Big Sur: Sunset Lifestyle Shooting

 

Adventure Photography

 

Lesson Info

Big Sur: Sunset Lifestyle Shooting

We have another video to show, yes, eso excited for that and a couple of things I know we're going to cover sunset, right? Um, the changing light talk a little bit about that experience, so once, you know, once the sun goes down, the light obviously is getting better, as I wouldn't say I can I say better, that sounds generic, but it's getting more interesting because it's more angular, it's all of a sudden getting more color because the longer the light wave has to travel, the more color it basically has. So as it goes lower, all of a sudden you start getting interesting shadows. Andi, what we're gonna do is we're going to start working with that subject and start shooting mohr dramatic images, he these air all nice images, but they're kind of, like evenly lit, you know, five o'clock on, then we're going, we're going to start showing what is, uh, you know what you could do with creative white mounds created white balance is it's not the normal white balance? And we're going to talk abo...

ut that. We're going to talk about placing your subject to do things, such a sunburst, using aperture to draw attention and how to shoot a sunburst, you know, basically just working through, uh through the chute in the progression you're seeing a riel progression of an afternoon going from light that's okay toe like this much much better and showing how I sort of work through that to get you know, to get the best pictures and maximize that so okay, well I think we're ready t roll that's what cue it up great we're going to switch up linda's we got a sixteen to thirty five and I want just a little bit more compression here so a fifty millimeter is a great lands that's what it's considered kind of ah standard lens but it's going to get me a nice little bit of a compression uh showing that background and we're just going to swap these out real quick all right? So same sort of thing and what I like to do about it you know, we've been shooting here for a bit and it's sort of like, you know, we're going back and forth and you might hold this for just a second we've been going back and forth and you know, it was like, oh, eric, do this eric do that so now I'm just gonna have eric you know, just do a couple laps here and I'm just going to allow him to sort of do whatever he would do, you know, kind of normally and maybe just sort of, you know, switch the board from side to side and sort of just sort of work through this process because, you know, sometimes you don't see something that looks good until you see it, which makes sound sort of strange, but, you know, I don't want to lock myself into being like, oh, the board needs me on the ride of the board needs to be on the left, so by allowing eric to just sort of, like, walk through, maybe switch it up ah, and do some some things that I may not be directing, uh, sometimes will make a very nice and pleasing picture. So yeah, just just back and forth on the same trail and we'll sort of work through it. The only thing I am remembering it's my rule of thirds and keeping eric and the inappropriate spot in the frame uh, and also see how he's just sort of working through this process, he sort of watching the swell all focus and recompose what's that yeah, come on in, it's good it's good and just walked on the trail. Yeah, lighting is looking really good, so, you know, lighting starting to work a little bit better and we're starting to get some really nice stuff, so let's, just walk down the trail this little bit, all right, so now we're starting to get some some waves going go and hang there for a second so now we're starting to get some waves there's actually before it was just kind of like a messy see nothing real consistent so now that we're starting to get some waves you can see in the background of starting a break here I'm gonna go down and we're going to start working sort of one position because we have a really khun background that sort of getting a little bit better ah, the light's getting a little lower and we're just sort of improving on what we've just done uh and working through that so maybe just down there in that little shaded area sort of ah looking off down that way cool and turn your your body towards me just a little bit eric sort of looking off down the coast what I'm looking for in the background is is you know, now we have these wave lines coming in hopefully we're gonna get away breaking sort of consistently and it'll it'll make sort of a nice super clean background, so I've nailed my my camera settings you know, I'm at two point eight because I've changed a fifty millimeter lands, which is more of a normal lens on and I'm at s o one twenty five, which is a low so I don't have any super high there's plenty of light out here and the reason I went to ait because this is a one eight lens I want to have just a little bit of that field but I want that background to really fall off so she had to wait you know, behind eric it's going to turn into sort of a nice dreamy soft background because I don't want to draw me any sort of distraction away from him the background is mohr of ah complimentary item than something that is uh no something is sort of making you're breaking the photo yes, I just sort of straight off about forty five sort of write off their towards towards that there you go you take a step forward this way just a hair they go and a half step back perfect and there you go look in the direction your board's going so amusing leading lines which leading lines in an image you're really important so the waves were sort of coming in and they're almost pointing it eric they're drawing me into this photo again. Eric is in a thirty sort of horizontal frame he sort of up in the left upper third and we're using these sort of swell lines of the waves to sort of draw attention to eric um it's really pretty nice uh the only thing I would do a little different here is now that we've gotten some sort of standard images here they go and switch back to a little bit wider linds um sixteen to thirty five is the one I would probably do, and I'm going to show this whole sort of great, uh, landscape in all of its glory. So you got thirty five on again, go, I might even go was y two sixteen because it's sixteen, you almost get even though it's a rectal on your lands, you almost get a real sense of the curvature some to get a little closer looks good, more more out. Just a little bit. They go and turn towards me like you're walking away. Perfect. So just a little direction goes a long way. Let's do that one more time. Sort of walk walkout passed me from behind me tow to that position stop for a second, sort of look around and then walk out, and I'm just going to sort of strategically shoot as you walk by. So spontaneity is really important for adventure photography because, you know, there's there's something about a static image, which really just doesn't really, you know, tell the story. Um, adventure is all about moving, going places, doing things, and if it looks like somebody is just, like planted there on the ground, it really doesn't give that sense of sense of spontaneity, which really, you know, is an authentic because eric you know if we're on a surf trip eric's not going to come here and stand for a half hour and stare at the waves he's going to be walking down to the beach and you know, surveying this is we go so by having him sort of do this process that will allow us to be able to photograph him sort of emotion and a little feel much more original and muchmore true so let's go ahead and get you there on the rock yeah, so I see here so we've got this white sort of coming down a little bit lower and really kind of tough we're in a tough position we're getting a lot of flair off of the off the ocean lot of reflection here and it's going to get good a bit, but we're sort of in this transitional time we have a couple of options uh we want to fill in uh some some of shadows on eric we can use the reflector uh it's a small hand reflector either a soft gold or a white reflector um or are there option is to go and continue to find a spot where he's mohr lit and he's more evenly lit and well, this sort of work through that process so I'm just trying to get a little bit of a higher vantage point right here um beautiful sort of ocean but I'm trying to get some something just give some separation so I'm gonna try to get eric hopefully up on one of these points here so we can just get sort of a sense of sense of height uh that would be better but this would probably find it would be if it's yeah yeah yeah is that big enough to stand on there? Is that to teo sketch it's good to have you stand to start and then if it's if it's too sketchy um you know, let me know um first and foremost you know, when working with athletes you know I'm always looking for something is dynamic and standing on like this this this rock here to give some sort of sense of scale but you know, safety is priority and, you know, asking like, do you feel safe doing this? Making sure he's comfortable will you know, make sure that every walks away good I'm going to get back now and get this sort of shot here looking down the coast think you're good right there. Good that looks pretty cool, but I'm gonna actually go up and try to shoot from behind him looking down uh to really give it that that that grandiose feel so we're doing a wide shot we're shooting a sixteen millimeter that's is typically uh I have a fourteen and twenty four as well but the sixteen's great so it's a real wide shot is going to encompass the whole sort of sweeping panorama on uh shoot right up here right behind eric that's going to sit down if you can't eric yeah just like that awesome so it's looking good we've got eric on this nice background um again first thing I do is do a quick test shot and trying to get his head so his head down here in order to do that we need to raise the camera up so one way to do that is to use the live you on the back auto focus actually we have ah, a meter here it will give us if our horizon straight and what we're testing here is sort of looking at you know where he where he lines up in the frame because really that's paramount um if he lines up somewhere pleasing the frame if there's something cutting through him it really isn't a successful of an image so by moving our body up and down and are moving the camera up and down it allows us to be able to put him in the spot in the friend where we want him so it's kind of an in between time uh we're not quite to the golden hour yet the sun is getting a little bit lower a little more interesting and this is the time that I like to pull out a reflector reflectors come in all shapes and sizes typically the bigger the better it could be anything from a bedsheet stripped over some pvc pipe, the more professional models it could be, uh, triangle model typically I like the ones that air like a soft gold because they glow a little bit more you get a little bit more reflective quality out of it and we're going to go and just pulling these out and we're going to fill a little bit of shadows and do a little bit more of a portrait of eric real quick until we get the sun dropping a little bit lower and then we'll have a little bit more flexibility so this is a sham era uh, light panel and there it's just a really simple metal frame and we're just gonna put a soft gold um you know, back on on it typically the reflector needs to be on the opposite side of the way the sun falls so if the sun is is coming in this direction the reflector needs to be set up on this direction to bounce light on to the other side. Go right so yeah, it also works good a sale and every time that you pull out a reflector the wind will come up without fail so just quick now so a lot of times the way I use this reflectors I will put the subject directly with the sun basically behind their back uh which you know basically I'll be covering the sun with my subject and I'll be using this to fill them and the sun will create sort of rim light so it'll make hopefully some sort of a nice interesting you know pattern such so eric you hand me the camera go we're gonna get you back sort of up there if you could help me with this guy was sort of sitting on the rock so I've done here is I've basically covered eric for my perspective with the sun so I'm getting a nice room light over the top of him and now what I'm gonna do here is going to move this reflector and go ahead and keep walking forward until we start getting more light on him and you you just keep moving it up until we get a little more light on his face test another thing I want to do here because I'm using the sun directly behind eric is I'm gonna go and stop down say stop down I mean close the aperture down and I'm too close down to f sixteen and the reason I want to close it down to half sixteen is because it have sixteen we're going to get a really cool sunburst so smoothing down and having a little bit of sun come about come off of eric here just moving ourselves a little bit we'll have a really cool sunburst let's see here all right cool um so we got our sunburst let's go and you can move this it's the point where you're getting light onto eric little bit there you go keep moving so I'm just really sort of moving the nuances little bit and hair could you move back there you go because I'm really moving like literally millimeters teo to move the sun and they were the right spot but I'm really trying to get the sun off the tip of that board and ah ryan can you can you just take care of that guy if you could drop a tip you're bored just little bit eric go on drop it'll more you go drop it a little more there you go drop it a hair more so what I'm doing now is I'm moving my body just a little bit up and down toward the sun is hidden by the board should drop your tip just a little bit there you go a little more right if I could just get a little more light on him get more on his face will be awesome drop your chip eric so what we're doing here we're trying to get just a little sunburn right at the tip of the board and eric dropping board just a hair there you go a little more time lining up the board of the sun so I'm I'm I'm shading the camera from the sun with the board and you have just a hair off off of that is it is that peeks out just a little bit you get that burst of sunshine right off the board and it works for a kind of a really cool effect um we're most of it mostly the silhouette right now which is kind of cool um drop your board just little bit eric a little more to go so typically with a silhouette um we want to be a stop under available um and we want to basically put our our subject on a dark background let's go out and work through this though because we're going we're going to move or we're gonna lose our son here so we can get him lit just a little bit more we can put that up just a little higher and what may be one of you guys can help with the reflector the bigger the reflector typically them or crew you'll need but the large the reflector the softer the light source is going to be so this one it actually works pretty well um so we just need thio basically we're a little off access on the sun can you tell us your direction yeah there you go drop your border aboard so we're moving just a little bit and one thing I wanna do is so this is a pretty washed out background here there's you know, it's just the sun directly in my face I'm gonna change my white balance I typically him on a sunny white balance or I'm shooting outdoors but on this point we can now go and do something a little creative and I'm gonna change my white balance to ten thousand kelvin, which is the warmest white balance you can get so it's gonna give us is really like a warm glowing skies who wouldn't drop that again for me there we go a little bit lower lower so by eric just moving the board just a hair all of a sudden we're getting a really cool sort of sunburst right off the tip of that no and down just a little bit lower cool all right think we're good with that they're going to come down yeah, we went ahead and just went full so we're having a little bit of trouble getting the full light on him. So what we've done is we've changed our kelvin temperature teo ten thousand which gives us a very warm sky and I would have just change it to aperture priority um so that we could you know, basically just used the automatic setting in the camera because all that light coming through behind him he's remember he's lit one hundred per cent from behind and we shot it f sixteen so that we would develop that sunburst and it comes out to be a really pleasing kind of cool image, you know, something to work with, it's? Not something that would spend an hour doing, but we're sort of in the in between time where we're looking for something a little bit different, you know? And we might try to use the reflector a little bit more now that I know he's a little bit lower, but this is sort of that time when we'd want to be using light modifiers to do something a little bit different. You stand right here for me, so the sun is getting a little bit lower on the horizon, and, um, I want to start using this coastline, so I'm gonna try tio to use eriks silhouette basically to sort of block the sun, so if you can come come this way, eric, for me, and I'm just gonna go and kneel down, and I'm going to use eric to block the sun, so turn around, there we go literally I'm gonna go and get this this framing set the way I want it, um couldn't take two more steps uh, sometimes there's foreground elements you don't like, such as, uh, cow patties, so maybe move out of the way of those, so yeah, that's a good spot, so what I'm gonna have you do, eric is I'm gonna have you changed my eyes so about four hundred and the reason I'm doing that is because again I would have sixteen it's a very small aperture so I want to make sure I carry a shutter speed of over two hundred fiftieth of a second I'm gonna have eric walked by me and he's going to block the sun and hopefully we'll get a nice sort of rim lit silhouette of erica's he walks by so eric that's your mark let's go in and mark that there that's what I'm gonna take your shot so go ahead and um going to stand there one more time you're going to get a free focus for your heart we're good we're focused I got my framing all right you can go ahead and walk out of frame and then walk back in yeah just walking out looking towards the ocean all right ready when you are rolling cool see that worked really close uh one more time cool all right? And, uh something I wasn't congressman because we've been really caught up in shooting is typically I'm always looking and where I am on uh helpful the cf card is so actually filled up this being a thirty six megapixel camera we've actually filled up the cf card so I'm gonna go ahead and uh swap out cf cards here specifically carrying you know, about two hundred plus gigs per pursuit um just because you know you never really want to run out of batteries or cf cards cool all right? We're good and ready when you are perfect so what we're looking for is there's going to be a split second where eriks basically obscuring most of the sun but there's just a little bit showing past them and it's gonna give us a really cool sort of sunburst right off the edge of them couldn't do that one more time because it's really just a split second so we pre focused word f sixteen s o four hundred I'm still on uh ten thousand kelvin because the light's getting warm but I want to really and enhance that as much as I can do in the camera I'm going teo I'm gonna pre focus on his own where I know he's gonna walk into and pre frame it and I'm just gonna let him walk in the frame ready when you are rolling cool let's do that one more time eric were really good and maybe let's just do it right where the markets was having take two steps so in turn around the other way they go okay and ready cool and yeah see that's what we're trying to get okay but see how your back legs a little bit wonky so let's just maybe all this have you let's get that mark and we'll just have you and I'll just have you sort of move you go stop right there take two steps backwards case right there and step forward I tried to show the images to the athlete of the model because really it's a collaborative effort and a lot of times they'll see something especially if it's a sport that I'm not familiar with um they might be like oh, you know, france is when I first started shooting surfing and I was like, oh, this is a great shot and eric could be like, oh, well, the foot it's a little bit off the board so that the athletes really know those nuances of the sport so you know, giving them that that first look really will help uh, you know, you make successful images um let's not shot one more time it's exactly. I'm walking like a weird horse exactly. All right, running your cool left my back that's pretty good. Yeah, cool. Yeah, cool. I think we got it. So, you know, throw a little trial on air, we got a pretty cool shot. We're trying to get that sunburst coming right off of him and we're using that really warm sort of what's the beginning of this golden hour, so we're just walking back to the car looking for a different location um and lights changing really rapidly and one thing I like to do is really you know make sure that before you you leave a location as you stop and turn around and look at what you're walking away from and all of a sudden we're seeing this beautiful field of this grass and now the lights raking across it so we're gonna do one more shot and eric's nice enough to go into like, tick infested waters basically if you want to call it that and so you see eric you see this green bush right here between here and the next section that's sort of the zone where I want you to be I'm gonna go ahead and do same thing I've done before and that's taking quick test shot looks beautiful ah I'm gonna go ahead and be ah I s o four hundred is fine and I'm gonna be it like f five after priority which is going to give me a proximate shutter speed of about five hundred of a second totally great for handheld and I'm just going to have eric first of all walk that direction and then I'm gonna have him walk back towards me um if you could have the board on your ah left side eric so that it's it's it's lit up yeah there you go and then just walk that direction and then I'll tell you when to start walking back and turn towards the ocean eric yeah you're gone now come back towards me you know, I looked towards the ocean really nice shots so, you know, we were walking back the first thing I like to do before getting, you know, in the cars always make sure you turn back around and see where you came from because, you know, oftentimes there's beautiful light and, uh so we see this beautiful field with eric, you know, walking through and so we just had him walk through and again going to frame it super simply, I'm looking for that very clean, simple background um and as you can see eric's off behind me here we're getting this beautiful light as well, so I'm just going to have eric walk ah, walk about twenty yards down that way and then back towards me uh, because this is actually beautiful here he's aries riml it's gonna set my focus point in the thirds perfect and come back here you go, that's the other side and ah, you could sort of look back that way at all for me. Just a little angle's fine. Yeah. Then there you go. Get a beautiful room light on him myself, susana real simple part of the background and let's do that one more time, it's looking really good I'm gonna under expose it just a little bit because where the camera seeing is he's really in the shadows, and I don't want that highlight to be totally blown out on the other side of him. So all right, eric, ready when you are, and if you can hog this side of it a little bit awesome it's out there and, uh, good and go back just a hair and sort of looking that way just a little bit ago and looking off over my shoulder now cool. So we were just on the edge of the shadow, and there is light sort of peeling over these rocks that are behind us. So eric was in the on the cusp of being in shadow and light, and I think it was, um, joe mcnally, who really said it best. He said, if you if you want a picture to be interesting, don't like the whole thing or have the whole thing be lit, so I'm always looking for those the play of light and dark, working together and in this spot here, eric was right on the edge of the shadow with some light raking across him, making a really interesting image. So again, you know, there's, no time like the present, but we're walking back, and all of a sudden we see the light raking off this uh sunset and we're gonna have him go up and actually there's a bird sitting up here where I want him to be but um there's this cool little like sort of knife edge rock where he's gonna go up there and try to try to stand or sit and we'll get like a really cool silhouette ah we're still using ten thousand calvin it's a really warm white balance setting we can always change it later but ah again I do as much as I can in camera because I like to do is little post processing it's possible so I'm gonna go ahead and start documenting him climbing up on this um because this could be a spot where he would actually climb up to see what the ways we're doing and we're going t sharing some test shots yeah you can ah there's a little bit forward if you can what about the higher one could you just sit on it plaster there you're gonna just drop the board yeah there you go that's good. All right go and stay there I'm going to move back to give myself a little bit wider shot you threw out the chipped eric drop the chip on the board dropped the chip of the board yeah yeah and I'm gonna get back one more a little bit wider shot as well uh sort of look beautiful um getting really nice warm light I get one more shot I'm gonna go all the way up to the turnstile and get a really wide angle shot so gaining elevation which is going to give us that more more of a grand view as well oh yeah we're good so we sort of worked our way through ah, the light was getting good and this is this is a typical scenario ah and one of the chutes where you know you planned everything to the best of your ability but um you know, the best laid plans don't often work exactly like you want them tio so the lights continued to get good we have eric come back here to try to find one more location but I'm also going to shoot him walking back you're gonna have a really nice rimless a sort of silhouette coming back up the trail as well so I'm sure leon after priority ah I s o four hundred and I'm it at five so pretty wide open ah because I really want to have the background fall off but I want the compression that this three hundred gives me ah this thing is super sharp um and it just allows me to shoot some really sort of interesting stuff uh handheld hair could you wait for a ryan to go ahead so we're gonna let the assistant get out of the way real quick here? Um he's sprinting up and there's this beautiful gold light raking across the tops you can start walking erik surfboard in your right hand you can go really good wow what about son? So what I was really hoping to get it is this really sort of like nice light raking across thea the ocean with erica's a silhouette and I think we really nailed that um I know a little ask eric here it's a nice make these old smaller southern treat real war movie dreamy warm, beautiful light raking across and then you know, I just kept going a little bit further back free rad supercool sort of like to me it sums it all up is like why we're out here you know, um you know why we're you know why we come out to these places and while we, you know, spend all this time, you know, doing research and getting the gear ready uh, driving long distances or flying halfway around the world is for for moments like this where you get to share a sunset with a friend ah, you get to make some really cool pictures um yeah ball ball of flames like setting in the pacific ocean that you can't you know you can't pay for this view this is this is why you know you're out there day in and day out shooting pictures is to make um you know have moments like this uh to share with you know with friends and family and you know just enjoy our time on this planet that's crazy dude get out beautiful that it's ridiculous all right, that was awesome it's always a fantastic experience we can only folks we can only do so much here in the creative live studio so it's wonderful to be able to get out in the field and watch an amazing photographer do their job on location so lucas, thank you very much for that lucas some some folks were kind of commenting they have a tough time, you know, finding a worthy background when they're out on location and they find they need to do a lot more scouting of locations and they also ah photo bug says I have problems moving quick enough to get the shot. Any advice? Yes, a little little pre planning goes a long way when I say preplanning I mean uh going out and having your your day plotted out basically so we know that five o'clock we were in one zone and we want to be finishing up in are sort of extra zone because I knew that that that wide expanse with coast going down and eric on that rock was going to be sort of the ender I guess you could say so that to me is, um something that's important by pointing that out making sure that you're camera settings that you're comfortable that take that quick test shot make sure you've got what you wanted and then from there start focusing on making everything work and you know working for the process you know I can't say enough about you know doing the test shot and then not chipping the whole time so take one shot okay we're good we got to get exposure we gotta get focused point and then you know what the camera do its job and then do your job and go out and just start taking pictures because if you're sitting there looking at every single picture all of a sudden you're going to be missing moments and that was key moments that you're looking for on dworkin with the athletes if you do have a mahler and athlete having them be prepped and ready so that their fluid and it's taken me like hey I'm gonna ask you go jump on that rock at the very end are you comfortable with that so you know you know you're setting yourself up for a win is opposed to them be like oh I don't want to get on that rock and that's the magic moment so putting yourself in a good position a toothy end of the day when the light is perfect is the best no from the in studio audience to what would you guys have struggles for shooting at the twilight hour at sunset I know for me I was trying to remind myself to check my history graham is that something that you do? Yeah, so you know we'd like to check our history and the other tip I could say is make sure that you're I called blinky is that's not the technical term the flashing highlights or turned on your camera s o you know what is actually one hundred percent gone? Basic there's little flashing highlights means there's no data there it's in photo shop to fifty five it's absolute white so if your whole frame is flashing white what the blank ese? You know, we got a problem the history arms great to a limited point because it just tells you what is how much data is in the highlights, how much is in the shadows, etcetera, etcetera. So by using the history and you're flashing highlights, you're going to put yourself in the best position to make good exposures in those difficult situations. It's okay to have some some areas that air flashing but do we want our whole frame flashing? No, because there's no data there there's nothing that you're your software post press a post processing software can do after the fact to reclaim that so uh by those two things will help you get a much better exposure range so from ten thousand feet up, how did you feel the shoot went I thought you know, that was very good for a day shoot you know, we went out we made some nice pictures um you know, we you know, we were trying to accomplish a lot, you know, with with the film crew I like to travel light and fast that's that's why I really prefer that sort of one camera three lin set up because I go out with an athlete and maybe just one assistant and all of a sudden it's like we're like boom boom boom it's like we're you know, we're fluid we're just walking through this and shooting lots of things, but I think it turned out really nice we've got some images to show here in a minute, but you know, I was happy. Well, quick questions I'd wait, I didn't want to get to those images you talk a lot about planning and such and I know a lot of that feel very logistical how much pre visualization do you do actually before you go out into the field? So you know, I've scattered the location and I think we have the background question earlier if you can't find a way good background find a simple background and that could just be a com patriots something that's consists it doesn't necessarily have to be big sur but at least find something that's consistent that you khun then zoom in on angle of use. Very important when I mean angle of view. Ah, wide angle has a very wide angle of you. A telephoto lens, like a three hundred has a very narrow angle of you so you can crop out by having a narrow angle of you. Ah, lot of the things that are bothersome. So by by having, you know, len selection by having a telephoto like a three hundred that we use in this shoot or having a wide angle, you have a lot of flexibility to incorporate or not incorporate what you have in your scene. Our plan was basically to go out. I knew that that I've been in this location before. It's a really pretty spot. And we just decided to do this one more on the fly, as though because the to sort of the idea was all right. This is for people starting out. This is going to be your road trip and you driving down the road. And you saw this really nice location, like another you scouted or not? You like, oh, this is this is really pretty let's jump out and let's work through the process and let's start picking background so that you guys would see, you know what I sort of chose? And we just sort of went with what we're given and that's, what you have to do. When you're you're outdoors. Somedays you have beautiful light some days. Ah, fog bank comes in, and you don't have that great light. So you work with what you're given, and then you just sort of, you know, hope for the best. And then when you do have, you know, harsh light, like I said before and it's not ideal. I'm using a telephoto lens to sort of crop out those elements I don't want. And when the light starts getting better, I'm sort of moving back, letting it breathe a little bit and letting that beautiful light sort of show that little person, big landscape, which, which I'm so fond of.

Class Description

Learn how to capture the intensity and movement of an epic experience in a single, still photograph with Lucas Gilman in Adventure Photography.

Lucas is one of the most celebrated adventure photographers in the industry. His work is infused with color and energy and in this class he’ll show you how he creates his amazing images. You’ll learn: 


  • How to take powerful adventure and outdoor images
  • The key to selling to commercial clients
  • Gear and equipment essentials
  • Post-processing tips and techniques
Lucas will share the history and process behind some of his most challenging and exciting shoots. He’ll also offer tips on how to prepare for long stretches of intense outdoor shooting and how he keeps his gear bag stocked for adventure.

Let one the industry’s most exciting photographers show you how to inject excitement into your outdoor images in Adventure Photography

Reviews

MrRyanMonroe
 

Lucas is an amazing photographer. I love how he keeps it simple with the way he explains and shows things. This class is perfect for anyone with a camera, as you can take his teachings and apply it to not only adventure photography but to any style.