Stunning Mobile Photography Techniques (Samsung Ultra)

1. Introduction - Mobile Photography Challenge: Hello guys. So if you use your mobile to take photos and you want to finally learn how to take better ones than joined us photography challenge below. And I'm going to teach you for dominant photography techniques that are gonna really help you to take better photos. The join is challenge below, sign-up and I'm going to show you exactly how to improve your photos by a few, using a few simple techniques. 2. Challenge1 - Capture Outstanding Reflections: Hello guys, for so for today's challenge, your goal is to take a beautiful reflection photo. Over here behind me I have some puddles that I'm gonna use as a medium to take beautiful infection shots. And as you can see, as I get lower down, I started this reflection. It starts to, begin to emerge in this sort of puddle. So your goal is to find the puddle or defined body of water. Maybe you're by the sea or if you don't have a puddle, you can always actually create your own table by just getting a bowl of water and pouring it over the surface. That's not gonna completely suck up the water. Otherwise, you'll need like hundreds of bowls of water. Try and find a surface where you can pour some water on and actually start practicing reflection photography. So reflection photography is one of the best techniques out there, super easy to do. And it's a really, really creative and engaging process that I think you're actually going to fall in love with. You probably didn't even realize that you could do this with your mobile, but you can get an absolutely amazing reflection shots with your mobile phone. So for example, if I were to just show some shots here in my gallery before that I took here. So for example here I took work in the liver, the person walking past in a black and white, very nice silhouette. They're using ultra-wide. Here's another one. Then I had some shots here with at the beach here with the sun going down. So really, really nice sort of shots. Then I had here with some summer, summer girls dancing around from Hari Krishna. And I basically flip the portfolio afterwards to get this really nice cool effects. So that's another thing that you can do with reflection shots. To really improve the photos and make them more engaging. Here's another one by the sea, by the coast with these three birds sort of lining up. Here's another one. And here's another one that's more of a dark silhouette. So you can take some really amazing shots and there's lots of different types of reflective surfaces you can find and use for your photography. And all you need to do blades basically it's just play with a framing and follow us a few simple guidelines and rules. Again, there are just guidelines and rules to be free to explore with yourself. But in terms of the sort of basic rules I'm going to show you. The first thing you want to do is actually you want to get really close down to the lens. You want to get really close down to the water, so you get a really nice sort of election. And another good suggestion is actually to just flip the camera of your phone the other way around so that your lenses are at the bottom of the screen, facing the ground basically. And that way it allows you to lenses to get really close down to the water. And this way you can really fill up the frame. You can get really nice, great reflection shot. You have to remember, reflection photography is basically symmetrical composition in this sort of sense. So you want to really center of them. You don't want to do this. You didn't want to do this. You're going to really center that middle, in the middle of the frame. And basically used the grid lines in your line them up with strong vertical lines like a half of the tower here. And the rule of thirds, basically just wait and take your shots. Maybe you want to cut out this building. They wouldn't play with your framing. Maybe you want to take a shot like this. So really guys up to you. So that's for you to sort of explore. Maybe you want to get all these buildings in there. So that's another type of shot you could do. So effectively. In terms of quick summary, you want to basically get your lens really close down to the water. Just basically wait for subjects to walk through. So I'm in this area where I've got lots of subjects constantly walking through and I can even use, basically burst mode, can use other things when people are walking to capture them in the reflection like that Sam doing here, for example. Use different lenses. For example, maybe you want to use the one x here. Let's try and get the tower in there, see if it fits. I don't want to cut it off. But it could happen, that could happen that I might just cut it off so sometimes it doesn't fit, it doesn't fit. You can always try and use portrait mode. Here we go. And I'm just basically pressing The abusing my both hands now and I'm just pressing the shutter button at the bottom of the phone to actually capture these shots. And another thing you can do is you can use your hand, your fingers. You can tap the water to create these ripples to add this effect in your reflection. Because you don't want the reflection to be a complete, complete copy of your image because that just is not going to look weird basically. What's the point of doing that if you, basically, you want the brain to realize that this is actually a reflection. When you get that sort of feeling. It's a much better image than just a carbon copy reflection that's perfectly crisp. One way to do that is to create ripples in the water. Maybe, maybe you have some wind whilst taking shots. Maybe you can use other elements in the puddle like I had here. You see these tiles. So I have these sort of strong lines of these tiles. You can actually see them in the water and that kind of lets you know that this isn't there's something there, it's kind of the ground, especially for you as the ultra-wide. And I can position my camera to try and get some of these tiles in there. For example, like this to make it very clear, this is actually reflection by using some elements on the ground. That's really, really big tip in terms of making much better reflection shots. Trying to avoid the sort of carbon copies in your shots. Again, if you're shot doesn't fit in, you can always use portrait mode like this with the cameras at the bottom. And you can take your shots like this as well. Another good example I have here, I'm gonna move back a bit so I can get some of that, some of those tiles in this way. I can get an interesting reflection shock. And if you don't have to get the entire reflection there, actually, it's not more greater than interesting when it's just a part of reflection. That middle ground there that's cutting off the tower is actually a really great that again, it allows me to see that this is actually a reflection. And if I move to this other puddle over here, here actually with the one acts lens, the reflection doesn't quite fit in as you can see there. I'm cutting off the tilt my phone upon get a perfectly central horizons shot in there. Unless I used the ultra-wide mode, which let's say I don't want to do in this case. So what I'm gonna do is I'm going to actually use the one x. And I'm going to just use portrait mode that allows me to fit in the entire reflection. And you see those tiles. You can really see the tiles. And in this shot, which really allows you to distinguish that this is a reflection and I can use burst mode to get these people walking through. That's something that you can do, can just basically set up here and wait. And you see how I have that lovely middle ground there between the building. Again, that allows me to distinguish that this is a reflection shot. And I'm lining up the grid lines Building at the vertical lines of the building here. So really centering everything and just basically waiting for people to come past. And that's basically guys how you take really stunning reflection shots, really making that distinguishing feature. That this is a reflection that maybe by using, maybe by tapping your hand in the water or doing this, or maybe if it's a windy day, you will naturally have some ripples in the water. If you can't find any bundles guys, you can always just bring a big bottle of water and actually creating the puddles yourself. So that's another option. Basically to sum it up, guys, get your phone lens if you want to use portrait mode, if you can't fit things in. Also, really try and center the horizon and use the grid lines to align with strong vertical lines. If you have that in your frame and just wait for subjects to walk through like I have here. And simply take your shots. Make sure also something has taken. Reflection shots is trying to focus. Try and focus your shot. Actually use the tap on the reflection part here. If I tap and hold my lock, my focus and exposure there are usually will get better shots because sometimes what happens is because you're so close to the ground and the water. Your lenses are so close actually, it's sometimes your camera has trouble, trouble actually finding where to focus. And sometimes you get this freely, really blurry, horrible reflections. Doing this locking of focus and exposure that can really solve that. So just bear that in mind. Usually most of the time you will get good photos without doing this and don't be afraid to re-frame your position. So for example, if I move to this side of the puddle, you see again now I have a completely different view of my reflection. And probably even nicer for some people. So don't be afraid to re-frame your position and go 360 all around the puddle. That will allow you to get some more different perspectives in your shots. Another thing you can do sort of last little tip, is if I actually go to the shot, one thing you can do is you can always press Edit on the shot. And if I go to filters and you can always make it black and white is you tend to get really nice shots when you do black and white. High contrast photos. They tend to make in your reflection shots very, very nice, clear and crisp. High-contrast really brings out the clarity of your main subject. So if I were to show you before some of the shots that I did here, I just made them sort of black and white. Here. I had just some people they skied walking through and I made it black and white and I'm always getting this sort of silhouette in the photos. So here again, I just basically all I did is I turned the photo black and white suit. Do try and play with that afterwards. Another shot that I literally took a screenshot off, do play around with filters. Here's another one with where it had a lot of sun directional light. And you see how I have just very quickly here, see how I have these elements here by the puddle. They really sort of distinguish. This is in fact a reflection like this middle ground here as well in these very, very clear dark silhouette subjects being reflected off the bright background of the building. So that's basically what you want to look for and they're really, really good reflection photo. You want to find those elements, make the reflection distinguishing. Maybe use high contrast or silhouettes like I have in this case. That way you'll get some really, really stunning reflection shots here. Actually I had some people sort of dancing. And you see those little dots in the water again here with the marble. You can really distinguishes that this is reflection in that middle ground there as well. So really realistic, lovely shots that I actually, this one I pretty much took by by accident. Girls literally just came in, came around then I took it, whacks them. If you're a by the sea at any time, you can always use the puddles by the seizures by the waterfront to do the same thing. As the sun's setting, you get very, very lovely directional light that you can use to take the super amazing reflection shots. So that's pretty much it in this video. Do practices, do go out there, take some reflection shots in your puddles. Use these rules and guidelines and I'm sure you're gonna get some absolutely amazing reflection shots. That's from a **** guys. This video, follow the rules and guidelines and posted photos. And I'll see you for the next day's challenge. 3. Challenge2 - How You Can Use Angles For More Visually Compelling Photos: All right guys. So for this video, your challenge for today is to learn how to take shots. There are a lot more visually compelling. And so I'm in this alleyways treat over here and I'm gonna show you exactly what I mean. So we're gonna learn this one very simple technique where you simply try to lower your angle and provide a more unique perspective. Which is basically what the goal of photographers to do. What most people tend to do like with a beautiful alleyway shot like this. They tend to mess it up and make it really boring and flat by simply taking shots at eye level, height like this as the, as I'm holding my camera right now. So your challenge is to find an alleyway or a building Buto in a beautiful location or even a simple location just to practice and make your shots a lot more visually compelling by simply lowering your angle. So a standard photo, like a cliche photo would be like this where if I'm a tourist, kind of get my phone out the eye level height and just sort of take a shot like this, which is nice sharp. If you look at it. Yeah, Nice shot, beautiful alleyway. But if you want to avoid this kind of cliche shots and make your shots a lot more visually compelling. What you can do is you can actually play around with your angles and simply lower your angle a little bit like this. Straightaway, I have a much more interesting shot where I've got this beautiful door, got this alleyway, this arch, and I've got this beautiful, well, that's old-school as well. Now I have a much more interesting shot. So basically what happened is the lower I go lower I go like this. The more foreground I create firewall to draw. Now, all of this is basically foreground. Now. The lower I go, the more foreground they create, the higher I go, the less foreground, a half. So if I just draw upon now, the hieroglyph of the more eye level I am, the less foreground to have. But the more I go down and get my lens close to the ground, the more depth I'm creating in the shots and the more foreground there have. I could use these beautiful cobblestones. I could use that well to really make my shots a lot more visually compelling. In this particular case. If we compare sort of that previous shot, this one here to the one that had before, which is just simply this one at eye level height. This one is so much better, so much more interesting, so much more visually compelling. And what I can do additionally is it can actually edit this shot. If I click on edit, I can even make it new and beautiful black and white, which will really add to the sort of old town effect. So let me just move this a little bit. Here we go. Now compare that to this. You see how beautiful the shutters and all I did was a very, very simple trick. Just simply lowered my angle. Now, another thing you can do is I would suggest taking a shot portrait mode. So really sort of using the, trying to get that old school as well in the left corner. Got some people coming through as well. That's good. Some more subjects. You have to bear in mind that your camera has to do a pretty difficult job of focusing everywhere. Because it's an auto focus too. Sometimes you may need to if you want the focus to be on the well, you may need to toggle that. Bear that in mind because what happens when you actually lower your phone is that your lens starts to have a subject here, becomes a lot more closer to that depth. These sort of cobblestones. They become a lot closer to the camera and so they can become a priority for focus. Your camera has a difficult job and deciding what to put focus on. So just bear that in mind when you lower your camera, you may need to adjust your focus. If I take that now, I edit this as well into black and white. Really beautiful shot. If I switch this background, if you just compare that to a standard boring shot at eye level height, It's just such a difference to make such a difference to your photography. So that's basically the challenge for you guys to go out there, go for walk about goto, a beautiful alleyways street near home, or go into the old town, or, or go to some location. It doesn't have to be an alleyway street. It could be building like I have a building over there, which is really nice. So it could be a building. You just take it from a low angle, make it more interesting. Instead of boring, sort of flat shot. Really, there are several options in exploring this. And also had the few more examples with different streets here. So here's another street. Lot more symmetrical. There's a lot more symmetry here. There's no arch, and here's a level one. They're using a lower angle. No totally different shots. Can see the, the ground is massive of these cobblestones, they really make a photo very, very interesting. Here's another shot and never street, standard eye level, height and lower angle. The Stones really do make a difference. So go out there, practice and post your shots in the Facebook group. Again, comment on other people's shots as well. We're going to get that feedback going. And I'd love to see your photos guys by utilizing this one very simple technique and make those photos more visually compelling. Instead of shooting at eye level, height. So that's permits you guys for this video, I want to see your photos, post them up and I'll see you in another one. 4. Challenge3 - How To Use Strong Lines To Lead The Viewer's Eye: Hello guys. So for this video, your challenge is to use the composition technique of leading lines, leading the eye, sometimes called to really take a beautiful and studying shot. Now, leading lines is a very, very popular and common composition technique and you can use it in so many different cases. And as you can probably guess here, this path over here is a leading line. And it's leading your eye towards the center of that sort of focal point over here, right over here. And it's creating this beautiful feeling of depth and perspective because I have this sort of foreground over here. The steps are, have this sort of middle, and then they'll have that sort of center there towards the end. Leading lines, no puffs in that sense of really great for providing that perspective and depth and feel in your shots. And instead of having a flat and boring landscape pictures now there are many different types of leading lines. You've got no stacks of trees, pathways row, Israel, Iran lines, power lines, anything really. That's a strong line that you can use. And in many cases you can use the leading lines. So if I had a subject walking through here, I can use, I can use the leading lines to actually draw attention to my main subject. So it could be maybe a big tree over there or person. It could be a beach, it could be water. It's really, really depends on the location you're in. An effectively you can lose. You can use leading lines in that sense to really draw attention to your main subjects. Like a hint I have here now because some subjects walking through and essentially I can use the leading lines to draw attention to my main subjects walking down sort of towards, towards that path. And it's really good in any sort of cases you've got moving subjects to use sort of burst mode and so on. Basically guys, I think you get it that your challenge for this video, for this shot is to basically try and use leading lines to really give your fixtures lot more feel, a lot more depth and a lot more perspective. And you try and find some leading lines, whether you're in a forest, go for walkabout, or whether you're in the street, lamp posts or erode or in some road lines. You can really try and take some beautiful, stunning images. That's pretty much it guys for this video, go out there, take your shots posted on the Facebook group, and I'll see you guys in the next video. 5. Challenge4 - How You Can Use The Power of Symmetry To Take Amazing Shots: All right guys. So today your challenge is to take really beautiful symmetrical shot. And symmetrical composition is an amazing technique that you can use to really take stunning photos, Buffon and symmetrical composition is a little bit more difficult than other shots because you have to really work at it. It took everything super symmetrical, aligned in your composition. Because what most beginners tend to do, they tend to go to the right here or to the left. Or they tend to tilt their phone left or right or up or down. And this tends to straight away lose the symmetrical nature in your composition. What you want to do, your challenge for today is basically to really find more structure or a building or a bridge, find anything symmetrical. Usually they're man-made things. And really try and take a beautiful shot by, by aligning your grid line with features in your composition. So in this case, step number one, what I'm doing is I'm really trying to stand here right in the center. So if I go to ultra-wide and really trying to stand right in the center of the structure, which is the middle of this bridge. Then what I'm doing is I'm just basically aligning the grid lines with the structure. So here I'm aligning with the top of the bridge. And then I've got these intersections here as well that I'm going to use and I'm going to align with these sort of power lines over here. If the way that I can do this is I can actually just shift by walking forward a bit. And there we go. I've got my grid lines now on the power lines, almost, not power lens or supporting structures, but they do look like power lines. And then I've got the bridge here right in the middle aligned to the top of the grid line in the middle, number lining here with the grid lines here and here. And then all I'm gonna do is basically take my shot. And that's how take really stunning symmetrical shots. And then I can do is it can wait here for people to come through in our bikes. And I can use them as subjects also in this shot. So all I need to do is basically wait, I've got constant flow of traffic here. I can also use different lenses. Again, that changes the composition straightaway. And you can see here I can, I can, it actually put the power lines here in the corner to sort of match everything up and try and change your position. Then you're walking forwards or backwards, maybe using a different sort of lower angle. This gives you a lot more foreground and in your picture. Whereas if instead of taking shots at eye level height, playing around with angles, giving it more foreground. That will also tend to give you a really nice shot in your symmetrical composition. And all you need to again, his wife for people to walk through. Again, I'll probably wait for the evening sun here. I've got really sort of hard light here on the left. And I've got the power lines cutting across, which isn't ideal subject coming through. And there we go. But basically, as I said, wait for subjects to come through and always try and walk around, see how the composition changes. Maybe you find the better shot. When you're on the bridge. You've got that line, that shadow cutting across this making it look a bit weird because it's not symmetrical. There is an another one on the other side. Again, it's seat. If I turn around boomer have again a totally different sort of composition here again. And then here again, I've got these other supporting lines coming through. And this is totally changing. Again, the shot right? So don't be afraid of turning around. Sometimes that will. You'll find you in getting better shots like this. Again, you want to play, play with the composition and the grid lines, line everything up, get everything super smashed, cool. Sometimes you can do this off to the shot. But most of the time with symmetrical shots, It's hard to do that. Because if you take, if you tilt to the left or to the right, that all mess everything up and there's no way you can edit that or if you know, take a shot like this. So that's pretty much it guys. Your challenge is to take it beautiful, symmetrical shot by lining up using really working with his gridlines standing in the center of the structure. And they're using the grid lines to match up. To take a really beautiful symmetrical shot of your structure. You have got subjects coming through again and so on. So that's pretty much it guys. And I'll see you in another challenge. 6. How to Use Patterns For Engaging Photos: Hello guys. In this video, I want to talk to you about another really great photography technique that you can use, especially if you can't find a subject or if there isn't a clear subject. And this composition technique is all about patterns. So imagine, I'm in this beautiful park here, and they've got a huge number of selection of subjects that I can take great photos off. But imagine I didn't have the ultra wide lens here, have this beautiful dragon tree which is thousands of years old. And imagine like only had the simple sort of One X lens here. And I couldn't really don't have much space to move here. Basically everything sort of shutoff in this park. So there's no way to take a good picture here that actually fit this tree. And one thing that you can do in situations like these is you can use, you can really try and zoom in and try and find a pattern, really strong pattern. And this will allow you to take really great photos as long as it fills up the entire frame like this. So the key is to fill up the entire frame and take a shot. And they have this beautiful blue and white background actually coming through which it makes this whole composition even nicer. But as you can see, the key is, for a pat of photography, you want a strong repeating pattern. That is, that is filling up the entire frame here. Now, again, to illustrate, if you do have other lenses, so let's say you do have all the lenses. One thing you can always do is you can use the telephoto lenses, which is really great for pattern photography as well. See, you could go for something like this. You could go for something that fills up the entire frame, is actually quite nice to have that little sort of horizon there. Or he could actually cut that out and just go for these dragon tree branches. Or you could go for techniques and you could go up really, really zoom in and find a spot where you like. So like here, for example, these branches, it's all just about framing and finding a strong pattern really fills up the entire frame. You could do it with a bark of a tree. Actually this barcode, this tree bark is actually doesn't repeat that, that much in self as a pattern. And it's more of a sort of a unique tree here that we have, right? But I could find a pattern in this wall over here. If I didn't have a subject, I could find the pattern. These this grass over here. There's plenty of, plenty of things that you can find. Always find the pattern. You just need to look around. For example. Let's have a look. We could even use palm tree in itself as a pattern, right? We could use the bottom of the tree trunk whereas been cut off here as pattern. There's so many things. If you don't have a subject or you're unable to take a good picture of your subject and reframe it. Well, then you can always basically trying to find the pattern and Padlet. As I said, the key thing with pattern photography is to really find that repeating pattern. It could be trees. It could be, could be a stones on a wall. If I had some very distinct stones, could be. It could be over here. Look, I have some, some repeating stones that are actually carved into the rock. To them, sort of ground here. It could be, could be anything really. It's just, it's just you trying to find, right? That's what pattern photography is all about. That's it guys for video and I'll see you in another one. 7. The Rule of Thirds For More Appealing Photos : In this video, I'm going to try and give you a good tutorial of one of the most basic and fundamental rules of composition. And that's called the rule of thirds. So just trying to find the spot here. And I found this fishermen. And I'm going to use him as an example. And I have a lot of negative space here with his beach. So it's a very, very clear area to practice composition. So whenever you're practicing composition using large open spaces with a lot of negative space is really great. Because then you get a clear subject like having this case and you want to turn the grid on over here in the sentence. So if you go to settings seen grid lines, we want to turn that on. And then you'll have this grid which you can use to practice composition. This case, I can actually use the telephoto lens here just to illustrate for you even more what I'm talking about. When I haven't person, I want to be aiming for the head to be at this intersection. It just looks better compositionally. I want to be also using this side of the grid line because you see he's facing that way. There's a bit of implied sort of direction that way. So I want to be using this side of the grid line. Instead of taking a shot where he's just in the middle. This is what a typical beginner would do. The digits Take a shot where he is in the middle. And typical beginner would take his phone out of his pocket like this. Take your phone out and I know well high and you just quickly and you grab a shot. This is what you do. And this is only natural and easy because that's how most people take photos. They put things in the center. They think is going to look better, track more attention. So that's usually what beginners do. They don't really tend to think about the rule of thirds. But with the rule of thirds is usually always get better photos when you're composing according to one of the thirds of the grid lines. And you can see him lining up at the top grid line with the horizon. When I'm using the other lens here, I'm using the other telephoto, some quite far away because they wanted to get less noise of the C in this video. And I have him, you see it at the intersection of the bottom of the grid line. Compositionally, this is a very good example of where I'm placing him and where I've got the horizon. And he's at the bottom and the section of the horizon. And then I'm going to take a shot like this. And basically and I have some implied direction here from his fish fraud. I want to be using this side of the grid line and not this side of the grid line because that just looks awkward. Just see how it feels a bit awkward. So you want to have enough space that side using the top red line for the horizon. So like here I have another example with two guys sort of meditating whilst the phishing, usually you take the phone out of pocket, eye level, height and just take a shot. And I'm using a different lens for this. And as you can see, my subjects are actually the thirds here. And I'm using the top grid line here for the horizon. So matching that up with the horizon. And then I'm using these subjects here and thin sections. Do you see how there at the intersections of the bottom over here sitting? This one's not quite bottom, but both of them are on this beautiful lineup of the rule of thirds. Now if we use a different lens straightaway, that doesn't happen. Actually to give you an even better comparison, what I can do is I can place one of the guys like, really off center like this or like this. Just to compare, you'll see that compositionally. This looks a lot better. It's just more, more appealing. That's pretty much it guys in this video. Very, very basic rule. Just how to use the grid. Remember, remember with people that's a little bit different because they have implied direction. Some objects, flags, flying objects, all these things like they haven't applied direction. So you wouldn't want to be a bit more careful of that. But generally, as I said, this rule will tend to give you a better pictures, but you don't have to use it all the time. So that's pretty much it, guys. And I'll see you in another video. 8. How To Use Implied Direction For Better Photots: In this video, I want to talk to you about direction. Direction is really important when composing of photos. You have a lot of implied direction from subjects. When they're moving in certain parts. I've got this person walking over here. Just wanted to show you by using the rule of thirds together with the erection, how to take better photos. So what I'm gonna do is I'm going to wait for him to get into this third of the photo like this and just take a shot instead of taking photos, insects or like this. Just purely as an example sake. What direction? Direction usually dictates where the viewer's eyes gonna fall very, very quickly. And your eye naturally starts to follow the image in that direction. So for example here, when mistake is that I have, sorry, I have very, very little space in front of this person moving. And the direction is being detected dictated by him into this Sway right? The way he's walking and have very, very little space here and he's almost walking out of the frame. This is not a good picture. So what you want to try and do is you want to try avoid these types of compositions. You want to have plenty of space where the subject is moving. You see I have plenty of space here, according to the rule of thirds actually a composed the shot and my eyes naturally following him in that direction. And that's just the way it works in catch your eye, naturally follows sort of way. So here is walking out of the frame. Here. The person is sort of in exactly the right proportions where we've got plenty of space where he's moving in front of me. That's naturally drawing my attention towards him, making my eyes follow whereas, whereas he walking. So this is very, very important in photography. And you don't always have to have this with people. You, you can have this with many other things like for example, someone's swimming or a bird flying somewhere like birds here. Maybe it had some by the rocks the other day, but maybe it's a flag. Flag up here. We just took it down. Whether it's a flag and wind, for example here, with these umbrellas even have a little implied direction. Then sort of In one way. It's all of these little elements. They communicate implied the direction. Here we go, births, going in that direction. So like these trees here, for example, the palm trees, you see how they're shaped by the wind, have implied that direction towards the left from right to left. That's already telling me that the wind is blowing from right to left. So all these things are very important when you're composing your shot. Warning to the rule of thirds or any other composition rules or guidelines. You want to make sure that you have plenty of space where, where the subject is moving towards a certain direction. Again, that same guy coming through and I'm going to actually compose it a little bit lower. Now. Put my top grid lines towards the horizon. And here we go 12. Instead of doing something like this, just an example. Sake again, walking out of the frame. Heel strike. But this is a much more beautiful and peeling photo to look at. Something like this right ways, walking out on frame. That's basically what I want to show you guys in this video just to remember how important direction is, how it dictates where your eyes before and where they will naturally follow in the image. And that's really, really important when composing of shots. It's going to make a huge difference to your photography. You need to have plenty of space there. So that's pretty much it guys in this video. And I'll see you in another. 9. Negative Space for Simple and Clear Subject Shots: In this video, I want to talk to you about a really great composition technique and that's called negative space. Negative space is essentially any kind of empty space. So I'm in a very large open space here by the beach. Beautiful morph co-speech here in Alexandria and have some beautiful turquoise. See, I have this contrast of white sand and the blue sky. In this particular composition, I actually have the sea sand and have the sky as negative space. Negative space is really anything that's empty space. And it's a really great composition technique that allows you to really draw attention to your main subject because there's nothing else. There is just a nice, simple, clean, clear background. And so negative space really allows you to add a lot of clarity to your shots in that sort of way. That allows you to draw attention to your main subject really well. So just for example here I've got subject with me, and I'm just using the one next to excellence. I'm going for a lower angle. And the thing about negative space that I can use any kind of positioning. So usually with most shots you want to use the rule of thirds like I'm doing now. Negative space, I'm really free to play with everything because I can, I can go really sort of off-center like this. I can do it subject placement like this. You can do that with negative space or you can go and the rule of thirds. You can do that as well. Or you can go sort of really make your subjects smaller and go really sort of central, central subject placement. Do that as well. As many, many forms you can play with in terms of actually positioning your subject. And that's why I love negative space. It really allows you to play a lot more with actual composition in positioning your subject, and also in really trying to draw attention to your main subject and making your photos a lot more clear and simple. That's exactly what negative state-space does. Whether you're in a desert, which is a fantastic place to take shots, because this is nothing there apart from sand, whether you're at sea or maybe you're in some golf field where there's just lots of grass or sand. But essentially negative space is probably one of the most liked, most used and most powerful techniques simply because it allows you to make a very clear subject and really draw attention to that main subject, whether it's a person or whether it's some kind of rock or a car or a chair or whatever it is. If you have negative space, plenty of it, then you're going to really be able to take amazing shots. You can use. They can, you can shoot from a really low angle. You can use different positioning. You can go really off-center. That's why I love this composition technique. If actually get the subject to face the sea, JPEG, nobody's see. Then because she's not she doesn't have any implied direction now because when she was facing left, I had sort of had flight direction where she was looking. So I kind of had to, was a little bit constrained by my composition. But now the subject faces to see to something you can always do. Negative space voters shooting from the back. You can really play around with your positioning. You can go very, very central like this. You can go really sort of cut off the, the foreground. So that's pretty much it guys for this video, That's all I wanted to show you. How to grasp and understand negative space. And it's and it's probably one of the most powerful deposition techniques out there. And all you need to do really is just play with different types of placement. Because you are actually a lot more free to do that with this type of composition technique. So that's pretty much it guys in this video. And I'll see you in another one. 10. What is the Rule of Odds?: Hi guys. In this video I want to talk to you about another composition technique. And this technique is called the rule of odds. And what are generally states is that you almost already better off if you have an odd number of subjects instead of an even the molecular have here, placed here as an example. It's purely an example. But basically I have four cones here and a lot of negative space around me. It's not a bad photo. It's quite an interesting setup. Black, jet black, dark volcanic rock. I can play with my framing here with different lenses again. But the purpose of this video, I just wanted to show you that if I take a picture of in a 44 cones or if I remove one, that will basically be what the rule of all states and generally states that you'll, you'll, you'll have a better composition. Visually, more strong, visually more appealing if you have three instead of four. That's for you to decide. But in many, many cases actually this rule tends to be true. And in this case here as well, like if you look at these four and if you look at these three, it is more appealing. I don't know why that is, and no one really knows, but it just is just how it is. So if you have three flowers, if you're taking pictures of flowers, you want to make it three flowers. If you're doing four cones, you want to do three cones. So purely just as an example, Seiko, I wanted to show you here in this beautiful area. That's pretty much it guys for this video. And I'll see you in another one. 11. Central Subject Placement: In this video, I wanted to talk to you about the central subject placement. Now, this is a composition technique that can be used really well when you have a lot of negative space. So as you can see in this scene here, I have a huge amount of negative space. This sort of area here, this dark brown sexually volcanic rock. It's been dispersed here. And I'm not far from here from Mountain ADA, viscous. His whole landscape is just so much negative space anywhere. It's great photography. And negative space with central subject placement really allows to draw attention to your main subject here. What I can do in this particular scene, costuming pause here. What I can do in this particular scene is basically really draw attention to the subjects that I choose. And I have really great examples like these trees. So for example, I could single out and do a low tree photo. So if I use the a3x mode here, I have this beautiful contrast in the background as well. This is sort of really nice. Preferred to have a bit more space trying to line up the grid lines and actually walk over the other side of the road. It's a little bit get a little bit more space. Here we go. As you can see, I'm just lining up the bottom line of the horizon with the brake and the horizon of the negative space. Really trying to place my tree. This is a really great Lone Tree photo. If you take a look at that and this contrasts with the bright blue sky, have a lot of negative space, the sky and a lot of negative space with the background there. The ground. That creates this really beautiful photo. All the attention of your subject is very, very clear. Everything is very, very nice and simple, and your attention falls to your main subject. What I can do also is used different lenses here. So what I'll try and do here, actually, I want to get a little bit less of that sky and use a different lens. And I've got two lone trees now, see if I could fit history in action now, wouldn't be able to single it out. See if I can re-frame it. In just one side. I have a bit of forests though in that background. Now that seems to be like it was much better. Photo. Before. Here I have a bit more equal weight with the ground and the sky. But never since again, this is a central subject placement. Lone Tree, still, not bad. Very, very clear subject. Like this sort of V-shape here actually with the tree is very, very nice. Can basically find this anywhere where there's a lot of negative space. You can pick out any subject, especially because you have all these great lenses with his phone. It can pretty much do this kind of photo. Anywhere here. If you just find some kind of subject. And there's plenty of subjects in an area where there's a lot of negative space, can be grass, it could be sand. By the sea. It's all negative space. Singling out a boat. So many, so many ideas that you can do with them. With negative space and central subject placement. That's pretty much it guys, this video, just two very quick position idea. And I would generally know that the central subject placement rule is used by beginners a lot because they just tend to place everything in the center. But they don't try and single out and make their subject very, very clear with the use of negative space. So usually what his beginners tend, tend to place everything centrally. But as you get better with photography, you tend to try and use the rule of thirds and your grid lines or really off-center positioning to compose your decompose your shots. That's pretty much it guys for this video. And I'll see you in another one. 12. Dramatic Photos with Diagonal Lines: Guys, so in this video, I want to talk to you about another really great composition technique. And that's the use of diagonals. Diagonals, diagonals are basically angled lines and as you can see, I'm entering this beautiful forest that's a little bit windy here. So mine the sound but it has, we had in old, it's gonna get a bit better. Be shielded by this beautiful blue, the dark forest. And diagonal lines as you can see it has, as I mentoring through, I have a lot of diagonal lines, which are basically these trees. And here actually I've chosen this specific spot because, because here I actually have a bit of both. I have a leading line here as well. In the footpath. Have lots of different lines here. I have strong vertical lines for the trees that have diagonals, I have leading lines and so on. So there's really a lot here in this specific scene and that's not so easy to find. Basically, I've picked a specific scene to show you how you can use diagonals to really take stunning photos. And the difference diagonals is basically is that unlike leading lines, we don't really lead your eye to a specific point, focal point in the center frame, they just stare and they create a lot of tension and drama in the scene. And as you can probably feel that as you're walking through with me here in this forest, we get this dark, gloomy feeling. There's a lot of tension and drama in the scene because of these diagonals. So it's a very, very, very, very good compositional technique to really trade. Take dramatic and dramatic photos that have a lot of tension them in as well. And the thing about diagonals is that compositionally, when you're taking photos with diagonals, you want to have them moving from left to right or bottom, left to right. So here I've got from left to right, because I had lot of basic diagonals before moving from from just right to left. And the reason why that is because our brain finds it easier. Brain our eyes are naturally sort of usually following. When you look at a picture, they usually follow from left to right. And that's why I'm just walking through deeper into the forest to try and find a scene frame in my viewpoint here, we're a half more basically diagonals moving from left to right. What I'll do actually, just sort of a quick hack is all moving in a bit deeper here. I'll just turn around that way. That way. I'll have my visual weight of left to right now on the other side. So this way, I have a much better seen compositionally. Now I've got a really, really great spot here. I've got this leading line as a path. I've got these diagonals over here, and I've got some other strong vertical lines and so on. So effectively what I'll do now is they'll take some photos. Just thinking about diagnosis that you have to really work with the angles. You really have to work at how you frame the picture and remembers a photographer. You get to control everything that goes into your frame. So if you don't like anything or if something's in the way, you can just basically move and change your frame like this. If you don't like something. Now the path is on the left side of my grid lines to the third mattress dying. There we go. And basically, if I take a picture like this, all of his pictures will probably most likely you better portrait wise, but just because I'm taking photos, sorry, filming this tutorial landscape wise, I didn't want to flip my phone too much. If I use the the a3x lens, I'm gonna get much better photos here. I have this very strong diagonals on the left, and they'll have this tree on the right. And they've got this path, the intersection of the lower grid, all lined up. It's a really nice photo. Now, I can always crop this. If I find too much with visual weight than the left, I can always crop it. So don't worry too much about that. Or I can put, oh, great to have subjects coming through. Now I can use the leading lines. Draw attention to my main subjects, which is also a great, great technique to use in positionally. Actually, I'm combining several techniques here, leading lines and have goals forgot. Diagonals together. And I've got subjects coming through. And as soon as you add humans to the picture and changes the whole scene completely. Now another thing I wanted to show you is that if I actually go further up here, and actually I can move these trees out of the frame. Now I've got some miss coming through, which is adding even more drama to the whole scene. These very strong diagonals on the left. That's pretty much what I wanted to show you guys this video. How to use diagonals. Just remember, try and shoot them from left to right. And if you can't find if there's too much weight on one side going from right to left. And then just basically it'll turn around and everything will be reversed. So let's hit guys. I hope you liked the video and I'll see you in another one. 13. More Harmonious Photos with Diagonal Balance: Hello guys. In this video I want to talk to you about another composition technique that is very useful to bill a bit more advanced as rarely used by beginners. And it's called the diagonal balance in all about balance and harmony. Nicking your pictures, your composition look more, even, more even balanced and harmonious basically. So you use this in situations when you have multiple subjects, at least two subjects. And you want to use this when you have one subject has a lot of visual weight, as you can probably guess. If pick the scene here where I have this huge rock, a lot of negative space. So it's easier for you to understand how this composition is going to work. And I have the subject in front of me. A very clear subject is huge rock which has a lot of visual weight. And then I have this other sort of mini subjects in the background. So it's a bit of a mess here of those subjects here on the right. Some are main subject, the attention straightaway forces on the rock here, right? Where you want to do in this case is you want to look for elements or other subjects that are more clear to even out and balance the photo. So in this case here for example, if a actually step back a bit more than the rockets smaller or bigger. So as I move forward you can see the shadow is making that, that rock really have a lot of visual weight, right? If I just move back a little bit more and have this palm tree basically diagonally across me, across, sorry, this other subject. And so if I draw these two points here and these intersections, that's basically what you want to look for. It doesn't have to be exactly on the intersections of the grid lines. But you want to have biscuit at least two subjects and lining up the top of the grid line with the horizon. I've got 11 subject here, which is very, very clear with a lot of visual weight. And I have another subject here in section of the grid lines. Basically another rule of thirds there, right? And diagonally these make a beautiful sort of balance. And that's basically what this composition rule is all about. When I take a picture like this, I will get a much more balanced and even an harmonious photo. Then if I were to go for a different composition rule, like I had a sort of different compositions setup like a head here before. Here I have a lot of these other trees. There is actually a diagonal principle here, his well, but all of these subjects and path, it's a bit of a mess here, right? So you want to look for nice, clear second subject to basically even out and balance your photos. So that's what it's all about. Hope you guys liked this video. Do you use this technique when you have multiple subjects, it works really great when you have a lot of negative space like a heavy here with this grass or if you're on the beach, It's really, really great. You can use people walking past and you can match them up with other people walking past or some other subject in the background there. So on. That's promotion guys with this video. And I'll see you in another one. 14. Circular Composition Shapes: Hello guys. In this video, I want to talk to you about circular composition. So this is quite an interesting technique that really sort of pulls you in. And the use of circles as generally has this sort of flowing and pulling effect in your photos. So what do I mean by circular composition? So as you can probably guess here, I've got this sort of circle here in the middle, which is actually really emphasized by the bright light there. In the crudest great sort of pulling effect naturally. And I actually have this path here as a leading line. So your eye naturally is being pulled towards the center of the image. So this creates a feeling of depth and perspective and also have this sort of almost like a circular wall circuit, but it's becoming a kind of coming in with the trees, as you can see. Even though these trees are actual diagonals. But because of the shape of this sort of a scene, I actually have this sort of circular composition here. Now it's not a complete full circle actually, I have loved a lot of diagonal composition here. I have a lot of tension because of that as well. Because diagonals, they tend to create tension in this cord, especially if they, if they cross each other over like these trees are up here. In this scene. Actually I have a leading lines as a power for have circular composition and I have diagonals as well. And I would probably take this shot in more later in the evening is just at this time of the day, moment in the scene. I thought I'll show you guys as example. Join as an example. And suit. Circular composition was really, really, you can really take some outstanding pictures with it because I said it really draws you in. It creates this feeling of depth and perspective here. And you naturally sort of, your eye naturally sort of followers it. So really, really great images. And if you have a subject walking through there, obviously you can draw attention to your main subject there as well. In that particular scene, actually had some people walking over there a few moments ago. So here, as I said, this would be a much better photo if I took it later on evening because as you can see, I have these patches of hard light here mid, mid day now here in the mountains, and it's a very, very strong light. This particular scene, I would actually probably do this portrait wise like this. So I get more of those trees in there and I'll probably go lower down like this. I would experiment with different angles here because I have a lot of diagonals are, have a lot of strong lines. And these strong lines king really changed the way the image fields. So if I have really too many of them like this, it will just be a mess. So you really want to play around if you have a situation like this where you basically have a lot of diagonals are strong lines. They've ruled really change the way your image will look. As you can see towards the end, I have some very hard light. But hopefully the HDR function here should sort that out. If you actually have a look at the image, HDR kind of fixes all of that hard light towards the end there. But yeah, as I said, use different lenses. These different angles. Play around with what type of note here? This particular shot here. Right now, you can really feel that circle there in the middle is really sort of drawing when I did have some people walking over here before. You can really draw attention to your, to your other subjects. So if you have subjects working through and we can use the circles to really draw attention to these, to you, to your main subjects. Really up to you guys on how you use them. You can use them as circles by themselves. Or you can draw attention to other subjects in your scene. Like I have these people here, which totally changes the feel of the scene straightaway and just allows you to feel the scale of how big these trees are and this path and his whole scene and so on. So that's pretty much it guys, for this video do use these circles, play around with framing and angles in this kind of seen them and do try and shoot slightly towards the evening so that you don't get this really hard light. Or if you do have hard light, then make sure your HDR function is switched on. That's pretty much it guys for this video and I'll see you in another one. 15. C Curve Shapes in your Compositions: Hi guys. So here I'm in another really great scene. Then here I wanted to show you another composition technique that's basically using leading lines, again, the shape of curves. So here I have like a C curve and almost an S-curve as well. So here you see this path kind of going down like this, kind of have an S-curve and almost a seeker of here. And these compositions tend to feel really comfortable and nice to look at because your eye is just sort of following this sort of seen right. Now. It's up to you how you compose the shot. If you compose the shot more like this, then you will get more of a move back a bit so I can almost get that path disappearing. But if you compose a shot like this, you'll get more of a, sorry again, this switch to get more of a sort of a, an S-shape here. If I move more here, this sort of shot, then here I'm getting more of a C curve depending on how much has stand back and which lens I use. He probably the ultra-wide is a bit better. And I can get this sort of diagonal near the tree, which just looks really nice, sort of breaks up the whole scene. Here. I've got a nice C-curve sort of coming out of there. And if I had people walking over here, that would be even better. I can choose what goes in the frame so I can cut this tree out here. I can have that tree up there, sort of diagonally cross crossing the scene. I'm using the rule of thirds, getting that sort of part of the circle, C curve in this side, and then on that third getting in this side. So that's basically what all I wanted to show you is a scene here where I've got an S and the C curve together in one scene so that kill two birds with one stone. If we have a look at some of the shots that I took before as just people walking down using rules of thirds, the direction of movement, where people actually moving in a ratchet naturally in which direction when you have people who changes the whole scene, you can see the naturally now moving towards that direction rates. That's very, very clear. When you add people moving, it's a whole different ballgame because then that changes how your eye perceives things. Like I have here. And I tried to capture quite a few shots here. Here, your eyes following from a different point. So when I have people walking over here, your eyes kind of starts to follow from around here. Whereas if I have people walking from over here, then your eyes following down. That's just the way it is. Decisive, dictates the image. It's the direction of movement. And you can see how that actually goes together with this tree. That's, that's a really nice picture. And you get this sort of composition is beautiful composition. That's basically pretty much it guys. What I wanted to show you here in this image and experiment with eschar of C curves. They tend to give a lot of flow, natural direction. And they just tend to look appealing in your images. So do you use them when you see them? If you can use C curves, it's really good to just use a part of a curve and not the whole sort of see Ebola, a part of a scene sort of bending down like a mountain road. Like an adding a nice sushi effect. Really up to you guys experiment. Take different positions, different angles. And as I said in this scene, that was really great because I could I could basically play around with an S-shape or more of a C-shape. And that changes the whole image very quickly and try to use different lenses again here I'm very, very close to the scene in the forest. So there isn't much to move about here. Like am, I literally just have trees right behind the end? Sum, I have to use basically the ultra-wide, which works really nice here. The only thing that I would do here is probably shoot later on in day. Because I have these patches of hard light. Again, HDR should fix that. To a certain extent. As you can see, they're not burning up, they're not blown out here. Hdr. Thus fix that a little bit. So that's basically what I want you guys in this video, and I'll see you in another one. 16. Rectangles in Your Compositions: Hi guys. In this video, I wanted to show you another composition technique. This was sort of related more to framing and rectangles. So got two things going on here. So if I wanted to take a really good photo here, I could do some framing with rectangles. And as I move further back, you can see that I get this sort of crossover. It shapes. They're both rectangular. There are four points. And the key thing with this type of photography is just to keep everything as rectangular and as symmetrical as possible and possibly take it in. I'm just using the grid lines really trying to get the bottom of the rectangle and the corner of the grid at the bottom of the grid lines. Just using the same proportions everywhere. And you may want to crop this photo afterwards to use as a square because it will look better as well, because there'll be rectangular terms of its proportions. Basically, what I've done here is I've, I've, as you can see, there's not still not fully proportional here. But I could even do that if I wanted to. I could cut off the background there. Keep the sea for one or two. That's another that's another photo in mind. But effectively just want to show you, you can, for these types of situations, you want to look for a rectangular composition, which is basically very symmetrical composition. And you want to use your grid lines to really measure up, get everything very, very symmetrical. As I'm moving, I'm basically standing at the center of the structure. So starting at center, I'm using, really using the grid lines to get everything very, very central. And that's how you get really nice rectangular composition using that specific rule or guideline. So that's pretty much you guys for this video. And I'll see you then. 17. Horizontal Lines in Landscape Photos: Hello guys, In this video wants to talk to you about horizontal lines in your composition. This is very commonly used in landscape photography. And effectively what horizontal lines are in these strong horizontal line decomposition. So as you can see here, I have these two like a very specific example here with a lot of negative space just to show that you understand. So I have two very strong horizontal lines here and this boat here as a subject as well. Some lining up the horizon with top grid line. And I've got this space in between. I've got this strong horizontal line here. These rocks as well. What this does basically your photo. Horizontal lines are very powerful parallel lines. So I've got these two powerful parallel lines here. And they create this sort of space in the middle. So if you have a very clear middle ground here, very, very clear sort of background and foreground. So that's what, that's what horizontal line placement has to do. It tends to make very clear middle, foreground, and background. In this case, the only thing you need to avoid when you're using horizontal lines is you need to avoid basically trying to put the horizon in the middle like this. Because that will make your little, usually make your image look a little bit awkward. So try and try and compose the image in a way where your horizon isn't in the middle. Now for middle ground was something else. Maybe this could be a peer or it could be completely sense something else and not even receive, that would probably make them more interesting image some purely using this as an example sake. And my main subject here are actually, so my main subjects here actually there's rocks. So very, very clear sort of attention detail here. And also this boat. You can see it, but it's quite far away. In this case, I haven't very, very clear subject and horizontal lines amplify this whole scene. So that's basically guys what I wanted to show you in this video, how to use a horizontal line placement to improve your landscape photography. You can vary with your placement. You can vary how, where you position your horizon. Just try not to put it in the middle. So that's pretty much it guys in this video. And I'll see you in another one. 18. Showing a Sense Scale and Perspective: All right guys. So in this video I wanted to show you how you can take really stunning pictures when you're faced with really large subjects like the pyramid in Giza. And essentially what I'm gonna do here is wait for subjects to come through. I've got actually a camera low here nearby with a friend and he's basically going to walk through frame and I'm going to try and get a really good picture because the problem with the pyramids is actually there. So massive, like if you actually zoom in, It's so huge, stones are massive, but it's really hard to tell that sense of scale and that's what all the pyramids are about, just the grandiosity you really want to show just how massive it is. The best way to do that is to have a relative subject next to it to show that sort of sense of scale. So like I have this sort of host characters coming through. That's a really good shot. Trying to get the rule of thirds in there. But essentially like I actually found a potential subject here to show some really good sense of scale. And now he's going to basically walk through. I'm going to try and get a good picture, which will add to the whole composition. Fight. And he massive scale, just how big, how big this group. Now I've got some characters there as well nearby. So I'm gonna just use those very quickly. Rule of thirds coming through. That breach shows brand your steam. Giza Pyramids said, it's very, very difficult to see, to actually very difficult to take good pictures of impairments because it's so big. In when you have a camera, your lens is very, very small. It's very, very difficult to actually take a good shot. So best way is to find something relative next to it, like a car, carriage or camo adds to the whole sense of feel. Pyramids, you know, the desert. Take some good shots. So that's pretty much a bit what I want. Show guys in this video and I'll see you in another way. 19. Framing Portrait Photos: All right guys, so in this video, I wanted to show you how you can use framing to take really stunning portrait photos. So I'm in this beautiful mosque here in Cairo and got really great spot here where I've got a frame. This beautiful arabesque motifs and drawings. And what I can do is if I have a subject that Alina, if you can sort of move in. If I place my subject inside of a frame, I can really use that frame to actually take a much more interesting and stunning portrait shot than just simply doing a simple boring shot. The key thing here is you just want to align the top grid line here with the sort of eyes. So I'm just using the top grid line here. And essentially take your portrait in such a way where you've got the background in sort of frame. And this way you can really take standard portrait photos. Now if you look at it that way. Got beautiful wind coming out with the scarf. That creates really nice sort of portrait shot. Now, let me use a different lens. Because Here we go. This is the beautiful shot. Just trying to get some more of the frame in there, just to read a line from that because there is a lot of symmetry in the pattern. So you have to really get things straight. If you don't get things straight, it's going to look a bit awkward. Here we go. That's a really nice portrait shot by simply utilizing framing as a concept. And I'm placing the subject inside this frame here, I've got up on the arch of the symmetrical structures and also got the top pattern. And the direction of movement of the eyes also are important. So you want to have plenty of space on this side when you're taking a portrait shot. Because if the subject was placed over here, you would kind of cut him off to where he's looking at the subject. She just very important to really frame the shot in the right way so that you've got plenty of space where the eyes are looking in a certain direction. So that's basically what I want to show in this video. How to take studying portrait photos using concepts of framing. I'll see you in another video. 20. Natural Framing Example: Hello guys. In this video we're going to talk about natural framing and how you can use natural framing. Like you have some piece of grass, maybe you have trees. So this is really great for improving your landscape photos. Or sometimes you can use natural framing for, for portrait photos as well, like a door or some kind of archway was many, many ways of how you can use natural framing. In this case here I've picked out spot where I'm literally in the sort of secluded little spot here in the forest and a little bit higher up. And I've got these sort of trees, basically this natural framing here all the way around. My main subject, which is basically this Franciscan Church over here. Which in itself is a beautiful, beautiful shot, right? And what I can do here is I can actually use the nature of these trees and I can really in a frame around my main subject. So here my subject is in the middle. Central subject placed in this case, lining the, one of the grid lines with the horizon. And just basically taking my shot. That's effectively the concept of how you can use natural framing and you can really create that beautiful, beautiful sort of a natural framing to really improve your landscape shots. That's pretty much it guys for this video and I'll see you in another one. 21. Landscape Shots Different Lenses : Hey guys, In this video I wanted to show you how you can take really stunning landscape photos, specifically using the sort of a telephoto lens is the a3x and techniques. And I really tried to pick out spot here for you where I really need to reach in my lens to get closer to my main subject and to create a beautiful composition. The problem is with most sort of landscape photos is they tend to look very flat and boring and don't have much in depth and perspective. Now there are several ways you can create depth and perspective. And in this particular video, I wanted to show you how you can use different lenses and certain composition techniques to really create that sort of depth perspective. Have this beautiful scene over here, as you can probably tell, I was really looking where I can find some layers. Instead of frame. Here. I'm going to start with the ten eggs. And techniques really allows me to get close to my main subject, which is what you want to have in your landscape photos. You want to have a very clear subject, which really draws the attention of the viewer as soon as he sees the photo, right? You want to have layers. You see these layers I have here with the negative space of smell to here this black part that I haven't slay here with the trees, with his beautiful green contrast color that's contrasting with the negative space of the black. And then I have my main subject, which is the background. Really, really amazing scene. It just basically want to frame your subject and take a photo, right? You want to be very, very still because any small micro-movement lens cause not a very nice sort of clear photo. But the techniques here lens really allows me to get closer reach into my main subject. When you're doing a compositional at the electrode is you want to have, as I said, layers. And these layers are what creates this sort of sort of depth and perspective. And I have all my attention now on the Mountain potted for the causes of a bit of traveling here on in the mountain range, bit of wind as well, so forth. Sorry for the audio, but effectively here you can see my attention is falling. All my main subject, which is the mountain. And I have this beautiful errors. Basically this creating this sort of depth perspective in this particular composition. If I had some clouds coming in, sorry. If I had some clouds here coming in from the side like this. And this would also create quite a bit of drama and there's a very nice clear sky day. But actually I would like to have a bit of clouds here. They actually had clouds here, but today's very, very clear day. So clouds with quite a bit of drama in the scene and so on. Now, if you're not very good at using two hands and holding your cameras, still know Samsung has some very good stabilization whilst you're taking this kind of picture any already anyway. But if you really wanted to make it more stable and get clearer picture, more crisp picture, you could use something to rest your phone own like for example here I could use this bit of wood here, can place my phone and just use that as support to really get more a stable image so that nothing is moving. And then I can take my shots like this. I could also use the focus and exposure button and really focus lock my exposure on the mountain there. Could really do that as well. Just hold my phone is very still. Yeah, that's, that's pretty much it. For the first sort of compositional idea, what I wanted to show about the a3x lens. You can also create some beautiful composition shots here. This section, two mountains here, as you can see, I have this mountain over here and have this mountain over here. They're both quite big and visual weight. Now, I may not want that second mountain there in my composition because it does actually draw a lot of attention. So I could do, some people may prefer an image like this, or I would actually prefer an image like this where I'm actually cutting out other mountain and I've got this little green forest here, which is all of all the weight of their green forest is now contrasting with the negative space here of this mountain. And then I have my main subject, Teva. And again, these beautiful layers all creating depth and perspective and also have a leading line here. So I have a leading line here with the road, which is also adding to the effect. So really, really great compositional idea as well. And if I had some people walking on the path there was, this would be even better. Really beautiful shot. Got a lot of negative space. The stark black with the green forests color, contrasting composition there. Or I could go for this option where I have two subjects. As I said, clarity of your main subject is very, very important. So you may wish to cut that mountain now. So that's the thing about the screen photography. You get to control what goes into your frame. And that allows you to basically choose what your main subject is going to be, right? So that's pretty much it guys, In this video, what I wanted to show you how to really create stunning take stunning landscape photos by using different lenses. And how to really reach in new frame your subject use layers, trying to get layers into your landscape photo, tried to get contrast of colors compositionally. Or maybe you have blending colors in the color wheel. Try to use also negative space in that sort of sense. And if you have clouds and stuff, That's also really great to add drama to the whole scene as well. Now if you've shot this evening, this would also be a beautiful photo. Totally different again, because of the direction of light and the intensity of light. So light plays also huge part here. But for the purposes of this video, just wanted to show you more specifically on how to actually use these different lenses to take your shots. That's pretty much it guys, and I'll see you in another video. 22. What is HDR?: Hello guys. In this video I want to talk to you about HDR. Hdr improves your photos and went to 0 or not to use it effectively. You can see this little icon here that's turned on, that's basically showing you the HDR is turned on. Hdr is really useful as basically computational photography. And it really helps when you have challenging photography situation. So what I'm gonna do is I'm gonna take a few shots here just to show you the difference with HDR on and each CRF. And I'm going to focus my but my focus and exposure here in this area. And I'm going to take, I'm going to take a shot. And even actually I'll put it really high. No, Do this. Now I'm basically prioritizing the focus and exposure in this dark area. And usually camera lenses have a difficult job at doing that. Do you see how it basically fixed this overexposed area? I have a lot of detail in this bright area and in this dark area as well. Whereas if I turn on HDR off, figured out the settings and turn HDR off. What will happen actually is if I do the same thing again and just move it a little bit. Actually, what I'll get is I'll get this really overexposed image here. Seem to have samsung seems to even automatically fix this. By default. It's actually quite hard to show you even with HDR off. But if I were to do something like this, I think it should, should stay blown out. Here we go. So this is a HDR off. Hdr on. You can see the difference in the challenging photography situation. So what is a challenging situation? Well, that's basically when you have this huge contrast between bright and dark areas, your camera lenses have difficult time actually getting both of them in detail. Our eyes are very good at doing that. They're really good at seeing high-contrast, high highlights situations and distinguishing between them. And seeing a lot of detail in shadows and bright areas. Whereas camera lenses are really bad at that. So what HDR does is it takes multiple shots at same time. I think it's like three to six images or something like that. And then combines them together. Combines the bright parts of the image with the dark parts of glues them together. And you get this nice and even balanced, harmonious photo, preserving detail in dark and bright areas. Now you may not want to have HDR turned on all the time. So they're really useful when you're in challenging cases like this. So maybe you're taking a landscape photo outside during a bright day or you may be shooting and you have a lot of dark highlights somewhere. In those situations is very useful. But for example, if you're shooting silhouette photos, you want to have HDR off. Because what HDR will do is it will preserve detail in your in your dark areas and these areas and in silhouettes. You don't want to have detail in your dark areas. You want to have a strong dark outline with no detail in your silhouettes. And that's how you get renamed silhouette photos will also will usually get HDR on. You'll get these grayish, greenish silhouettes. They may not, may not be completely black. And even in the foreground areas, the bottom we are on the ground. You'll probably get gray, grayish areas would detail in them. So you don't want to do that. You want to have HDR off in those situations. Because you won't, you won't just strong black outlines in your silhouettes with no detail in them. Another, another option is sort of an another variant is when you are shooting moving subjects. You're using actually burst node two phi. If I turn HDR on now, is it on again? Remember, turn it on. For example. I make this slightly brighter situation like this. I use burst node like this. Just by holding the camera shutter button, you will actually be turned off by default because imagine HDR is taking multiple pictures at the same time already. Anyway, if you have a moving subject is going to actually mess up your photo in burst mode. You will actually have HDR at turn-off, turned off. So just bear that in mind. If you're in a challenging exposed situation and you're shooting a moving subject, you're going to get these blown out areas. Hdr basically is not gonna work. You want to shoot moving subjects where the photography's Jason is not challenging. That's pretty much it guys in this video. And I'll see you in another one. 23. Stunning Silhouette Photography: Hello guys. In this video, I wanted to talk to you about how to take standing silhouettes photos. And I'm over here in the beach with a sort of very directional light here. The sun is just setting and we've got this beautiful golden light. And the way that you need to take silhouette photos is actually quite a few tips. And the biggest errors that beginners make is they tend to kind of just come over and they take a silhouette photo like this. And you know, with a really a lot of foreground. All of this here I have is just basically all foregrounds. And it's not causing a sort of dark silhouette. What you wanna do is you want to basically try and get a lower angle. You want to try and sort of position your subject directly behind the source of light. You want to basically try and choose a different angle to shoot from a low angle like this. For example, if I go back to one x instead of shooting and taking a lot of foreground, you want to try and cut out the foreground and shoot like this. And I get a much darker, strongest silhouette. Depending upon where you're, where you're placed. If I use the a3x lens, I can move further back. And I can add a little bit of foreground, but not too much. And I'm shooting right behind the source of light. And that you can see I'm getting his beautiful dark, dark silhouette now. Investors to choose a strong source of light. So just sort of an hour or two before the sunset. So I'm I'm really just at the sunset now. And you can see I don't have a very, very dark silhouette here. But what I can do in this case is I can always lock my focus and exposure in the subject. So I'm just going to tilt the camera a bit more, some cut out the foreground. I can always lock the focus and exposure. Lucky here. And I can actually manually tubule and make my own really sort of much darkest silhouette. That's another sort of trick you can do. If your silhouette isn't strong and dark enough. You can either edit it in the post-production or what you can do is you can actually just manually do it whilst shooting real-time. Some aligning the bottom of the grid line here with the horizon. Like this. I've got the subject here at the rule of thirds, and I've got some subjects who were there in the background, which is really great, which is giving me sort of perspective on things in the center frame. And that's basically what's happening. I've got an ebook constant flow of subjects here coming through. So it's a really, really great scene and shot. And all I need to do is is basically wait, lock my focus and exposure on a certain area. And to glut on how dark I want my silhouette to be. That's basically how, how I want my silhouettes to happen. So I could either have one subject with two subjects, really sort of up to me with trying to avoid overlapping subjects because you won't be able to tell what it is in terms of the subject. So basically and I'm lining up again, the button grid line would have horizon learning my exposure a little bit so we get a nice strong dark silhouette. There we go. I'm gonna take a shot now. That's basically guys, how you take beautiful, stunning silhouette photos. Now, because the light isn't so strong, I do have the sun above. I can actually, what I can do is I can choose the one x lens and I can actually position the sun totally behind. I want to like this. I don't have to I don't have to have the sun, you know, sort of above the head like a halo may not want that because it really attracts a lot of attention. Here we go. I'm gonna catch a few more subjects jumping through. That's interesting. But essentially guys, I'm just manually tagging the exposure and trying to take a good shot. My main subject. And you can use central subject placement in this case, you can use the rule of thirds, really up to you guys. But essentially, that's what it's all about. If the key thing is, is if you have a really strong source of light, you won't need to play with the exposure too much. But if you are shooting like this, like I am now, almost at the sunset, you might need to play around with your exposure settings a little bit. So bear that in mind. And one key thing is really great silhouettes come when you have sort of a beautiful sky, like you have a bit of clouds. So you know, there's some more drama in the sky. If you position your camera like this at a lower angle. And so for example, if I do the one x, and if you position your camera more at the low-end angle like this, and you take more of the backdrop of the blue sky, then you will get really beautiful shots. Today is not very cloudy day. But I can show you some example photos where I took took the shots when it was a more cloudy day. And you get these really beautiful, sort of a more dramatic skies. And you're basically shooting against the backdrop of the dramatic skies. And that's how you get those beautiful shots. That's pretty much it guys wanted to show you this video. That's how you can take beautiful silhouette shots and do go out there, do, do find big, large open spaces. So you can use the backdrop of the blue sky, whether you are in a big city cathedral, or you're at the beach. So large open spaces are great for silhouette shots. Here, look at this. I've got masses of people walking through overlapping subjects. Really not a great idea for silhouettes because he can't sort of tell. And in the essence and the clarity of your main subject is too many subjects. But essentially, you want to avoid against, against shooting things like rocks because it's not clear what it is. And if it's a boat or a person or a car, it's usually quite a clear, dark outline of what that silhouette is. So that's really important. What kind of subject do you pick as well? Just make sure they don't overlap. That's promise you guys for this video. And that's all I wanted to say here. And I'll see you in that one. 24. Blue Hour Photography 101: All right guys. So in this video I want to talk to you about the blue hour. And the blue hour is the hour after the sunsets or the hour just before the sunrise, where you don't have directional source of light. In the golden hour, we have very directional source of light as the sun is setting towards the horizon. And once it sets, the direction light disappears. And you get this beautiful strong backlit sky. And the more you wait into the blue, the more of this sort of the strength of that backlit sky disappears. So you want to really start taking photos as soon as possible. Because the more you wait, the more it's likely that you might need to use a tripod to keep your camera really still to get these really crisp photos. So effectively in the blue our estimates things is easy to remember. You want to shoot against that big background sky. You want to use large open spaces like this. Large bodies of water, beaches, cathedral squares, where you get a lot of this background Lit, sort of light into the sensor. And then you can get this really beautiful photos where you still have light, but don't have directional light. So it's still, it's still, it's a low light level scenario. But you don't have a strong source of light. You want to keep your camera really still. In these types of scenarios you want to shoot from a low angle. Most likely in most cases you want to shoot from low angle and you want to use that body of water or that big sky to get the contrast with your photos. Let's have a look at an example, right guys. So now we're in the blue hour and son has just said and considers beautiful blue human sky. I'm getting this sort of darker blue over there on the horizon when it's spread sort of darker. And then I've got the Verizon here where the sun is literally just set my subject here as well. But effectively in the blue hour, you can really take amazing, stunning photos if you have dramatic skies like a heavy today, had it. I had a bit of rain, I had a bit of thunderstorms. Basically really nice, sort of cloudy, dramatic sky. The back-light of, sort of blew our there. And this is when you can get some really stunning photos by using a lot of negative space. So if you're in a wide-open space like this large body of water, you're gonna get a lot more light in your sensor. Because effectively on larger than space and that skylight, light from the sky is all sort of going into a camera. You can really take some stunning photos like this and this particular scene or have some really beautiful composition so that I can use, and effectively, I can sort of use the drama of sort of a big sky or I can play around with the low angle shots here. But effectively here, if I line up the grid lines using the rule of thirds here with the head, the Verizon here. And also have the feet at the bottom of the other intersection of the grid lines. And they have this beautiful sort of staircase, this leading line and sort of leading down into the sea. Sort of a really beautiful photo. You can also do the same thing with sort of standard sort of wide angle lens and telephoto lenses, sort of giving you this closer look, but with a wide-angle lens and getting more of the sky in there. So here I've got a subject, again by this large body of water and the sun is literally actually just setting. And again, I'm getting this almost very dark red glow here. What I can do is actually, I can use this for really good photography scenes. And I'm gonna move back a little bit. So I have a subject that's a little bit smaller. I'm going to try and shoot against the body of water. You can get some really nice photos like this. And when I use very low angle and I'm going to cut off the foreground because that's going to mess up my photo. And I'm gonna shoot against this background, that sky where my subject is very centrally placed. That's basically the kind of photo that I want to take. And I'm just using this button here at the top as I'm filming this video to take this photo. This is almost like a silhouette photo against this beautiful golden lit sky. Where I'm using central subject placement against a lot of negative space, which is really, really good photos. And you can also use telephoto lens if you wish. For larger subject. That's also an option. But I tend to prefer to use, I tend to prefer to use more sort of smaller subjects in this sort of scenario. Have a lot of that sky and that contrast. And especially if you've got different, different sky coming in or the whole subject is coming into the scene. You have a contrasting sky here. You get this beautiful photos that are really, really interesting. That's basically guys, what I wanted to show you in this video and really use the blue hour just after the sunset. It takes stunning photos. So in this case, I've actually, um, I'm just getting into the blue hour literally right now. Like the sun is just setting in the horizon. And I've got this beautiful sort of still golden glow there, which I prefer to talk about sort of shooting in the blue. Our prefer this, instead of just shooting the sort of blue sky. But this still has some directional light, not very much now because the sun is almost like this. It's not strong at all. So the directional light is still there, but it's not very strong. That's pretty much it, guys. What I want to show you this video and I'll see you in the level.