before we get into the actual mechanics of IPhone Ah, graffiti, the capture and editing. I'd like to talk about some tips for getting some more interesting captures or pictures. So first of all, and Paramount is to reconsider this device no longer. Please consider this your phone. All right. You want to consider it your camera and that being said, please look at it as something other than a snapshot device. And what I mean by that is my gosh, stop taking pictures from standing head height. That's what Ah, lot of people dio get low, change your perspective, experiment with different horizon lines. Uh, change your focal depth. We're gonna talk about how to do this during this boot camp. Most of the devices now also have the ability to change your depth of field. So I invite you to look at that and consider your lighting different lighting sources, either artificial light that you're adding or what direction you're actually shooting into. And, um, exposure with digital. You have such a wi...
de latitude of what you could do editing wise that you want to give yourself a much information as you can. So you do that by changing your exposure. We're gonna talk about that as we go along. And here's thing you could do all this editing while you're still in the venue while you're still in front of whatever subject you are shooting. And that way, if you make a mistake or you need to change something no bigger, you right there, you can shoot it again. So listen, you're not burning any film. It's just pixels. Shoot a lot. Shoot often and above all, shoot differently. That's what I'm gonna recommend, So let's talk a little bit about that. First of all, I'm gonna highly highly recommend that you start looking for some inspiration. Look at other photographers. Check out what they're doing. What is it about their work that moves you? A particular favorite minus fan. How his work is so beautiful and he's seriously check him out. He's utterly amazing. Um, he does very graphic design work, but also his lighting. The Light is the subject of his work. It's exquisite. Michael Kenna is a longtime favorite of mine. He's got beautiful tones, then very evocative looking imagery and why I think it's important is if you can look and see what is moving you and inspiring you. Is it the graphic nature? Is it the tones or heck fire? Is that the story they're telling? But this will inform how you are shooting and how you're editing and processing. So look for inspiration. Now let's talk about framing and how you're shooting. I'm going to recommend strongly that you start considering shooting high shooting low, and I'm very specifically talking about the horizon line here. This is the exact same shot. The horizon is high, tilted the camera. You shot it low. And this gives you a lot of different variables toe work with. And it's about changing your perspective and what you're looking at and not always shooting the same thing the same way. Like what? I would suggest that you shoot low. I mean, get your body low. Uh, my friends have a funny thing. They're talking about how I assume the position. It's because I'm always crouching down and shooting, and then when you shoot low, get lower. This is the exact same shot frame situation moment. Um, the sun was coming up and I was shooting the snow and I shot low and then I literally laid down in the snow to get the second shot. So shoot low and then shoot lower. She was high. Completely change your perspective. These are just ideas for you. Before we start doing the mechanics of capturing that you actually think about what you're shooting now on these devices, you can change your focal point with a touch of your finger. That's all you have to dio. This is the exact same shot, same position, and all I did was changed the focus. And that's with a click of your finger lighting. All right, I feel really strongly about this with lighting. Change it up Instead of having your subject lip from the forg from the front. Use backlighting, use rim lighting, and then when you have a figure that's backlit, all you have to do is slide over to the right a little bit and you get a lens flare or slide over to the left. Depends on what you're shooting. So try some backlighting and flares. I'm a little crazy about flares. I really like them. What I like about flares is well, I just like them visually. I think they're magical looking, but a lot of the shooting I do is editorial style, and with that the story is about the action and not so much the particular person doing the action. And so some anonymity is required, and this is a beautiful way of getting anonymity. You can't see the face of that person, but you can still see the story and what's going on. Lens players could be shot like you actually shoot with the sun in your face and you move your body slightly or lens flares could be added with the third party application after. And we'll definitely talk about that in the course of this boot camp now like, Are you shooting away from the light? Meaning the light is behind you, illuminating your subject? Or are you shooting into the light? And as you see here, this is the exact same scenario. I just literally turned around and you can see it's different. I have to tell you, my particular style is shooting towards the light. I'm a big fan of lens flares askew comptel, but also I think it invites you into the image a little more. Now that is my style. Your style may not be that way. I'm just inviting you to try it. Turn around and shoot with your lighting from a different direction just to see what kind of alchemy you can create now, because of digital, you're not burning film. You have plenty of storage space. I'm gonna recommend on exposure. You shoot for the highlights, expose for the highlights, but also exposed for the shadows. And here is why, when you're processing, you're gonna want different information on that digital file. And as you're learning, processing and editing, you may not really realize what information you need. This is an insurance policy. If you shoot both ways while you're in the editing phase, you will have available what you need. So please do yourself a favor when you're shooting something exposed twice exposed to the highlight and then exposed for the shadow. You'll thank me later. Now what are you shooting? Contrast. No contrast. Look at these scenes and these two different scenes there. One of them is pretty flat. The boat. But I knew when I was shooting it I wanted to really pump the contrast out and have the water disappear. Or maybe there's no contrast in the snow scene. That's pretty contrast with the trees and the sky. I wanted it to look flatter. So these are the kinds of looks that are available all in the editing. You don't have to worry about it when you're shooting just when you're editing light or dark. This is the exact same frame, the exact same frame Onley. It's edited differently, one for light and one for dark. And look how different you can make an image just in editing. I mean, it's it's the sky's the limit you can you can create any kind of look you're looking for. I just want you to have these in mind, like when you're shooting. You don't have to just stick to standard or light. You can also shift too dark. So speaking of dark, don't be afraid of the dark. Sometimes the shot is absolutely in the shadows, and there's alchemy and magic that can come and great storytelling in dark imagery. And I'll tell you all but two of these frames were shot in full, full daylight, and it was just the editing that made them darker. So give yourself a little added mystique and shoot in the dark, alright. Three other thing I'm really encouraging you to experiment with is heavy editing. I call it extreme editing, and you can with third party APS and whatnot. You can do some pretty fun, painterly, exciting looking pieces of art. So take him into other applications and really crank, um, and add different textures or light leaks and painterly effects. We're going to cover that at the end of the third party apse of this boot camp. And then, finally, I'd like to invite you to take some elements and take them out of their environment. You might come up with some pretty cool stuff here, so I'll tell you a little story. This summer, I managed to walk into Ah Hornets nest on the ground in the forest and got some and $400. Later, after a hospital visit, I had a bunch of dead wasps on the ground, and I was a little annoyed, to be honest, and I took the wasp and I put him on a white piece of paper and I let him with one of my loom cubes and let it side let it. And then I realized I wanted to take it out of its environment. So I'm not shooting this this wasp in nature. I'm shooting it in a studio and sometimes you can make some pretty interesting looking things by going into a brand new environment. Things were just ideas to get you get your juices going about how you're gonna look at the world and one more thing before we get into the actual capture and processing or editing is this is the biggest point I'd like to make about my photography. What you're going to dio this boot camp is above all, do not forget this story. What is the story you want to tell? This is supremely important to me. Toe have photography that is moving and inspiring. You wanna be saying something? So, for example, in this little samples here, I thought it was really ironic to be looking at the Sierra Nevada's with this giant parking sign there. Or is it a cop moment between my son and his grandma walking down a hike? And you know, the world's a little small right now. We're a little more isolated, but it doesn't mean there's not magic to be found where we are. My family's had some medical things going on. I've been shooting editorial work in the hospital. You know, it's your kid really bummed out after ah hard fought game that they lost. Look for the story and I promise you, if you look for it, you'll find it. Let's get into some capture.