Lessons

Lesson Info

New Possibilities

you should have your at your disposal, photo shop and or light room for your tweaking. There's no reason, especially if you're ever planning on going out to print with your mobile photography. That's one thing that will also touch about when we get tomorrow to output sharpening almost all of our mobile APS don't show us a pixel for pixel representation of her image. There, always a version of that. There's only a few APS that actually lets you do pixel peeping at a window one of ratio, which means you never actually see the pixels, which means you're never can actually sharpen. Really, I would be really, really cautious if you're going out for prints and there's some great printing services. We're gonna have some samples here in studio tomorrow. We'll talk about printing, Um, but I would always do that last step. If these air four printing and things that you care about, bring them into light room, bring them into adobe camera raw, bring them into photo shop, bring them into something ...

and sharpen their where you can actually see them on screen. You get an idea on a calibrated monitor what you're going to get and that should report the process. So just come back to that that I would not carry this purest thing so far. Because at some point you're just shooting yourself in the foot by saying, Well, I'm not gonna you That's can't Well, yeah. Then you're gonna suffer the consequences. There's just no reason your your image if you're shooting it and tweak it on the IPhone great or the mobile app I wouldn't even put into a category you're going to see when we get into shooting after a break that if you shoot a lot of our DSL ours and pocket cameras there now, WiFi enabled little GoPro. We're gonna have a little GoPro hero. Three black has built in WiFi where you can actually run it Change focus start. Stop it. Video still right from your IPhone looking right through it. So and I click it and it comes onto my IPhone I will be using my Nikon 7100 will be shooting it and it'll come onto my phone after I shoot it. Is that an IPhone photograph? I shot it on my IPhone. I controlled it. It immediately went onto my IPhone, the full rez file. Isn't it an IPhone photograph? Even though the sensor was not that sensor, it's not. It's not. It's a Nikon photograph. It's a raw file. Um, but keep those in mind, since joy and storytelling are the two things that I would put at the top of our list on why we're doing this. If you're shooting in your point and shoot, micro 4/ your SLR and it's coming over into your IPad at the in the day to muck about cause it's just much more fun than watching reality TV, Right? If you guys were sitting at home watching junk TV as opposed to lying in bed with an IPad going, do you got to get a life? I mean, that's why God, that's why God made these things right. If if you're watching bad TV rather than creating using your mobile device, well, that's why you're here at this class, because you shouldn't be okay. This actually is adding to your life. This is this is re filling up your cup. Okay, I'm sorry to say it, but reality TV is draining the life out of you, right? It's sucking your brain dry. You creating in these devices or doing any kind of artistic or expressive thing toe fill your cup as it work is great. And I think this is one of the greatest ways to do it and the fact that you can do it, you know, lying in bed. This is an IPhone shot. That's just ridiculous, you know, to shoot directly into the sun's still get foreground detail motion. This image actually had two other girls in it. But using touch retouch, I'm able to do that. The content aware. You know, he'll much like Photoshopped. It's not Photoshopped, but it's awesome. So the fact that you can tell that kind of story with a cell phone is just, you know, wrong should be illegal. Should be some police going over your Sorry, sir, you're gonna have to give me that image because it's just too fun. OK, And again, motion blur. These are all for these air over on Molokai, that creative photography for the soul. We just had a couple of cancellations. If anybody's interested, we'll talk about my Facebook page actually has the invite for the Hawaii event and some other stuff for you guys, including lists of some of the apse we're gonna be using today and some of the gadgets and stuff, so we'll give that to everybody. It's not. We're also creating a workbook on the fly for this workshop, which will have all the apse and descriptions and things like that. So that will be for those people who choose to buy it. But this is things that tilt shift to play around with. That this is a little walkabout in Los Angeles again. Using dynamic light is a great app for doing faux HDR. This is just the light at the side of a street. These are all just walking around downtown L. A at last year's Adobe Max conference. Another great place. Another place that I teach light bouncing back on to fire escapes. I mean, you've got the phone with you 24 7 You should just, you know, it should just be stapled to your hand and something that you are working with constantly and again. I'm probably preaching to choir. If you're tuned in on this, there's probably, you know, 100,000 persons going well. I wonder what that IPhone thing is. I think I'll turn into a creative life. No, you guys are already all freaky, you know? Passionate. And so I'm preaching to the choir. But anyway, how many of us have shot the little beer or napkin or something like that? It's something you would not pull out your DSLR to shoot your beard, right? You probably would not. How many of us has shot are bearer? My tie with her IPhone, every single one of us. If you're a freak, you've done it. Then you should. So you get the idea. Still lives. Motion blurs complete abstracts, if you like. Rothko. You know this you can use, um, either aps that imitate a slow shutter speed or if the lights low enough, you're just going to get it. So just yank your phone. You have my permission to yank your phone. Creative painting. APS drawing APS. There's a ton of them. I actually love doing these kind of interpretations. These are part of the auto painter. I'm Siri's. They're great. Will play around with these tomorrow. If you have a lot of people again are frustrated painters, drawers, Cray honors. Um, you have my permission to play with your photographs and ways of him before. Okay, Cemetery again. There are absolute symmetry. Seven tries, er sanitizer and other ones like it are great for you to see the world in ways that you may not have done. What can I say? Okay. And shooting your feet doing a Siri's. Um, I highly recommend that you because you have it with you figuring out something that you can contestant, we shoot some people travel around with the prop 24 7 So you always get the little doll, the little ball, something in the scene. And then you have unified all these disparate images because of either how you're shooting it or proper using or the filter using Instagram. In this case, I do my feet. So I got a 1,000,000 shots in my feet because I always have them with me. And so we'll get into some more specialties are all using percolator again. We're getting to these really funky APs, but ah, lotus flower and percolator And again, a few hours, you know, I would not be doing this by hand. And illustrator Okay, this is the sort of thing where I would not go. Can I do a, You know, Star Constellation from a photograph. So again, those of those psychotic developers who are giving us access to stuff that this okay, one of our photo type images applications. There are a lot of graphic design ones We're gonna touch on some of the graphic design ones. I'm also a graphic designer, so but this is the sort of thing were both size and color and making a photograph, something that I would not do by hand in Illustrator. So you're going to do things that normally have been either very, very dedicated, high end software or just completely impossible. And I love the fact there's my feet again. I love the fact that these app developers are doing stuff that normally has been in the room of high end photography. This is a little app that used on the IPad. It's actually this is just a feather on top of my IPad that is showing the light from the IPad. So they're different. Basically light patterns that you can use the IPad as a backdrop where you're shooting with the IPhone. So all sorts of creative ways of using things like that. Okay, you'll see images, low light images. This is obviously is in an aquarium. I was not underwater on that one architecture camera. Plus it has a clarity feature that's just freaky. Cool clarity on camera plus and architecture is awesome. Okay, much like structure in snap seed. Again, more motion motion and I love motion bird tradition motion blur we're actually doing in December. I'm going to do a whole day class on motion blur and freezing motion. One day class here for DSLR is primarily but will also touch on mobile APS. You get the idea. Santa Cruz, black and white. There's a number of absolute black and white, if you understand it, I think Snap seed also does that great. There's half a dozen ones that do black and white, but I think it's some of the most luscious. Black and white are framing effects again. Waterproof case. I take it out with me, put it in my wetsuit while surfing another story and creating shallow depth of field or sorts of waves of doing that more black and white variations on it. That's the other great thing about the IPhone, your, you know, experimenting even out in the field. Double exposure. I Actually, this is Ah, fun thing. You'll see here that it's perfectly purposely out of registration. But one of the things we'll do in studio is we're gonna be shooting bracketed Paris for HDR high dynamic range imagery. And there's a maps that do that very nicely that do the entire process or just separate out the shooting process from the combining process. Here's your first funky tip of the day. Use something like bracket mode and you're gonna get it because it's awesome to shoot a bracketed pair. You have two different exposures, but they in case of motion they may be completely out of registration. Use something like you're pro HDR to combine those not to extend the dynamic range but to get a double exposure, something that we've been doing in camera for 100 years. So, um, that could be real fun, because it's a variation on this motion idea. I'll use it for all sorts of things. So shoot bracketed pairs, but not for dynamic range, but for double exposure, completely different stories. That also brings up the point of using our HDR applications not for extending dynamic range, but for doing double exposure, even though there's plenty of APS that allow us to combine different ones again like blender. But because of how it's working with the tone tonal range of two different images, I'm using a HDR app. To do double exposure is actually going to give you a very different story. And I love these here just because it's a very different image on the way it maps the tone to it, of course, going then back into snap seed, freaking it out completely as well. But it's, you know, it's really fun. I love this, this Siri's and again, if we're playing with our focus, being able to shape the story, shape our focus, get motion blur in here. Motion blur always helps to have a teenage daughter to be able to shoot panels from the sky. How many of you have shot a panel with your DSLR out of your jet plane window? Probably not so much. Okay, be able to shoot a complete Pano from a jet window is pretty darn cool, and it's again, it's something you haven't done before. And that's one of the great things about this class is hopefully you're going to do, especially at the end of it stuff you've never done before with any camera, let alone with a mobile camera. But the fact that you can have access to this all on your hip 24 7 is I think, just absolutely there's the feet again. Can't get away from him. Really cool app that I like again, This would be very difficult. This would be impossible. I think I've got actually one. And this is the one with my old waterproof case is now. There are much better ones than this. So this is out shooting and with a GoPro on my camera, shooting me holding the IPhone in my mouth because I'm taking it. Yes, you can make fun anyway, things like this. This shot, this is I'm done with an app called You Got to see this. That's the name of the APP. You got to see this. It's also known to see this or you got to see this. Got to see this, but this was shot in camera, which would have been difficult, you know, it would be a lot of work. This is exactly as it comes out of the camera and you got to see this. So every single one of the shots. When I'm doing with the cameras, I'm going like this and it's taking shots all along the route. And then it does what I call a toss on the table collage, and it automatically does it all. And every single one could be a different exposure. So that's one of its nice things is you can look directly into the sun directly away from it, and you don't expect it to blend perfectly because they're separate images. But things like this again is something that I would not have shot in my big boy camera. It's instantaneous. It's done. It's a very different story than what you'd get. And again, I'm doing it. Live out in the middle of the ocean que more portrait's or snap seeds? Her street photography variations on a theme imitating you know, tilt shift. We'll get into things. And how many of us have shot our dog or a daughter? It's hi key. We've got all sorts of skip bleach options. Self selfies. Okay, who came up with the term selfies? OK, but here's, you know, a selfie, then sketched using some of our order painters. APS felt tip and more painting and variations. Tiny planet. Another great little app that does these, um, spherical distortions and, um, polar coordinate distortions and they're just really fun Light overlays. You always need a little bit of French script on your images. You get the general idea. Macron's abstracts another a double exposure using, um, bracket mode with pro hdr. And again it's this great, you know, new descending a staircase escape freeway. It's what I like to call this one, um, terms at mode macro. You know, So you get the general idea. Of course, you've got to get this shadow in there to show that your IPhone shooting. So that gives you can I think this is, uh, Chicago's airport underground. Back up top Chicago. This is a walk around. This is almost every one of these shots was done in camera plus because of its clarity. So here's a Siri's, a story, a sequence of images, a series of images. We'll call it a coffee table book. Have just walking around one afternoon in Chicago, and because you have the camera with you, there's no reason why you couldn't do when I would think would be a very cool Siris of images based upon an afternoon walk. And actually, these most a lot of these are Panorama is as well, using either the in camera one or something like 3 60 panorama that's inside the bean. If you've never been inside the being, that's what it looks like inside actually have some video clips of that, which is really freaky. Now, the little exposure. Queen Mary, you know, you're just gonna play. This is sunrise for my roof. You know, Tractor Vegas. Since I don't shoot people because I don't like people, I love you guys. I love you guys. Everybody out in the studio and I love, but people in general, they're just so messy. Did you just say that out loud? Oh, I got no problem. If you know, if you see how often I'm on my Facebook page, you know I don't like people, which means I'm never on my Facebook page or any other place you can find me. I am absolutely non findable on the Internet, but mannequins are great to shoot because they don't give you any problem. There's no, you know, brides, mom and a wedding shoot telling you what to do and so bad. We are having a quote contest today. Jack, we're not doing quote today way, actually. Have some stuff. Uh, we may get Neil some some codes for giving away some software. I've got a great pornography assignment generator. We've got some codes for that. So we do have some stuffed it to give away. I think we have. But anyway, so I love that. So you get the general idea. I think we've got more than enough stuff in terms of, um that what I want to dio and can't get it. You know, I love traveling Yosemite, uh, the ghost town body, body, body body out on the way. The Yosemite, you know, you're somebody and body and can just absolutely, absolutely love it. So anyway, so there are some random samples We could have just gone into all sorts of things, but that I wanted to go into all sorts of different ways of shooting some of the different app, some of the different flavors, some of the different techniques of shooting both hdr pano, Um, things like that. Any questions from you guys before we switch gears slightly? Uh, what about asserting your personal sense of style when shooting mobile because a lot of the apse have there immediately recognisable characteristics. So different people using the same app often will create an image were like, Okay, I recognized that texture from snaps eater. That's clarity from camera. Plus, do you care about you know, this is the personal Jack wow style? Or do you like the variety of all the different tonal possibilities that are out there? That's a really good question on a really good point, if I think that's why we're seeing the abs getting broader and broader and what they can do so they can customize and come up with variations on it. So you know, if there's one really good frame and you know that that's an instagram frame, you know, that's a snap seed frame. You know that sometimes that can be a distraction to it, especially at those of us in the industry who are making all this art is we? We see it and we get lost in how it was made and we forget this story. But why it was made so choosing APS that are going to get have enough flexibility so you don't have that distraction of everything looking the same, certain things, like camera plus because it doesn't have a huge range. I mean, there's a lot of different looks. Um, but it has certain flavors. Instagram certainly is one of the most you know some people can go through. I know what flavor of what app that is on instagram. Um, and that can be distracting. The flip side of that is I wouldn't It doesn't bother me too much because I know we're still at the relative infancy of this area, and I'd much rather people play around with it and not worry about it if it floats your boat if it turns you on. If you go, I like that frame. I don't care if 10 million other people are using it. Um, the ability some of these APS have some ways to customize it like the random ization that's in snap. See it as an example in the scaling of the frames, what's in snap seed, which is hidden. And I didn't even realize that they put that back in because they changed it from procedural tow it. So, um, I would keep that in mind, especially if you're doing a Siri's one thing with Siri's. If you have the exact same frame and exact same scratch pattern, the exact same everything on every single image you've lost the whole feeling of analog, which was the nice thing about that patina, because by the fact that every single one is identical, that would be impossible in the real world, and it actually was becomes. You know, you're looking through this filter effect to the actual image, so if you can do variations on it so that each one is its own entity is its own story. Then, when images air viewed in a sequence, it's no longer distracting that. By the way, the frame didn't change Every time I looked at another image online, it's the exact same frame. So whether it's rotating the frame, choosing a different frame during a variation on it creating your own frames, that's one of the nice things about things like Blender. There's nothing in the world stopping you from creating your own patina as your own frames and bring them in and applying them to your images. We'll talk about that as well. I have ah, folder of textures and frames on my phone and IPad at all times so I can create my own. It just like doing photo shop. So, um, I don't get too concerned with it again. Like painting. You know, if you got to plant air painters, they're both using wet on wet. They're both gonna be mixing paints and similar way because the physical limitations of working with wet paint mixing colors on what paint. There's certain limitations to the technology that is gonna force how an image will look in certain ways. So some of that is just part of the digital technology where we can control it so that our images air unique from somebody else's. That obviously makes it a more personal image. Would I get too caught up with it? A. To this point, not too much. I think that, you know, can come down the line. I would just keep in mind those things. If you are presenting it as a series of images of a book or something, I would I would do what I could to make sure that as you're going through it, um, there is some unique aspects of the different images because then what was a feature the Pitino's becomes a bug. It becomes a distraction because it doesn't change. So yeah, yes. So I attended a website webinar, not too long ago with another photographer who was talking about photo contest, and I think they were more on the lines of photojournalism style. But a lot of what they were saying with regards to editing and things of that nature was that image is, then lose. There's there's, there's an ethics involved with it manipulating images. So I know there's still kind of a stigma around one of the photographers that do use their DSL, ours and our or in the photojournalist side. And mobile photography is not exactly something that's being embraced. I don't think quite yet by them. Where do you see that going in the future with regards to mobile photography and editing involved with it versus kind of where photography has been kind of over the course of the time existed? Yeah, it's a very, very interesting question because it gets back to this idea of artists and technology and what's pure and what's not what's accepted what's not again. When the camera itself came in all, the painter said, That's not art. It's impossible for that to be art. All you did was press a button, you know, and then digital photography came in. And all the traditional pornography, Well, that can't be art because it's manipulated. It's not pure. It's not the moment, you know, if you take a tin can out of the foreground of the Yosemite you've now alter didn't it's no longer a pure representation of the moment. Mobile photography is doing it well. Now it has this, and now it has this. So every time there's a little bit of ah of a M technology, do we love it? Do we hate it? You know, now I now I can do my Polaroid transfer smashing because I have a heating pad underneath my 70 print and now I can push it. But now I'm using Heater, and I'm not out in the field and not putting it on the hood of my car to heat up the You know the emotion every every time. There's somebody who's going on, and that's just not quite right. So in terms of the purity aspect of it, I would separate out those elements of true journalism where it is a documentation of a moment for history sake. Verse is fine art photography, where we're doing it to make the most potent story possible. If you are a journalist, that whose work is going to be seen as a representation of a moment moment than that integrity, that morality of altering the images we've seen by all the things that have happened when somebody moved the pyramids or put one political leader and with another that's totally right, because then then that's a That's a deceit of what actually took place. I'd like to put the vast majority of other photography, which everything else fits into that's not being done for a news organization into the MAWR area. Fine art, where we're trying to tell the most potent story possible. I remember the time years back at the beginning of digital photography, I was fortunate to be sponsored by Nikon for 10 years, right when the D 100 came out their first significant digital camera doing all this wonderful stuff with it, and I had a bunch of sample of images that a photo shop world it and Vincent for such a good friend of mine, great photographer what's looking to some samples? Because he's a him, a mentor and, ah, he's gonna want with this branch right here. Why don't you take that out like a world? It was here that was there. It was part of the scene. He goes, That's the stupidest thing I ever heard in my life. Your job is to tell the most potent story possible. You want somebody to live in your image. You want somebody to put it above their couch and and drool over it for years to come? Your story? You don't. It has nothing to do with whether that branch was there or not. It has to do with you telling a motivating, memorable story that somebody wants to spend time with you changing people, people spending time with your images. People being affected by your imagery is your goal. You're not a journalist, Jack. Don't get caught up with that. That's why God made Photoshopped take out the branch. You're blessed. I give you permission. Go for it. There's no reason for you not to that being said, I totally understand. If people go, I get it in camera. I don't crop. There's all sorts of parameters we put on ourselves. That's a creative tool. You know, putting limitations on yourself is a great way of extending your creativity. The flip side is, is that I don't whether it's the patina again. I'm sure there are many photographers who look at all the instagram effects. Look at all the stuff that I just showed you right now going. You've got to be kidding me. Dude, you took a very nice photograph and mucked it up by layering it with all that crap. I get it. And again, if that's a person's thought, whether the HDR effects with the Latinos or anything else like that, I totally get it. But I'm not going for that forward sort of photography. I'm making art that makes me smile. That's the thing with the mobile imagery. Even it will and maybe not even use the term mobile photography because we're getting past photography. This is layering of illustration. This is compositing. This is collage in. This is adding type. This is you know, all these different things that are in addition to capturing something by pressing the shutter, so I don't have the people who don't think that it's pure I totally understand it. I'm not for me right now. I consider myself a kid, a 12 year old still experimenting every single day. That's the wonderful thing about being a full time teacher is I get to go into my laboratory and mix chemicals and go what's gonna happen here and it's gonna blow up. Is it gonna cure cancer? You know what's gonna happen with me mixing these things together and I play an experiment. And that's I think one of the huge benefits of the mobile devices is it is a laboratory. It's experimenting, and I want the last thing I would want is for a person to go. Well, I've already got half a dozen rules on what is and is not allowed in mobile photography now, on top of every other piece of art that I make. So I'm much more liberal in that, uh, way of what I constitute is art and what's available for me to work with coming? That's me