Fine Art Landscape and Travel Photography

 

Lesson Info

Part 4

The Bay Bridge. Liberty That'd have to be, was it San Francisco Bay? Yeah, so this is just my perspective on vacation in San Francisco. It was sunset and it was starting to rain, so I just took it and was, like, boom. No editing, really. What is it about this picture that you would like people to sort of notice, first and foremost? I just like how I focused on, like, put the depth of the field in between the Bay Bridge and all the background, kind of thing, I think. That's what I think. It looks really cool. Yeah. Is that the bridge in the distance? Yeah. Behind the island there? Is that Monte Cristo? Yeah. So, that's one of the things I hadn't noticed until I started looking at that leading line. And you've lined that up really well. So we can actually see off behind Monte Cristo, and what I do like, as well, is that the background being out of focus means I don't stay there. It's a hint. It's a little bit of a here's a hint of what's off in the background, but...

you're telling me it's about where you're standing, not about where you're looking. So where are we looking subconsciously? So when we're looking at the photograph up the normal way, our brain is saying, "Ah, this is a plaque, it's some words, "and there's a background." When we look at it upside down we're just saying, "This is some light tones and some dark tones," and where do we want the eye to go? And I'm sort of thinking that you want the eye to look into here and understand that there is something there. Is that a reasonable assumption? Yeah. Okay, so maybe what we can just do is look at the shadows and lighten them up a little bit, so that we've got that detail in there, and then we've got the highlights in the background, maybe we need to just darken those down, and now I can see all of that beautiful softness that you've got with the blur. So it's a softer rendition, but I think we've got it all. What about cropping, Tony? Well, before we even get to cropping, you know what I'm starting to notice and like is the colors in that rock. And I'm looking at it and I'm starting to understand this is some sort of maybe monument, is it? Or something like that? Yeah, it is. Okay, so I'd love to see the pinks and the blues in this sort of marbling underneath this or where the sign is brought out, because that will hold my attention in the foreground more, and I'd almost do it selectively so it didn't put any cast over. Okay, let's do that. I'd pick yellows and pinks maybe, or we can select, if you go in and pick them, at the moment I don't mind the background, although I can see that we might put a little layer and darken down that top corner. I don't mind it if we can use another way to pull the attention to the foreground. And the other thing that will help hold our attention to this foreground is just, again, a little bit of contrast is gonna pull us in there. But if we go to color editor, and then maybe even zoom in so we can pick out those reds would be better. And then just maybe pick a couple of these colors which are hidden in there. It reminds me of a shot on a workshop last week where we went walking on the way down from a great view and it was just a piece of granite. And it looked just dull and gray. And I said to one of the students, "Let's just both take a picture "and when you get back I want you to open it up "in Capture One and go and have a look what's in there." And it's amazing the amount of color. And it just adds another level of interest. So you can, yeah, and there's blues in there and there's yellows and so on, so you could even handpick if you had to. Just do that and then turn the hue wheel around and you'll pick the colors you want. What do you want? We grab the hue and just rotate it. Here, grab the middle one. So, sometimes I would just grab that and go around and see what colors start to pop up and find the ones that I like. Okay, so. So, that's just giving me a bit more of a feeling about what's under my feet. What do we do with the background, Pete? Well. If anything. I still want to crop it, I'm sorry. I want to crop it. Can I crop it, Liberty, is that all right? Yeah, no problem. Yeah. Just a little bit. Does that help or hinder for you? Would you like all the foreground? I'm looking at your face trying to read what you're thinking. I mean, I don't want too much space there, but I don't want too little space. I agree. Have I gone too far? You can say yes. No, no. No? It's all right? I just think there's possibly a little bit too much of nothing happening there. Yeah. And I've got to walk a long way before I can get to the information. Yeah. And, also, if I look at the distance that we've got here, I've got more distance down there and sort of less distance happening up here. I think you're right. I think bring that up. I would just bring that up. And then, maybe, or, see, I'd be more critical, I suppose, if you bring it up to the top part of the line here where you're headed. It's not too bad. Is that a bit too squished? A bit too much coming off? So you can see that we can agonize over those decisions, and I know you'll agonize over them. The other thing I like the idea of, Peter, is in this sort of the engraving we could actually just poach the blacks a little and just give it a little bit more with the curve and just pull that up but I'd do it in a layer because I wouldn't want it to crunch up the background. See how it's doing that there? But I'd do it in a layer and just do it on the marble. But I'm not seeing arch, so there is crunching up a little bit in the middle ground there. In the middle and I don't want to do that. So we add in another adjustment layer. And brush over the top. Down to the bottom. You want the whole lot, as well? Yeah, because otherwise it will look inconsistent. It won't look natural. And we wouldn't want that, Tony. I wouldn't want that, Peter. (laughs) Okay, and you could soften that up a little. Oh, I was gonna harden it up. Oh that works. You actually can feel the-- Yeah. You like that? Mm-hmm, I like it. It gets thumbs up. She was like, yeah. (laughs) And I just want one other little thing. It's just a little bit on that corner. Yeah, that corner, that corner. Definitely. I'm just going to darken that down a little bit. What's the difference between bringing it down with exposure and bringing it down with brightness? Well, not much different. Brightness protects your highlights. See, that goes a little bit dull. Yeah. On the original file you won't have that problem. This is because we're starting with a jpeg, and I can't darken it without making it-- I like the brightness, because if you bring down the brightness I think it's actually protecting that little banded cloud, and as you bring it down, we're actually seeing the cloud, and the cloud is more central. Okay, I agree with that. I agree with that. And it's bringing back the balance.

Using aerial views for landscape photography adds a distinguishing flare to your portfolio. But how do you create images that stand out in an industry flooded with beautiful imagery? World-renowned landscape and aerial photographers Peter Eastway and Tony Hewitt are going to show you how to create a stand-out portfolio using the techniques they’ve developed throughout their award-winning careers. In their class, you will learn:

  • How they incorporate aerial shooting into their landscape imagery
  • The importance of post production using Adobe® Lightroom®, Photoshop® and Capture One softwares
  • How to incorporate your ideas and emotions into your landscape photography
  • What equipment to use to capture your best images
  • How to put together a strong, unique portfolio

This is a unique opportunity to learn from two photography masters as they share their industry specific expertise.

 
 
 
 

Reviews

  • Two Aussie blokes just having fun. Peter and Tone did us proud by representing the spirit of Australia, which is: don’t take anything too seriously. They hit off each other well, in fact, they are the best twosome I’ve ever seen on Creative Live, each giving the other respectful space yet not being shy about taking the micky out of the other guy when appropriate. The whole dialogue was spirited, informative, casual and fun. They also perfectly proved the symbiotic relationship between red wine and beautiful photography.
  • Loved the positive energy of this class. Just finished watching it and I would definitely recommend it to someone who wants to take their landscape photography to the next level. This course is not about learning camera or software skills, but learning how to develop conceptualizing and composing skills. How an award winning creatives mind works is a lot more important than how to use camera. This is exactly what I was looking for and very happy with my purchase. Also it was good to see some of their raw vs post processed files to learn how far the professionals like Tony and Peter go with post processing (Something I have always been concerned about). Knowledge about exhibiting was also priceless. Thank you, I have learnt a lot in this class and I am sure it will reflect in my work in future.
  • This class is fabulous! One of the best on Creative Live. Peter and Tony share so much of themselves and their great art that you can't help but want to pick up your camera and get out to shoot. It was like watching two close friends. Thanks very much for a very enjoyable 2 days of learning and viewing.