Street Shots: Photographing Scale, Light, and Colors

1. Introduction: Oh, I`m taking out. I'm a photographer. Oh, you are taking pictures? Yeah. What's your name? My name is Darlene. Yeah. My name is Steven. Steven? Nice to meet you. Nice to meet you as well. You take it easy. You too. An essence of this preface is like a native New Yorker that's have a lot of hometown pride. My photography skills is all about capturing the rawness and essence of anywhere that I am. Maybe from New York that's my playground for the most part. It looks crazy today. It looks wow. I have to take photos and happen to be an editor and associate director for magazine, Street Dreams magazine. Your class fits into everything that we do in my Street Dreams is because we call ourselves a visual movement. So, in order to be in visual movement, you need to show people originally what you do. I came a kind of fiery breath. What we will be going over in this Skillshare class is complementary colors, positions of life sources, shooting with scale, and also vanishing point. I like to compare photography a lot to basketball. The more you practice the better you become. You can shoot a million jump shots outside all day and you eventually become a better jump shooter, and in the same way with photography if you take a million photos of certain things that you're looking for, you adapt your eye to look for these things better and then it becomes like instinct the most. What I think students will learn in this class, well, how to not like cheese, how to be lithe all day every single day, and really to observe your environment around you and taking time to learn things, and study just life, and hopefully that I'm not that dumb and I can tell you guys how to do it. 2. Project: Photo Scavenger Hunt: So, what's really cool about all these photographic elements that I'm sharing with you guys, is that I think it would be pretty dope to make like a scavenger hunt, so you guys can go ham, and try to apply these photographic elements to your own style of photography. I'm excited to see people's visions of their environment, and how they interpret information, seeing how you look at colors, seeing how you look at a different spots of light, seeing how you guys look at scale, and seeing how you guys look at vanishing points. All these different elements it is not going to be the same way that I shoot it, you guys are shooting completely differently, and I would just love to see it. The main thing I want you guys to take away from this lesson is, I don't want you guys to put too much pressure on yourself. Photography is supposed to be fun, is supposed to be enjoyable. There's no pressure to create the world's best image. If you are comfortable with the image and you feel fulfilled with the image, then that's all that matters. Just impress yourself, and just have a good ass time, and enjoy the day. Go ham, be lit. 3. Steve's Principles of Composition: Hey, what's up everybody? I am Steven Irby aka Steve Sweatpants on the Internet and welcome to my Skillshare class. It's very exciting. Well, just to let you guys know, I'm definitely not a know-it-all when it comes to photography and, definitely, I'm a student myself but I've learned a couple of things across the way and I would like to share with you guys and hopefully it works for you as well. The things that we will be going over today will be complementary colors, complementing light sources in your photos as well, shooting with scale and also we will be talking a little bit about vanishing points. The first way that I know that shoots put together nicely is there's an immediate, it's almost like a gut feeling that you know you have a good shot. You got the key moment, the light is beaming at the right exact time, the lady is crossing at the perfect stride, the one foot is up at the end of the foot like right on the tippy-toe. All that stuff happens. You know that you literally have the perfect shot or you know the fulfilling shot you need. It's like putting a Lego piece in the right place for the first time like you could feel it connect. To further illustrate these compositional elements, I'm going to look at a couple of my previous photos. The first photographic element that I will be going over is complementary colors featuring the sick cat that I found. It's like one of the dopest cats of all time. What's really cool about this photo and what I noticed that really grabbed my eye when she was walking through all these dirt was how her eyes are so green, and green and grays are really cool balance of colors. These leaves kind of complement the colors of her dog tag or whatever that is. The green complements the colors of her eyes and then the gray and also with the little bit beige of her ears complements the colors of the trees. When it comes to shooting colors, like I said, I'd like to make sure they are complementary and on top of that, I like to see the overall scene of everything to be as complete as possible. In this setting, some of the colors might be a little bit more muted and then there's something that might heighten the photo in the center of everything that you have going on. In particular, say if, like in this example, that this guy posted up on this bench. If you noticed, the beams on the outside of the beams, there's a little bit more muted and didn't get it and that's done on purpose because I want to bring more oomph like I like to say to the bench and the bench being really red and also to compliment the greens that they have around outside of the bench and outside of the beams. But it really varies from a bunch of different things like even back with example of shooting the cat. Having her green eyes complement the color of the leaves into them that she's hanging out in brings way more into the photo and what I like to usually shoot for. The next thing that I would like to go over is a position of light source. So having light in my photos is a humongous deal to me. This is during golden hour and then having the sun right behind the building, it gives an effect to hide in the shadows. So if you have a subject even walking in the middle of the street sometimes, you can have like a really cool high noon like John Wayne kind of shadow going on, or if you're playing with something like artificial light, with neon light, you can have a really cool silhouette of somebody with the alien light behind them. So light is something that's endless. It's always fun. I thought it would look really cool to have somebody striding by and even the effect of having his camera hanging off of them and you get different lights going on from the reflection of the bridge and like the traffic going on. So it's just a lot of different sources of light that you normally don't see if you're looking for shooting during the day or shooting during the magic hour or during sunrise. So this is actually one of the homies who came who made it out to the meet. We were walking around in Denville and Denville has really cool cobbled streets and it has that very iconic New York look to it. This time of day had to be particularly around 6:00 and if you notice in the photo, this is actually the sun when I'm not looking at the sun, hint I am not looking at the sun, is bouncing off the window and it gives it a cool sun glare effect and then that's when you have a really tall shadow in the middle of it and it has the leading lines and also complements the other photographic elements that I've been mentioning today. So, vanishing points. I think vanishing points are the bee's knees. It's a really cool play on the eye and that's where one of the things I like to do is just to compose things in a way to sometimes play an illusion with people so you really don't know either how long something is paused. It's cool, it's endless and on top of that, it always has an element of photography no matter where you are. So this particular day is during high noon and this is on Merlin Broadway and shooting during this time of day is really, really fun because you have really high shadow. So not only do you get the leading lines from the train tracks and it seems like you just go straight down for hours and hours and hours, you also get the same kind of effect from the train tracks with the sun beaming through it, which also plays into positioning light source. Go into certain areas like this during certain times of the day could work in your favor because you can get a really cool effect something like this. Vanishing point is also really cool when it comes to shooting bridges. New York has a bunch of bridges but depending on what kind of lens you use for the vanishing point shots, it adds way more of an effect to it. So technically I would like to shoot with something a little bit wider because shooting with something a little bit wider distorts a little bit and then gives it way more of it's just out there, it just goes. The last thing on our scavenger hunt is shooting with scale. When I'm shooting with scale, I kind of look at it as I'm surveying a field of Legos and how can I make the Legos look cool as possible and this particular sense, you have the way that the buildings are, even the way the lights cutting through the buildings. You spotted a little cab there, dude, which is crazy. That's my man's. That's definitely my man's in that cab. The way that I was shooting this one in particular is that I was using a wider lens and I was shooting a little bit more up so this I wasn't getting as much of what's happening down on the street and that's definitely for a reason. The main reason being that I wanted to show the scale of the sky of the clouds rather than showing the scale of what's going on down below. If you want to put somebody else in your own shoes and you want them to see what you see and then me seeing the city being this small is actually how I see it, how I envisioned it and shooting with scale and company that is I wanted to make sure that you can see either the city being looking huge and vast or you can make it look very small compared to everything else that's going on in the world, as cliche and as happy as that sound. When the shooting portraits with scale, it's also one of the things I like to do a lot mainly because it gives you the same kind of effect that I showed you in the previous picture that you can have either something like the World Trade Center that's a humongous building end up looking like a little Tic Tac and then just a kind of like the same way compared to having my friend Erica sitting on this roof looking at the Manhattan Bridge. I think going over these photographic elements, we're going to take the scavenger hunt right now. The scavenger hunt would include finding really cool light, a position of light source. It would include complementary colors, looking for vanishing points and also shooting with scale. So let's stop talking about it and be about it and hit these streets. 4. Shooting Complementary Colors and Light Sources: This is Steve Sweatpants here, and right now we're in Chinatown. Today, we are going to try to find some complimentary colors and positions of light source. One of the reasons why I chose Chinatown is because it's one of my favorite places to come in the city when it comes to colors. It's very colorful, it's full of characters, it's full of life. Like I said, I'm self-taught and I learned everything just from experience, so this is not the scientific way to look at the color wheel. I just like to put colors together in photos that normally are not there together. So, say if somebody is wearing all red and they happen to be in front of a red wall, I would try to take that photo because that will be unique for the person, that will be unique for the time, and it's a reference to where you at in the city. So hopefully, we could find something like that today. Oh, this is my favorite little lady I just saw a little earlier. So, I'm taking the picture of her because she is just awesome, and Empire State building city building, and the World Trade Center is right behind there, so it looks kind of sick. That came out fiery bro. You see this, this is cool. You see you got dudes walking around, you got kids walking, you got the World Trade Center, and a bunch of fog. Obviously, you haven't like even the red white and blue from the truck, to having the red white and blue from the flag, and the World Trade Center being blue, being in Chinatown is also really cool because of all the buildings of different color. So, you just have like a million tones, just tones everywhere. Like I said, you have to be observant, you have to be really quick, and you have to be alert. When you see something that just interests you and catches your eyes, you should really just go for it. We should go down East Broadway, East Broadway will a little bit cool to go down. I'm Steve Sweatpants and right now we are in Chinatown, and this is actually one of my favorite spots to shoot at. One of the photos from the lesson is actually in this spot, in the same exact position where you looking at me right now. So, right now, we're trying to find complimentary colors, some cool light in a position of light source and hopefully we can see some really crazy ass people walking around here too. I've already been blessed twice, lets see what happens. This is really cool to post up either way anywhere around here actually, like we could post up right here. Well, we post up right here. This is where all the action happens right here. You see, this guy who is coming up right now, like the swaggy old man with the plaid shirt and Kangal hat, he has the colors on. That was the man that squad goes right there brother. Since his shirt is blue and green plaid, it matches the blue and green on the building in the back. So, you just look for specific colors too high in other ones. So, you just always look for somebody who's wearing something that compliments something in the background. You have green on. So, there's another example, if you find somebody wearing a certain top or there's a certain color car and it's around something that has a complimenting color, like a red car with somebody wearing a red shirt, or green grass with somebody wearing a green shirt, or something along those lines, just take a photo of it and let me see what your interpretation of it is. That is pretty cool as a black and white. When I'm shooting stuff. Even for colors, complimentary colors I think about the edit a lot. I think about, if I want to make the photo black or white or not. Any time I see somebody wearing a lighter top and it's opposed to like a very solid background. I just always like to play around to see if it looks cool in black and white. I like to have my black and whites to be little bit more contrasting and it would be more focused on the black and white and less grey area. This dude's blue shirt looks really pretty sick. The light is really dope right now too. It's falling in places like really nice, it's looking like a nice little overcast stuff. I'm shooting shooting this corner because I like the way that the lights' fallen in the corner. I can get people walking into the light. So, when I get people walking into the light from this side, you get really cool shadows. They came out pretty dope. Oh dude, this dog is sick. Hey can I take a picture of your dog? Yeah. Hey. Wait. Yeah. One more. Shes cute though. What kind of dog is it? Shih tzu. Girl or boy? Girl. What's her name. Sugar. Sugar. Can I take a picture of the dog right here? Sorry. Sugar. This is going this is going to be on YouTube, you know that right? So, this dog is actually the perfect complimentary colors because she's wearing a pink collar, and she h as like pink on in the background which is pretty cool. Bye Sugar. Bye. See you later, peace out. I'll give you some money later. That's perfect dude, you have this dog Sugar out here. So, even in the photo, it looks really crazy. Look at Sugar. So, I shot that on 1.8 mainly because I just wanted to focus on how cute that dog was. Having that dog be there is literally like the ideal situation because the dog had on every color that I was looking for. She had a beige coat. No, she's had a white coat on, then she had beige head and that literally fits everything. What's going on with the buildings, in our pink collar brings out the colors is going on in that side of the building as well too. So really the perfect combination of colors. I'm Steve Sweatpants and we're in Chinatown right now, Chinatown New York. The lesson plan was finding complimentary colors and also positions of light source. I think we accomplished both those things today. We used different kinds of light from the shooting scale on the roof. Also the shooting like street photography around the city right now in Chinatown. So, the next thing that we want to do is, do a vanishing points in light source in Myrtle on Broadway and Brooklyn. That light looks really crazy right now dude. 5. Shooting Vanishing Points: Yo, what's good everybody? Right now, we are live and direct in Brooklyn. It's super lit right now. The light is popping, and what we're going to be focusing on is vanishing points and positions of light source. So, let's get lity. What you guys into? Oh, I'm a photographer. You taking pictures? Yeah. Just taking pictures in general? Yeah, just taking pictures around. I was in China town earlier, so I was taking some shots over there and I'm from Brooklyn, so we're trying to take some shots around here, too. The point of lesson would be is called like Vanishing Points. So, basically you see how the train tracks just go super far down? Right. Any time you take a picture of it, it looks kind of dope, so I was doing a whole lesson on that today. What's your name? My name Darlene. My name is Steven. Steven? Yeah. Nice to meet you. Nice to meet you as well. You take it easy. You too. When it comes to student vanishing points, you always look for something with a lot of symmetry, that definitely helps to shop for the vanishing point and this is literally perfect because, this looks like it goes on forever. Also during this time of day right now, it's about 11:00 O'clock almost noon. This is when the light is the strongest, so it gives like crazy effect of having not only the lines from the train tracks, but also the lines from the train tracks from the shadows. So, it's like a dual play on it, so you get a nice composed sandwich of light and composition and vanishing point. You should compose your shot in your head and visualize what you want to shoot already and it makes it a lot easier. So, you can have a better sense of fulfillment for a shot because you already visualizing what you want to see already. I always like to reference Joe Schumer when it comes to these stride-bys and having people walk across. Because it brings more life into doing your shots like this, especially with a vanishing point, to have a subject in the middle of your shot, like walking by. It heightens the photo. It makes it look 10 times crazier. Since this whole Marilyn Broadway trestle, infamous for being very green and profound, like the Ollie big green giant. Not only are you playing with the elements of him with the red shopping cart full of delicious ices, you're also playing with the vanishing point. So, you have a perspective of going straight down this path and you're also playing with light sources well too with the shadows, like this shit was the cool too with that yellow truck. We just wait for some traffic to clear up, the area is so busy today. I think I can describe everything to like a plate of food all the time. But it's like getting a hamburger without ketchup. You wanted to have the ketchup, it adds a little bit extra to it. Oh, it's crazy. When it comes for you guys doing your lessons and when it comes to even referring to light sources, I think it's a big deal to try to pick a really good time of day to shoot, whether it be in the morning time or it's high noon or if the light is low during like magic hour. Particularly, we're shooting during noon, during this day because I like when the sun is a little bit higher, it's a heavier shadow on the street from the train tracks. So, you could just see it going in and out, and it just looked sick to look at in the first place. Oh, it was good? I'm on a shoot. So, basically I wanted to try to get a vanishing point of looking down this way, and I think it will look pretty sick to see if I still can get the train coming across. So, you get to play on both position of light to have like a really cool shadow. You still get the depth from having that vanishing point. I think a big key is to lining up symmetrically. So, having two leading lines or any kind of leading lines, it always helps. So, the lines that I'm focusing on is these two big ones, right here. These two big French fries, it goes straight down. It's a good time to do it now. So, I always like to do one kind of this level, one kind in medium level, and then one that's super high, so I have high, low, and super low to choose from. Just to have a variety of shots to go through when I'm looking through in my final process. Photographic elements for this photo would be complimentary colors and also a position of light source. I thought it just really stood out to me that he's wearing such a bright red shirt and the shadows are super harsh on top of that as well, too. So, you have two harsh elements at the same time on a super neutral background. So, him having a red shirt makes that beige background pop more and also makes the shadow pop more. I got the train passing up. So, you still see the train bending. Now, I can see the editor of right here. I want vignette to edit and bringing more umph to the middle of the ground. Right now, we just finished shooting around Bed-Stuy and Bushwick. So, we're going to go edit some photos, check out what we have today, and just keep on getting lit all day. So, let's be out. What's up shorty? She was feeling me. She was feeling the kid. 6. Shooting with Scale: It looks crazy today. It looks wild. Because we're in Lower Manhattan right now and we are shooting with scale today. Right now, we are right in front of the World Trade Center. This behemoth of a building. The lights hitting it crazy right now too. Right now, I'm using a 50 millimeter lens. So, it's something a little bit crop tighter, but it still gets the job done. So, instead of it being a little bit more wider, it will be little bit more intimate and personal. It's pretty early in the morning right now, maybe it's just about 8:00 O'clock in the morning. During certain times of day, the light falls differently. So, that plays a big part of my photography, trying to pick good times a day to shoot, so you can get different types of light. So, when I'm trying to shoot, I would probably bump up my aperture a little bit more so I can grab more content within those shots and more detail. So, I'll be able to catch more of it. So, you can actually see the light, and it does look crazy. If you can see that this is a weird beige building that's right there. I'm really not feeling that building too much. I think it looks wack. So, I'm shooting a little bit more up so I can have a even playing field and compose that orange building more at the bottom of it, so it gives it more of a dope effect. I really want to focus on that light. I want it to look like the light is being risen up from the bottom and there's fog over. I envision shots and I envision stories sometimes where they go along with my shot. So, it gives me more of a vision of what I want to shoot instead of just shooting stuff randomly sometime. It's moving so fast. If you can see, the light just literally jumped from that orange building and now it's all way over there, dude. The sun's fighting dude. Shooting with scale is definitely the main point for this lesson, but you can see how other things also, other photographic elements always come into play. For example, I was just chasing light right now. Chasing the pockets of light and focusing on a light source. You see the way the sun, the way the light is moving right now is giving a cool ice overcast over to the Empire State Building. So, anytime when I'm coming to "Shooting with scale" I'm usually moving around a whole bunch. It's because it always changes, especially when you have sick clouds like this. So, you try to keep up with it. It's like Keeping up with the Joneses right now, dude. So, yeah, like I said, I'm shooting this one a little bit more down opposed to when I was shooting the World Trade Center, I composed a little bit higher. So, I'm filling enough of the frame with more of the cars, the traffic, the buildings around it. I'm taking into play what's going on with the clouds and what's going on with the light. It makes for a more full picture. You're having a full plate of food rather than having just a biscuit on a plate. I want the biscuit, I want the piece of ham and I want the eggs too. Those buildings over there looks pretty cool too. The way that it lines up perfectly and has something in the middle to compose it right there, it just looks really sick. Damn dude, just looks crazy. The reason why I just ran over here like a madman is because the clouds look really crazy right now and I can already envision how I want my edit to look. So, when it comes to shooting scale, this is a perfect scenario for it, because you want the photos to look way more fuller to incorporate everything that's going on. That's why we're shooting a little bit lower so I can get more of the buildings. I'm also, shooting a bit lower so I can see the water that's going on over there. The way it's lit up it's crazy. The bridge, is a shadow under the bridge and there's light on opposite sides of the water, of that. Right now, we're in Lower East side. I just literally ran around this building 15 times already and I'm nice and sweaty, but I feel nice and fulfilled also pause. Some of the shots that we focused on was composing something that's a little bit more higher towards the sky, so you can incorporate more of the clouds and the vastness of the city or wherever you are. Also, we talked about shooting things a little bit lower, so you can compose more of what's happening on the ground level while getting everything that's happening in the background. It's just a dope day to be outside. If you guys are checking out this video, make sure you go outside right after this. I want to see what you guys get way shooting scale. I'd like to see how you would compose things in your city, or in your town, or wherever you are. I think I'm about to just hit Chinatown and mob out over there, and check to see if I can get some cool colors or catch some crazy ass people over there. So, we'll see what happens. 7. Editing Tips: Since we went over all the photographic elements today, what I would like you guys to do is have like a little scavenger hunt, and basically see if you can have your own take on everything that we've done today. So, the scavenger hunt would include shooting with scale, complementary colors, and vanishing points. So, the photo that I'm focusing for the scavenger hunt is this photo, and we are focusing on scale for this one. What I would like to do with this edit is, I would like to heighten how crazy it looks right here for the light, and I want to make sure that people can see how harsh the light is, and also still get the feeling of how vast everything is in the city. So, I'm going to bring more attention to the light on the buildings and also the fog or the clouds that's going on with the World Trade Center. Right now, we're using Lightroom. If you don't know, this is Lightroom already, but I like to pick an edit filter from VSCO, 400 or 160. Also, what I like to do for some of my photos, I like to add clarity to them. If I raise the clarity really high, if it's to like 70 or something like that. In order to contrast that, you would up the black some more. And if you up the blacks and you up the contrast, it kind of balances each other out. So, you wouldn't have anything that's too dark, unless you want something that's a little bit darker. If you drop the blacks down to like 20, then I would up the contrast a little bit to add a little bit more oomph to it. That's obviously way too much contrast for my personal taste. You get to a point where it would just ends up looking nice, and it has a lot of cool light pockets but also has enough darkness to it that gives it a little bit of mystery, and that's what I'm kind of going for right now. I'm heavily influenced by watching a lot of TV, so all my edits end up being some kind of form of show that I'm paying homage to or something like that. I don't have a show in particular in mind for this, but I might I come out with my own show, so whatever, dude. This looks kind of crazy if you drop the exposure, and then sometimes I may even brighten it a little bit, but this is definitely a process. I would sit there and do this for hours until I find something that I really feel comfortable with. And also, I'll play with the tone curve a little bit, too, depending on how much cloud action I have going on this particular shot. This is everything that I want for a scale photo. I think it encompasses everything. My personal opinion when it comes to editing is, I don't like to over-edit too much. I feel that it would take away from the picture, and I'm not here to overpower the picture. I'm just here to help it out a little bit. Second topic that we were going cover actually was complementary colors, and we went to Chinatown for this. I found, probably, like I found my boo. I definitely found the boo out there. What was also, I think, literally perfect for this complementary colors part is that the dog has every color that I was looking for to bring out the environment and everything that's going on around it. So, for your scavenger hunt, just keep in mind that you guys don't have to be scientific. When it comes to it, the RGB will. But, you should find colors that help not only enhance the photo but enhances the environment. It's kind of like the same deal I like to do. I like to pick like a certain filter that I kind of base it off on. And for this one, I'd like to pick Portra 160, the negative one, and really see where I can go from there. At first, I thought I wanted it to be a little bit lighter in clarity, but I still feel that maybe I should add a little bit more, just to give it a little bit more definition to the photo and make the colors pop a little bit more. So, I just keep with the clarity for now, and I would just try to heighten the other colors and make them look a little bit more alive, and definitely use contrast, because contrast helps. Even if you play with the saturation a little bit as well, too, it adds all the colors to it naturally. I think you're pretty much good on the edit. Like I always like to say, I don't like to really over-edit these pictures too much. I like to always do things to heighten the photo, not overpower the photo. I'll probably add a little vignette to this, though. I do like vignetting. I probably vignette too much, but I feel it adds. It makes it a little bit more cinematic and makes it a little bit more dramatic when you use vignetting in your photos and stuff. This is the before. This is the edit. If you notice, the photo is a little bit brighter and is also a little bit more colorful. The next item on our scavenger hunt is vanishing points. This is the original photo that we're going to be going with. Not only does it have a bunch of symmetry, which we were talking about for this lesson: To have symmetry along with the vanishing points, it just makes it a little bit better. You notice the size of the buildings are symmetrical, too, and it fits into each frame of the trestle. So, for the edit for something like this, I would like to use Portra 160 or 400 as my base kind of filter to use. Having clarity when it comes to these vanishing point shots is also very useful because it shows the depth. I like to actually bump up the shadows on stuff like this as well, too. Mainly, I like to bump up the shadows because I want to bring as much detail as possible to the trestle. So you can notice not only how green they are, but the lines, the graffiti, the little splashes of light, that goes down, too. And if you notice, like right in the middle here, it lines up perfectly and it goes straight down. So, loosening the contrast deepens the blacks and the overall mood of the photo to make it, just add a little bit more depth, and a little bit more clarity, and a little bit more of just darkness to it, but not too much. I might even play with the highlights a little bit with this one because it's super sunny outside. Sometimes, I like to play with the temperature as well, too. I usually favor my photos to be a little bit warmer. I wouldn't do it too much, only do a little bit, just a little bit here, a little bit here and there. Less is more. I'm pretty much cool on this edit for the most part, and it is super symmetrical. So, the last thing on our scavenger hunt would be a light source and finding dope pieces of light to make really cool shadows, et cetera. I think that we actually found that today as well, too, in Chinatown, and this is the shot that I'm settling on. Let's go in to edit this photo a little bit. What I kind of have in mind for this one is, since he's coming around the corner, what I would like to do is vignette everything but also make it seem like he's coming out of the darkness. I was thinking Portra on this one as well, too, and I think the first thing I would like to do is heighten the contrasts. The more contrasts, the better for the situation, because that's definitely the point I'm improving, that I want him to come out of the darkness. I always like to play with the sharpness just a little bit as well, too. I like my photos looking as realistic as possible. Let's find the vignette really quick. Let's drop this down. This is looking kind of crazy-Patrick-Swayze. I like to drop the highlights a little bit as well, too, because I don't want the light to really overpower him. I want him to be more or less like with the environment. I think this looks pretty fire, actually, bro, pretty fire, but that's the beautiful part about editing. You just sit there, and you take your time, and you really go through your shot to see what you really like, and you come down to where you can figure out something that's really dope, dude. So, I mean, from today I definitely got four bangers that I am happy with. Like, it's something that I could definitely post on my feed, like bae. Bae is going on the feed right here. This is definitely going on the feed. This is bae. 8. Sharing Your Work: We had a dope time I've been out today. We hit from anywhere, everywhere from Chinatown to LES to Brooklyn. So now, the best part of the whole thing is to actually do the scavenger hunt. So, as active as you guys are on this scavenger hunt, meaning with the uploading to the photos to the student gallery and also giving feedback to each of these photos and the sharing is caring. So, the more interactive you guys are, the more interactive the class would be, and so let's just make it the most popping class of all time for Skillshare. Don't be hesitant to ask me anything. Literally ask me anything. I'm here to help you guys, just don't ask me about cheese. So, this is my bow and keep it lit and have a great, great time. This is the Sweatpants from Street Dreams Magazine and this is the Skillshare lesson for today. 9. Explore Photo Classes on Skillshare: