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How To Take Amazing Photos With Your iPhone

Lesson 9 of 11

Pano

 

How To Take Amazing Photos With Your iPhone

Lesson 9 of 11

Pano

 

Lesson Info

Pano

So let's talk about panoramic photographs and there's a whole setting in your phone just for panels and a panel is a stitched photograph. What's happening is your cameras actually taking a whole bunch of photos as you move from one side to another, and then it's stitching them together in one seamless long photograph. For instance, let's say you're at the edge of the Grand Canyon and you want to take in the entire scope of what you're seeing or you're in a city like, say, New York City and you want to take in the entire skyline those air great opportunities for panoramic images as well as even inside if we want to see more than the camera can actually see in one shop. So let's take a couple panels and I'm gonna show you some of the intricate details on how toe work the panoramic side of your camera so that you get the best possible photos. First off, let me just take a photograph of this scene and show you some of the problems with panoramic photos. So we're just going to start here an...

d take a photo, and we simply click on the trigger for the camera and then we start moving and you can see right here in the actual camera there is an arrow, the points to the right. So it's expecting your camera to span around to the right. If I want to change that because I want to start over here, I'm going to simply click on that arrow, and it's going to reverse the way the panel is supposed to go. So then I would start from here and moved this way. So choose which direction you're actually going to go first. I'm going to start left and go right, and the arrow's gonna tell me which way to go. Also, you'll notice that is, you're photographing is your as you're moving across. If, for some reason you start to dip a little bit or rise a little bit, you'll actually see the photograph being created. You want to stay as levels possible throughout the entire exposure. So here we go. We're going to start here, and we're going to simply click on the trigger, and then we're going to start moving and we just keep moving and moving and moving, and you can see I'm going way too high So I got to bring it back down and it tells me to move down, and then I'm going way too low and it tells me to move up. And so I'm just gonna keep doing that until I finish and hit the end button or the stop button. And then I can look at the photograph and you can see that I have some problems in the photograph right here. There's like a dark, dark area right there and then if I go over here, there's another dark area right there. And if I go up here, there's a dark triangle, those air areas where it couldn't record because I dropped too low or I came up too high. So that's the first thing that you have to be aware of when you're shooting at panoramic is, you need to stay level, and if you just keep constantly course correcting as you go, you'll you'll do pretty well. The second thing to notice is that that photograph was really dark because you're moving across the panoramic frame here and I've got light here coming in from the windows. But I've got dark areas on the brick, and so I need to think about my exposure before I start the panoramic image. So let's start again over there. But instead of just starting the panel and moving, I'm actually gonna expose and Aiken go up here and hold down and expose for the window. So I've locked that exposure in, or I can come down here and click on the bricks, and I could expose for the bricks. So I'm going to choose the brick is the exposure. And then I can do the same thing. Just simply choose the right amount of brick right there. So that works well, because I've got a little bit of light and a little bit of dark coming in, and just you just got to choose the right spot that gives you a little bit of brick and a little bit of the sky. See how I chose that area That's got a little shadow, a little light on the brick, and but it had a corner of that window in it, and that gives me a pretty good exposure. Now I'm gonna hit. Go on this. So I'm gonna hit the trigger, and here we go. I'm going to just keep going I'm going a little too high. Gotta coming down. Keep going. Keep going. Keep going and stop. They're so I've got a pretty good Pano out of that and it looks really good, but you'll notice something about this photograph. You can see that it bows a lot, and that's because we're really close to the subject that we're panning across. So it doesn't look like it does to our I It's not straightened. It kind of shows that Boeing. So you'll see that the things that are further away from us kind of taper down. And then we get perspective. Look, because we're closer to this window than anything else. And then as we pass the thing that's closest to us and we go to the right, the perspective starts kicking back in and we start seeing perspective going out. So the actual photograph looks nothing like what we see in reality. That's not true when you're outside taking a panoramic image of something that is miles and miles and miles away. Because now you're just moving like this and the thing that you're looking at so far away that you don't start getting that perspective. So when you're outside taking photographs of either a city or maybe the Earth. The Grand Canyon. You're not going to see this Boeing effect happen. But when you're inside or in something is really close to you, you're gonna start seeing that Boeing happening, which can also be a very stylistic, cool, artistic thing to do. But in the IPhone seven plus, you actually have two lenses. And so if you choose the zoom lens or the telephoto lens, you're going to get less Boeing than you do in the wide angle lens. So I'm just going to simply click on that little one X button and turn it to two X, and then I'm gonna do the same panoramic. It's going to be closer to everything, but it's also gonna have less Boeing when I do the panel. So let's start over here again and click. Keep moving across. I went to high coming back down, and if you correct early enough, you'll fix the problem. OK, so you can see there's a little less Boeing in it. But remember, I'm closer to everything to so I don't get quite as brought a picture. Now remember, not only can you do a horizontal panoramic image. But you can also do a vertical panoramic image. So if I want to do a vertical panoramic image of, say, this corner here and I want to see all the way up to the top there, I just want to see the entire scene. I simply turn the image this way again. I'm gonna expose for the place that I want the best exposure, and then I'm going to start the panna down below. So right there. And I'm gonna start moving up like this, and I can just keep moving up until I feel like I've gone far enough. And now I have ah, vertical panoramic image of that entire scene as well. Now, let me show you something fun you could do with a panoramic image. Do you want to come in a second? Well, we're gonna do a little bit extra work, So why don't we start right over here? Right there? Now I'm gonna have her kind of close to me. I'm gonna start my panoramic right about here, and I'm a start moving and then watch what she's gonna do. She's gonna run to another spot. We're gonna have to two is better than one. Right? Okay, so here we go. I am now in one time. So I'm on my wide angle lens. I'm gonna start over here, Remember, I'm first going to get the exposure based on her rather than the window, because I want to actually see her and I'm going to. All right, I'll tell you when to go. All right. On your mark, get set and go. So there we go to is indeed better than one. And you can see that we've got a good exposure of her on that side and another good exposure of her on that side. And it's amazing that even if something is moving, sometimes it will choose the right version of the person, even if they're moving while there running through the scene. So play around with that idea of having people move through the scene. But panoramic images really meant for you to get a much more broad sense of what you're looking at. Especially when you're looking at beautiful, beautiful landscapes. So play around with it, have fun with it. But remember, steadiness is the most important thing. So be study. Brace yourself and do some cool panoramic sea

Class Description

Your best opportunity for photos is usually the camera in your pocket. In this class, Award Winning Photographer Jared Platt walks through all the techniques to get you taking amazing images. He’ll cover how to find the best light for your subject and tips to add light to make it pop. He’ll discuss composition techniques or ways to frame your subject so they are most pleasing in the photo. He’ll cover the ins and outs of when to use portrait mode, HDR, or even filters for more effects. With this class you’ll be taking photos that make memories last a lifetime.

Reviews

a Creativelive Student
 

This is a fast and very effective course. The teacher is excellent with his great teaching skills. Really recommended!

Vincent SMINK
 

Great class, with all the basics you need to take good photo's. Some interesting extra's that I wasn't aware off! Just start here and then move on!

Kris
 

This course was quick and full of very specific ways to use the iPhone 7 Plus and its abilities. I only own an iPhone 6 and still found this class useful. Even though I've taken thousands of images with my phone I STILL learned a couple things I didn't know. If you have questions about your iPhone camera I would absolutely recommend this course. Well worth the money.