didn't need it. Wouldn't be the case. It doesn't result at that price. I myself do not have a single lens without a lens hood. This is my strong advice as well. Take advantage of it, use it on daily basis. It's really worth it. 5. Reflectors: Well, when we finally reached our topic on reflectors, let's take a closer look and understand why and in which situations they are so important. On the left, you can see the photo before the reflector there, right? After. Obvious difference. It's through that are reflected, make ERPO areolar, lot. It helps you create what's on your mind. It helps you in your post editing process in Photoshop as well. There are a lot of different types of reflectors. As you have probably noticed. The good news. They're quite affordable nowadays. There used to be times when just accompany or two were the licensed ones to create them. Hence, the reflectors, we're used to be in fact, expensive and large enough at the same time. Although you could find different sizes, the majority of them were really large, created to fit the professional studio. Nowadays, you can order a reflector online in the twinkling of an eye at a really low price at the same time. You know what science I'm talking about? Exactly there we are. I ordered mine as this one on the picture. There is a handover and the bottom, as you may see, which makes it really comfortable when you use it. You don't need anyone to be with you to be holding the reflector, you name it. Eat at around eight centimeters, not here where it's completely enough. It may help you direct the light up to the waist or even lower. If you are right-handed in the right hand is the camera. Imagine the situation you are shooting with. The left is the reflector, or of course vice versa. The plus is that you may control the light you want. You may regulate how much light from where to enter and how the object you are shooting to build it. Another, because you may hold it in a really small back, 15, 20th centimeters in diameter and bring it with you all around. It can be at hand distance always when you need it. Reflector consists of several parts. Let's take a closer look there. This picture will help us threw a lot. At first, varies that earlier the translucent layer, semi-transparent. It disperses the light as silverfish, one, gordon, white, one black. In most of the times, I use the first one that disperses the light and the silver H1. The translucent reflector, creates soft light. Really pleasant one, the gold, each one. I use it from time to time as well. Here. In fact, this is the keys. They erected. The light with the gold is reflector. Later on in Photoshop, I needed to reduce the saturation a little bit at least because the faith was two years ago with even. But as this is a colorful image, really full of covers photo, I didn't need the silver reflector here. Just decode each run. You white reflector, add some volume. It absorbs the light in general. And a really, really slightly fuels in the sheet. Back to the photo. Why we may need the white reflector. You put it close to the girls left arm, imagine it along with her arm. And on this way, it will help redefine. We don't need sharp, deep shadows here, either around the eyes or under the nose. No one wants more stash. There is a shadow under the skin, but the software on the way the hair falls again or without her sharpness. Of course, you need to consider the natural light to shooting during the D. Where comes the light from, where it's reserved for you, name it. If not, the reflector. You'll need a lot of extra time spent in Photoshop after debt. Even then, it's not that clear what the outcome would be. Reflectors are important. The black reflector, and it's pretty fine here. The light math light to your photos, that one, I use it quite realize you need to be really good at it to understand what you're doing. If you wanted to reach her goals to create the image you have on your mind. The black reflector fit studio lightening really better. We speak about daylight, about everyday photos. We don't need it. Let's how it would look like in the cinema. Everything there is short with a reflector. Do you want that disperses the light diffuser over there on the top. The working process takes place at sharp, strong sunlight. As video cameras like light, Let's say it this way. Pay attention to the diffuser where it is located. Its URL here is to help reach light to be created. Light that adds up to the overall mood. Otherwise, at such strong sun, everything you have burnt, there would have been really strong contrasts in the shadow, contrast that we do not need. One more time. The diffuser in action, look at the light realists soft as Velvet. It that's actually disperse it quite well. It does remove the contrast. If not for the reflector, everything would have weren't at this sunlight. Of course, if you prefer, you may work with such kind of reflector. Some of them are with hand worse, some of them with special reflector holders. If there is no one who may assist, then the holder would work perfectly fine for you. You may look at the reflector in front of the model, everything, maybe a more than we in fact, don't forget that bottom or phone or glass. Everything. In product photography, especially you'll locate the reflector in front of the model and let as much light as you need from whichever angle you need. As a photographer, you are self enough. Let's go with that way. You don't need the second person advantage. The more you've probably noticed. When it comes to non photographers, It's really hard to explain how the reflectors to be held, how the light to be there directed you name it? Yes. The tried to help. Just somehow. It's always in a different direction, not in the one unit. They are not photographers. Another way to play it out. It's also possible. Of course, you may work without a reflector. You can use Terraform or paper or whatever this is. The effect is the same. The important part, the light is directed as needed. The only source of light comes from the upper-right corner, which means that the model needs to be in the shadow. Here comes your magic paper or whatever it is, and helps you reduce the contrast, create more volume, reduce the shadows. Then for a story, a situation I've been in, it happens so that they needed to improvise. We were in an office. I speak about the times when I was photojournalists. We were in office. The light was not good enough coming through the window and I needed to make a really good portrait for an interviewer. I was with a colleague of mine and journalist. I was always on that way. It was it was always like that photographer and a journalist going together for an event. So I asked the journalists to take a newspaper to open it and to direct the light. We used it as a reflector. Result, quite a decent portrait appeared. I successfully avoided all of those darker hosts and deep shadows that I've mentioned earlier. In short, be brave enough to improvise. It's true that you may create a reflector out of everything. Literally. Use spare forum or paper or a simple newspaper. Really everything you have around. Just use your imagination after the reflectors are not that expensive anymore? Not at all. Especially if you order from the science I've mentioned. Give it a try. You may like it. I work quite often with reflectors. There is always a small reflector in the car who knows? I may spontaneously decides to start to think it's a guarantee as well that I will not forget it. It does not need a lot of space. The model I've shown you at the beginning, at least. Once you get used to using it, you will see what a nice, easy and pleasant experience it may turn into. Once again, last but not least, it would save you a lot of time in Photoshop post-production. It's really worth it. Not that expensive. One more time. When using a reflector, it would not be necessary to stay and wait for the sunset or for the afternoon or for the evening. Not because you may regulate the strength and the light, the sharpness. Even it's known, you'd have really no problem. When you want to learn how to take advantage of this reflector, then you may really enjoy photography whenever you want. Not at a certain moment, at a certain place, or at a certain part of the day. 6. Aperture: what you need to know: To understand what upper term means, why it is so important, and how it may help us. A lot of people find that a little bit scary. Why this f-number, what it stands for? What is the connection with the images? There is a smaller percent of my students have the future photographers, let's say, who understand this one quite well. If you are one of those Who knows what upper term means and why it is important. You may just skip this lecture. Although I'd advise you not to. The lecture is aimed to add the majority. The majority who find it difficult. No reason to panic when seeing this image. Now everything will get clear enough. Let's start from the beginning. In simple words. Imagine that this one, the first circle, is the opening of our lens. Look at the numbers now starting from one, going to 45. It means that the higher the number, the smaller the hole and vice versa. The smaller the number, the larger the hole. This is due one, Thank you. Need to understand and to remember. No more details needed, at least for now. Another way to remember it, the funny on the smaller the number, the larger the hole, the larger the number, the more the whole dust her ice or enough. Going further, the smaller the hole, the less light enters. You've heard it quite often. A light sensitive lens. This means that our lens with aperture from one to 2.8. Let us see the first line from the picture. For and more are not considered light sensitive lenses. The rarest and the most expensive ones are the lessor's at F1. Lens to add, 1.4 is quite affordable, quite good at the same time, you may always go for a secondhand. Of course, don't forget that option. 1.8 plastic one. The cheapest lenses you may design to start with, whichever the Brenda's. In other words, it's not a problem at all to get a light sensitive lens. Just you need to understand the little portrait photo you may take at F4, even our shoulder in awhile. The background may be blurred here as well. Just everything depends on the focal length. We are now talking about fixed lenses only. What it means, simple words again. Fixed lens does not have Zoom. That's it. The zoom. Think of it as our legs, metaphorical. Of course. You don't want to. Ok, no problem. Use Zoom and vice versa. Back to the familiar already photo to 0.8. Take a look at how much light enters here. What a large hole we have. By contrast, at F32, the WHO is as little as this one, the pupil of the cats die. Another example. Everything is shown in a really simple, easy to understand way here. The very first image, f 1.4, not quite precise as illustration door because at 1 for the focus would not be that deep, would not take that much space behind the parrot or whatever the bird is. What we have here. It's almost the birth online that's in focus. Everything in France, everything behind it blurred the difference. Now, 5.6. Take a look. Here we have one parent in front and one behind. The central one, we're focusing on. The blur effect would not work that well. Again, It's a little bit exaggerated here that much space cannot enter your frame at 5.6, no wages. But at least you are able to catch the idea in awhile. The real photo examples that are coming. The last situation at F22, everything is in focus, no blurring ghetto. It's quite common for landscape photographers to shoot in this way. They need to show everything. They want the OH of the details to be crystal clear. No blurring is needed. In fact, you may take portrait photos, whichever aperture you want. Same goes with landscape photography. The classics, however, are 11131622. Roughly speaking, sometimes I may take a landscape photo at 1.8, no problem there. Which means that really everything is possible. It depends on the way you do it. Sure, we have the visual idea now what it means to take a portrait photo at 1.4. Let's see it in practice. Back to our portrait photography. Look at this photo taken at 1 for crop. Crop sensor, if you don't know, means not full frame, not going to calculate now you can do it on your own if you want to, approximately 50 millimeters. That's enough. Let's examine the focus. Check the ear. It's not in focus anymore. Seem, as with the parent we spoke about, the lips and the nose are quite software as well. Because I've focused on the eye. About focus. We will speak as well a little bit later. The background, the bulky, quite a nice image as a whole idea of say, when it comes to bulk it, we'll discuss it in awhile. Just keep in mind that it's directly dependent on the lens seniors. If this one was taken not at crop matrix, but at full frame, the background or have been quite software, the better blurred it. It depends on what you can afford to buy after all, full frame care acids, obvious advantages, the cours, the depth of D Met The Life You Can few in there coming out of the photo if taken. This is what I want you to understand. Take a look at 1.4 again. How much the aperture is open, how big the hallways. To take a portrait at 16, you needed to be shooting something realist special, not ordinary. A fashion show for example, we are, everything needs to be shown in focus up to the smallest detail. For an ordinary daily portrait, 1.4 is really the standard temperature. Just to keep in mind that it doesn't always suit your needs. Examples are coming in awhile. Let's go bulkier, looks like 2.8, the most beautiful, and 5.6, not that visible. At eight, there is something but it's far away from the results that could be achieved. Which means, the less the number, the more of the light that enters, the more beautiful the bulky. If the aperture is that 32, then there would be no blocker, no UDL. Some examples with my photos, I've taken these to show you the bulk effect. Here. Aperture to 0.870 millimeters, like a kit lens at Panasonic Lumix 100 marked as drink a test for Panasonic Bulgaria. If wondering, these are cars, car headlights, It's really beautiful. Cody, circles got formed, called the few in the space. Even more. This has a kit lens. Quite a good one. Agree? It's like alright, but the kit lens here, another example, how bulky it looks like on a prime lens, 1.28 millimeters, really expensive one. The bulky is quite more beautiful as well, quite more expressive, quite more full of life. Well, here they are for a better comparison. There is a difference, right? Imagine that this is just the background that we are taking a portrait photo. Of course, the first bucket you want to on the expensive lens look really, really better. That's how you may see the differences between the lenses. Not saying that you need a prime lens only if you want a good bulk. The good one gives quite proper beautiful even picture as well. However, the difference is obvious. You can see, yes, this on the left is taken with a lens from a different level. The difference in price should be for a reason. After all, have in mind that my lens is not the best of its kind. There are multiple other ones. Still, either really adore it, 1.88 millimeters. Just take a look at the beautiful book. It, it has created. The book in action, looks like at 1. Sometimes the book itself creates the photo. I like the mode here, a nice evening photo. At first sight, the man seems to be the leading composition objects. Well, in fact, the magic, the atmosphere, the message is created thanks to the both the beautiful lights from the bulky. Otherwise, if they were not there, the photograph would have been really, really boring. Now you have the feeling for festivity for a celebration. One more example at 1 for this time, 50 millimeters full-frame. Enjoy the beauty of the bulky. It's really magnificent. Idrc, it was taken at around new year. So these lamps are really part of the decoration and the word background. If you take a closer look, you may see a deer or Christmas deer. These types of photos, I do like really, really a lot. Guess we've confirmed that our conclusion. The more expensive the lens, the more beautiful the bouquet. It's completely logical. After all. Why would there be a segmentation in the market otherwise? Another reminder, don't invest too much money at the very beginning. D1 0.8 plastic lens would be really enough at first. Yes, the bulkier wouldn't be as this one on the screen. But you will have it. And trust me, you will like it. A hint what they did here. You see, I use the camera flashlight just to add up a little bit light. Let's call I saved myself the time for post editing capture that in Photoshop. We've spoken about the pluses. The important point here is to have an India what you want from the photo. What do you really wanted to show? Then you simply need to find your way. My strong advice, trying to use Photoshop as less as possible. Here the flashlight was at around 2030 centimeters from her face. As simple as that. The bonus, I have that sparkle in the model's eyes even a step back. I really wanted to understand and to remember this 1.4, you see what is going on. Shallow focus, blurred background. This is perfect aperture for your portrait photography. Between 1.42.21.4, there is a risk, however, if Trimble a little bit, if you move, you may lose the focus. Quite easy. In this photo, for example, if you are not precise, your focus may move away from the eye and go to the nose, for example. Sure you don't want it, the effect would be lost. We are and how to focus? Well, we will speak about it a little bit later. I really hope you've caught the idea here and it doesn't seem that scary or difficult anymore. So let's take a look at some more examples and take that theory in action. Pay attention to the background and to the portrait. They both look when shot at different millimeters and different apertures. Because of that, everything is written. You may see it on the screen. Here, for example, 2.870 millimeters. Just take a look at how well everything is blurred, which comes to proof. It's not necessary to shoot at 1.4 obligatory in order to create a good portrait photo. The lens I used here is 2472.8. If I don't see it, I'm sure it's really difficult to understand that this blurred background is a bridge. In fact, beautiful, isn't it? I'll explain a little bit later how to achieve such effect exactly. Even when you don't have 1 for when your lens is not fixed. Here, my favorite, 150 millimeters at 1.4 full frame. The focus is only on DI. Take a look, even the cheeks, even the chin. They do not fall within the focus. A slight mistake on your site is enough to lose the focus, to lose the portrait. The same time. 70 millimeters here. Aperture for a male portrait. I wanted more details to be in focus, not to look soft but Crow, quite a proper approach. I'd say men would not like that soft portraits in mind. You're deliberately here, I'm shooting for and not at 2.8. I want to sharpness India in India image. Another really good lens. What are Eighty-five millimeters at 1.2 canon? A very expensive one, not mine. In fact, I don't even want it. Why? Because it adds VNet link to the image. I really don't believe that the lens for several thousand doors should allow defects like this one. This photo here is cropped in a square. One of the reasons this VNET think exactly, not the only reason, of course, there is a beautiful diagonal here starting from the upper left corner. But that's a different story. If interested in composition. Take a look at my other course. Yes, the image is wonderful as film photo, but that vignetting is truly O4 and absurd. To invest so much money in something that, well, you know that you need to save your photo after that, right? On the reasonable. In my view, this is one of the disadvantages of Canon nikon. A disadvantage they can't cope what cannon, especially to 0.875 millimeters. Another proof that it's not necessary to shoot at 1 for all the time. If I had chosen the one-point for aperture here, all of these branches wouldn't be in focus. And after all, it's thanks to them that the photo is as a test. They introduced the moot. They make you stop and look at it. They help you feel the aggression. 100 millimeters aperture for possible. Again, the background is quite well blurred. In fact, the further the background is from the object, the better blur to test. Take a look at the second woman. She was several steps away from the first 1200 millimeters aperture for She's blurred. Seeing it again. When you know what you're doing. It's not necessary to have the most expensive lens at 1, to not, not at all. There is a way to take the photo you want. It depends on nu, everything depends on you. And I'll help you. We will be analyzing all these situations within the course. Now, just we're going through the examples step-by-step, promise. Again, 200 millimeters aperture for PayPal. Look at the beautiful bulky here. Because I lined down on the grass because everything was short at an angle specific interesting one. At 200 millimeters. This is the effect you will reach. Again. We'll speak about that a little bit later. For colon, it's coming 70 millimeters aperture for. I needed more details to be in focus here. Although honestly sink three-point two or 2.8 bootcamp suit here, Well, as well, probably even better. The bottle wouldn't be that much in focus than not that it's a problem, but could have been better. Well, that's it. Sometimes you see it a little bit later. Thirty-five millimeters aperture for this is a fixed lens. There is an option here, the aperture to be at two. Well, I didn't want it and I went for aperture for I wanted to keep the information in the background. The empty bench is an important detail, for example, the bench there, It's also add dynamics to the image. From the end of the elbow, you follow the line and then leave the frame, or vice versa from the left upper coordinator in the majority of cases and falls down. Well, here you have the lines created. By the way, when mentioning composition, take a minute to look at my composition photography course. Not an advertisement really does not DAD. It would be helpful just for you. Everything is explained in a really, really simple way. And you will find a lot of examples to help you improve the way you see photos. I've been working on that course for quite a long time. And I dare say it's a unique one in terms of the way everything is presented. In short, it's worth it. Just take a look at the free lectures if you don't like it, don't buy it. I don't want to advertise it on the left. I just wanted to reach more people. More photographers tend to be really useful because they believed that composition is a really important part in photography. And people under estimated. There. I lead you through everything step-by-step. Let's come back to this photo. Thirty-five millimeters aperture for if you remember, our portrait with a girl, there was one. Here again, I didn't take the picture up to the neck or up to the test. I needed the waste exactly. Just this effect. I was deliberately searching for it. That was my idea. There. It's five millimeters again at 3.2 this time croplands. One more time. I needed more details to enter the frame. I needed central composition, something I was explaining at the very beginning to as the general trend. Let's say just here, I don't think that this is a mistake in any way. It just shoots the atmosphere, the modes, it matters, the expectations of the client. She was really, really happy when I sent her the photos. When people want such kind of photos, they are really not interested in my idea for composition. In those cases, Of course, you can pose the model in the center. You can shoot in a way, the atmosphere to measure the character of the client. And it needs to be easy for them to show on Facebook. Avatar photo, you know, is automatically cropped around the center. Well, details. But when you think about them, it will be really more pleasant for your client. The next photo, 56 millimeters, 1 to crop sensor. As I've mentioned, I do really like this length a lot. If you calculate it equals 80 millimeters at full frame. The background, as you see, has almost disappeared. You need to be very careful here again, this lens is without stabilization. Food. I used to shoot on a cannon on left for a long time, then I sold everything and move to the food system. One of the reasons the whole Canon equipment was real hero after more than denier shooting with those borders and lenses. I said Wellman, that is enough. I was never able to understand wherever it needed to be dead here we literally see if you are carrying small dumbbells, your backpack. 21st century after all. At the same time, the VNET and I've mentioned, it's really not acceptable in my view. This lens, the food Yuan, as you see, there is no VNET think at all. I'll show you different examples with the same kid and you will see what they mean. Yes. It was not that easy to see to sell my full frame and move to curb matrix. Well, honestly speaking, I did it and then not sorry about that. It was a good choice. Here comes the next example, 40 millimeters, 6.3. Another proof that you don't need 1.4 or 2.8 aperture all the time. Otherwise here over the people in the background would have disappeared. The emphasis here is on the boy, of course, white angle lens at full frame. As I've mentioned it, at 40 millimeters. You should not take portrait photos. Here, however, it works pretty fine. First of all, it's treat. Second, the distortion here is the effect. I need it. You see how all the photos at the back seemed to be gathered around the boy and the boy, of course, in the center. Think it once again, there aren't precise rules. There are just rules that you are free to break when you know how your task is, to spend time and to understand how your lens we're x. What is behavior as the angle, the length combined with the correct aperture may make really wonders. Again, the lens I fell in love, OID 1.2 at 456 millimeters crop sensor. It does work really, really good when you want to create a contrast photo as well. One more time, same lens. Just pay attention. There is absolutely no renaming here, nothing cattle. I have deliberately examined this photo in details. I have zoomed in, in in Photoshop. You can't see a trace of vignetting respect to fuji for this technology, really personal experience. Of course, if this one was shot with Canon, it would look like those photos from our Once upon a time albums. Which means that I should have spent a really long enough time. Post the editing the photo. What about the 100 photos like this one waiting for Photoshop or clients or their or photos for acquaintances. If yours doesn't matter, you can't just say, sorry, that's what's the lens can do. I don't have time to edit them. No one is to ask you for you next time. Aperture 16. Pay attention to this one for two millimeters. I really needed here everything to be in focus. Absolutely everything. Yes, there is a bit of distortion, but this is a street forthwith kinds of aloud here. It's even precise distortion. Let's go with this way. Not that visible. The result. There is more volume within the image. If the aperture were eight, for example, the advertisement in the background wouldn't be that well scene, the man in the back as well. Maybe. Those however, are against some of the important elements. They add to the overall meaning of the frame. If you ask me now, I'd have tried at 18, even one more photo with that lens. You know about it pretty much already. 56 millimeters, 1.2. I adore the light that gives reach light, let's call it the bulk as well. Pretty fine. Bulk it through the car window. Portraits through car windows. Something I started taking more and more often than recently. I'm currently working on a serious like this one. I take photos of friends or acquaintances just through a car window playing with light and reflections. The reflection is what is in fact the one that is the most important element. You can't create such portrait without portrait light, without really good lightning, proper and natural, no artificial light here. Another example at 200 millimeters aperture for everything is really well outlined here. The emphasis is where and how I wanted it to be. This is a political photo or Stash. The portrait at the same time, very well presented. In fact, just, it was shot for a national newspaper and these politicians are well-known here in Bulgaria. Do you want in the background is supposed to be the leading one. I put the emphasis on him with the focus. At the same time, do you want in the bank is subordinate to do one in front, although it should have been vice versa. Again, kind of presented with light and change of focus. 40 millimeters lens 5.6. Well, as you see, you may take a portrait photo at 40 millimeters even. Rules are to be broken. When you know how. Just pay attention on the way the photo is composed. The man is shot up to the waist, not the shoulders, not the legs up to the waist. Here I needed the background as well, needed that the locked. I want the photo to be composed in this way. That's more dots there introduces our balance. The see the trees with their reflections. This is the mode. In short, you can take a portrait photo with a 40 millimeters if you know why the background is there. If the background adds to the story. Imposed in this way, the image is in fact quite suitable for a book cover or a story covers something like this. The background is really important. That's why it is there. The subject is taught in the center as we spoke at the beginning. It's not necessary for him to be there. Just imagine, if you were in the center, these two threes would be growing out of his head as horns for years called MSU want. Certainly not our aim. Now by contrast, we have the story within the image. We may spend several seconds to examine the image which pleasure It's normal. In fact, sometimes the backgrounds be more important than the foreground. The last example here of Photoshop with a 40 millimeters lens. Again, it's a really, really old photo of mine, but I still love it a lot. It has kept its value. Let's say. My aim with ODS examples is to show you the range of lenses you may use in order to achieve what you want. You may have the most expensive portrait lens, the least expensive one, or a lens that is not considered a support responded TO. Well, whichever you can, take a portrait photo, you can tell a story. This one here, 1740, not an expansive friends at common law. It also is appropriate for taking a portrait photo, the man up to the half, the background. It tells the story. You understand a lot about the lifestyle of this person, about the atmosphere, about the place he spent his days and decomposition here is perfect. Actually. I couldn't help but not showing you this one, just take a look at how perfectly fine the golden spiral fits here. It's a long story again, part of decomposition course, not as an advertisement one more time, I just wanted to share the stories there with you. Be helpful to guide you on your way to better photos. It's beautiful, right? You do now understand why you like the image. The golden rectangle paws, the golden spiral classics will continue speaking about upper term in the next video. See you there. 7. Aperture: practice makes perfect: Last but not least, let's take what these millimeters or about. In this example, 23 millimeters versus 83 millimeters. The aperture is the same for in both photos. Take a look at the photo on the right. How the background is blurred here. How the background is not blurred on the left. Same aperture, seeing it again. What it means and what you need to do. If you have 2470 lines, you need to put the zoom at 17. If your lens is 7200, foods to the Zoom at 200, as shown here. The lens is 2383. When the zoom is at 83, the background is blurred. The Zoom, again, these are your legs in short. The closer you are to the subject. At maximum millimeters, the better the background is going to be blurred. Even at aperture. For this is what the lens can do. Its maximum. One more time. If the lens we're 7200, I would put here 200 millimeters, compose the frame as I wanted it to be. And then at the minimum aperture, either four or 5.6 or whatever it can be to take the image. Of course, if you had 1.2 or 2.8, the background would be really better blurred. As a rule, remember, use the maximum millimeters of the zoom lens and the minimum aperture. Congratulations. Do have It's now a lot of dog refers have lenses like this one. The example photo is taken what? It's a kit lens at 83 millimeters. The minimum operator I can use is for, it's for 41. Again, not better TO. What is important here is to catch the deal. Maximum millimeters, minimum aperture. One more time. Let's see what the differences are. Same millimeters now, different aperture. The first photo 1 to look at the background, really well blurred. The effect is achieved. There is really nothing that may disturb your lenses. Let's say it's this way. The background here exactly. It's not proper toe. We don't need it as part of the story. It does really destruct your attention. The sun, the block of flats, these threes, the Blake round. I've chosen it on purpose. The combination aperture 1.2. Whereas Eighty-five millimeters Thus really work well here. From their own. You see the difference, I'm sure 5.6 at eight, at 16, the background is getting clearer and clearer. All of the details are visible at operatory 16, the format, the brand tests that do not add any meaning, the current, the bag. You can see all of the mistakes such as the trees growing up from the head. Yeah, don't do it that way. Ensured everything depends on your goal, on what you want to achieve. Another scenario, 1.2 at 50 millimeters, then the background will be blurred again, just not as beautiful as here in A25 and vice versa. 1 to 200 really expensive lens. While then you will see what the blurred background really means in a way that it will be impossible literal to understand what the in the backend. The higher the zoom and the smaller the aperture, the better. That's the magical rule. Something that they have already mentioned. It's not necessarily to be always shooting at 1.2 or at 1.4. Of course, we are always happy when we finally take our light sensitive lens. It means beautiful bulky plus beautiful blurred background. Just as a contrast. Take a look at this situation, this scenario. These are two row files you want on the left taken at 1 to the other one at 4.5. In the first case, the background is really well blurred. The bulk is wonderful. Everything is soft and gentle. Well, just, this is not the idea of the photo. The other case, 4.5. Look at the reflection from the branches, the sin as a sphere, more properly outlined, not a light spot on left. The mode is different. You feel that tension. When they can add 1.2, there is no storing the image, no secrets, no moot. Because of that, I chose the second frame, the one on the right, there is life in there. Life. You may feel. That's how the edited image looks like. I added a little bit of contrast. This is the result. Depth, mode, tension. Surely you can feel them. If I had chosen the other one at 1.2, none of these details have been visible, which means seeing it again, there are no rules that you have to do this or you're Muslim do that. What really matters is the moment, your choice in that moment, which is taking place in front of you. Unfortunately, I know such people. They have both the lens at 1.2, which means that from now on I'm shooting everything at 1 to know underway. I could afford it. Let me use it. Let me show you. Great. Just hear the story is a little bit different. You need to think about this exact photo. What would make it look the best way? Another example, last one, same upper tier, 1.6. The distance is different, two meters to the model versus seven meters to the model approximately, if you look at the car as a hint at one and the same. In the first example, the background is blurred one more time. The closer you are to your model, the less details from the background you're going to notice. Enough. I think at least you are masters at apertures and distances. Now, time for the next lesson, we'll speak about focusing. 8. Focus: The next step to getting better portrait images, focus, how to focus and why. After all, this is so important. Take a look at the male portrait on the right. The focus here is on the right eye. The eye that is closer to us. You do already know the first secret. Focus on the closer eye, on the eye that is closer to you. This is really important. You need to focus not just on whichever I Bhutan the closer one. Actually, a lot of people don't like the effect of focusing on this way. You remember the story with demand and the parrot. If I focus on the right, I'm in this scenario, it means the left one would not be unfocused already. Well, this is what happened. The man's left half of the face is not unfocused. This is short at 2.8. By the way, this is not a problem, at least not for me. If you insist on having focused on both eyes, you need to increase the aperture, then you will reach the effect. My approach I've shown you, I want the focus to be on the closer I remember this one. If the focus is missing on the closer I there isn't a photograph. Of course, you can deliberately break the rule. Just there should be an idea behind this. The photo on the left, same story. You've see the eyes are on the same surface. However, I focused on the left eye the closer to me. The story with the parrot one more time. I mentioned that a second ago. The first scenario at 1.40 or at 1 too. If this is the aperture set, you may really easy miss the focus. For threat without focus, in general case is not a portrait. Not a portrait at all. Well, here for example, there is absolutely no difference, which I would focus on. Why? Because both of the eyes are located on one perfect line. The LEA in one surface. Just to reminder, focus on an I. Not under nodes are in the mouth and otherwise you're losing the portrait one more time. Of course, if you are not taking a portrait of the lips or the ear, then the artistic approach takes place. I've shown you a lot of examples like this at the beginning. Back to the general case. If there isn't focusing the eye or DIs, in this case, there isn't a portrait photo. Another example. They take a closer look here. Beautiful, light, expressive body language. These curves, the spine, the hands, the tension. And of course, I focused India. Not sure what the aperture was here. I really don't remember, but let's say six or eight. I needed all these body elements to be in focus for us, of course DI, you see the result. In fact, if we're on the focus, I would have never shown the photo. You have deleted it. For me at least I really insist. Insist on the right focus the proper accents. This look of craziness, the hidden madness, this secreted mode, let's say I needed them know, focus on the I know. Photograph TO the same story in a different scenario. Report attached photo, but it's a portrait. Again, the same rule. I focused in the eye. Here, even take a look, not a human, but the row of the ICE leading one more time. If the focus was not there on this weight, I I wouldn't pay attention to the motions to the overall expression here. It's not just the width. The life. The life is hidden in here, the soul of the dock, if you prefer it, that way. Just a millimeter on the left or on the right. The photo would have been rained. And again, not shown. Only the signed that matters here. In fact, as if it's saying, take me with you. I wanted to come. I promise to stay. The sadness, the hopelessness, whatever your emotions there they are, thanks to the correct focus. It's really, really important. Hope you understand now. In a scenario like this, focusing, again is what may create or your opposite ruin your image. Just a trick here. When you take a picture of the men in his full height, you don't need to focus on, just choose an area around the face. Let's say this is important. You need your focus within the head. Otherwise, again, no portrait, not on the legs, not under hands in the face. Of course, saying it one more time. If your idea is not different, if you are not focusing the face on purpose, taking a photo of a person in full height. Focus on the face. As simple as that. What about now? Then? There is no phase in this portrait? Well, think for deleting details. What matters the most in this image. What you want to show where the story is, the hair and the hands. This is, in my view, the hands are quite more important. You see, they are crossed in a really beautiful way. On this way, in fact, the dialogue is created. Dialogue with the upper part, with this dilapidated building. They're looking photography part of decomposition of an image. So because of that, I focused on the hand, no ion or phase. I opted for the detail that matters the most, that shows the idea of the photo the most. Everything is really simple. Focus on what you want to show, improvise when necessary, and enjoy. Enjoy the messages you are creating. 9. Manual focus: For the next step, the manual focus, when, why, and how. You have everything explained and structured. So not to wonder anymore. 30 quit an example. Here I needed to focus manually. Everything is quite simple. In fact, let me share the story. This photo is taken in an old abandoned pool in a village in Bulgaria. The girl was inside, inside the poem in another person who was watering curve from above with the bottle. You can imagine the moment where we were laughing like crazy. It was really hard for me to shoot him and it was really, really funny. There were big drops, full link down from the bottle and smashing literally in her face. I used 70 to 100. Why manual focus? Now? First I tried to focus on the face. She didn't move. Then I just switched on the button for the manual focus. You know, those switchers, there is one in your camera as well. I switched to manual focus, focused on her face, on the eye. The aperture was 5.6, which meant there wouldn't be that great problem if you moved a little bit on the left to oral little bit on the right, the focus will be still there where I want that. The plus now, while the Water was falling down, there was nothing to steal away my folks. The outer system was not working. If I were trying to focus while the drops were falling, then one way or another, I have focused on them in some of the photos, at least. That was not my aim. I needed the focus to be on the face. Out of the series of images I took. Here you see the drop crushed, making her expression more of it. If not the manual focus here. This effect, we wouldn't have been reached. The moment lost. The paradox. The better the lens, the better it would focus on the water drops. Exactly what they were trying to avoid. I really needed the focus to be there on the face and the motions. I think the idea worked pretty well. This is idea of say, one of the best stage photographs of mine. Another photo from the same series just in covers this time. She was still laughing. That hurts, that it was necessary to place her palms on her face. She was repeating that her eyes pay attention to this. Her eyes started her thing. But for the sake of the photo, she needed to suffer a little bit, just a little. It was worth it. It didn't really hurt, I guess. Just take a look at the waterfall link down of her face. Same story here. Manual focus. I focused on the hands. I didn't need them in the focus. I chose where the focus to bed, then switched to manual focus and didn't let the auto system intervene anymore. This is a trick I use really quite often. It works pretty fine for my first I confirmed the focus, then switch off the outer focusing system and continue shooting, continuing, enjoying the process itself. Otherwise, the focus may go somewhere, may move. It's not what I want that here I am a 100% sure the focus would have gone to the water drops. That was not the idea. One more time. I knew the result that I want that. The next example, I didn't work on manual fox here. Let's out-of-focus. Why? There is nothing that may intervene here in this photo, there was no problem using the amount of focusing system. You'll see other examples in awhile. Examples where it was clear that I need is the manual focus. Here. This is a reflection through a window. No other movements, no problem for the four-year-old to assist them at all. Well, here by contrast, there was a serious problem. When at out-of-focus. The lens couldn't do it. It simply couldn't cope with the scenario. The focus was moving all the time. The cables on the reflections, the light from the windows on the here. It was really hard. I was wasting my time. The model was getting tired. The whole story was going to finish in a different way, not with the photo, certainly not. If not the manual focus. I switched to manual focus. Their rectal here found the focus then where I needed it. And the way I saw it then started shorting. The out-of-focus would spoil the moment, let's say the motion or do you have disappeared? Here? A different story again, there was no problem with the focus. I chose. The closer, the closer to me, no problem with their real life. I compose the image in a way that there was nothing, nothing that could intervene here. Then once again, there was a problem a problem with the folks. First of all, as you see, only of the eye, only one of the eyes is free. Let's see. We can focus on the dare. Yes. Just there are a lot of reflections around different branches, dark, dense reflections. Year wasn't here that good contrast. So that the O2 focus to catch it. I was shooting with a really good lens. However, the conditions were hard enough. Yes. Now, as opposed edited photo, it does look fine. Unfortunately, while shooting the situation was quite, quite different. Everything was going upside down. The focus was on the darker part of the focus was on the face guest. You know what I talked about? It was really, really hard for the lens to focus, especially on the way I want that. Well, here came the manual focus. It saved the situation literally. Really don't know why people get a little scared when it comes to manual focusing, there is absolutely nothing wrong court difficult to be the approach. You simply need to understand how it works and try it on. I promise. In situations like this, you'll be thankful to have mastered that. Same story here. There was a problem again. The glasses one over another. The glass from the window and the glass from the glasses. There are also some small details here around the pupil of the eye. There is no sharp contrast at the same time. As a rule, the lens, the contrast, the more difficult to folks. It really doesn't matter if we speak about the cheap or a very expensive lens. They are simply not prepared for focusing in such conditions. As I've already mentioned. There isn't contrast, there is a problem. Most of you probably have tried focusing on clear sky or in a white wall or on an empty piece of paper. It doesn't work, does it? The lens or kind of go crazy literally. Not know where to focus. You'll be hearing that beeping only all the time. There won't be focus anywhere. Seems stories going on here. It doesn't have what to take us a leading element. That's a landmark court. In moments like this, when you know what you want to achieve, but the lens doesn't. Then you need the manual folks. You realize if you want the focus to be on the subject, the eye, the head, whatever. Well, then you need the manual focus. What to do? Just think where and what and how. The biggest there isn't focus all I want shoot. No, not on that way. You can do it whatever the conditions. Just take advantage of all of the functions your camera may offer. Control light, for example. You can create really magical photos there. It's not worth missing the moment, right? Switch to manual focus and keep creating beauty. Similar examples here, for instance, there was absolutely no problem. Take a look at the contrast. Perfect contrasts really. Focusing was easy, pretty easy. I didn't think about it even. The photo is taken through a glass window one more time. Just the contrast is on the face as I needed that the iodine nose, the lips, whichever you choose in such a situation it would work fine for you. Is not a must in this scenario. The composition here is interesting as well. The golden triangle. I want to go there if interested, you know, we are defined more explanations on composition. Another situation. I didn't have a choice. Literally. The lens was going crazy trying to find how to folks what to focus on 50 millimeters one-point for constant beeping. Didn't want to focus on or whatever. Absolutely no out-of-focus system could cope with it. So I switched to a manual focus immediately and continued enjoying. You need to be careful, of course, manual focus. There was folks here. Well here manual focus again, just know focus this time on the camera preview. However, everything worked amazing. You notice situations like this one. When you later on take the photo on the computer, surprise. Know folks settle nowhere you needed at least when shooting at 1 or 1.4 and focus manually. It's risky. Do confirm it. If you try to 2.2 aperture, at least, then the chance to avoid situations like this one will be quite higher. You will feel more confident. Yes. The preview mode, everything looks amazing. The surprises come later on at home. I don't want to share with you a hint how I created this image exactly how I showed here. The first step, of course, I focused on the eye aperture one-point for 50 millimeters. First step focused in auto mode, then switched off the out-of-focus system and moved just left or right on the left and right, not back-and-forth. Mistake. You remember the parrot, the focus would go away. I would lose it. Somewhere on the notes are somewhere in the back. The ears, the here wherever. Well, a little bit on the left or a little bit on the right, you are allowed to move. That would not be a problem. The focus would still be on the eye. So I started thinking about the composition. I needed that triangle there. Triangle formed from the eye. One more to the face. Perfect. Well, if you use your imagination a little bit, the light triangle resembles a horse hit right next to the heat of the girl. The brand tests are the eyes, the nose is a little bit there. You name it. I moved a little bit here, a little bit there. Here is the final result. I like the puzzle that got formed at the end. One more time. I focused in auto mode, switched off the outer mode then and continue to move in a little bit on the left, a little bit on the right and two, I saw the composition I wanted not back-and-forth. Remember this fun? Another situation when focusing was a problem. Contrast. Yes, there is just not where I needed it. I switched to o to focusing one more time. Just the aperture I changed as well. Not 1.2 or 1.4, but 5.6, I felt quite more confident on that way. I wanted that portrait. I needed that it's really a beautiful one. The face is lovely. The reflection falls on her face as separate mask. In short, I didn't want to miss the moment. The lips denotes the hair. I wanted all of the details to be in focus. If I can't chosen to 0.8, for example, the mask wouldn't be that expressive, that clearly outlined. It would have turned into a darker spot just while I needed the reflection of the tree. Whatever. It doesn't matter as they are almost perfectly aligned. I went for the one on the right. It seemed that some millimeters closer. It really is. As I said later. As you can see, I've reached the result I wanted. Everything is in focus. It's just a proof what I've mentioned earlier. When you have a light-sensitive lens, It's not necessary to be always shooting. And 1.2 only. For example, you need to think for the situation. Then to take the best out of your camera. Just learn to practice. And when you start practicing, when you keep enjoying, you will see that you can do more that you are better than you expected. 10. Macro: Marketer, you may be wondering why and what he has to do with our portraits. Let's take a closer look here. Macro lenses are considered to be really, really cool when taking a portrait photo in the correct way. Of course, especially when it comes to male portraits. You may show the brutality, the masculinity of the model. You may outline the scars, if any, the freckles, the crux in the skin. Of course, if the man agrees and likes those details of how you make read his image in short, the macro lens lets you add emphasis on some of the details. Let's your outline the contrasts. Contrast, volume, sharpness. This is what you receive when you use a macro lens. Well, if you take a portrait photo of a woman on this way, there would be a problem, I guess. Or you need to spend a lot of time in Photoshop. There isn't a woman who would be happy to see such a depth of her skin imperfections. Let's agree. In a male portrait. By contrast, these imperfections work as bonus as plus S. Again, it depends, of course, on the model. Another example, male portrait, again, street portrait, this time with a macro lens. If you have a macro lens perfect, you may use it while taking portrait photos. If going to bind, go for a 100 millimeters lens on a full frame. I mean, this is considered as the best focal length, 100 millimeters. The final image you have from a micro lens is really completely different. You may examine the wrinkles of this man's face. Of course, again, it depends on your intentions DID or for the portrait you are creating. If you take photos of older people, while then you may create really, really good for those with deep store as heavy moods. You name it. You don't need temperature to here. 5.66.3 would work fine for you. Just, you need to get used to your macro lens. It's really specific. The depth of its sharpness is specific. If you go for aperture to hear that they are ordered be proper focus. Just one, I just part of the face. And the effect of the macro lens is lost. Some examples with photos which are not mine. So here for example, street portrait with a macro lens. When shooting with a different simple, let's call it lens. These details wouldn't be outlined. The emphasis wouldn't be there. Here's the aperture is again 5.6. However, you see the hand is already on the focus. The lens was different. There would be focused there as well. Because of that, I'm just seeing it as a warning. Get used to your macro lens. It's a different piece of cake. Aperture 1 to not work fine for you here. If you'd like portraits like this, you may paint a minute event checking these faces, examining the wrinkles, the motions, the life street portrait one more time. Elderly woman, great portrait in mind. You're not mine of course, but they have the permission of the water. Even this scarf is shown in so many details you may see the threat. It's made of. The aperture is 5.61 more time. However, check the neck. It's undef focused already. Back to my photos. Another portrait of female one this time, not a straight portrait, a stage one. The skinny, he has some imperfections, which meant that I needed to work on it in Photoshop. After that a little bit. However, it was worth it. This bulk, it, these details. It's a beautiful image that we have as an outcome. With a macro lens. You may take any kind of portrait. Just my advice is to avoid using it for female portraiture. Of course, if you don't mind practicing Photoshop after that, if you want to portrait. Just some details of a woman's face, then this is the correct choice. Just the ellipse, does the eyes just the hand. The macro lines would make it perfectly fine. Here the photo is taken with an integrated microns. I was a little bit away from the model when shorting deliberately. In fact, I didn't want to spend that much time in the post editing. I'm really not a fan of that. Well, here are the skin that's also have some imperfections. I'm really not a fan of such clients of post editing. Because of that, I do always warn the model that plastic faces, She's not going to COND image. I need the life, not what internet artificially created. I need the freckles, I need the moles, I need the wrinkles BYOD eyes. There are some temporary temporary imperfections. I agree. It's worded. It doesn't depend on the girl. Some readiness, for example. Otherwise, manipulations that still the life out of the model. That's not my approach to photography, not the way I say. It's my strong recommendation is for you not to do it as well. Back to this portrait on integrated micro lens with an integrated micro option. I've told you. However, it's a beautiful image and look at the bulk. Look at the contrast and the covers. There is minimum post editing here, this is JPEG. I was doing a camera test the Panasonic with a Leica lens. When shooting at macro, this picture that is created, it's surely beautiful. Because of that, I insist that the macro lens is wonderful port for a portrait images. Look at this one here. It's for a fly for of emotions. The eyes are shining, the background is board. As we need them. Taking pictures of children. The macro lenses, the one you need. Look at the ear, curved a little bit, memorized in a photo. Another moment. The details that are captured. Once again, these details, this beauty in children photography, you need it just, you need to be really careful when choosing the aperture. I know that a lot of photographers prefer the tripod while I did not need it while taking these photos, exactly. Such kind of photos, you've seen them. It's quite trendy. Now. You're ordering a photo session, you're receiving photos like this firm. The macro lens is perfect for similar scenarios as well. If you have an integrated macro lens, some macro option, just switch it on and give it a try toward that. Who knows? It may turn into your style of shorting. This is a different world. This is magic after all. Miracles happening everywhere around us in a completely different world. If you don't have such an integrated adoption macro option, I mean, you may borrow one. Take it tried, decided after that if it's worked by one macro lens. Just to remember the hint about female portraits I've shared, avoids them when possible. And if not on purpose. Details. The other case when a macro lens rules, perfect mode here, brutality, reality, roughness. We have everything in a simple shot into hands. You're able to put the emphasis on these work in Cannes exactly. The working cans of village moment. Seeing a portrait without the face, you don't even need it. If you are keen on shooting such kind of photos. While the macro lens, easier choice, certain level, whatever other lenses you take. Even the most expensive phones, if not macro, you have reached this result. If you print such kind of photo, well, then it would be something really amazing. Deep digitalization, the story in science, the mode. Of course saying it one more time. If you like, such kinds of photography. Last but not least. But take your cat, your doc or whomever there, and enjoy. These photos. Areola form of magic, of tenderness of depth at the same time, a different world. Again, the aperture here was 2.8. I was experimenting, was curious what would come out of it. Take a look at this beauty, really wonderful. I borrowed the lens from a friend of mine and started shooting whatever I needed to see the lens. In practice. It was a little bit hard to catch the cat and make it stay. Well, I just had the time to enjoy and the patients, of course, one way or another, some for threats appears to be quite proper. Do like them a lot. Once again, with the simple lens, Something like this one you cannot achieve as a final result, it's time to find the macro lens and to experiment. You may be surprised what glamorous portraits can be created. This way. 11. Place: How to choose the place where you're going to shoot. This is what we're going to discuss right now. These photos you have already seen at the very beginning. Just take a look at men on the left, a woman on the right. He's the CEO of a component. Of course, I needed the business node here because of this heating astute business building behind as a background. This was a serious I'm showing you just one of the photos and the idea behind a businessman of business building In order the lines to coincide, to look good together. I kneeled down, shot from below. I needed him to look majestic. If not shutter on that week, you wouldn't be realized. So the effect would have been lost. We experiment that tried to different locations. This one I think reflects my idea. The best. Tools think out of the tech and images. Think which one or the client like the most. In this case, he needed to fill his superiority. Well, here you are. He seems to be at the top of the business world. The other photo on the right, the woman, she's an actress, a cinema actress. I needed to put the emphasis on this. We decided to go to the National Theatre. We made the whole serious dairy in front of the theater. All of the photos from there have some elements which help you understand what the occupation of the person who this burstiness, the story behind this shot now, the girl and lifts in a country where there isn't a autumn, those three inches may sound. She hasn't seen such beautiful leaves, such beauty. The photo in fact is taken in Bulgaria. They need to hear. It's really amazing. In the country we are still lives. There is winter a little bit and the very long summer heat. I used contrast here as a detail. I used something which is not typical for the model. We're told these autumn leaves. The same time. I knew that this was her desire, that this is what she liked the most. That was extraordinary for her. There was another person again, he was dropping those leaves from above while shooting. I knew I was going to turn the photo upside down. I just wanted to create the atmosphere of something ferry, something magical. Another story, this is an Arabian girl. I took a look at her profile in Facebook before I showed that was an order. In general, I do not shoot that power four. This is not my style at all. Probably have noticed, but I will shorten here for her. She needed to like it. These were taken for her exactly. I understood that this is what you're really expected. They can look at the jewelry that she was wearing she wanted and she was really ready for these photos. I added contrast and cover in Photoshop. That was the idea while shorting Karen. She was really happy from the result. Not my style seeing it again. But this is not what matters here. When shooting for a client. They are opinion is what really matters. Your task as a photographer is to understand what the client wants and then to choose the place, where to take the photos. This photo you've seen she's a ballerina. She said to one that Gothic photos. We went to a village and found these dilapidated buildings coming. That was a whole series as well. Just this photo is my favorite from them. Oh, I think there is a communication here between her hands and the top of the building. There is dialogue. Look at the grades of her head's at the same time. Looking at them only you can guess what the person is like. Here another example, this is a Linkedin profile photo. This girl is a teacher. So I've found the cafe with books and took the photo there. In fact, wherever I am, I'm trying to memorize what we're can be found that to use it in the future. We had a cup of cappuccino, she relaxed. We made a short serious again, this is a good photo, at least two using cut a detour. Books. As simple as that. Or this case. She's an artist, a painter. I went to her studio and she said, This is my favorite background. It reminds me of my pictures. In fact, I didn't quite understand her because you see the background nothing special actually. But these four core words, her choice. We started taking photos various was well, at one moment I decided to use that background, the favorite background of horse as a background for the whole series. We found some mirrors, as you can see, and took advantage of them as well. It was pleasure for her to be taken picture yourself at this background, especially at this one. So again, I spoke with the model, relaxed. She offered the idea we use that she was hit with the photos as the matched her expectations. This is my advice. Spend some time to understand what this person in front of you is like. What they like, what this person wants, what their occupation as. They will really help you add together, you'll be able to take really better portrait photos. Remember, there are cases when you're shooting for the client so that they be happy. 12. Behaviour: How you need to behave for our shorting word. Be positive. As simple as that. It's really important and it works when you are positive with the white myelin, open palms. Body language gets, you know what I'm talking about, then everything will start working on the way you do want to personally experience. Trust me. This is what I understood and learn several years ago while working at the newspaper as a photo journalist. At your disposal, you have not more than several milliseconds in order to make the person cooperate in front of you. Gear is usually administer or an official or some other person who is really serious and in a formal surrounding, not willing to be taken picture yourself. Well, there it's up to you to show them that there is no problem to be photographed. Usually, these people do not like to be taken pictures of saying the gain within your milliseconds with a smile and a greeting, you need to make the best out of the situation. You need to be cool, just not too much within limits after all. Here, as you may see on the photo, we were really having Copart too. I think we were making faces telling jokes at visible that the mood was like that one. So your behavior depends on the situation, of course, trivially a lot. But at least positivity. This is what you will always need. If not in positive mode, your model may not be able to open up. Well, Europe to there. There would be no photos in that very day. Let your models being your place, lets them see what you see on your camera. When it comes to girls, especially girls, they are not always confident. Or when they stay in front of the camera, you are there, you see that she's nervous, so you need to make something to help her overcome her insecurity. Well, a trick. While you are getting credit for the shooting. Just take a reflector out of the bag, for instance. Then you may ask her to hold the camera for a second. You may even add, can't get around your neck in case not to fall down. If you want, you may take a closer look at it. You may switch on and off that button. Well, she may get engaged in the process release or she will probably like it and start asking questions such as, Oh, it's a really heavy one. How much does it cost? What brand is it? It's a really cool one. Well, that's the beginning of a conversation, isn't that there is a connection between both of you already. She gets understood that your camera is not a weapon, that it's something she doesn't need to be worried about. That not something which binds. She has it in her hands and there is 19 chronic with that. She understands that this is really work your work, that the camera itself is heavy enough, expensive enough. Well, because of that, she's trying to give the best of herself a little bit later. The contact between both of you is getting quite, quite better as well. So it's worth it. You may try it out. People do like it. This is what I've noticed. They like it and they're more willing to help you. Another trick that I use quite often, I showed the model what I want, how I see it. Take a look at the photo on the right. In fact, there are situations in which you want something, but even you are not sure what exactly you want something. You have no idea if it's really possible for the model. Try it first, show it to her. When the model sees that it's possible to be done, that it's normal to be fun, that there is nothing wrong to behave like a child. Then she's ready to relax and give the best out of her. Then you will have the photos you want. Yes. If a man, you may look a little bit ridiculous, showing some may pose female posing or vice versa. A woman's showing male posing. Well, it doesn't matter. Your aim is to shoot, to help the model to cooperate with her or him. Well, if I, a curved middle age to both men can do it, you can do it as well. Then his words, of course. If, on the other hand, stand still and give orders to the model on left. Well, then there is really a chance to photo session to fail, or at least not to look natural enough. No goal to the straw. Start blink with it. Enjoy. Well, that how you may understand if this is possible for the model, if she can do it, or your expectations are too high. Another piece of advice rule, even the not ever touch, do not touch anyone if you haven't asked about that. Never. Each one story when you're shooting to different one if you wanted to touch the model. Not to mention even the scenario where it's a nude photo session and the model is in her underwear. Well, then you decide to touch it to correct the light or let's say you want to just make the light for better. Guess, you understand what the consequences could be. Root, it's bad for your name, it may really renew your reputation. I've never touched the model. A woman or child demand doesn't matter without asking for permission first. Then I can rearrange the hair or the car for blouse or whatever. You need permission. You don't have the right to teach without asking the around. Fortunately, not a few cases where the man buys expensive technique just to be more attractive for women. Especially if there is a masterclass organized where new photography is going to be practiced to be shot. Well, they see doesn't official permission to get out of home and go to another unique to women. Of course, there were cases when they tried to touch something to show the model how they imagined their poster, and to touch them. You name it. You've probably heard stories like this one as well. Never do, never let yourselves lose control. Just make it as a rule. Before you touch even the band of the girls here, ask her, then correct the details that matter to your photography. Only those details without any sudden movements, without any hidden intentions. It's a roll forward. 13. Time for prints (TFP): D teeth before time for prints is a really good choice when you don't know what to start to it. You have your camera, you have some ideas. Just have no idea how to practice and how to get better. Well, then you'll find the model. What's the deal? The model gives you her or his time. You may should experiment and practice. Then you give them the photos for free. There time for your print. Whether print that are in digital format. It depends on the conditions you've agreed on. This is really a perfect way for you to start to think. If you've conducted the professional model immediately, well, then you'd be the nervous one. The one who needs to be shown how to behave doesn't seem as the ideal shooting cried. It's not cheap at the same time. For the very beginning, D TFP model is a really good enough for you. You may start shooting star, Learning, start gaining experience. Just a small detail. You need a contract. Even if taking photos of friends only or only for fun. Simple example, you've asked an acquaintance of yours to pose no problem at all. They agreed you are enjoying the process, daylight, the photos, time process. Your turn back to these photos. One of them, you like really a lot and decided to enter a photo contest. With that particular photo, the contest rules, you need permission from the model. Perfect. Just the model. And he's currently living in a different contract. You've lost the air conduct no connection at all. What are we going to do in this case? Well, unfortunately, you can't use the photo anywhere. It does not meet the contest rules. This is a really important contest or a publication you've been dreaming about. Just the contract in advance or TF worked fine in this case. Another situation also possible. Please delete my photo. Someone says four from that photo site or from your personal Society of and doesn't matter. Or they made for video to sell photos of their stock photos even if you want. While when there is a model release signed in advance, what you're going to do with the photos depends on your my personal advice. Avoid any conflicts. If, for example, 57 years have passed and the model has grown up and change the way they think, well, then there could be different. She was 20 a datetime. She wanted nude photos. Now she's 2730. She's a lawyer, She's married with children. She asks you in a polite way not to use those photos from ones. Even if we have a model release. It's normal, it's human to agree and to respect her decision. In my view, at least. When it comes to contracts, checkout, the format that's popular in your region or on your language. Certainly there is one bilateral agreement and it gives you the right to publish the photos taken without any problem, to sell them if you want. It's a common requirement from various platforms, contests, you name it, so it's really worth it. Print it, bring it with you. Take a pen as well. When those to be in a ridiculous situation and enjoy the process of taking photos after that. 14. Formats: The next really important step is to understand why the format of the photo is so important. Why I short in format always y? Of course, my strong advice is E0 to be doing the same. Well, of course there are different types of formats. When it comes to portraits. The most popular one is the square format. It's pleasant as a format, calming for the eye, relaxing. Personally speaking, I do like it as a firm with a lot. Probably you are aware of this or not. But when you take a look at one's Facebook page, social media page, you can compose a minute psychological portrait of the author, obviously photographer. It's quite simple. In fact, these square as we started from there, equals uncertainty as a character of daughter. Always speak about an indecisive person. I do confirm it based on my observations above, among the acquaintances of mine who prefer this square Fermat. I'm not saying that this is good or bad. Just, it speaks about the person. As a composition. Take a look at how everything looks centered. You have one central subject in large format. Seeing it again. When it comes to portrait, the most common choice, always quite proper one. You simply emphasize on what is really important in that scenario without adding any extra details. Take your time to experiment. Find a real example among your friends. Find somebody who prefers the six-by-six format and think about his personality. I'm curious if you will draw the same conclusions, uncertainty, and in decisiveness. My realist strong advice. When you crop a photo, do the crop in format. When taking the photo, think for its final version, how you would crop it, how it would look like at the end. When you show it to your audience. Why? Take a look at these photographs of them were shopped, were shot or cropped in Fermat. They just look beautiful next to each other. Even if in one album on your social media page or on your personal site, they do look good together. Two-by-two vertical, two-by-two, horizontal, four by three. The Olympus square also possible, six by nine. Another option, whatever suits your idea, whatever you like better, just let it be in Fermat, not as you'd like it at the moment. Take a look at it again. Square portrait, vertical portrait, horizontal portrait. Use the Photoshop option that led to crop in format and not by eye. That's really not the correct approach. Let me show you why. Once I really didn't care about formats, Not at all. I didn't think that this is something important, something I needed to pay attention to. I was groping the images as I liked it literally a little bit from here, a little bit from there. Perfect. These are examples for my so-called cinema images. A cinema period, let's say a real way. And the very, very beginning of my photo shooting. These were taken during my first year in year and a half. A photographer's, something like this. I was shooting like that. Well, just here, there is not even one image, 16 by 916 by nine. This is the real cinema format. I was simply cropping by I and adding these frames. I liked the photos as single images, not thinking TO how they would look next to each other. But they are root comedy, I believe in you. When someone may contact you with a request to show your photos, please send me these and these images. I wanted to publish them in our online magazine or in our published edition. Or we wanted to exhibit your photos, please send us files ready for print. Perfect. You get excited, you start selecting. You wanted to show your best. You've selected the images, then take a look at them. This is what you may see as these photos, if not corruption format. These peaks about lab professionalism speaks bad for your name. Me personally, I tried to shoot in a way not to be necessary to crop after that. First of all, if not, while shooting, I have for an idea how I wanted the image, the image to be cropped. The golden rule. If I cropped the image, the crop has to be in format through by 26, by 66 by nine, whichever just a standard format. Otherwise, sink it one more time. You will have something as these images here. The only salvation, let's see here is to make these images realist mole nine by 13, something like this. And to add large white met picture framing. I mean, after all, all these tricks could be easily skipped. Just shooting format, I think for the final result. As a contrast, again, take a look at the way the photos here look perfect, right? You can immediately conclude that this person has done his work with a thought, with an idea for the audience, with an idea for the way his photos look. Professionalism in short, this is what you show when you shoot in Fermat. I spent really a lot of time thinking about the format. There are some really, really rare cases when they may let myself grow by I, if I believe that this is a strong photo words being shown. If the composition deserves the sacrifice of the format. As frequency, one in a 100, probably even less. When you aim and formatting your images, you get more disciplined. You'll get really careful when you should think twice before cropping the photo. Composition for us format. This is what may show on what level is your photography at this very moment. I'm not saying this easier. What I'm saying is that it's worth it about Fermat's. I hope I've succeeded to convince you. Let me share now a little bit about my philosophy for composition. Composition in photography. 15. Composition: As you are already aware of the concept for format, Let's move on and speak about composition. A little bit more. Dynamics in the frame, dialogue between the objects. This is something as a bonus lecture, something I'd want you to know, although it's not within the scope of this very course. People look at the shot on the right vertical frame with vertical lines. The dress, the shirt or whatever was the jewelry itself. This is vertical as well. Visualize the photon the right looks longer and the photo on the left shorter. Although in fact as size, they're identical. Absolutely. The photo on the left now, vertical frame again, just the lines in there are horizontal. Because of that, it looks a little bit shorter. There is no dynamics in there as well. Try it out again. Take a look at the two photos. The one, the other. Either the photo on the right, thus really look longer, Duke of vision. In fact, there is no difference between them. This is something I speak about in depth in my composition course, composition in photography. No advertisement saying it again, I just wanted to be useful to help you starting your photos, the world around you better. Another example, horizontal frame with vertical lines. The one with the woman. However, it does not create such dynamics, not as in the previous photo. The other photo with demand on the top, horizontal frame with horizontal lines. Dynamics created here, especially thanks to the diagonal. These are tricks, in fact, tricks that you need to keep in mind and to yours in the proper situations. In short, horizontal frame with horizontal lines equals dynamics. Vertical frame with vertical lines equals dynamics. If you combine this with a diagonal, then you may rely on the effect that have been created. This example shows it perfectly well. Retailer, on the left, a horizontal frame or with horizontal lines. It's a drum. In fact, these are lights coming out of there. On the right, a vertical frame with horizontal lines. Again, if you compare in terms of dynamics, you can see the difference. Of course, the photo on the right lacks dynamics a lot. Yes, it is still present. Just the feeling for some movement for life. Let's go. It is saved for the frame on the left. Because of this dynamics. In fact, you may see that the photo on the left looks even longer, longer than a typical horizontal frame. It's your task to think about all of these details. All of them simultaneously. They seem to be not so important. Let's see. However, they may have an effect on the portraits you are creating. 16. Crop: How to crop your photos and when to grab them. This is a really interesting topic, so it's worth spending some time to explore it. You will hear different opinions here, different pros and cons. Let's see what all this about how to grow up of portrait photo. I don't have any problems cropping it on a way like this. Why? Well, I simply don't need that upper part of the face. What were the emphasis here is on the motion on the facial expression. I needed, I needed the light. The photo is taken at sunset. The diagonal, of course, one more element that was after from the upper-left corner down. Another example on the left of photo that, you know, crop done a similar way. Why? I didn't need that part of the face. It does not add any meaning. It does not bring any motion to the frame. Just don't get me wrong. I'm cropping an image. Not the only on the way I want, but rather on the way that suits decomposition the best. As a guideline, I'm trying to crop the image leaving some space above the eyebrows. You can see it in all photos of mine. It works bridge fine. It's very important to feel where and how you can crop the image. Here, the photo on the left. If I grow up a little bit more on the top, that beautiful fringe wouldn't have been called hints. We have lost the wave. You see, it's now, it's really lovely. The upper part V1 that you don't see, obviously I don't need it. That toe. It would be just some extra here. Also here down the face from the upper left corner, there is a diagonal. The other photo, do you want to underwrite in one word, insanity, DIC in the middle, the middle of the frame. You've noticed probably that it's also at the variant of the image deliberately, Of course. I wouldn't have cropped it that way if the whole series wasn't in such a crazy Aleppo, but I wanted to emphasize her a restlessness. So these out of the box crop was my solution. Central composition, DIE in the middle up to the very edge of the face. The next example you've caught the idea here as well, I guess. A little bit above the eyebrow, up to the middle of the face. A little bit of air left close to the nose. Again, it depends on the mood of the photo. There will be scenarios where I outcrops straight on the nose, down the face. You're feeling that is a leading one here. Feeling for composition, feeling for photography. The only rule you need to fall, be brief, be brave and experiment. It may work as here, for example, a crop out of the box again. Just look at the diagonal. Beautiful One more time. Here. You know the story even of damage. Imagine how it would have looked like if the here was left here above. This photo is corrupt again, of course, it's not a full frame. I had no idea what the outcome out of the drops because of that, I left a little bit more space here. After that, I cropped in a square. If I had left that here, here within the frame, it wouldn't have been possible for me to put the emphasis on the central drop. This is yuan, which creates the frame. In fact, it wouldn't have been possible to emphasize on her expression, on the wrinkles close to her eyes, on the ER rink in the shape of a heart. You see all of these details are connected. When you wanted to keep them as details. You need to crop the photo on the right way. Seems 30 different image. Diagonal one more time from the right upper corner, just not from the left one this time. I may show you a real deal, a lot of examples like these. I crop my image is quite often in such a manner exactly where it suitable. Do it. Otherwise for your good feeling. Here I simply cut the half of the face. I needed it that way. I wanted to put the emphasis on not on her face, just on the I was the RNC on the hand that was at composition. There is diagonal here again from the right upper corner down. No Weis on this photo, just the ellipse for the neck. These are the important details. They are left within the frame. Nose, nostrils, usually I designed to crop them. When the emphasis is on the lips. The format is 16 to nine, One of my favorite as well. Try just try it out. That's my advice. You need to be brief. You need to be ready to experiment. That's it. Again. Lips without the nose. The nose may be left or within the frame just if it is a delicate, if it suits the overall idea of the image. You don't need to start cropping for the sake of cropping, please don't do it that way. Up to the nose, up to the eyebrows. It does not work that way. Think for DAD it behind the photo. Think for the message you are sending with that image of yours. When shorting clips, I'm trying to put the emphasis on them exactly. Not that a little bit here, a little bit there. If these are lips, let them be the portrait. That's a favorite topic of mine here. For example, the nose. Within the image. Small, delicate nose. It can be left as part of the overall composition. This light, this shadow, I think it matches all of the other details are really pretty well here. As well as here. I've looked the part of the nose as well, deliberately. Kind of mystery, kind of sexuality depends on your interpretation. Part of the ear up to the ER ranks that they're missing deliberately not to disrupt your attention. Same interpretation here is a whole series of mine serious with female lips, our favorite topic, saying it again. One more example through the car window again. Why? It's quite simple. In fact, those standard classical portraits make me board already. The window always add some mystery moot reflections you may see quite often as well. As if you are adding a second life literally. This way you start taking the photo, start analyzing part of the nose, ink loaded the game. This photo you've seen as part of a series, the series with the painter and her favorite background ellipse, again, just with the whole knows this time. Here. Here is an official I made the business portrait. Well, it doesn't mean I need to shoot him in the traditional way. Obligatory. Know, I cropped up to the finger, you see it without any doubt. If I decided to go up to the eyebrow, it wouldn't be a good idea. The finger does not need to be trimmed. Let's say a little bit of space. I left here deliberately for some air and cropped up to the wrist. The emphasis on his site, on his thoughtfulness crop on the way the photo needs it. This is my advice. Here. Half of the face removed, immediate left. If you look at the photo more carefully, you will see the diagonal coming from the corner down left, and the diagonal within demands photo close to the nose. Those wrinkles work perfectly fine here. Ensured when you crop a portrait, it may turn into a completely different photo, into a photo out of the box. Doesn't matter if this is an order or a street portrait. When you show it to your clients, for example, if ordered to staged, you will see wholesale price dealed with. Hopefully, if you've done your part of the task properly fine. Of course, what you may show with such photos is something not typical. Something that cannot be seen every day. When you communicate with somebody, you see their whole phases, right? Well, you have the chance to show the world to another point of view. Make portraits. Same story going on here. I crop up to the eyebrows with a part of the for it. I need those wrinkles. So I included them in the photo. I'm always trying to find that border which will work perfectly defined for the image and the crop there. I don't need the board part of his face, of his kit. For example, while it does not bring any sense within the image, it does not create any mode. It would have just disrupted you from seeing his eyes, his wrinkles, his brutality. The other photo on the left, the ice, the fly. I needed the emphasis to be there on that emotion exactly. Look at him. Look at the group as well. The space that I left around the ear is identical from all sides plus the curb goes up to the wrinkle. That was the idea. I had it while shooting the crop was easy after that. Dynamics diagonal, everything is still here within the image. Here. A good example of how you may play with light. We're photographers. We draw with light. The reflection seems to be the second half, the missing half. So you may take and combine them in the whole, if curious, how the whole face of demand would look like street photos or straight or staged photos. It doesn't matter. I curved the photos on the way I see ultimately the mode the best. The photo on the left, straight on the eyebrow. No problem until you see it. It's something has an arrow that is formed here. Almost every time when I crop an image, there is dynamics at it. There are diagonals, there is direction. The organelles in composition, they are very, very important. One of the basic elements, the diagonals, pause, balance almost a must. Here in this photo on the right, decomposition seems to be a weird a little in the very end of the frame. However, there is a balancing dot here. His hand, he himself is correcting the place of the core. I'm always looking for the composition. You've noticed it off already. I guess. Simply. Well, I can't live without it. It makes the photos quite stronger. In my view. Here. Look at this wonderful drunk, I dare say Man, quite happy at the same time for positivism, the group up to the cover on the left, the diagonal at the same time start from the right down corner up to the wrinkles, known storage. D emotion on his face. This is what I need it. This is what I wanted to keep and to show. Everything is really simple. The group you've chosen matches the mode and the motion of the photo. We do it, we risk that's usually when they're not sure what I want from this or that photo, you know, it's impossible to decide while shooting, Not every time, at least. Well, I just leave it a little bit. I leave a little bit more space or those a bit more air than if necessary. I did the crop and everything is fine. The idea of the images saved, just a reminder for the format every single time. No format, no picture. Another golden rule. You don't already know. 17. Mistakes: Mistakes. And then another topic of really great importance, because we learn thanks to our mistakes out of them. Of course, it's better if you learn from somebody else's mistakes. But that's not always the case. Unfortunately. Take a look at this photo. Imagine that you just go shooting without any contact with the model, without any prior idea, without any preparation. However, you start to think, well, this will be the result you will have at the end. It desk looks stupid, doesn't it? No mood, no story, no composition in here. There are a lot of cases like this one. In fact, the advice that I always give, if you have decided to shoot in a park, make an appointment to meet industry it's nearby. Take those 57 minutes and you have a walk to the park together with your model. Just speak a little bit, exchange several words. This is a person in front of your communicate. If possible, have a cup of coffee together as well. Take some time to look at each other's eyes. Just peek. You have the chance to understand what disturbs the person in front of you. He may becoming after work, maybe you have here the BCD, maybe tired, may not be in a good mood, may have spoken on the phone with somebody. Just try to feel the men's vibration. You have a toke. The other tricks. You do know. I'll let them hold your camera, let them be on your place, showed them what you want. You name it. Just you need those 510 minutes in advance. No way just to meet the person to take the camera out then to start shooting immediately. You can, of course, the result would be something like this. Another example of what you don't want to see in your photos. A common mistake, unfortunately, your task is to be really careful when it comes to the background. Very careful saying the gain. It's a common scenario for you to start enjoying the process. To start shooting more and more the Phase II motions without paying any attention to what is happening in the background. As a result, you see those horns coming out of the models kit, whether a metal construction or some branches or a road sign. They all come out of the model's head. And for the photos, it's a really serious mistake. And again, typical for beginners, unfortunately, just keep it in mind. The Baltic and try to avoid it. The background is important a lot. There is no problem to speak to the model, to tell them to move a little bit on the right, are a little bit on the left, nothing to worry about here. Or you yourself, you may just move a little bit in either direction. Also, this May 1 work predefined. Another common scenario. We quite often forget about the hands me as well. This photo was not taken deliberately for the course as the previous two examples. This is a real shot that I took, not a bad one. Apart from the hint, there comes the problem. I decided not to delete it to be able to show how not to shoot, what not to do. It again, it is quite better to learn by somebody else's mistakes, not by your own. I saw this one at home, of course. Not while shooting clean the process. We were enjoying hours making a serious here online to the facial expression really a lot. Natural grew up here, if I may call it this way, made just by the reflection from the van. Well, the hand as a fun alien, literally have the feeling. He has three fingers on. Mechanic itself is well-positioned. The fingers, however, are missing and you can't do anything. Rude mistake. I know it, of course I dare say I'm experienced enough now. Well, this one I didn't see, I didn't predict. Probably I will start probably was focused on his expression only. Probably I didn't want to miss the moment, whichever the photo is for the trash, no way to save it. Yes, perfect emotion captured moment in focus, although through a glass in vain. Try to be really careful when it comes to hands. Pay attention to their position, to the way the fingers look here. And try to avoid mistakes like this one or this 1. First side, everything looks fine. But pay attention to the hand here with the finger, tangent and aggression. These are my associations. Neither of them I need present in the image. The phase is calm, dreamy, relaxed, thoughtful. The hand comes as a contrast. There is no dialogue here, no connection. The bolster is not natural at all. It's my mistake. Of course, the girl is not supposed to start thinking about such DLC when it can't be shown on this way. I've deliberately kept this image again in order to show you as an example of what not to do, what to be careful about. The hand seems to be screaming the face is silent, such as the contrast we speak about. Take a look at how the image would look like if cropped completely different, right? The mode is different. The motion from the face is deleting. The moles you can do here is to crop into a square. I didn't use this photo, of course, just wanted to show you what not to do one more time. I believed that her hands are needed here. Just not on the way I caught them, but calm and relaxed. So far. Important roles. Pay attention to the background and pay attention to the hands. The background. You don't need any cables, science brand or whatever coming out with the models kit. As far as the canter concerned, the person in front of the camera usually forgets about them. Facial expression, emotions. Yes, they may do. It. Could turn into a problem. Think of this as your task. You may ask for a change in position. You may ask the model to relax. Just need to notice that detail in advance. One last example with the world of many examples in-between, let's say it that way. These photos are not mine. I just found them and decided that they would be suitable enough to let us understand what not to do, what to do in pairs starting from the photos in the left upper corner. Rule number one, let us denotes not stick out of the cheek. Yes. I know that a lot of people stopped pigmentation to small details as this one. However, it's a golden rule. It's one of the basics in portrait photography. It's clear that with those telephone cameras and expensive lenses and the emphasis, well, everything is moved away. We'll Adelbert cover try to keep it. The cheek covers the nose. In the first photo you see the mistake in the second one. How it needs to look like. Even if, if the model has a small nose, the nose goes out of the cheek, it looks times bigger. Imagine what the result would be if the nose is big enough by nature, no one is going to like a portrait like this. No one wants to see themselves on this way. People are vain, admitting Qatar, not vain enough, especially when it comes to women. Rule number one, again, the nodes should not be going out of the cheek. The second pair of photos, take a look at her site. The first image, her look is the one which spoils the photo. The second one, her look is the one that saves the photo. You'll remember, if you can't focus in the eye, the photo is lost. The erection of the scientists, what matters? It leads the audience. It shows what is really important. Of course, you may experiment, you're free to do it just for the basic rules. Keep them in mind. Establish yourself as a good photographer, then experiment, then do what you want. And it's very beginning for the rules. This is my strong piece of advice that there's pair of photos. If it does someone you have for double chin, please correct your poster. Well, would you feel good in this situation? Probably not. Dead. Would be the models reaction as well. That there a way to save the situation? You may say, please move your ears to the front. Obviously the model would start laughing. The mode will be better and you will achieve the result that you want. That another plus the NIC starts looking quite more dental, quite longer. Whatever position the model is in, the double chin is going to be visible. So just take the advantage of the trick with the ears and it will be hidden. The officials I needed to take a picture of. That was how it worked. I succeeded in taking the images I needed was I didn't show their double chins. That was important. You may try it out. You may experiment looking at yourself in the mirror and focusing on the ears. In this way, you will know what to expect from your model and how to make them do it. The first example, your model to journal little but the real little later. Another hint, the hint, not stick to the body. What it is as close to the body as on the first picture you see. It doesn't matter how slim you are. Your hand looks dabble. No one wants to look fat. Sure you will agree on that. The next one, we have discussed it, in fact, the magic about the ears here it works. The double chain is missing. The neck looks longer. The second scenario is what you need. The very last mistakes. Girls know it. In fact, it's a good field encoded. However, when being shot, they may forget it or get over-excited or something of the kind that to stand still and street. As for a passport photo, the first example, That's not what you want. That's not what you need to see as a final result. There are analytical, but the real data, the effect from the shooting is completely different. The photo is times better. Simple tricks of them. Don't expect the model to be thinking about these details help them look better. Which means keeping in mind the mistakes, the most common ones, starting from the background and the cans. And take better photos. You can do it. 18. Series: To understand how to take appropriate series of photos, there are some peculiarities here. Some specific you need to be careful about. Not as easy or as difficult as it seems. Let me show you. The photographers who are really good at making serious are just a few. First of all, because you need to choose those photos that match with each other, that look together good, that tell one story. Second, they need to be posted, edited in a similar way. Cover stones, light contrasts. Think of them as one photo. You can see all of these hints here, even in the first example, it's really important to edit the photos in one and the same style. Here. I was taking photos of a Bulgarian singer. She needed them for her portfolio and her CD album. One, and the same cowers Style Light, her smile even one and the same mode. These look as one photo, right? Just they are completely different at the same time. This work in Photoshop, your work there is a real, real important. Well, on a side note, I have a course for post editing as well, Photoshop for photographers. If curious, take a look. Still it's an irrational, but I plan to translate it in English or to add English subtitles. I don't know yet. Not an advertisement. Again, I'm just sharing quarter resources you may use. It's a six-hour course. Everything I show and explain in simple words and pay attention. There we're not learning Photoshop in general. I'm showing you how to use it as photographers. This is a difference. Another series of photos, unlike this, or like that. Think of a serious as one photo really one tone, similar cowers, one mode. Then there are example, took the colors again, whether black and white or in power. They all match together. Still, something is missing. You can't make a serious and black and white and color images in one. What I did here it is I took the photos in power and made a series of them. All of these photos that are medically connected. There are some blossoming flowers everywhere. Her hair, the mode, the colors are the same. Well, I think a black and white photo here would spoil the overall impression, ruin the puzzle. The photos from the serious needs to look as one photo. Saying it again, I can't add a blue photo, for example, or a not edited photo that lacks contrast. Black and white, serious, again, different contrasts, this time. Here, another serious. You may look at those photos and read them literally. It reminds me of a short story. Just a little bit more imagination is needed. This is the so-called Fuji cover, the popular one that people usually speak about. I took advantage of it. That's a really match here as more deaths interpretation as message. You've seen this series already for our senior, bright at corresponds with the character of the model. One dark photo here, one photo with less contrast. One for doing black and white. It can't fit the mode. It doesn't look as deprived of life, of emotions. You want that removed subconsciously even. Seeing it again, shooting is the first step to post editing. Well, the post editing is really what matters a lot when it comes to serious. This story. You know, the painter, again as one photo or literally, if I started showing you the photos one after another, you want to see the difference at all. High-contrast everywhere. They're local assay, if they've been cut from one photo. Of course, they were posted, edited in Photoshop, one after another. Street series for a contrast portrait again, one and the same post editing one more time. This is the key to a successful serious shooting plus editing. If one of these ingredients is missing, that would be, oh, no serious at the end. Another hint. Try to tell a story with your serious. If you may hear in the first picture, he seems to have just started telling her story. Something is going on. His emotions keep changing, containing while as the end, he'll let you go with a smile. The first photo opposite serious. You start reading the photo from the left upper corner. The one with the smile closest set. You see. Even when you make a presentation, the rules of composition are very important. They're applicable all the time. The help you build a stronger portfolio. Similar examples treat portraits serious again, I've given it a name human meeting with a stranger. I do like it a lot near receive an text, edits to the serious something I really do. But here it was worth that. Again, you may read the whole story. There is an opening image, there is a closing. The end here leaves here. Let's think over his words. The photo before the last one, he says that was it. If you read his body language, He's preparing you for the end of the story as leading object. Here, we'll look at his hands at that net. That's the road. There are, these are the three symbols you may base your analysis on. The post editing. Again, one and the same. Let's not an easy task. Realize you need some experience, you need some technical skills, you need a lot of practice. This is also a serious whatever small details or their Tina square, why not? You may spend a lot of time staring condemn on the print that put it on the wall. Injury. 19. Mini series: Ghiberti, and triptych. You've probably heard these words. Let's see what they mean and how you may learn to create such photos. Not as difficult as it sounds. In fact, it's a favorite topic of mine like taller. These are administered various ministries. Needs minute, serious, make disciplined lot. You need to think about composition. You need to think about the way the photos look together, on the way the complement with the detailer. Take a look at this example. You can see the golden rectangle here, one of the basic composition elements, two photos. One common composition, the hands. She's holding some flowers, some blossoms in the photo on the right. And again, she's holding flowers, Was there is a flower on her nail. All of these elements speak to each other or they are in dialogue. Again. When you start reading the photo, you're scientist enters from the left upper corner. If I look at it more carefully, you will see the golden spiral as well. When it comes to composition. I'm always trying to restrict, always. There is no composition. The chance not to show the photo is big enough. You may have no idea where the golden spiral is. The person who is looking at your portfolio may have never heard of it. However, they're going to like the photo for commercial slash y because you've done your part of the job, you've composed the image properly. Trip to here, look at it. The first photo, her hand is in the form of a triangle. The third photo, same as the three angle bracket. Just closing this time. In the middle comes to the story. Her legs with the hand, with the flowers. The opposite interpretation, the opposite brackets. Let's say triangle. Once again, the arrows from the triangle leads to the central photo in the middle on Autumn story of hands and leaves. Hands. Hands again. The one in the middle is turned upside down. Of course. Look at these hands as elements from one image. What you have in front of your eyes is a triangle. Through for those one geometric figure. Discipline was beautiful as good composition, I guess you understand now why this is not for everyone. Why you need practice to achieve their results. You don't want to. Another adaptation. The girl he has spent some time preparing for the photo session, right? It's obvious. Well, she obviously wants to show she wants to be visible. That's an approach may consider in such situation. One photo, you show her from all sides as a 3D photo. Actually. Her dress, her hairstyle, jewelry, her figure, everything is visible, everything is photographed. Such photo would be like, of course, in one photo you can show how cool you are. Perfect for the social media. Your degree. Here, I'm sure if you can do it on your own. Now, a golden rectangle, again. The second image complements the first one. Take a look at the detail, the ornament on her waist. I put the emphasis on that part deliberately, along with her hands. Look at the tenderness of her fingers. Great for photographing. This time. Different combination, Alexa and how I did it. I didn't take a picture in full growth. I needed to keep apart for an accident. In the second part of the dip, dip, the first picture, I cropped a little bit above the knees, just reminding you it's a mistake. If you crop underneath precisely a little bit above. And then on the legs. The girl was really happy. In a single photo, everything could be seen. Everything could be shown in a close-up under the pivotal. If I had gone for the legs online, it could have been boring. Typical, at least. Another trick here. Look at them. Back to the wall, back to the wall as if or reflection. One under seem photo of course. Just, you may take advantage of the possibilities. A diptych, gifts, same abroad, different scenario. In full growth. One more time. The poster just was beautiful. The dynamics in the photo on the right was the gourds and the rectangle. These photos you've seen, that's how they could be combined in a deep tech. Both for those together form the golden spiral, which again, msi 1.5 composition out of two separate parts. That's what they call good eye for proper crop. At the same time, you've noticed, I'm always showing you a detail, something particular part of the body or the clotting where I want the accent to be. Shoes, bands, buttons, lips here likes something, needs to be zoomed in. The other part of the deputy is up to you. Use your imagination in your hand to show what you want and to build the short story in your way. Probably you've heard that short stories or the morals of the most difficult to be written. Here. Short stories are the most difficult to be photographed. You need to be disciplined. You need to build the right technical skills. You need to practice a lot. And you've seen the final result. It gives you like it, which means it's worded. Try it out. I'm sure one day you'll be good at it and you will like it. 20. Tasks: Have an idea, have a task. What is the meaning of this? In simple words? How to find what to shoot and how to do it in your way, in your style. That's the question. You've certainly heard of that well-known story. When you'll get out of your comfort zone. It's only then that just started growing. Your name it whole books are written on the topics. Well, actually it's through when it comes to photography as well. If there is no task set, no goal, what you make you go and start shooting, nothing. Just don't get me wrong. The idea of going out of your comfort zone does not mean you need to suffer while shooting. You don't need to be in those dangerous zones and become a war photographer, for instance, not at all. Just think for a task that would help you develop your skills to practice and experiment. You needed to ask a self-motivation as a challenge. Let me give you an example with this series of mine mirrored. It has got, I was asked to exhibit it in a lot of different cities around Bulgaria. It was published in different printed media around the world in different sites as well. It's a long-term project. I've been taking these photos of people in the public transport for more than deniers. Now, these are portraits, again, quite difficult. In fact, we've mentioned it several times. To focus through a window is really not an easy task, especially when you have no contact with the model. Let's go ahead and you can see more further TO bit here. Move for little with their weight for awhile I needed to turn off. I need the out-of-focus and so on. Yes. But not under street. Your main task here, to remain invisible, you have a less than a second at the same time in which you need to take the shot. A meaningful one, of course. Welcome post. It was really quite often when the picture, the story in the frame, the expression, everything was great. Just without focus. At the time, when I worked as a photo journalist, I spent more than an hour traveling in one direction or I couldn't imagine wasting so much of my time doing nothing. So I was either reading a book that was always with me or was taking pictures of people in the vehicle. Well, the result is the project. I'm telling you about. Nothing new. In fact, I know it. However, I feel like to ask mine, done in my way, bolster edit it on the way I like it. The whole story in short, you need to be self-disciplined. You need to be demanding, and to develop your own skills to a protist here, the first one, you have an idea for a project and you start to think, or vice versa. You've started shooting at the moment when you see that you have 2032 not bad photos on the topic, let's say you decide to continue and to form a project out of these images. First you make a folder, you start adding more photos there and more and more of the projects I've done were created on this week. So it was never that I woke up, team up with a title cat, for example, went out and started to. I think it simply doesn't work that way, at least for me. What I do like about these photo series is that you may really spend your time looking at one photo, examining it, thinking about the story of the person in front of the camera. The phases do never repeat, neither do their emotions. So this was a really good training on composition, on post editing, on photography technique. Some more examples. Same serious. You may have noticed some of these here and they're people just like them and started sharing in the social media. Another topic and other tasks that I set myself. A challenge on the a 100th percent, I was shooting with 50 millimeters with a full frame camera. While you do already know what this number means, I needed to be at the hand distance in the underground. One story to be that close to the person in an open space, in the vehicle where you can get off or on the street. It's a completely different one to be in the underground, in that closed space. For the more, in Bulgaria, in Sofia, It's completely forbidden to show two there. Several times officials tried to arrest me, warning, this is not the place for photographers asking me what I showed you name it. In fact, people reacted quite friendly. I had no problems with that. Just all of the effort turns to be in vain. The heart derive where I was collecting and ordering everything. It just burned. Well, unfortunately, I lost the original, the big files. These are some of the few I succeeded, I succeeded to rescue in a strange format, quite small ones too. The idea why I'm telling you this story, challenge yourselves. Try to take something more difficult, something that seems impossible even at first sight. These photos as an idea I've already mentioned, staged portraits, draw window. Still. I'm at the stage of shorting color. I haven't selected anything. You haven't decided what the name of the project that way. I'm just taking photos through a window. Taking portrait photos started being boring for me. So I just decided to change the task a little, but to go to the next level, let's say you have no idea what trick the light may play with your hear. You don't know what to expect from the reflections. The majority of photos are taken through a car window. There are some in coffee shops as well. Actually, I've made the research and seed center in the nearby area. I know where to bring Komodo if we decide to take such kind of photos. This preparation in advance is really very important. So I advise you to take some time and do it. It's always worth it. As you see, I'm just thinking something up. Then I start practicing and practicing over and over again. Let's go. I keep improving, or at least I hope so. These photos serious, I've mentioned as well. Same story here. I started shooting codec after adult without the idea that something big as a project is to come out of this. Well then years later, I kept my serious dog's life. Several exhibitions and tens of publications worldwide. I remember at the very beginning my acquaintances tried to stop me repeating that this was a well-known topic, that nothing new can be thought there. You name it. I did prove them wrong. Then really happy I didn't listen to them. I became famous here as the dock shooter nickname as of anemia. I started to worry and given a little bit just because I'm not shooting Dogs only you saw it. People life. I'm a street photographer most of all. It's again, an example for a long-term project, a collection of photos taken within more than ten years. Again, in YouTube, you can find the short video on my channel under side, you can take a look at AD Quiet more examples. These here are just a few. Why I'm mentioning this serious. Here. These are portraits. Again, I've shown the humans, so of these docs, I hope so at least with all their emotions, with the fear, with their helplessness. Serious training. One more time. These are not people you understand. You can't stick stitched photos on stray dogs. You can't make them stop for awhile and wait for you to prepare yourself for the shoot. The decision you need to make in the twinkling of an eye. Now you compose the frame. Now you take the picture. One last example. It was not a long time ago when I wanted to shoot. Just agreed desire, even at all. It didn't matter. I didn't have a studio at home, just a flash and Chinese one. The background, you may see it in the photo on the left doors, oven cable, everything that you don't need. In fact, take a look at what my decision was. The photon derived. The idea here. You can always find a way. There is always a solution. If you wanted to shoot, you will be able to, doesn't matter where you live or how much freedom you have. You don't need an expensive studio as well. Just a simple flesh, as in this case. The example is in front of your eyes. Step back. There is always a park nearby. They are a people who can be short. They are a car windows and reflections in coffee shop windows. You can bring a mirror ratio you can design to enter the underground or whatever. The possibilities are numerous. It just depends on u. Be brief, intact, go and just do it. 21. Analysis: Another bonus lecture, photo analysis. Of course, we analyzed together all of the photos we've been through or we tried to list. But just you can't choose a photo out of those you've taken without understanding why you chose it. Which means this is one of the basic skills you need to develop and work on. It's time now to speak a little bit more about composition. Just wanted you to take a closer glimpse over what's the role of proper composition. Here, you know, the diagonal is a good one. We've mentioned that as well as here in this photo, you feel the dynamics thanks to the diagonal within known photo, diagonal one more time. That's again give you the feeling of dynamics. Take a look at where it starts. From the left upper corner of the photo down the address leads you to the end of the photo. There is one more diagonal here as well. You'll just need to follow the line of the eyes, pause the line from the hand, then you'll see it. When shown together. This is what we have across a separation of four triangles depends on what your own interpretation is. Why it matters. Geometry in photography is always important. It does always bring additional value. We, as viewers, just feel better when looking at it. It gives feeling of comfort and calmness. One of the mirrored photos, the serious with street portraits. Here is the golden rectangle, something we've mentioned several times. Just, I do want you to finally see it. Keep in mind that the golden rectangle is part of the golden spiral. About all these things in details, you know, in the composition course. My idea is just to show you how I analyze my photos. What makes me choose and edit this or that fun? Back to the photo. The line goes down, down to the end of the window and the frame of the car. Feel the hand where these car hand we're here. He has a very important role. It lets you follow the stated line TO dN dt of the frame. It does also bring balance in the photo. If removed, you'd feel it as a heavy, not stable photo, ready to fall in pieces. Diagonal. Again, imagine the line from the face to the handler. It's one of the photos of mine. I really like something that really happens. In fact, here for the diagonal, quite an interesting one. I don't need to draw anything. Just for the light spots. Minimalism, cycle, Portrait, Portrait of life. You see an interesting interpretation of what a light created. I took this one in the office. In fact, I just saw the light and told my colleague Hayman stop. Let me shoot. Well, this is the result. He started crying Kelvin because of the sunlight that fell in his eyes directly. However, he was fine, safe and sound. It was worth it. For a couple of seconds. Portrait, we just want to, the story here is a little bit more different. There is a golden rectangle, again, just the line that splits the two parts of the rectangle is diagonal. We have a bigger part and a smaller part. As always, just the splitting line goes down the hair. The girl. These photo here, the diagonal again from the eye of the young girl on the poster or advertisement or whatever, down the eye of the woman. As you've noticed, diagonals are almost everywhere. I'm not deliberately shooting in a way to keep the diet and they will believe it. Just, this is the majority of cases. This is the minimum that can be done from a compositional point of view. One more compositional rule here, the rule of thirds. Take a look at the eye in the crossing point. This is a very important detail. When it comes to the girl from the poster. The lines do not cross her. I obviously, but her face is within the upper-right rectangle. This is very important as well. You can't leave and participate in your photograph. Everything needs to be balanced to be equally spread. Of course. And not creating such composition with any grid on, I'm not thinking for crossing points or precision up to the millimeter when I'm shooting. It's just intuition. In order to create good composition, you need well-developed, good feeling. You need to practice. Then everything starts happening. On a subconscious level. Back to the photo. There is a dialogue as well that work between generations. The ANC lady from the post terror and the grown-up one on the street in the middle. The word man. Details don't really matter as you see the golden spiral here. This is how I see it in this frame. Take a look at the interesting way it is formed. Starting from the downright corner this time up to the address that is the finger to this very detailed of the body. As I've said, you may almost not find a random photos within my portfolio. I'm always looking for some compositional elements. I'm always trying to tell a story, story, pause composition. This equals a really good photo. My view. Report. Attach photo, golden spiral one more time. It starts from the ear down the pole of the dock up to the ear. The golden rectangle. Composition does matter every time. People just like photos which are welcome post. If you ask them why, they would not have an idea. In fact, are welcome. Poster image is pleasant for the eye. You don't need to understand why. Yes, photographer would be probably impressed. You see the spiral, the rule of thirds, what grades, diagonals. However, we're not shooting for photographers. We are creating images for the audience. An example I like to give, imagine that there are two photographers, both of them taking photos from an event. Compared the photos seem to be almost the same. The story they're creating is the same in fact. But the photos off one of the photographers are chosen and published in the media. The photos in the other one. Not guess what the advantage of the first one Wallace composition, of course. It's not that the editors thought about it and started analyzing the photos just on a subconscious level. That's how it works. Another strong belief of mine, photographer has no nationality. If you are a photographer, just forget about it. You need to shoot to show what is happening. No politics here. When you look at the photo, discuss on the photo, not on your political preferences. No nationality is no ethnic groups, minorities, politicians, no one cares what your personal view is. You are a photographer, shoulder world. I've been repeating this and we'll continue doing good photography. Has no nationality. Just forget about that one. Back to Composition. One more photo. The image we start reading from the upper-left corner, the hands of demand. Well, take a look. The golden spiral one more time. The frame is again wonderful, is split into as if it tells two stories, even the dog and the girl. There is dynamics in the photo. You feel it, I guess I was shooting the girl staged photos in a park. In fact, then the doc game I continuous shooting, of course, that's held. This photo appeared, not those that were staged. This was the details and one, pay attention to the way everything is located in the image. From right to left, empty space, the hit of the girl, empty space, a couple, empty space. The head of the dog. Empty space, a cyclist, empty space. I can't one more time a proof that the background is very important. It's an inevitable part of the photo. You want a good image. Work with the background. If the couple or the cyclists were not that they are places, then the photo wouldn't be that good. I may not have shown it. Can't pull. All of these details within the image are really important. You do know, I'm always paying attention to them. It's impossible to be always thinking about this one. It's impossible to be considering everything up to the moment. When these composition elements become your seconds nature. And do compose your frame without a thought about the rules. This ACR success. This is just a feeling. Here. Rare composition element, the golden triangle. You can see how it is formed. No need everything to match up to the millimeter. Saying it again, just you need to be trying at about proximity. We speak about our doctoral, the zigzag. You see it in the image. The zigzag. You find that in the composition as well. Diagonal plants, golden triangle are rare scenario saying it again. I'm really happy when they find that in my photos. In short, do your best. Set a goal. Work on it. Experiment. During your eye, train your hand, work on your technical skills. Everything will happen. Just you need experience, which means go out and start to think now, look, I hope to see your in my composition course. It will really help you become better photographers. Ceo, there.