Street photography from inside, part 2 | Vyara Georgieva | Skillshare

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Street photography from inside, part 2

teacher avatar Vyara Georgieva, Technical Trainer & ESL Teacher

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction - what are you going to learn


    • 2.

      Telephoto lens


    • 3.

      The importance of aperture in Street photography


    • 4.

      Aperture and focus points


    • 5.

      Leading composition object


    • 6.

      Easy shots & difficult shots


    • 7.

      Why is timing important?


    • 8.

      ‘Presents’ for your efforts


    • 9.

      Photo title and photo description


    • 10.

      Shoot in B&W


    • 11.

      B&W vs Color


    • 12.

      RAW vs JPG


    • 13.

      Shooting in different weather conditions


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About This Class

Welcome to the Street Photography from inside, part 2 course! My name is Denis Buchel, I am an experienced photographer and my goal is to help you improve your photography skills.

The course you are about to start will help you improve your photography skills on so many levels!

You will start reading and capturing people’s emotions in a better way.

You will start noticing all those small details that will enable you to level up your photos.

You will start analyzing, thinking, choosing and showing your photo work a little bit more precisely.

You will keep enjoying the whole process - because street photography is all around us, it is the world we live in.

During the course I will be explaining everything in a simple and understandable way.

There will be hundreds of examples here. All of the photos you will see are mine. The stories I’ll be sharing, the experience,  the difficulties I’ve faced, the roundabout I’ve found… these are things you can’t learn by the book.

You need some inside info let’s say. Well, with 15 years into the photography world - into street photography mainly - I am here now to share what I’ve learnt, what I’ve discovered, what I've proved to be working.

If still wondering why you need to dig deeper into street photography mainly - in a word: because it’s magic

There are no requirements - just desire to take photos (with any camera/phone)

Let’s get started!

PS: The course is recorded by Vyara G., that's why you'll hear a female voice one you start it.

Meet Your Teacher

Teacher Profile Image

Vyara Georgieva

Technical Trainer & ESL 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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1. Introduction - what are you going to learn: Street photography is everywhere around the world we live in. You can see a moment behind the coroner. You can find your inspiration at who. You can notice someone's unique expression. In a second, you need to put the camera inaction to catch the moment. You need to be fast. You need all your skills. You need your whole concentration just in a millisecond. The author of this course, then it's Bhutto is a photographer with more than 15 years of experience. In the course you are about to start. We'll go a little bit deeper and talk about telephoto lenses, aperture and focus point. Not theoretically online and bad throw a lot, a lot of examples. The photos you will see will help you understand better what settings you need in different scenarios. You'll see the pros and cons. You will learn how to take advantage of the equipment you have at your disposal. Why do you like some of your images more than others? If it took me a lot of effort to make a photo, what that turn it into a more valuable one? Is it possible to take the right image in the right millisecond? How are these images created? Do you need to add a description in your images or is it better to leave it to the viewer's imagination? What about the labels we see around? Is the bad weather for taking photos? These are just some of the questions we are going to answer in the course that you're about to start. Curious to have the answers. So let's get started. 2. Telephoto lens: Let's talk a little bit about another interesting way to take street photos with a telephoto lens. Actual layer and not a great fan of big zooms. And that's not my opinion online. I've heard it from most of the street photographers. Big zooms do not allow you to convey the atmosphere and in the frame at a 100 percent. In my view, you must hear and feel the vibrations of the story. Another minus C, especially when not aware of this detail, there is excessive blurring the background in most cases. All right. But with all those details in mind, as I've already mentioned, there are still times. So when you want to shoot, the mood to shoot, is there just the light insights, your fearlessness, they are absent. In other words, your determination is taking Chorost normal human, then the telephoto lens is there to help. And do not forget that the telephoto lens brings the background closer. You can see how it works in this photo is special. Pay attention to the mountains. This is called aerial perspective in paintings and landscapes. I've already mentioned the blurred background. It's one of the specifics of these telephoto lenses are minus in one scenario of blows in another depends on you. Here for example, we worked quite fine. This was the effect I need it. In the general case, you may rely on this blur effect when you want to focus on specific object. This very photo was taken at 400 millimeters, F to 0.8. Here is another example with this telephoto lens, and the result is quite good. So comes another confirmation that you may shoot as you want and what you want. A word on composition here is the golden rectangle. Here is the diagonal, and the mood, which adds to the overall emotion. Honestly speaking, I do know this is quite an expensive lens. Absolutely not for everyone. Not everyone can afford that. I don't have one as well about these photos, while wireless, I was distinct and I just enjoyed it for a little while. The 70 to 100 millimeter lens is considered a classic. It's not the most, but a highly recommendable to have it. To have it for photos like this one, for example. Or for photos like this one. The telephoto lens is quite suitable for us nowadays for foggy weather, especially, true, right? If you made I'm sure you will like it. Yeah. And at the same time, no one said that you can't take a street portrait with a telephoto lens. That's how it might look. Once I used to be a really fond of portraits. Portraits like this one. And like this one, this wouldn't work on 35 millimeters, wouldn't work on a wider lens as well. Absolutely. There is no background that adds to the story, but the emphasis is not on the background. And the story here as treat portraits as a completely separate genre. A few more examples how street photography looks, what VIA telephoto lens. It might look like this or like this. In this scenario here, the background is blurry. It's neither too much nor too little. How to achieve it. Don't forget to play around with the aperture. As it came to the aperture, details are to follow quite soon in the upcoming videos. But before that, one more photo. If curious, currently I'm shooting at 55 200 on a crop matrix. As I said, I use it when he moved to afford that current of photos exactly. Or second scenario, when I see that the telephoto lens exactly would do the job in the particular situation. 3. The importance of aperture in Street photography: Let's talk about the aperture a little bit more because it's important to understand why it matters and how you may take advantage of it. Quite often, I see some numbers here and they're great. Just, it needs to bring an association in your mind. Because in this context exactly are a lot of photographers are willing to make a mistake. As usual. I'll try to explain everything through some examples, again for those of mine. So here's the first one. The photo was taken on f 11. Look at the background. While it is there due to this aperture exactly. You'll hear me often say that the background is the one which creates the frame. Here's a proof. In order to compare and t Clearly what I mean, take a look at the photo now that how IoT f cubed the photo, metaphorical speaking, just to clarify, the background is blurred in Photoshop only for the sake of the example. This is how it would look like on F2 0.8. Does the portrait of a woman nothing more? Well, there would be no story in this frame. A story which actually is a pretty good one. It adds a completely different meaning to the photo. The role of composition should not be underrated as well. I myself shoot with an open aperture in several cases when it is very dark, for example, and there is no honor way out. Or the second scenario, when I want to put the emphasis on the specific object, it does help then, back to the case when you shoot in the dark. Well, it really doesn't matter that you need to shoot a random LA. It's your task to try to take advantage of the background. Even if this is a simple bouquet. You can also use it to build your frame. There would be times, of course, when you don't need the background at all, what you need is the facial expression, the motion, and this is more than enough. Another example, same idea. Look at him. What else can be better? What else you may need more in this photo, the loop itself is enough. The background simply doesn't matter. Of course, there's always a temptation when you have a high-end lens to shoot. For example, on F1 0.2 or 1.4 and so on. I myself was lowered more than once. On top of veto, there is always the risk of losing the focus when choosing the very open aperture. Especially in difficult conditions as these, especially when there's a moving object in the foggy weather. Here, you do literally have no choice. I shot on F1 point to and hoped for the best. Well, when lucky enough, the result turns out to be quite a pleasant one. As here. Just always, absolutely always. You need to understand what you want to include in your frame. If there is an incredible fees, take more of it using either the aperture or the crop. If the background is what matters, then close the aperture. Here I wanted to capture everything. The expression of the person in the foreground, as well as the appropriate background. Both of them, let me combine mood and story. As a result, Here's a stronger frame. The aperture I used is F 13 and then d f 16 and work. Why? Well, first of all, I needed to keep the dialogue between the shirt and the building. And second upper turtle like this helps and makes it possible to shoot in a very bright afternoon sun as the one here. This is a shot from the streets of Israel in the summer. You may imagine what I speak about. Same idea I applied in this case, the scorching kids read or seen again, the number of the aperture is f 16. It did also help mobility the association between the hand and the skyscraper on 2.8 or even for this would not have worked if I had blurred the building even a little bit. The link between these details would have been lost. Here it was necessary to think we collect six AM in the morning. The light is not enough on top of veto against the sunrise. It's short at 24 70 F9. If I can't go on for a larger number of the aperture, I wouldn't be able to shoot the speed boat for. The background here is really very important. So I did work with the most correct settings for that situation. The most in the frame and the mountains are very important details in my view. Details that cannot be skipped. I mean, either cropped or blurred. One more time. Don't always think about what you want to include in the frame and what you want to emphasize on these details will help you make up your mind. Next shot, aperture 13, it would be insane not to include the background here. Do you agree? What a strong dialogue between these two worlds and how much sadness in one and the same frame. One more example, laughed in the serious aperture 13 again, when shooting, it's my strong advice to keep repeating to yourself. I'm a street photographer. Street photographers are storytellers. It's you and only you who may decide what to tell with your photo. Do not miss the important details. At the same time, do not add unnecessary elements into the frame. Think, analyze, and to react. 4. Aperture and focus points: When we started speaking about aperture in the previous video, I mentioned that there are some mistakes that are made quite often. Well, the problem for the majority of photographers come from their attitude. What they mean is that they are looking at the viewfinder as if it were an aim. Or even worse, as if it were a tube. Hints comes the week composition. Let me try to explain with examples one more time how I came to the advice I'll give you in the next several minutes via my own experience, I was still working at the newspaper when they really got tired of missing shorts or taking poorly composed throats. The reason I was shooting with a central point online. Once in the older models of the cameras, it used to be more reliable. Let's see. Especially if in the case of poor lightning or an open aperture. And while I was focusing on the face with this point, I didn't have time to build my frame. I was taking photos after all, I needed that fast reaction. Everything was going on in the twinkling of an eye, you know how it's happening at an event. Once I decided to take the risk and shoot to width a newer camera at that time, Canon 7 day. A little later, Mark to what I changed was that I was photographing with o focus points on or another way with some group points on magic. I just realized that this is it. This is what I needed, I found my way. In other words, this option allows me to focus more on the story and composition. This and many of my other works were shot in that way with close to apertures, radio ranging, sorry, ranging from 7.3 to 16. Here comes quite a good example. At 16, oh, focus points on and the moment is caught. I couldn't imagine shooting with a single pointer at that exact moment. Just I wouldn't have the chance to take my image. A lot of photographs shoot with manual folks. Well, it's my personal opinion of course, but I think that with our modern fast lenses, there is no need to suffer real life. I mean, just take advantage of technology and of the improvements that are happening. And here comes the result. There is composition and the horizontal golden rectangle, there is plot. Yes, if he should, for example, at 2.8, as in this case, then of course, the chance to lose the focus in your frame is much higher. Because of that, I didn't take the risk and short with one focusing point only here, which again comes to prove each frame requires your individual approach. As in this case, for example, it was simply impossible to shoot with all the dots since I wanted to focus on the person. Pause. The larger number of the aperture. Because of that, almost everything is in focus. But I would not risk tools a photo like this. It was really necessary to build a precise frame here, this is my favorite vertical rectangle in practice again, and here comes the horizontal golden rectangle as well. Can you see now where I'm aiming cat, the intersection points of the two golden rectangles are passing near the head of demand. Perfect timing. And it's so important in street photography, painting, each type of photography actual like a step further. And here comes even the golden ratio. For some of you, this may seem difficult, but all you needed East, a little bit of experience, a little bit of practice. The more you practice, the easier you're going to see them at least. And then of course, you start adding them, these compositional elements to your photographs. Here's a scenario when you have all the time in the world for your shot. No needs to be in her. Everything is calm and you shoot with 1 on. When you have such a chance, just use it. This is your time to build the frame as you'd want to up to the slightest detail. In my case, that meant the golden spiral to be included. Should think with the central focus point, often result in a central composition. I have already mentioned that the central composition is considered a violation of the composition rules. Precisely. Just not always. Take a look at this picture. For example. In my view, the central composition is there to add more to the confusion, to the loneliness of this person. It seems that he simply does not understand where he is at the moment. He's probably back to some familiar places. There is probably nothing for mere, they are familiar, left there. Going further a little bit with our plot analysis. The time for him, he has stopped. Pay attention to the old clothes, geode bags. All these details add to the overall feeling of timelessness. Didn't notice our analysis started from the composition, the central composition. Here comes another example. When the central composition works well again, if you look at the photo in detail, you'd notice that the central composition seems to create itself what they mean. First of all, the window behind the woman with the Bogut, notice its frame. Then the woman herself in the center of the window. And last but not least, from left to right, the girls look, the grandma, the visual contact between the camera and the central object in the frame. That same movement with the bulk and then another woman, then another man. By the way, I was always curious whether she will she will present the flowers to someone hands. She's smiling or she's just being presented with the flowers and that's why she's smiling. No answer I can give you although you see it now, that crossing point, COVID the cross, if you do until, but what matters here? This is an aim, excellent and well thought over violation of the compositional rules. It, it's a common misconception. In fact, especially in portrait photography, you need to use the central composition. Well, nothing like that. I completely agree about the central point as the portrait can be seen frequently in between f point, F to 0.8 and the four. But the composition may be different, not obligatory, a central one. Another example shot on 2.8, how the balance is achieved. Well, look at the tree on the left to end a passing person. There, the destabilizer. If I may say so for the central subject. Or you can do it this way. F4 at 200 millimeters, almost without any balance. What makes the photo here is the atmosphere. It creates the general mode, snowing, gloomy, homelessness, sadness. You may enumerate more. Then one more time, a photo taken with a central focus point. Of course, despite the 7.1 aperture, you definitely need to focus on the person, but the atmosphere at the same time is not less important here. So you are having another example of a stable, beautiful and on the place central composition. I won't stop repeating it because it's really important. Always, before you take a picture, think about what you want to take in the frame and what you want to include in it, and what you want to exclude what does not matter in that precise case. What would be emphasized, the antitrust be left secondary the picture. What points to use? A single one? Or probably you need all of them. Maybe you need a larger aperture to have time to build a good composition. Everything is possible, or it's only the central point. In a calm mode. Everything, really, everything depends on the situation. And of course, in a combination with your, with your goals. Don't forget that this is your photographer. You are the one who is in charge. 5. Leading composition object: The leading composition objects I've mentioned several times already. And I'll probably do it over and over again. Why simplest said, because it's a part of almost all stories. So let's take a closer look at what this means. This photo would help us a lot. This is the original image, okay. What we have first, four objects, three people, one of them with a dog, but in this case it does not matter. And in the lower right corner, a dog? Yeah. It's a doc right there. Just trust me. So a lot of objects, in fact, which of them is the leading Kwon? It's not so easy for everyone to see at first sight. While, Let's start with our experiments, let's remove the person on the top first. Like this. Well, this didn't affect the photo a lot, which means this is not the lading object we are looking for. Next step, next experiments. The men on the top is back, the one on the left is removed. The photo didn't fall apart the stem either. The balance, which is so important here, is still present. This is not the leading object. What about now? We return the one on the left and remove the one on the right. The person with the dog. No difference. The photon may exist in this way as well. Going further, let's remove all of the people. Well, even in this scenario, it has the right to exist. It's a wealth shot photo. But as soon as you remove the dock and bring the adders back, That was it. Game over. The frame fell apart. The photo can't be just can't be shown. It's a ready for the bin. Only areola. In simple words, just to the fact that there was an unusually large space left empty, the balance disappeared. As a conclusion. Our photo Definitely can do without people and cannot do without the dog. Which means exactly that the dog is the leading compositional object. Go back if necessary, take a closer look at the steps we've taken one after another, and try to make the analysis on your own. Let me show you another example quite shorter. The difference here is that at first you may think, well, absolutely there. So leading composition of object here. Not quite sure though. Let's check it out. I'm experimenting with a dock this time removing it. Well, nothing is changed, right? The photon may be shown that in this way as well. It can live without it, without dog, let say. So. Now we are having a minimalistic style and graphics in front of us. Whether the doc needs to be there. Well, there is no problem if it stays or let's put it that way. You may even say that the doc conveys the mood. Agree, just the, it's not there as a must, certainly not end. Here comes a difference with the previous image. Why do I think so? Well, because of the fact that in its place there isn't a large empty space that should be field, that should be filled in for the sake of the photo, with the doc or without it, the photo is worth at the conclusion, there isn't on leading compositional object here. I know I promise not to come back to the topic, but I still want to remind you about my course on composition. In my opinion, if a master composition, you immediately go up a few steps higher, no matter what gender you are into. There are a lot of different examples there, explained in a very simple language. In the end. I don't like it. You can always get your money back, you know, the, the policy. So you do not lose anything. You may simply take something more for yourselves if you like the style of this course, the examples and the explanations. I'm sure you'll like the ones that are there as well. And what really matters, it would be useful for you. 6. Easy shots & difficult shots: Was taking that photo's too easy or was it too difficult? Where you are on the verge of risking your life even while shooting. Is it possible then your personal experience, your efforts, or the lack of them influenced the way you think for a photo of yours. Well, these are some of the questions we'll speak about in this part of the course. Which photo was taken, how, and if it really matters, think over it. This is a problem not for beginners only in fact, even experienced photographers face it may as well write even I still catch myself in the same trap. Them for some stories. How it was shot. I'm at an intersection waiting for a colleague of mine on the shoulder. As usual, the cameras hanging, a bus is pulling up and stops at a red light. I see this story from the photo in front of you. I'm taking literally tour three shots. The bus leaves, a call, comes up and we go for work. How easy everything was. I'm thinking while downloading the pictures at home later that night. Well then I moved this image to my archive and didn't touch it for, for a walk time. In fact, then passed once I decided to do it and to publish it just like that. I was so surprised by the reaction. You can't even imagine. It was D wow, effect almost everywhere. And that was not prepared. Later this photo, even one uprising, a contest and was published in many places. Why I underestimated as at first, because taking kit was too easy for me. Actually, no one knows your story behind the frame. Your audience interested in the story within the frame. They are interested in what they see. And here comes another photo, another story. This is my first serious report, the dorsal line 2008 event, The Ascent of the qualifier. There were a lot of pilgrims who had made their way through the very narrow streets of the old city of Jerusalem. Streets where Arabs would sell souvenirs. The pilgrims were on the way to the church. Then in a moment everything stopped and the stampede began. I found myself cereal this seriously pressed against the wall under the food that was smoke curse upon which I got stuck. Yes. It was under one of my feet. I remember I was slightly turned around to and could not stand on both of my feet. It got worse. People lost consciousness, started to panic. There was practically nothing the military, the military police could do. I was left alone or with the sellers and the opposite side of men. This is what you see in the frame. These servers are also trapped just in their own store. As a result of the whole story, I had a broken lens hood. I was dehydrated and one of my legs didn't work quite properly. The most important part of the experience is the photo that you see driving home. I felt satisfied. I knew it was worth it. I had a photo. Now, let's compare these two photos. I think that both of them are strong enough. But what's the problem? In the first case, I underestimated the picture only because it was too easy for me to take it. In the second case, I was a young novice photographer with the feeling that I had been to war, literally in agony. I took this photo well down. It must be a good one. I was sure that point. What they mean is that you need to learn how to look at your work with any without any prejudice, without considering your own emotions, your own experience. Believe me, I still find it difficult because of that. I often leave the photos for awhile while shooting. I need to be objective when choosing and showing the photo. This is my strong advice for you as well. Emotions are not our best friend. Here is another example. Ultra orthodox Jews in a separate clause neighborhood in Jerusalem. There you can often enough face a serious Canada or run into troubles of a kind. Strong photos, strong story behind it. This is the invisible layer, Let's call it dead way for the audience. They really don't know. I mean, if you have no idea who these people are or if you're not aware of the situation in Jerusalem, you would not say that this is something wow. Okay. But I knew it because I was there and I knew how much effort it means to make to be there and to be shooting. Another photo. Another story, not that impressive. The photo was taken while I was waiting for the bus. So first I took it with the phone. Then I had a moment to think about the story itself, to decide that I like it and to shoot with my camera. Does it make it worse than the previous one? Just because it was not difficult, because it was not dangerous. You know the answer already. Absolutely not. Quite a decent photo in my view. And a slightly different example to find now on the underground, low lightning know fuming callout. The trainer was no more than a minute away. I shot on F1 point to and this is the only photo in focus out of 50 or 60? Yes. The person himself. You can't even say what mood he's in. Looking at this photo, you have no idea or what circumstances I took it then. You have no idea that this was difficult for me. You are interested in the result. Of course. Then comes another one. Village, a woman burning autumn leaves me shooting cowardly for a distance of 200 millimeters. Beauty. All I had to do was to just click on the button and go on. And that's where the problem comes. The first frame from the underground is times weaker than the second image. I, as a photographer see it. Just my brain at the same time keeps telling me, dude, you suffered, you are scared. You took a risk taking that image in the underground. So let's agree that this picture is the stronger one. Great. But no, Remember, the viewer has no idea how you got the photo. And he doesn't need to think about that. He doesn't care about this one. The viewer is not interested in your own struggles with your own camera. They need the result. Everything is simple. The photo either catches their attention or not and they keep scrolling down. That's what I was talking about. You must be able to evaluate your photos objective way as if they were not yours. There is another problem. You took, for example, a picture of a man who strongly reminds you of your grandfather, for example. So you decide on an emotional level that this is a very good photo or great one. Just because of their examples. Please don't forget that. I, as a viewer of your work, don't know your grandfather. And if there is nothing else in the picture, apart from the resemblance with a dear person or a memory of yours? Well, I'm sorry. It will not be of any interest to me. Another interesting topic we'll cover in the next lecture. See you there. 7. Why is timing important?: Let's talk about the shooting itself, how everything happens step-by-step. It, it luck or maybe something work. You may be surprised, but there is no special secret how this or that photo was taken. Actually, it's quite simple. The main point is to see, to find an interesting place. Then just try to imagine how it might turn out if a person passes here or there. As for example, in this case, I thought the shop window with these icons. I walked in different directions and observed how people would fit into the story. Not the people themselves, but they are reflections. I stopped at the place I chose. Then the weighting started. I was waiting and waiting, just needed the right person. The right person in street photography is the one who most harmoniously fits into your idea. In this case. I remember I stood with the camera ready for about 40 minutes. Yeah. And waited just waited for my right person. Well, as you see, it was worried that he appeared. Same story here. First, I found the most profitable angle. Let's go with that way. Then I started praying for the person to pass. I must just say that when you shoot in this way, very often in the frame you will have not what you expected. We'll cover it later on in the course again, I mean, you simply have to be prepared not to miss something just because you didn't expect it. Here, for example, I was thinking about one person against the background of a trial line and a monument in the distance. I took shots like this. They are not bad either admit. And there is nothing extraordinary in them. At the same time, I was shooting quarter wanted, be careful just often enough photographers get kind of overwhelmed with an idea up to the moment when they can't see another story happening in front of their eyes. Because of that, quite more interesting stories may be missed. And it's a problem. I think of these unexpected stories as a bonus for your efforts and for your patients. Mentioning the bonus, keep in mind, we'll speak about bonuses in this context later on in the course as well. So out of all of the photos I took, I chose this one. This one, not by chance. It's interesting because there are quite well located people here. There is a leading composition of object, you know what, this now, there is the golden ratio as well, plus a lot of graphical elements in here. It's winter, it's cool to shoot. I spent about an hour at this place. It was really cold. But I think it was worth at another interesting point here, while I was shooting, I didn't forget the other side of the road as well. People were coming here, people were going there. Here. You see the background is the monuments. The lines are straight. The people are there for height. There, the other side people were also crossing. Just the background was not worth it. The lines were curved in short, I needed a different perspective. Well, here's what I came up with. Only feed crossing the lines, the curved lines, and could play with composition till I was satisfied. See one and the same plea to one and the same monument. Well, absolutely different stories at the same time. Of course, almost everything depends on luck. And the right legs. Mentioning the right or legs. It's really important to pay a little bit more attention to body language and to the right person. Here's another example to show you what they mean. Take a look at it. Here I saw the inverted sign and it seemed funny to shoot them walking person. I found I found the most preferable angle and angle one more time and just started waiting waited for someone. Of course, I needed the right person with the right legs. You see clearly what I mean now I hope you've already seen this photo. It's difficult to end completely compositional. Let me describe it that way. On top of it. Oh, there is cool atmosphere in it. Here. Of course, it was not as simple as in the previous examples. Due to the fact that the tram is constantly moving. The picture in front of your eyes changes. It also shakes constantly. I had to hold on with one of my hands and stabilize the camera with the other one. What attracted me here was the cross from the handrails. I hope very much that the person would appear in order to create the composition that they wanted. Another conformation that if you leave your warm and cozy place at the weekend, at the moment when you just want to watch a movie and take rest. If you go out and start shooting, the chance to take a good photo is greatly increased. Another piece of advice tried to predict how the situation may develop. Just don't stop shooting. Take the most out of each situation, out of each story. In this way, your chances of taking an interesting shot would increase dramatically. Look at the image in front of us. Here, the Shepherd just standing and smoking. So this was what I was shooting. Then he went back and forth talking on the phone and they kept throw think it seemed that I had already done my part there. They had the photo from here, but I didn't leave. Just they had a good feeling. After all what happened? He had seen that I was shooting and did not mind. So why should I be in a hurry to leaf? So here's how the story continued. The shepherd decided it was time for the hurt to move. So he started shouting at them, waving his hands. Then came the moment I took the photo, I needed someone or looking at the frame will say, Oh, it was his luck again. Could be. But if I hadn't waited TO that moment, then this frame wouldn't be there either. Here the shepherd is like a conductor in front of his orchestra. Write a moment that was worth waiting for. I must admit here, in order to take this frame, I had to get to give the best admin. First of all, this is a fairly well-known place and shots were taken here by so many photographers, you can't even imagine. In a scenario like this, you have two options. Either not to shoot a toe or to try to shoot the asset was not filmed before. I think my interpretation worked. Such perspective from here, I haven't seen yet. There was another problem behind the scenes. The blood was changing all the time, literally every second the light was disappearing. Or last but not least, the moment when you need to choose a photo, you have only one tried. You need to make it correctly. You need not to make a mistake. Keep in mind that in our world, in the world of photography, this is considered as a separate skew for a reason. For a reason as well. There are people who are specialized in it. The photo editors. Timing, in fact, is the most important thing in our photo world. Take a look at this photo. If I had to press the button a second earlier or later, the end of the game. Just no frame. Okay. Let's not be that hard on ourselves. We would have photo as well. A photo that could be shown just times weaker than the one I'm showing you right now. The story behind the scenes. I was walking with my cameras usual. At the moment, I saw a man coming and the first thing that caught my eye was the face. Of course, the shirt as well. I decided that I was going to shoot. Just it was really important to take the most out of the moment. What I came up with, I wanted to link the pattern of the shirt with the similar pattern on the building. And the main point was not to miss the moment. It was not either by chance or by mistake that the person was shot in an empty sky. A moment later, he would have merged with the building. And again, end of the game. You really need to train how to use the second that you have at your disposal. It may help you take a really good photo or lose a very good photo. Here is another example about the place and taking the most out of it. Here, right here. I even asked to shoot from inside to the store. I said, I really like the fence. It. Beautiful one and wants to show to it the reflection of the shop window or do you let me in? As you may guess, the saleswoman looked strange to me, of course. But let me in I mean, it in advance, I had seen that this man was walking in my direction. And here's the result. I started after that, walking along the fence, found the angle I needed, and waited for passers-by. I'm really happy that I'm constantly not happy with myself. That I'm always trying to get the most out of the jaws and place. This frame is the reward for my patients. But you need to be prepared just because of this. Very often, you will format the memory card. This does not always work and miracles and not happen every day. However, you are practicing shot after shot. Keep it in mind day after day. You are simply getting better. You can of course, make a compromise for the sake of saving photo. But it's my sincere advice. Be more critical of yourself. This is the only way to develop, not speaking about photography on the moments are like these are really necessary. And trying to take the most out of them. I analyze where I failed, how I should have done it, what I didn't pay attention to, why I'm showing you this selection of photos. Well, they can look at the overall atmosphere. It was comb, it was direct eye, hence the time I needed. I could have done it better. Yes, Not a bad photo here, but nothing special. And the same time. Here comes another interesting example. In short, if you keep waiting, something would come out out of the situation. What is going on here behind the scenes? Believe it or not, I was waiting here for almost half a year. Don't take me wrong color and don't imagine that that put up a tent here or something like that. Living on the street with my camera on LA, nothing like that. Of course. I was passing here for work when I saw this place and took a couple of photos with the telephone lines, I was sure that something could come here. I did like it. And I imagined how cool it ought to be for a girl. Be careful about this girl to pass. They're in a beautiful summer in a red dress and most most preferable, or a small dog. Whenever possible, I started coming to this place then and now waiting for the desired plot. Sometimes I came three to four times a week, sometimes once a month. So winter came IS usual was radio with the camera. My hands cold and tired. I constantly keeping the camera radio and shortening those who pass. Then the moment came. Suddenly something was going on. Some fashion or car, a doc, this is what you see in the photo. A guy with a doc gracias, a pedestrian zebra crossing and the taxi driver just brazing process without letting the impulse. And here's the result. When you hear about this photo. Well, he was lucky. Okay. That moment? Yes, I was lucky. I just think with a smile. Well, yes, starting with the girl in the red dress and ending with this strange winter plot. Covid luck if you want. And I'm really satisfied, I could take the most, at least for now, from this exact place. I chose it. I wished for it. I wanted something to happen. So it worked. Do agree. A completely different scenario from the one that was in my mind, but I liked it the way it went. Just shoot. This is my sincere advice. Let your imagination free and pull the camera out. Sooner or later, you will be rewarded and pleasantly surprised. For your patients into eric. This can be done in five seconds or as in this case, for a slightly longer period at around six months. But it will happen. Just get out of your cozy home. Something else worth sharing here. Take a look at this preselection. These photos have passed the initial round. Let's say it like that. My first task is always to delete the ones that can be deleted. Although I'm trying not to shoot a lot. There were times when they can't cope with it. The problem is that later on, I simply don't know what to delete, what to save and which picture to choose. Hard times. In other words, as a result, all of my external disks are already fall. But back to the photo. Here it is again, a matter of timing. The general scenario. I have a vague idea in my mind what I want. Just as usual, I don't know what I will get. I was quoting, I was standing on my toes. I was taking about a couple of steps in this or in that direction. In other words, I was looking for my place, for my story, for my moment. Here's another example of timing in practice. I was trying and trying to the moment when what I wanted was in front of my eyes and in my camera. I try train and hope that my idea would turn into ARIO story. Here again, seed the right inaction. In the photo on the left, the step is less beautiful, let me call it that way. And the step on the photo on the right is very elegant. For me personally, this is very important. The wrong position of the legs can ruin everything literally. Remember, at the very beginning, we started this video with examples where Alex or present, shooting collects is a separate genre. Even so important, it really is. As we started talking about legs and other perspective here, this photo was taken the recent lab. Please note that it is not straight, it is grouped. And at the same time, I am not a 100 percent sure here that the central composition is the best choice in this scenario. Well, just take a look at the gate, at the waist walking as if he's flying, right? Actually, the last time I remember myself. Well, Kate flag that was well, yeah. Was when I was coming back from school without homework for the other day. Because of that exactly because of the emotion, the moment and despite the shortcomings, I decided to let this photo B and decided to show it. Yes, Just for the sake of the body language, propagate and mode. 8. ‘Presents’ for your efforts: We've mentioned several times already bonuses, rewards, and present gifts. Call them as you want. I'm sorry. It really doesn't matter how you name it. The main point is that it happens you have present for your efforts. And this is the important part. It wasn't by chance that I repeated a 100 times now. Just keep shooting just a second. No, I don't mean mindlessly clicking around. If you find an object or a place or get out DOD and take the most out of it. I have five minutes free. I'll be shooting for five minutes. 10 minutes free. I'll be shooting for 10. That's how it works in my way, at least when I go out with the idea to shoot specifically to shoot and I shoot more, but just if necessary. Moving to the photo in front of you, I noticed this place on my way to work for the sake of taking Confucius here, I sacrifice to my time now and then, of course, I needed good weather. Just let me clarify. In my photo life. Good weather means rain coat, folk and snow. Well, if possible or advance on that, they exact layer. I went out 20 or 30 minutes earlier just because I wanted to take a picture. I did not expect birds in the frame. Of course. This was just a nice bonus. I do agree, however, and that without them, the frame would not be a good one, or at least not as good as now. An important moment. After taking that photo with the birds, I didn't stop shooting. I just wanted to take the most out of the place. Well, honestly speaking, I wanted birds in the frame. Just of course, I could not imagine how this could be done. It was a matter of luck from them. So I kept on shooting without the birds. I really hoped that at some point they would fly into the frame. As in the image that you see. Here, the birds are not just for beauty, as in the previous photo. There is a message, symbolism and mood. Or love. Birds going Kantian kant, a bird flying nearby. I was lucky of course. But I wouldn't have been lucky if I hadn't got up early in the cold weather and if I hadn't stood there fuming, I think this is well-deserved reward for my patients. And of course, there are other one to 100 frames and without birds and without a blotto. As I said, it's always a really different, quite unpredictable as well. I could have left the place, for example, after the first shot and I could have missed all the other great moments even if I can't come back another day, the scenario or to have been different already. Before blaming made. I agree and confirm. This is not a street photo. However, it's also a good example. The heart that was formed during the performance of the gymnast. I saw after I open the picture on my computer? Yes. The frame had already been well-built. Agree. Just a gift like this one cannot be left not appreciated. The heart changes the idea, the essence of the story. Discard connect him with the girl in right, the girl quiz, blink the violin only for him for the 100th time, but I'll keep repeating. Something happens only when you short and if you shoot. Another example, pietas again, if not for them, no photo, photo. What it mean? These two were enjoying their time at sunset. By the way, one more tip insights to political ad. Mondays are not the best first treat for the fourth street photographer who may simply run into trouble, especially before, uh, no, yeah. Just hear it in mind. On Monday. Yeah, on on Monday. You know, people who are less current policy, it that way personally verified just to estimate, no need to experiment. So back to the photo. It was taken on a Friday afternoon. Quite a different mode in here. Man's hand appeared and began to feed the birds. Well, who could expect that? So think like that would happen, but that was there. And I took advantage of the moment whether there would be a frame without pigeons? Definitely, yes. Did these pigeons, he opened a frame become better or at least not standard? Of course, yes. Again, would I have got this gift if I hadn't started to think? Of course not. The conclusion, keep shooting, keep trying, keeping drawing. I remember I was once asked how I got so many pigeons, cats and dogs in my frames. Well, I replied, lesson, pigeons are trained, dogs and cats are just inflatable. I simply throw them here and there in the frame to add to the composition and mode. Yeah, something like that. Could they have imagined that both the pigeon and demand in that round old raised their hands and pause in the same way. Of course not. No way. I just wanted to shoot the word against the background of people that was it. Well, the result is a little bit better than my expectations. Always a chance, call it luck. Go with a gift for persistence. A gift. I do like a lot of bombers, I'd say I was taking pictures through the window of the bus. The person who looks like a ghost, you see him behind the woman a little bit to the left? Well, this man, I did not see at all. Later, I saw him again at the computer. We've already analyzed this image when we discussed the blot and composition, I was really, really happy with these birds here in the shape of a triangle. The gift for my page for my patients. One more time. Someone may say a Rayleigh. Why are you paying that much attention to a small detail like this? Who cares about the birth? Well, the so-called small details are the ones that create awesome shots, shots out of the box. The surprises exactly are the ones that motivated me to continue in the street January. Exactly what yeah. They did. Just make me be eager for more and more. Make me be impatient. I want to be surprised. Another photo, another story. Trust me, I didn't see the inscriptions of the woman's back while I was shooting. Thanks to this inscription, the photo speaks in a really different way. It does show it does reflect the real situation in the entire contract. Just a detail. Right. But one that matters a lot, one that creates this photo. I definitely didn't expect such a bonus, such a gift. I was simply shooting. Here comes the last example. I see a guy with a girl having fun together, a flower, probably the first date, and the guy who looks at them. Well, he's a little weird. So I'm taking a photo. Not a big deal. You'd say just the text on the book cover says Stephen King. That sums it up. What's he thinking about? What's on his mind? You may continue on and on. This idea about bonuses, about present. Well, it's endless and it's quite cool at the same time. My advice, shoot and carefully inspect your footage so as not to miss something interesting in the frame. Then police the VR with your story. People will get excited as well, thinking, for example, How's that even possible? I don't know even or just let them think that this is a staged photo. People are different, everything is possible. In fact, you just need to keep enjoying, go back and continue fuel MNC. That's the only way to improve your own skills. 9. Photo title and photo description: That's dy dt or no question. Do you need a title or a description of your work opinions? You may find a lot quite different. I myself have not yet fully decided how to do it correctly. But there are a few things that are clear and obvious. After all, Let's cover them up. This is the photo from the previous lecture. This is a screenshot from my Facebook page as an example with an exploit them now explanation of what is written on the book cover. Otherwise, this photo is automatically lost for the public who does not understand at least Cyrillic letters denote the title is in Bulgarian. And I think that any Russian speaker will easily understand what is written there as well. The name of the author is of great importance in this case. That's why I said at the book cover, says Stephen King. Take a look at the photo here. Well, there's a difference with the previous photo, isn't there? The story within the story itself is missing. The caption speaks quite a louder here. It says, what do you eat at our place? As background, you see hands, feet, and hits. A problem with understanding would arise in each and every similar situation. In the case of any foreign for the viewer language. If it were written in English, while great, the chances of being understood correctly are getting higher. But since I have been living in Bulgaria since 2009, well, I simply have to cope with it. This is what they have. Here is another example of how well the label can work. I'll let them analysis a short analysis. All look at the woman, obviously not a Yung Guan. Was the shape of the hands. You may see on yet was the caption saying start, probably that's the beginning of something new. Probably just not for a car. As I said, it's quite much better, much easier when the capture is in English. Hc stands for an expression of annoyance or surprise. What the heck you see here in a word analysis and associations. I'm leaving for you. Generally speaking, it's also recommendable to know what is written where. It can only increase your own perception of the photo. You've also probably encountered a situation like this one. You see something, you are very curious what is written in there? Well, you make Google it probably if we count the appropriate keywords installed. In this case, you have a chance to catch inscription only if you understand Hebrew. And the last example, when it comes to labels and captions within a frame. This is an underground station. It's name is Natasha in English. Hope. When I took this photo, I thought, wow, here it has a photo that characterizes the whole 2020. You may notice a really strong message in the human body language. They can look at the lower part of the frame. No black tone dominate here. Here are the inviting ratios as well. As if they're offering to went to the torture. As the underside, as counterweight comes the caption, hope right there above the person, above the person seeing it one more time. This is an important detail in my view, I think over it, we do always look up with hope and with the hope that there is someone there who will hear us and who you hope in a difficult moment. You may go even further with your analysis. The photo shows the third, no struggle between good and evil, between a lightness and darkness. This is what the photo actually about. In the upper part are the bright lights of hope. In the middle demand you want who needs to decide? And in the lower part comes the frightening, the frightening directness. And this is the present. But damn, it's British that the inscription is not an English. In my case, this photo automatically becomes local, not an international one. Yes, of course, I will publish it with the description now translated the name of the station. But for an international competition, for example, it will definitely not work. As I've already mentioned, I live in Bulgaria at the moment, so I will add another local example here. The picture may take its place in the photo world without a description. But if I added, well, then the message of good times stronger. The location is important here. So like it's checked out as a start. This is the center of software that kept our Bulgaria. A man is begging and in front of him in the distance. Dx Communist Party house and the building that you see. As I was shooting in a serious different legs got into the frame, but I chose these as you see them on the photo, not by chance, Of course. Or detrital guess why? Because of the color of the pens, precisely. The socialistic past of Bulgaria is still haunting the contrary. As a lot of people blame the communist regime for the problems. Here. Back to the photo, what we have, the color red was the Communist Party house about the beggar, a metaphor for all the poor people in the contract. Of course, I didn't write this whole analysis in this way when I publish the photo in the social media, however, I did add the place where it was taken, what that building case, the ear as well. I recommend you to follow this pattern as well. Where, what, when, Keep it simple and informative when this information matters, of course, when it adds to the message of the photo. As in this example. This is just a sample of how a street photo maybe quite close to documentary images, something we've spoken about. Another scenario, there is also a documentary element in this photo, and the year is really important. It's an nowadays photo. Woman is standing at the bus stop? Yes. Yes. I didn't believe it at first either. The bus stop, remember, as in Sofia, the capital of a European country, on top of veto, the stop is no more than 10 to 15 minutes away from the city center. Now, the ER, this photo was taken is 2019. You'll see if the image was taken in the eighties and not in the Capitol, quite far away, quite far away from the center. Well, then the message wouldn't be that stroke. There will be no interest in the photo. Therefore, in this case of brief description is simply necessary. 10. Shoot in B&W: The tip that we're going to discuss right now is quite suitable for those who are into black and white photography. Count me in, for example, have the majority of my photos in black and white. Exactly. Not to exaggerate, but I'd say around 95 percent probably of my work is in black and white. And I was thinking, since this is the case, why not immediately just shrewd inland and wide? Let me explain what the advantages are. Two main ones in my view. The first one, you have a more correct exposure when shorting. The second one, deconstruction of the frame. Let me explain everything in detail step-by-step with examples, of course, starting with exposure. Well practice has shown that this works really well. And as it turned out, not only for me, I learned that many photographers use this option. Of course, everything depends on your monitor calibration settings, which, you know, may vary a lot. Minus calibrated for car. Not a bad one. I mean, so the D exposure in this frame is correct. By the way, if you notice the I took a screenshot of the raw file. So you can see the original shot. Based on personal experience, I must say that if I shot in color, the picture would look something like this. Having in mind that I shoot in RAW format, it's not a problem to pull out the dark and adjust the exposure. But you should always try to shoot in a way that there is less work after that in Photoshop or whichever programming areas. And just imagine deal lot of work you'd have. If you shoot a serious and all the frames need to be processed. Why you need to do this? One way or another. Any extra manipulation in any program affects the file after all. Another screenshot of the raw file. Just as an example. By the way, if someone does not know or is wondering why I speak about to think in black and white and color photos. If you shoot in black and white, then you see the image in black and white only in the display on your camera. When opened in a raw converter, the images are covered. Okay? So saying it one more time. If you shoot in row, if you shoot in JPEG, then it's a different story than the photos remain black and white forever. And for always a small detail, but a really important one. So you'd be, you'd better really know about this. So as you can see, everything is very good in terms of exposure, especially when you shoot from the bottom-up. As in this case, you probably know that in the frame on out to exposure is always much darker. It will become really clear for you when you try it yourself. Just open the file for processing converted to black and white. And you will see that the photo looks like the one you saw waited to get moving on. Here comes the second reason why you should try to show it in black and white, because of deconstruction of the frame. Take a look at this image. It was also taken in black and white. This choice of mine really helped me. I was completely focused on the plot and on building the frame. The left part of the frame is warm in color and the right part is colder. As you can see. What I mean is that the cowers in this case affect the overall balance within the frame. Perhaps if I had shot in color, then I would have captured or less warmed or vice versa. It could have been too much. Then this wouldn't have been in the frame. Golden triangle are rare bird in the world of composition. It matches perfectly fine here. Going further with our composition based analysis. Here is the golden spiral. Not one of these is the elements as well as we've mentioned. It's absolutely not about how cool I am. Just want to underline that how I am pursuing complex compositional elements and whatever. Well, it does simply a really work. It's worth shooting in black and white. And I wanted to share this strict with you. I wish I thought of that sooner. I wish someone had told me. It's possible that thanks to my experience, I could have taken the same picture if a heterogen cower, no one knows, but shooting in black and white does really hope I see it in my own photographer. A curious fact, if you line up objects of all colors of the rainbow and quickly move your kit, just run your eyes through. You'll see only yellow. And here's a good example of why it makes sense to shoot in black and white. In cases with these very needed cowers, as here, brain will simply designed that discovered the optics dA1 will be extra in the frame. We will not be necessary. I'm sure that many people or to frame this frame different lab, again, should think in black-and-white here did help me take this photo as I wanted to. That's what I mean. Talking about the visual perception and the choice of framing. The yellow car seems to be quite large in yellow, in cower, look at it now. In black and white, you may see a completely different proportion between the objects. If not shooting in black and white, it's really quite easy to make a mistake here. Just tried experiment. You need practice in order to understand the if shooting this way is yours. If you took a real lucky for me, it's helpful. That's why I'm sharing with you. But there is one exception. I take almost all of my night photos in color, white. I don't have a specific explanation. Probably it's because there is little light. And in most cases, the background is lost. And of course, because of this cover, the light, the lights. It can't be taken in black and white because of the bokeh. Look at that. Just how not to use it. I can't imagine shooting this one in black and white. Night photos are beautiful in color, especially when it's a bit foggy. Night cover photos bring a very atmospheric and cinematic mode. Take advantage of it. That's the whole secret behind it. Just there are cases when I decide that in this situation it is better to shoot in color. Then I switch the camera to its standards mode. The next step, I built the frame, taking in mind the color. 11. B&W vs Color: As we started talking about black and white photography in the previous lecture, Let's just go a little bit deeper. A hard basket ikea for myself. Let me, an incredible funding of black and white photography tried to convince you and myself as well that not everything should be translated, should be shown in black and white. Yeah. Yeah, photographers in fact, who firmly believe that if we speak about straight photography, That's it. Row number one, it must be in black and white. Well, unfortunately, because of thinking like this, you make you a photo of yours literally. Let's take a look at some examples together. Thank You. See what I mean. Here's the first one. How would I even they are third, this photo full of color into black and white one as here, kind of a crime, isn't that? That was at no photo at all. Now, the second place, a different picture in front of you and much weaker. In this case, the photo exists because of the power. The cover brings the magic in here. Of course, the composition takes a row as far as the body language of the girl. All of these details work combined together, they create a work of beauty. Here's another example. We are translating to black and white with Q and a snapshot. If you want, click the Pause and analyze it. Think what would disappear from the frame if it's in black and white? Yeah, Probably we think in the same way. The golden path, exactly. It's the one that leads to people and all this is shrouded in cold blue now. Yeah, here you could play with contrast and accents in Photoshop. I agree. But why destroying something? Just to build it again? Why? When everything has already been done for us, the message of the photo will change dramatically. After all, in cower, this ORM Pat brings hope into cold world around us. Here, you do need cover as well. The girl was an employee. There is a conflict between the cozy cover and the lovely bread advertisement on the wall of the store and the exhausted shop assistant, she's definitely a store employee. Look at her apron. Nice covers here, working quo together. No place for black and white photography one more time. In general, I noticed that it's difficult to take a good sunset photo in black to black and white. Take a look at it now. The mood of the setting, the whole atmosphere, they just disappeared. Or here slide, the color could be quite important though. This lump brings in warmed, warned that there was a whole story when as a background here with the couple that the escalator, or let's turn off the lights. Take a look at this. Now. This is a different picture about the different relationship. Remember this photo? Here it is in it's black and white version. The host or disappeared, the symbols, metaphors. Nothing is present here anymore. It has nothing to do with the colorful story above. Here comes the last example in the serious. This is again that one of the scenarios we're covered plays a crucial role. Or at least it seems so at first sight. Well, it doesn't matter how convinced diam that this or that photo needs to be in color, I always check what it would look like as a black and white one. Take look. Once converted in a black and white image, my confidence somehow disappeared. Don't get me wrong. Just I liked the colored version. I like this one too. Actually, there are a lot of photos that work both in black and white and in color, The vice versa scenario, it's also possible you believe in your black and white story, whole Harvard Law. Then comes the day when you give it a try. Surprise, it appears that your story works in color as well, even better than it used to in black and white. Right here. I do want to remind you that it's better to shoot in RAW format in order to have the two options back to this image. Well, here it's really up to you, up to the author, the way you show it. That's the way your audience or the accepted. They wouldn't analyze how the photo would look in color. I'm sure that I'm not the only one who can pass a bunch of photos in the archive to which we periodically return. And we are just taking how they would be. This, however, we can still decide which option is better. It's up to us. And then is the audience to decide. 12. RAW vs JPG: As in the previous video, we started talking about taking photos in RAW and JPEG format. Well, as throughout the whole course, I have absolutely no intention here to delve into boring theory. Instead, let's just take a look at several photos at several scenarios. Our ideal to help those who are still in doubt make up their minds. What format to short n. Take a look at this frame. Raw file exposure was three. And here's how you can save this frame. What they used was only a Photoshop raw converter. Nothing is touched in Photoshop itself. Look at the value of the numbers, right? The value is from an almost completely burned out sky. For those who don't know, 255 is absolute. 00 stands for 0 information. Here the value of blue is 254. No more words needed, I'd say, to be honest, I'm freaking out. And yeah, just modern mattresses like this. This is not an exclusion. They can do. And I give a 100 percent that this will never happen with a JPEG photo. Just white spot will remain at these values area. I mean, if that were shot in JPEG, nothing like that you'd have after that. Here's an example with ISO at 25 thousand, six hundred, one hundred percent magnification. Take a look at it. The same image now, or with the slight difference that this frame is taken in a raw file. In street photography, I'm not a 100 percent focused on noise and image quality. Well, still, when everything is in a mess, it's not quite pleasant either. Here comes one of the main reasons why I shoot in RAW format. Take a look at this example. Once I went out and decided to go down to the subway, it was during the day, which means there was enough light outside. The camera settings were adopted to the outside conditions. As it was passing. I saw this frame. I took a shot and went on. Then on the PC. This that you see now all had nothing to do with what I saw there and the subway. I had just forgotten to change the settings. That was the problem. This in front of you is your original photo. If I had shot a JPEG, then the frame would have gone to the trash bin. I've had many similar situations, in fact, that I may share with you my idea, well, we are people. You don't always have time to set up your camera 90 percent of the time, I should add aperture priority. The ISO is also set to auto from 200 to 300 thousand and two hundred and two hundred to one hundred, six hundred. What they have to consider is exposure and framing. I need a short how exactly this shot was taken. It's another story. 13. Shooting in different weather conditions: When it comes to weather conditions, I noticed that quite often the young photographers SIM card do not understand what proper conditions mean, especially in the context of street photography. For the more they're unaware of how to use them. Let's take a tour through the seasons and let me share a little bit with your own possibilities. These different weather conditions provide us with certain covered tour in winter. Imagine it's normally outside, or it could be. These conditions especially enable you to practice composition. It's quite convenient. In fact, high-contrast, everything stands out clearly. As, for example, in this series, I took all of the photos in just two days. Everything is shot from above. As you may see, it's one and the same park down there. This is a 100 percent game of composition and frame building. By the way, this is just another way to shoot. If you don't want to contact people. That's what I meant when I talked about training in frame building. Let's look at one example from the serious. Just to get ready, we'll speak about my favorite composition, something that will be useful for you as well. Just look at how many composition elements are there in one frame on left. And let's take them apart. We have the golden spiral, the golden rectangle, the first diagonal, the second one. When there are two diagonals in a frame like this, they bring in stability. I think one example like this one leaves you with no doubt snowy whether it's really convenient for this type of training, for this type of shooting. If it gets too cold, just go underground. There is always something you may find to shoot. It's not by chance that many photographers favorite weather is the rainy one, at least because everyone is in a hurry and no one's paying any attention to the man with a camera. And of course, do not forget about the podocytes. Great option. Another scenario. You have the desired, take pictures, but it's already dark. Well, no problem. Go downtown. In the center. It doesn't matter if you are with or without a light sensitive lands. In the visit places, cafes, restaurants, main streets around the shop windows. There is always a lot of light. You can also go to the park nearby. Just keep in mind that it's darker there. In a place like this, you really need allies, at least one at F2, 0.8. Night public transport is also a good choice. Quite a convenient 1. First, because there's always a light on insight. And second, because there are people with stories insight. You might be the one to tell them through your own lens. Of course, in bad weather, you can take shelter in the trauma or bus itself. No need to shoot from outside homeland. But only if you are ready for such filming. In a term, you can take pictures of dogs, for example. They will definitely not tell you anything. And the most common mistake, quite often, you'll hear that when the sun is really strong in somewhere in the afternoon, please do not show it. Well, a lot of people were repeating that to me at the beginning, to not to go into details but nonsense. You can always shoot, especially when you really want to. Yes, it's much more difficult to shoot portraits with that scorching summer sun. But you can do it. It's really not a problem. The main thing is to do it correctly. Shadows or see what's reminding of their existence as well. Always applicable. The limit of your photography attempts is just your own imagination. Okay? If it's really hard to, or you're not in the mood for walking in the sun, you can hide under the ground. Again. The subways are quite artistic. They'll let you experiment. And if you're lucky enough and bad weather comes, bat for ordinary people, not for us photographers. So you definitely need to overcome yourself to go outside and to start taking pictures. Personally speaking, I can't resist and always try to take pictures in this kind of wider. If I don't go out, I know, I'll be sorry after that. The folk, of course, folk guys, this is a certain magic. I probably don't have enough words and emotions to express to describe my phalanx, but how I really enjoy folk, you may see in this photo that really my favorite kinds of whether certain atmosphere as D1 the four creates probably know weather phenomenon can convey. Folk definitely influences men in a stroke, in the positive, in a creative way. Here comes the very last series of photos, photo story. I'd say that I wanted to share with you. All of them taken in the weather like the one we are speaking about in a fog. You either pause the video if you wish, and take a closer look. After this video lesson, you'll find a link to my site where you can reach the story behind the images. Well, thank you very much for letting me show you a part of the street photography world. A world I've been part of for more than 15 years now. Hope you enjoyed our journey, hope you found it useful. Hope you are a little bit more inspired now. Because into words, this is street photography. An inspiration. My name is Dan is Buto. I was glad to be your tutor. As they say it in Bulgaria, would look and steel and focus.