Maximizing Your Compact Camera

Lesson 1 of 2

Maximizing Your Compact Camera

 

Maximizing Your Compact Camera

Lesson 1 of 2

Maximizing Your Compact Camera

 

Lesson Info

Maximizing Your Compact Camera

It is my pleasure to welcome to creative life photo week maximizing your compact camera with lucas gilman lucas gilman and is one of the leading adventure and a adventure photographers and filmmakers in the industry. Some of his top clients include national geographic, espn magazine and espn dot com it is absolutely amazing and feeling to have him here welcome local radio to you great well thank you very much for the warm introduction this is I will honest today my first time in seattle when it hasn't been raining so thank you guys for doing that I don't know if you call the head but very excited to be here today and yes, we're going to be talking about maximizing your compact camera and a lot of people say, well why would I use a compact? I have a cell phone it takes great pictures, correct cellphone state great pictures but there's a lot of things you can do with compact you can't do the cell phone including zoom changing your custom white balance and the most exciting thing of recen...

t shooting raw having that ability to be able to manipulated in post process to get your creative vision out there and do what you want. So without further ado I'm going to show you a little bit about my background I travel around the world basically shooting adventure sports and producing content for a range of clients this's in chile lage altro big sur, california shooting, surfing, ice climbing in colorado so as you can see, I'm shooting a lot of things and a lot of crazy places, but there are places for those compact cameras in this situation and at the end of the day the reason I use a compact camera a lot of times is because I love my dear solares but at the end of the day it's big, heavy camera and I want to be able to go out and produce content and whether I'm on vacation or just out and about I don't want to feel guilty that I left the camera boat behind and I want to continue to prove that content and be able to be relevant to my client's because face it there's a lot of photographers out there there's millions of us and being able to be consistent and producing something interesting and unique is what I feel sets me apart from the others in the field. This is the kentucky derby I shot it six times in a row that's barbaro open water swimming so I'm doing a lot of different things jackson hole, wyoming and you know, like I said, traveling around and producing content in with a lot of different varieties of cameras and so on and so forth big sur this costa rica love costa rica, I shoot a lot of skiing, kayaking, surfing and you know it basically rounds out the portfolio is a photographer as soon as I feel like somebody hires me to do one specific thing, I go the exact opposite and reinvent myself and try to shoot something else because I know they always come back for that but at the end of the day I want to be different this is actually the largest waterfall ever run actually second largest waterfall in raw forties just won the red bull in competition one of the categories and so you know, lots of crazy stuff but why we're here today is compact cameras and to talk about why I love to use them and the reason first of all is the size as you can see we've got these cameras here and they are at least a quarter of the weight of a normal dsr that I would carry I can carry a bag like that very small compact be able to roam around so on a day like this this is in venice you know what? I love to have a big dsr yes, but sometimes I don't have an assistant and it's just me out there and I want to go out and produce pictures which are relevant and interesting to me and have that control to produce why is there to be a very high caliber quality image again? Venice hired a couple models this is shot with a p seventy seven hundred this camera right here super small compact but you're able to produce stunning results in a small form factor again this is walking back after a day of shooting and I see these thieves rain clouds coming in venice again and I see these thunderbolt I'm like oh my gosh this is going to be absolutely amazing and I pull a tiny camera little mini tripod put it on the bridge stand there do fifteen second exposures and I walked away with this portfolio quality in which if I would have taken the day off put my I d s are in the closet and wander around town which would be very nice I wouldn't have this picture so again you know I'm gonna hammer on this point it's all about the size and the form factor again shooting in the often times golden hour we're going to talk about this later as well but putting yourself in the best possible position to make good photos by shooting early by shooting late and having the best equipment you put yourself in the best possible place to make good images available like this lights from a street lamp so you can see what you can do all these pictures were taken with nikon coolpix camera so you can see what you can do with a little bit of time and a little bit of effort you can go out and make really cool and interesting images just fun this is fun, this is for me this is what photography is all about it's about having fun and at the end of the day not caring something that's very heavy. It feels fun, you know it's like the small bag colored immersed man bag, whatever you might, you know, you have this little this little kid and there's a bonus material which you guys can see after the fact that we filmed, and I'll show you exactly what I carry in my kit and its compact and you can go out, you can produce professional quality caliber images in a wide variety of things. This is in mexico point shoot a w one hundred cool pics that this story for outside magazine and nikon little sidebar on this the only reason I have this picture is because I was had a compact camera and you guys are here twice. You're probably the story twice this week, but I'm taking these pictures everything's like rocking and rolling and I'm like, this is just easy, right? I turn around and there's like twenty zap it east is behind me this machetes and anybody notice zapatistas are zapatista, you're basing mexican rebels, listen choppers mexico and they start yelling at me and screaming there like status and use to start a city does, and I'm like no no soy to canada so again canada and people say well why do you say you were from canada and I'm like well because they don't like americans to start with because in the eighties the cia basically tried to eradicate them so you know, I had these compact cameras in my pockets they didn't know I was there you know we're taking these pictures and after hours of negotiation and a bribe we actually walked away with all my fingers and toes and the content so as a professional I have to continue to go out and produce content but also I have to deliver it to my clients because if I don't deliver it I don't get paid being there big sur california having a camera with you whatever camera it is whatever brand you choose you have the ability to make these images is this picture going to sell maybe maybe not but to me it brings me back to that day where I was and I remember everything that happened that day so as we know photography is a very personal thing we all you know we're all very attached to our pictures and it brings us back to that exact moment we remember that whole day it's like a smell almost but visual you have that moment and you can do everything on to pete you so you can see just traveling around this is ah nepali coast y if I could give you guys one recommendation find a small compact camera and carry it with you whether it's in your purse, whether it's in your backpack just bring it honestly, you probably won't even notice it's there, but when you need it, you will have it. This is the chicago airport, I'm on one of those like moving escalators just cruising through the airport makes for a nice picture. It's interesting be a visual carnivore when I say visual carnivore I mean, go out and take pictures of everything sd cards, compact flash cards, whatever the form factor using your camera, they're not expensive anymore shoot a lot, go out, have fun because at the end of the day we're here to have fun. We're here to be artists and, you know, share our visual interest lunch tokyo, japan kind of cool? Maybe not, but you know it za memory and using the functions in the camera whether it's the macro mode using auto white balance, we're going to talk about all these functions a little bit later going in and go and just documenting things you'll be surprised when you walk away from your trip. If you give yourself an assignment when you're on a vacation, give yourself an assignment every day whether that's I want to produce a three picture package, all right, I won't have the wide shot shows the scene I don't have a detail shot they has shows a detail of this such as this the food and a medium shot that maybe shows what's going on in between. So give yourself an assignment and you will walk with better pictures because yes, photography is easy because the cameras are great out of the box but your best asset is what is between here and you using your mind to go out and continue to push yourself by giving yourself assignments and trying to you know improve your photography will do more than any camera every well neighbors kid just a moment at a birthday party could have done that with a cellphone chance light comes out there for thirty seconds yes again all these pictures were taken with compact cameras this is nevis in st kitts to do this is very simple you go out with a camera, you find a scene that you like for instance I found this boat saw these clouds rolling in next I want this water to be super blue right super blue how do I attain that well at a polarizer the front of a camera which is something that a lot of the compact cameras could do now and if your camera doesn't accept a screw on polarizer you can also use a polarizer and just put it right over the lens by using a polarizer you're able to knock down those reflections and make the blues, the greens, the reds and everything pop a lot. So if you want to have images like this from your travels, a polarizer is one of the first things I would recommend you buy jackson hole, wyoming just be there, put yourself in the best possible space to make the best possible photo city of arts and sciences, valencia, spain I was actually they're shooting for the garment sharp team, which is a cycling team. This is like thirty kilometers away. How did I know is there? I used a thing called photo briscoe f o t o p r I s k o and a knife and iphone app, and it basically it shows you pictures from panorama eo in your geographic location based on your gps location, and it shows you interesting pictures. So from there I'm like, oh, this is only thirty kilometers away. This is definitely worth a day trip, so by using technology, putting yourself in a good position, you can go out and make something that's kind of cool. These are my current three favorite cameras coolpix a w one ten, although they say one was just announced and I will be really excited about that cool pics p seventy seven hundred, which has a zoom it's about a what is it? Twenty eight to two hundred zoom so that give me a little bit of a zoom range they'd everyone ten because it's waterproof and shockproof I can take it in the water we'll see some pictures later on from that and then the coolpix a which is my new favorite favorite camera because it shoots raw and to me is a professional photographer having a camera that shoots raw is very important why is that important? Because the difference between a raw photo in a j peg photo a raw photos unfinished ajay big photos like a napkin it's folded up into a little box it could be great as long as you did everything perfectly but if you want to have the most control at the end of the day to be able to produce that image into how you saw it you need to shoot it in wrong so they cool pics eh? Hands down my favorite it's also going like a micro forrester for third senator crop sensors so you have a larger sensor therefore very good low light capability so you can continue to shoot after the sun goes down just a quick question anybody have any questions here in the audience so far? Let's just do a question from the internet luca nazario is wondering what was the name of that app that you just mentioned? Photo briscoe with an f photo at o t o b r I s k o google that in the app store or I guess you don't google in the app store because they don't really talk but uh there's a slip um so photo briscoe super easy basically what photo briscoe does is it takes your geographic location from your gps signal and your phone and it basic gives a map and it shows you on a map all these photos and you can say more photos, less photos it's great for when you're traveling I was just in hong kong and I'm like ok what's around me oh victoria peak that's an awesome shot so base today it gives you it's using use it as a scouting application which allows me to save a lot of time because at the end of the day I'm traveling hundreds of thousands miles a year going all over the world I want to maximize every one of those trips which is really important to me so cool pics say again I like it because it has a large center and I can shoot after the sun goes down so it's like a professional you know professional point and shoot or compact camera shooting there in the golden hour this is if you want to improve your photography whatever level you're at whether you're comfortable shooting manual or not whether you like to put it on p which does not stand for perfect that's program shoot during the golden hour what is the golden hour that is the power which is right after sunrise and right before sunset and that is when the light is obviously golden but it's at an angle which makes things interesting so it gives people really nice skin tones very pleasant this is in red rocks colorado just after sunrise all natural light just like really fun stuff coolpix eh again back in nevis in st kitts going out shooting during and people go well I don't like to get up early we'll get up early shoot during the golden hour go take a nap have a nice lunch during the middle of the day the light is not your friend so shoot on those beginning and end of the day and you will improve your photography exponentially sony this in st kitts happenstance from kids run down the beach makes for a kind of cool picture this picture is sold in a caribbean tourism sense hundreds of times it to a lot of people is the epitome of the caribbean there's fun there's boats there's beautiful water skies blue and it all happened because I happen to have a camera with me at that time and a lot of the stuff's not planned and that's the best part about it is I'm not setting this stuff up and for my adventure stuff a lot of times big waterfalls and things those air all pre planned everything but the's a lot of these were not set up hawaii changing the temperature in your camera, white bounce something is really cool, so white balance in a camera. Basically, we are I when we walk into a room, our eye has what we call auto white balance. We walk in a room, whether the color of the temperature of light is green or yellow or whatever we walk in a room, and we see something white in our I automatically says the room is white, so I doesn't. The camera can do that in a sense, but I prefer to use the white balance built into the camera, and if you're looking at the icons it's, a little flash bulb, it's, a little flight bull, that's a little, you know, florescent looking bold, those air, the different white balances. So for instance, fluorescent light is actually green, naturally green. So when you put that little fluorescent light bulb on your camera, the camera adds, read to the picture to compensate for that green. So which is really cool, right? Because you don't have to use these in those situations. So you go out it's sunset, and you put it on fluorescent it's going to have read to that picture so your sunset, which was kind of red. And you put it on fluorescent because it's going to add more red and give you a pop and give you a much more visually stimulating image than if you're just put it on, say, auto white balance. If you want to prove your photography, keep it consistent, and I don't care if you're doing it wrong but can keep it consistent because you'll learn from those mistakes. But if you just have it on auto white balance, perfect mode, which is p right or not, change is somehow take control of your camera in one way or another, whether that's putting on aperture, which on my conscience, the a, which stands for the ap mature, which is is in the lands, and it lets light in basically how much like or shutter we're actually on a nightgown does a avion cannons and or the s, which is shutter, which is how fast the shutter is, so take control of one of those aspects and the white balance for the second aspect because you have it on a or s it's going to make amazing pictures didn't do all the computations for you. You know you don't have to do any thinking, but you'll continue to learn how to make better pictures. This is subodh domain just carrying a camera, so again putting yourself in those situations. And being ready this is five for beach this happens one time of year for about a week. Where there a lot of the sun is aligned with this key holes they call it and if I would have run back to the car to grab the big camera is this runner goes by I don't miss a shot I'm walking out like oh, wow, look at the light on the beach every second pictures light and I'm sitting there and I see this runner down the beach running down and I'm like, oh, this is all gonna line up pretty well, you know, set up, wait, wait, wait put it in sport mode or, you know, multiple frames, I get that perfect shot or burst mode. It's also called another compact cameras, allowing me to freeze the action and also have the shot of the sequence that was he was in the perfect spot. The golden hour. Just my favorite time of day shooting sunrise a lot of people have a misconception about shooting sunrise. You don't get there at sunrise, you get there early and we're going to show you little sequence here. So this is the maroon bells colorado, one of the most photographed places in the united states absolutely lovely. This is shot in pitch black and if you look over here on the far right you can see the little light those are actually guys with headlamps that air going up to climb so it's pitch black out I'm out there tripod you can't see anything you can hardly see your hand in front your face this is a three minute exposure but I'm ready write something interesting happens the light can continues to get a little better and there's going to be a window I'll be a very short where all of these things intersect right? The lights good it's getting more interesting we're working through the scenario I'm getting a little more interesting get more a little more light on the on the mountains and you can see they're still very long exposures how can you tell that? Well if you look at the clouds together sort of wispy these air still like a minute long exposures a little more interesting but a more light I can see the movement of the water in the foreground oh the sun came up now we have more contrast and we've continued to work through the problem and it's not a problem per se but we're producing something and we're waiting for that moment for all of these things to align good contrast good color and just working through the process and all of a sudden fly fisherman comes out of sunrise to go fishing so you put yourself again in the right situation to make an interesting shot a lot of people like these reflection shots these air very very popular and we'll talk about a little later as well but the best time to do that is right after sunrise it's the same reason that they do crew and rowing in the morning the best scenario for shooting these reflections is when the water is still and that's the most likely in the morning without without wind so again reflections early m jackson hold same thing this time I had a model went out right after sunrise because I wanted this reflection is ox action sorry this is a schwab walker landing wanted to produce his picture pretty simple I worked from the background and go forward pretty simple process so think of it like a canvas if you're a painter we pick out our canvas that this sense would be the tetons in the reflection set all right, we've got that taken care of snap take a test shot looks great right next at athlete or point of interest and then we now have a complete picture so working from the background first picking that background we then add something of interest in my sense I should love sports and in lifestyle things so by doing that and adding something of interest we're able to make it a little bit more diverse and a little bit more interesting going to the dark side you know we're going to take a turn did you so ah lot of people's quit taking photos when the weather is gray, which I here in seattle it's great on occasion here I don't know, but, um this is one of my favorite times actually take pictures unless it's a downpour when it's dark outside great clouds makes for great black and white photos so when there's no color it's blah outside, this is actually the prime time to go out and produce black and white images, so these images were all shot in color originally because that gives me the versatility of the flexibility is still have them in color and then shot raw ah, this is with the nikon a and then in post processing you're able to convert them to black and white and because it was originally a raw file, you're not having any image dig degradation by doing that. If there's a j peg, you'd have smart if acting, but by shooting wrong, you're able to do that so again, having that you know that flexibility is what really sort of breaks it apart. That's ah, iceland this is ah kayakers pierre. And just because it's dark doesn't mean you have to quit and if you're shooting sports with a compact camera needs and remember the most important thing when you're shooting sports with a combat camera or any camera, you need a very fast shutter speed and what I mean by fast is more than twenty five hundredth of a second if you're setting yourself and if you're not comfortable doing that, find the sport mode and that's usually like the little guy like running little running man guy so find that in the camera and that will allow you to freeze the action because what you're telling the camera is what's important to me is having a fast shutter speed and freezing that action so that person is frozen in time. If this was shot in a normal mode, this surfer would be all blurry, which we've all seen that right, we take a picture and story, so we need to make sure we tell the camera what's important to me whether it's sport mode we're putting into shutter priority, which on the nikon would be the s or can it would be the t s mode and saying we want a very fashion or speed like to thousands of a second or faster cloudy days, great pictures just walking down the beach a lot of if you're not comfortable with pros processing don't like it. I know a lot of people say I don't like to, you know, I don't like to do anything in my pictures I spent too much time on the computers it is well, most cameras have a monochrome or black and white mode built into the camera I just find it do a little, you know, research on the front end figure out what you want to accomplish, and from there the camera will let you do that with built in setting. So this was actually shot in the camera and monochrome mode, which in the night comes you can you can go off after the fact and change it, but you know, just something cool. Also the other edition was being able to shoot in macro as well. I'll talk about that a minute again cloudy day, not very interesting. Well, that is actually your friend. We like those waterfall pictures with the water sort of milky and moving or these pictures like this where you can see the ocean sort of a long exposure. So these air long exposures so by increasing your aperture or, you know, in the manual mode, saying, I want to be like f sixteen or, you know, on aperture priorities, saying the apertures what's in most important to me because you remember where you can take control of one thing, whether it's a shutter, the aperture air the s and take control one aspect of it, moving that at that amateur up until you start seeing those numbers be really small, like one second or a half second that's going to give you that ability to have these movements in the water and everything and have these interesting pictures where there is that feeling of movement whether you're doing a pan lurkers somebody's running by or cars that are moving or water this's gives you that look and that sort of interesting field they all have black and white own just find it again something built into the camera macro mode what is macro mode it's what it does is it allows you to get close to your subject and on the camera and all cameras pretty much there's sort of a universal symbol and it's on the back here and use every see this right here this little flower it's like the universal symbol for macro mode so that little flower by toppling down and putting the camera into macro mode it will allow you to physically get closer to your subject what does that do? It allows you to fill the frame with whatever it is you're interested in photographing whether it's flowers or butterflies or or bees or whatever it allows you to physically get closer to that subject what it also does is is it throws the background everything behind that subject out of focus so you see those pictures where you know the flowers tax sharp and everything's really soft that's what they would be called macro photography or in the camera the little flower on the back macro mode so again just walking down the beach making images in a sense we're monochrome oat and in macro mode on the last shot so you can do a lot of things in the camera if you don't like to do it in post but thinking again in producing packages of images so again we've got the macro shot you've got this flurry water shot we've got a little bit wider shot and we're just sort of working through this process and producing images that are interesting and will these images ever sell for me? I don't know, but to me they're fuel for the soul they're fun there's something to do they remind me of that day and all and take me back to that situation. This isn't five for beach absolutely beautiful again using the functions built in the camera beautiful stuff slight painting cool concept really simple can do with pretty much any camera that has a manual mode so first of all we want to be on a tripod get a sturdy tripod the next thing manual exposure I know that this is a big step on a lot of people are uncomfortable with it but we're shooting digital take a test shot look at it doesn't work no change the settings there's a little exposure meter you wantto center the dialogue the needle in the middle of that on the manual mode and we want to be in manual focus because we don't want the focus moving and from there were a set our eyes so to eight hundred this is going to be when it's dark outside right so this is before sunrise or after sunset by a couple hours I s o eight hundred amateur f four to five six it's not super imperative white balance we wanted to be on sunny we don't want it to be an automatic we don't want the camera making any computations just the little sunshine symbol and from their shutter speed fifteen to twenty seconds so in manual mode that's a super long exposure right right and because his long exposure we need to make sure that we use either the self timer built in the camera we understand the self timer it's that little thing that used to take pictures of yourself your family by using that self timer it allow you not to move the camera when you push the button there's no shake or you can use an electronic cable release little infrared cable race which a lot of cameras come with or you can buy after market and that will allow you to take a picture which is rock solid and there's no camera movement the last thing we need is a spotlight you can buy these at pep boys you can buy it on amazon and the result is something like this kind of cool so we've got stars coming out because we're also eight hundred fifteen second exposure and these trees wouldn't be lit up the right so we've gone in with a spotlight and literally painted that light in fifteen to twenty seconds this could be done with all kinds of things old trees, cars uh I think the next example is actually a car this is a job I did for land rover in iceland we went in this cisco false and did a light painting this is fifteen seconds with the exact settings I just showed you and we just painted the car in now there are some modifiers and things which make it all easier and I say modifiers that's the things that control the light we don't want the light just going everywhere we want to use it like a very fine paintbrush and just have that light go where we wanted to go so kind of cool thing using light painting and you can use it a combat camera to do that so panoramas love panorama as many many cameras have a panorama function built in some it's a simple click and drag some have a function where you take a picture and then it'll show you basically a ghost of the last picture you took so you can line it up so there's two sort of basic things in the panorama function built into the camera and I love both of these functions I prefer to do it and post because typically the ones that air click in drag or a lower resolution and I prefer to have a higher resolution because I'm looking at a you know, selling these professionally, but at the end of the day they boast do stunning results and if you're just looking to share him on facebook or email in the family and friends, the click and drag is going to be great. But if you want to make a big print for your wall it's preferable to take multiple pictures typically even if you don't have the ghosting thing in your camera you can do panoramas by just taking a picture and then making sure that you find a reference point and overlapping those by twenty percent and then using something like photo shop or there's a lot of panorama stitchers that are out there for free or otherwise and basically they will build you a panorama. This is iguazu falls. This is the border between argentina and brazil, one of the most magical places in the early in the world and one shot really just wouldn't do this injustice if it was just a wide shot the waterfall just sort of be out there, but by doing a panorama you sort of show it majestically in sort of the way it's all working together five state beach you could include people in panorama is too just making sure that they start on one side of the other and they're not moving this brazil in rio love rio one of my favorite cities in the world absolutely vibrant and again I got there the weather was totaled crap gray reigning most people they go came all the way to rio I'm not going to get any pictures bummer I saw it as an opportunity to dio a black and white shot something different maybe not what I'd envisioned previously but I still saved the day because I thought outside the box and still produce content again great day sand dollar beach big sur california what I love to have a beautiful sunrise of course I would I love the golden hour but it wasn't in the cards so I went out to produce something interesting. So the lesson from this the moral of the story is go out even if it's raining if you want to make better pictures and push yourself to continue to provide yourself with that sort of call it a vessel for producing interesting imagery snow and water I shoot a lot of water sports and a lot of snow sports again we're gonna go back tio what I would say some fundamentals so for water and our snow I say she really fast thing against sport mode if we're doing shutter priority twenty five hundredth of a second you want that should be very fast freeze everything in time why do we do that? Because it freezes every water droplets so you see every droplet here twenty five hundred seconds plus is going to make all those just be like they're people say, well, why don't I do it a five hundredth of a second? And I say, well, twenty, five hundred seconds technically five times faster, right? Yeah, pretty much and people that well, what's the difference and I think you will be amazed at the difference in the photography and you'll see so much more detail and christmas I guess you could say so that's sort of a little trick, same thing here you see how that's all frozen, making it just like tax sharp by shooting sports does very fast shutter speeds and if you're not comfortable going with a shutter speed and setting yourself in shutter priority on your compact camera, I say go to sport mode because you're telling a camera what's important to you and that is freezing action moving things this is actually frame before my friends this apathy stas came and gave me a visit in that shop is mexico raw forties rebel athlete amazing guy he was actually if you guys saw on the news recently he was going to run niagara falls and they called it off the last minute kind of a crazy dude again fast shutter speeds see all these frozen water droplets that's how you do it whether you shudder priority or sport mode built into the camera these air all sort of simple things where you can do something different or really slow so I go like my you know, shoot early shoot late on my water and snow I do the same thing she really slow or she really fast four seconds or more generally so this is a shot there, x I request professional surfer surfer abysmal beer near appears moved here and this shot if you just put it on p and shot this picture it would be completely boring. Why? Because there would be no movement in the water and just be a do stay on the beach like, oh, that's kind interesting, but this is a four second exposure and what that allows that is the water to come in and for it to go out giving a step movement. That movement and that feeling and a lot about photography is is the feeling that we take away from it and by controlling our camera or thinking ahead of what we want to produce were able to produce something that sort of special like this again long exposures this is about a six second exposure middle of the day how do we do that? Well, a lot of cameras now have filters or threading for filters, and you can buy aftermarket filters such as a nd which stands for neutral density and what you would want is saying eight to eleven stop andy and if you're not comfortable knowing what that is just means it's a really dark piece of glass it doesn't change the color so your new camera store you say I want eight to eleven stop andy and they're going to say what size you need well, figure out what size the threads on your camera the nikon coolpix say it takes forty six millimeter filters, which is great to scream right on put it on tripod super long exposure all of a sudden we have the moving water in these waterfalls and we made a pretty cool picture in the middle of the day, which would be kind of boring. So by using and you know, something built into the camera in this case an aftermarket piece were able to produce something interesting in sort of dynamic, and at the end of the day I'm a professional, right? So this is how I make my living and not everybody out here is going to be a professional photographer. I hope I hope not everybody is because that means my jobs and in severe jeopardy put um, it's about making the best of all the situations that you're in and thinking through the process again a long exposure making that ocean that's moving go milky and interesting so by doing that by adding a neutral density filter and if for some reason you're like, well my camera doesn't have threats from neutral entity filter you can just put a glass it's larger than the lens basically and just hold that over the front of the camera while you're taking the picture by taking that light out you're able to have a longer exposure and they'll be movement again you need to be on a tripod to do that because for second says be a long time to hold still but by doing that you have the option of making things that a little more interesting packages I can't say enough for packages and this is sort of how I got my start ah I went school university colorado boulder and I want to be I was a journalist basically work for the denver post and I work for the denver post until basically the columbine incident and uh that was sort of the last straw for me and I'm one of the jackson hole after that because I wanted to go out and produce you know, I was tired of death and destruction basically to make a long story short so I grew up doing packages and when I say packages I mean, you know, three to four pictures that all work together so by doing that you have a visually interesting assortment and why would we do that? Well because if you're on vacation you're on your honeymoon your kid's soccer match eventually you're gonna want to do a little lay out whether it's a print we're going to do a book and by having these different images that's the sort of a scene setter as they call it this would be called a detail by having these different images from different focal lengths or physically moving yourself closer to the subject or further away you're providing visual variety visual variety someone kind of cool because when you put these pictures right next to each other you have a very visually stimulating layout and you can do it you know the I photo you can make books, you know, light room you know you can send off to have books made and this is a great way to not only document your vacation or whatever it may be, but it allows you to as an artist set yourself apart and show something really cool by doing something as simple as basically moving in or stepping away or using different vocal links creative white balance we've talked a little bit about it again we've got the sunshine which is sonny on the camera if you look at the camera, the settings the little boat light bulb which is incandescent, which means you're probably shooting inside the flash, which means you're probably using a flash the little house which means you're in the shade and all those things sort of work together sometimes is also what you can say, a custom white balance. It'll be ok and on all cameras have that, but if they do that's the actual kelvin scale built into the camera, if you put that at ten thousand kelvin that's going to be the warmest you could possibly be so this the shot was shot with fluorescent white balance you see our readiness? Is this correct? Technically, no, but for visual effect for interest from shooting sunsets, I want them to be more interesting, so by going in and manually, whether you're not comfortable going off a program that's fine, but if you go into your white balance and change that to florescent, just remember that when you get out of the situation to change it back, otherwise all your pictures going a little wonky, but for visual interest going in and being able to control one aspect in the camera, you walk away with much more interesting pictures again created white balance this actually ten thousand kelvin, this is the warmest it can possibly be so by going in and controlling one aspect, and I don't care what your exposure is as faras shutter speed, whatever you know, I'd say you're not comfortable thinking of all these scenarios put on aperture priority typically, you know, whatever the widest lens goes and just start shooting and if you're not comfortable with thinking throughout scenario, just take one test picture look at the back of the camera and from there you'll know if you're if you're in the ballpark or not, so but I do those things and I see so many people do this and I teach a lot of workshops they run up to this situation, you know, say, it's sunset, they jump out of the car and they just start taking pictures and they're taking pictures everything and they're looking at birds and whatever and they walk away go hey how's, your pictures compound there I go I don't know they start looking like, oh oh man, you like the first thing to do in that scenario? Get out the car whatever you get your hike the first thing you do when you take your camera out of the bag take one shot take a test picture really looks good uh, no yes now be worked through scenario. Why doesn't look good? Is it too dark? Well, if you're in an auto mode, you'd go to exposure compensation, which there's sort of a universal thing for exposure compensation issues of this little plus minus button on every camera that's the exposure compensation so if it's too dark, we go to the plus side if it's too bright or looks like it's over exposed, we go to the minus side so by keeping an automatic mode we're not going out of our comfort zone we're not out of our wheelhouse, but then by just doing one thing in the camera using the exposure conversation the plus minus button on the back were able to dial that up and dial it down again ten thousand kelvin this is actually on the little white ball incandescent you see how everything turned blue when I tell the camera go to incandescent it says ok we're changing the color scale to be in an incandescent situation which is typically indoors, you know, in your house which has a normal light ball which I guess those air going the way of the dodo now that we all have the energy efficient ones but the old school light bulbs those air very warm you see they're very yellow well, the camera adds blue to compensate for that well, if you're outside and it's normal daylight, everything is normal, daylight is going to become blue so by doing that you have creative control in this case have actually added a strobe, a flash off camera excusing and why is she had colored normally? Well, I've added warns to that gel because I told the camera to add blue and their counteracted each other to make normal color light as faras cameras concern so again, everything that is lit by available light is going to go blue and then mike strobe or my flash with an orange gel or they call it a tungsten gel as in tungsten light put an orange gel on it and everything that it lights will be the appropriate color, so call it moody blue basically gives you a really creative control something something interesting to dio again this is with the fluorescent white balance this sunset was okay, but I wanted it to be a little better and I took control and did that you'll see a lot of soul let's we'll talk about how to shoot silhouettes as well burst mode pretty much every camera that's been released in like, say, the last year so probably has some sort of burst mode and usually it's like if you look at the camera it's either in the sport mode and will shoot multiple frames or it'll be a little stack of squares basically telling you that you can shoot multiple frames love this function, it allows you to shoot sports or things that are moving. This is the sequence I shot in big sur california and this is pretty much straight at the camera like just like going through and continued to shoot the frames, so if you're shooting could soccer your pet or anything that has movement by shooting in the burst mode shooting a lot of frames, you're going to give yourself the best possible chance to make a good photo and have that photo be the right frame for instance, national geographic for every picture that's published they say it's about ten to fifteen thousand frames for every single picture, so back and thinking back the film days that was a lot of film to go through but now compact flash cards as key cards they're not that expensive to go out make sure that you have plenty of cards and at the end of the day, if you don't like any of these shots, you can always throw them away. So again, this is the same burst mode and I don't know which one's the best at this point, you know? But you just keep shooting until you get the one that you think is right and I think probably this is the one that I would probably turn in, but by shooting in this first mode it allows me to have the flexibility to go in and choose that later is opposed to having to get that a decisive moment that makes any sense fun stuff finding fresh angles this is it's professional one of the hardest things now that everybody has a go pro, they mounted everywhere but it's professional I'm always looking for something new and I would say, you know, if you want to better your photography the first thing to do is find a different angle and I don't mean go, you know, climb up a thirty foot tree and like be looking down I mean just go down to one knee or get up with a higher angle just don't take everything from the same angle, which is a standing like this so it will give you visual variety and think about it in pretty simple terms if you have a subject say you're in a market and you find somebody and there they have a really interesting umbrella or something look where they are and see where they're going to go from there figure out what the best possible frame is. So by thinking ahead may like oh the lady with the bright blue umbrella that's great, but this backgrounds not perfect but it looks like she's going over here by thinking I have just a little bit you're able to go in and make something a little bit different point of view is always interesting getting down low you have to have a lot of trust to do this kind of stuff this guy this this lens is actually pretty wide like a twenty eight millimeter this guy's literally like about like I would say a foot and a half of my head he only did it once thankfully using the functions in the camera this is the a w one hundred a lot of companies make waterproof cameras if it's waterproof go out, get a snorkel, find something interesting, find something cool photo photography and why I'm an adventure photographer is it's very, very involved and that's what I really like about it is I get to go do the things that the people are doing that I'm photographing so that's what's really interesting to me and you could do the same thing with these pointy shoes to go out and be involved in the activity that you're photographing be a part of that make it interesting. This is a w one ten again mounted to the front of a kayak. How do we fire the camera will matter on the camera or the hammer on the kayak? Put it on the self timer and have the guy goes to the rapids. It took a few times, but eventually we got a pretty cool shot, so by finding those fresh angles, those interesting angles that's what sort of puts me hopefully one step ahead of my competition and for you is a photographer looking to grow it puts you in that position where you're making more interesting pictures, whether you're sharing them with friends or you're just doing it for yourself, you're getting that reward factor and feeling like you accomplished something that you went out and you made a photo is opposed to taking a photo so by doing that and thinking through the process, it allows you to be, you know, proud of what you did high angles, this is up on a cliff, you saw the low angle before and you know, it's the end of the day thinking ahead and putting yourself in those positions is really going to sort of improve everybody exponentially. So you've seen a lot of silhouettes, and we're now going to address how to shoot silhouettes. The easiest thing to do is to use the exposure compensation, which, again, on the back of the camera, the universal symbol is the plus minus button you're in an auto mode. The plus minus button is what you're telling the camera. Plus, I want things to be brighter minus I want things to be darker, so by using that in automatic mode and you guys can get into it and pass it around, if you want by using that an automatic mode, you're not having to do any equations or computations. This isn't, you know, fuzzy math. You're still letting the camera do what the camera was built to do make those calculations for you, but you're saying, hey, we're shooting a sunset and we wanted to be darker than with the cameras because a camera basically every camera out there, whether it's a dslr appoint shoot in automatic mode is trying to get they've seen to be neutral gray so it's trying to go in the middle and in a scene like this it's going to have your ham a partial silhouette basically so that you're gonna have a little bit of detail in the foreground and the background it's going karen's going whoa, whoa, whoa kind of kind of right here you know so it's dialing it down a little bit but it's not dying down enough to get that color saturation in the sky that you want so by going negative saying I want this to be darker you're enriching the sky because this guy's no longer washed out and you're making that a full silhouette is opposed to a partial silhouette so if this was just shot an automatic mode and I didn't use any exposure exposure compensation you'd be able to see a little bit of detail but it would be sort of a picture that was like call it scared water neither here nor there but by using that exposure compensation, you're able to dial that down the next step again after I figured out I want this to be a silhouette because this is the situation I go back to my creative color control or the white balance and I say in this case I wanted to be shade because that's gonna had a little bit of yellow maybe a little bit of red and enrich that sky I've taken control even though the camera's pretty much still doing everything for me you know I'm not rocket science I'm in there pretty much automotive just made some subtle changes based on the camera menu exposure conversation typically I go down one minus one on exposure conversation for a silhouette sometimes minus two depending on the situation and then choose either shade cloudy which is little cloud fluorescent or one of those because those are all adding color or changing the color a little bit in those scenarios but just a side note when you do that you changed the shade or cloud or fluorescent you make a mental note because I don't want to get any phone calls hey my whole vacation everything was on fluorescent mode my wife's really angry with me I watched your show and I put it all in for us and so just make a mental note when you do that make sure you change it back so again same thing all these pictures were shot in the exact same way this actually the coolpix a to b one ten sunrise big sur california this is actually I'd say camera if I put it on cloudy or shade on this one but exposure compensation again minus one probably meant minus two on this one and you get that riel rich sky and that silhouette the other thing about silhouettes we all love silhouettes make sure your subject which should be the surfer what's behind him make sure he's on not on anything that's cluttered because if he's on something cluttered it's going to be distracting because they'll be like things growing out of him so make sure he's on this place in the sky which is clean so you see how he's their stuff in the foreground which is is visually interesting but in the background there's nothing behind him so make sure you remember that when you're shooting silhouettes picked the background first see if I would have been three steps the right there was a tree growing out of this car make sure there's separation from that background again this one same same scenario shooting silhouettes so this is your adventure you're the master of your tripp you know it's in your hands to tell the story how do you want to tell that story there's a lot of different ways to tell the story what I generally do is I start off and whether this is a vacation or you given your self a self imposed assignment I like to get a scene center which is a wide shot that shows me where I am this is a shot that sums it all up whether this is st lucia this is like ok, that was st lucia we have it all summed up in one photos this is a scene setter from there I'm also looking for visual variety so we've got one scene setter another one and why would I do this? I've already got this wide shot well if I'm producing a little book project or might do a news letter to the family or just you know for posterity's sake I want to have is many angles of this is possible because face it it took thousands of dollars to get there it took you know a long time to get there and I'm only going to be possibly be in this situation once I tell his people to people a lot this scenario right here will never happen this exact way again yes there will be a sunny day there will be clouds but will this boat be in this exact spot ever again will I be in that spot exact spot ever again no it will never happen that way again so when you're there make the most of that situation whether you shooting hundreds of shots again sd cards compact flash cards don't cost that much make the most of those situations from there I'm gonna look to show what did we do on our vacation the medium shots called medium because their medium size in the frame working through that scenario you know for these things I actually give myself a shot list scenic detail shot food shot medium shot and then from there I'll break it down by activity santa palate boarding, surfing whatever it is it's going on during this vacation or the shoot that I'm doing, I break it up into categories and I will go back and make sure that I'm checking the boxes and then I actually fulfilled my obligation to myself that I produced all this content that I wanted to because the last thing you want to do is be like, oh man, I was in brazil all those pictures were great they're all right here, but I didn't first effort didn't bring my compact camera or two I just didn't do it because of the end of the day, you know, there's a lot of hustle and bustle on a lot of things to think about in photography, but by giving yourself something tio reflect back such as a shot list, it allows you to hold yourself accountable for what you want to produce. Shooting after the sun goes down just because the sun goes down doesn't mean that your job is done and maybe it does if you're on vacation, but I like to go out and continue to shoot things. This is actually just the coolpix a st lucia again camera on a tripod little side note you'll see in the bonus material about everything in the bag, but I always carry a flashlight in my bag because after the sun goes down, I still want to take pictures but I also want to make sure they don't drop anything or leave anything and it also allows me to make sure that I'm all the settings on the camera are actually correct so I don't get back to the hotel room after spinning six hours staring at stars and go oh this none of these really worked because I was off by one setting so continued to shoot things this is aiso eight hundred probably f two point eight and probably about a fifteen second exposure the little ray of light coming in that's just that spotlight the one I got a pet boys or wherever it was just a spotlight just by adding a little bit of light you got the stars in the background and you've made something we've gone from taking photos to making photos in one very simple step finding things in the foreground especially at sunset is really imperative so this picture minus the boats and everything would be really boring so when you're shooting sunset try to find something visually interesting and typically those things are going to silhouettes because the sun is behind them but find something interesting whether is a cool building whether it's boats, whether it's people palm trees finding a you know, a focal point a center of interest in the photo and make sure that you put that in the frame the next thing we're going to talk about a little like uh call it well of thirds and this is sort of a typical thing a lot of people do when they're first getting into photography is the autofocus button is right in the middle or the autofocus point when you're looking through the viewfinder is right in the middle so all your pictures come back from the vacation with whatever it was right in the middle. Well, a lot of cameras you can either manually focus him, which I know a lot of people won't become full with, but when you push that button halfway down it focuses right? Well, you khun recompose you don't have to take that picture where you just focused if you just recompose and put the center of interest either in the left third the right third the top third the bottom third it will be much more visually interesting in a stronger photos so notice you know there's not a rule of thirds here, but if we had just this one vote and make sure it was here and not in the middle of the screen so little rule of thirds again when it's drizzly out it may not be the best light that's when if you go type, you go out and shoot macro a little flower mode on the back of the camera that's when these pictures may are interested all of a sudden you've got water droplets colors are saturated and that is a time when you can go out and produce content even though the weather may not be your friend of that point. So you don't always have to go black and white there's also some good color to be had, especially if you go into those macro modes in that riel soft color. In such, um, I want to talk a little bit about the difference between hard light and soft light. So why is the light bad typically at noon? Because the sun is directly overhead. High noon. What does that do for people? Causes shadows right under here, right under here and is an unflattering look. But if the clouds come out, do you notice there's? No shadows, right? And then you can continue. It doesn't matter if it's noon or two or three or four. Or you can continue to pick, take pictures and there's. Not as many shadows. That is because the light source in this case the sun it's, the distance, the light source is from the subject compared to how it works. So think about it in your house, right? You have ah, normal light the lamp shade in the corner, everything's pretty soft you take that land, shave off shadows everywhere so by putting that lamp shade on that labeled you're making that large, that light source larger basically same thing happens when the clouds come out. So by having big cloudy day, very soft light is opposed to harsh light again finding things of interest in the foreground to give yourself visual variety. This is in st lucia. Have you not been there? One of my favorite places in the world? Absolutely beautiful. Um, the weather is about eighty degrees year round can't really say enough so so you could see mixing it up action, some still life stuff and just working through the process. We talked a little bit about polarize er's later earlier, and this is a situation you see how we've got a great color saturation, the skies dark believes air very green and the water's very blue. This is when you break out your polarizer, whether you have one that screws onto the front of the lens or you just put one in front of land and hold it physically. This is where you want to do that and the way it works is look through it and turn it and you want a circular polarizer is typically what you'll want for this. Turn it until you start seeing you actually see the reflection on the water and the sky going darker. Turn it, turn it turn until it gets that spot and when it starts going the other way and going back the other way stop there so basically turn until it's sze darkest point and that's the way you want to use your circumpolar razor and the reason you do that like I said it because you want that color saturation you want to be able to see into the water you want that color to be nice and blue that's what you use your polarizer in this sense we're going to go back to the other thing where it's having visual variety this shot exact same is this one except they're two different frames why would I do that? They're both fine, but I don't know the use whether it's me as a professional or you know somebody else using it for a book project or a postcard by having horizontal and vertical we have the ability to have it be a book cover or of its horizontal it could be a two page spread so by having that actual physical shapes of the shots that we do and by turning the camera or is on our vertical, we're giving ourself the best possible chance to walk away and make something interesting from the project again finding different angles, point of view, telling the story and what we need to d'oh so this is this is again camera a w one ten built in no way have a backpack. Hey, so eight, everyone ten this camera will go in the water if I have a camera that goes in the water what what's the first thing I'm gonna do you gonna go see what how it does in the water so going out whether it's snorkeling, scuba diving we're going to go out and take that camera into these situations how do I do this? Well, I go to the camera functions and there's a little fish and that's the underwater mode so not rocket science but by going in and not just shooting this in, you know, whatever modi was in before and like I said in all these situations, the first thing I d'oh is I change the setting, take a test shot and make sure we're good to go from there shoot to your heart's content, but just make sure that first thing you dio is change that setting on the camera to make sure you're going to be getting the best possible pictures you can get. So again, this is st lucia this is just snorkeling, you know doesn't take a lot to d'oh he's going in making interesting pictures with functions built into the camera and you know, I love snorkeling and typically, you know, I would probably in the past left the camera home and just gone snorkeling but the thing is so small literally you could put it in the pocket of your board shorts so if you didn't feel like taking pictures but you now have the opportunity to take pictures so you know, it's one of the things I don't feel guilty it's like I'm out here swimming around and I'm all of a sudden like, oh man, this has been awesome to have a picture of and I don't have to be taken pictures the whole time, but I have that camera with me and it's readily available ran into a few of these actually scar is pretty much gone but nasty yeah so underwater photography whole another aspect which is a whole another at least ninety minute session but all these pictures were taken with the coolpix a w one ten underwater and just the underwater mode so again using the function built into the camera, finding things interesting shapes, textures and the next thing to dio fill the frame I think a lot of people have a problem what I call I zoom so you're here and you see something really cool going on over there you take a picture of it and you're like, oh yeah, you know, you don't have this happen your friend comes back from their vacation like, oh yeah, check out my pictures and you're like like, look this dolphin you're like where's, the dolphin. Well, it's right over here and it's, you know, it's like it's, like three percent of the frame, what I'm saying is, make sure you've either zoom with the camera or physically move yourself closer to fill the frame, you'll make much better, more interesting pictures, detail shots, so my shot list hasn't changed very much, right? I have the scene setters once it show me where I am, and then I'm physically moving closer and shooting details, trying to diversify this as much as possible beautiful water, this is actually st lucia, and I'm not a huge dive or or ah, snorkeler, but I've been told has some of the most pristine water in all of the world, and I went there actually for this, his picture actually online now toe nikon dot com for a nikon world article, and they showed up at the resort and you told him I was doing this article and they're like, oh, well, and I pull out this little boats over here, the little nikon a w one ten and they go where your big cameras and I was like, no, no, this is what we're using their like, they're like, really, I'm like, no, no, we're doing a magazine article in there like and the other guys on the trip, you know, they walk out with this underwater housing and everything, and they're like, oh, what's that camera and I walked away and they were showed him some of the pictures and like, really, that little camera does all that and I was like, I want to take some of the credit for it, but no, really the camera just does all that so kind of funny again filling the frame, making interesting things out of what's in front of you working the subject, okay, we figured out how to use our exposure compensation figured out how to use creative white balance had figured out how to get it off p for perfect we've gone that step right now we're going to go ahead and take it one more step, and we're gonna go ahead and shoot something of interest us. So I've got a little scenario here and a lot of these you've seen a couple of before go in and just continuing toe work the subject, whether that's, you're taking pictures of your pet or it's a soccer game going in and just working it not looking at every picture, just going in and taking pictures as though you are just trying to get the best possible content, and the first thing I'd say is go in and find as many angles as possible and just continue to shoot once you've got those exposures dialed you doubt your test shot done right? We know that this is a good picture the subject doesn't even have to be in it are exposures right the colors right? Our canvas is right we picked our background from there we put our subject in it and we start making interesting pictures and start working through the process and producing as many angles as we can and working through that working the subject and making something interesting so these were all shot red rocks colorado jason donald professional cyclists went out and just his sunrise went on shot pictures working the subject and make something interesting for me of sports for other people it could be a lot of different things again slight variations on this picture notice how there's a separation between him in that background one split second later and he's halfway on that background the picture doesn't work but because I shot lots of pictures and notice this and I'm going to make sure that this didn't happen I have that picture at the end of the day by noticing where your subject is on the background will allow you to make better pictures so in sort of simple terms you're the guy with the telephone pole grown out of his head by noticing where your subject is on that background allows you to make those better pictures it's my son landon okay funny thing is every good so you must take lots pictures of your son I'm like actually know my wife takes almost all the pictures of landing but on occasion and it is partially because I actually do take a few but it's the post processing of thousands that I haven't looked at so but working the subject so the one day he decides ok for papa to take pictures like okay, I'm gonna take it you know from here here so now I've got like two kind of cool set ups you know? We took probably fifty or sixty right here but I found one that was great then from here he still game alright do one more I've already got it set up bring the dog in great I've got the background set up I got everything dialed dogs still hanging out, work it, work it, work it work it were shooting with lots of pictures here as long as she's sitting there I'm taking pictures so when I say work the subject when you find something that interests you just work on that until you get that absolute perfect picture. And remember that test shot the test shot in the beginning whether using your exposure compensation you're white balance your took it off a p you do that test shot and whatever settings you're on and you like those settings once you've got that dialed then you start working it don't work it and then go oh my settings you're way off so make sure the simple thing going and make sure that your settings air dialed to what you want them to be she's kind of cute isn't her name's langley hamming it up this is and people go how do you get your dog she's weimaraner weimaraners air total spazz right how did you get your dog to sit there that long? Well she's actually addicted toe ice cubes so on ebola ice cubes there are given ice cube and she'd be like like a mask you and I get like two shots and then like she like a whole bowl ice that day but yeah so working the subject same thing here this is actually ah in dumbo new york city are actually brooklyn looking back in new york city went out with the model at sunset light wasn't particularly good at this point so black and white it was sort of grab black and white working the subject again notice she's not dead center in the middle of the frame working on rule of thirds don't want the subject right in the middle of frame that's called bull's eye so if you have your auto focus point the middle you can either move it by clicking that little button to move it around or focus and then recompose like skin a little bit better you know, just working through this process, trying to get that emotion, the split moments where you know it's in between light and shadow and just trying to work with a model you know, get yourself to get yourself comfortable people generally aren't comfortable in front of camera as you can see I'm not today, but you know, people aren't comfortable so building a rapport building that trust because they want you to portray them how they feel like they look, which none of us look like we feel like we do on cameras but by allowing them to trust you and working through that process and building that that that link will allow you to make better pictures and all of a sudden you noticed all of a sudden she's melted a little bit she's now weigh more way more comfortable in front of the camera where in the first one she was sort of awkward still and imposed where we sort of work through this process and we've broken down that barrier and all of a sudden now the content is flowing and we're getting better pictures as we sort of work through the scenario fun stuff again compact camera, super simple stuff stuff shooting fireworks I know this is something that people like to do and it's really actually pretty easy pretty simple process this is actually ah long beach, california shot with the coolpix eh just on this fourth of july and the way to do this is again same thing with light painting we're going tio mount the camera to tripod we wanted to be stable because we need a long exposure because it's getting dark out frame your subject your canvas in the viewfinder optimally you're going to know where those fireworks are going off so you show up and you you know you're the statue of liberty you're going to know that the fireworks going off behind there so frame it is though you know where the fireworks going to go off next thing focus on whatever the dominant thing in the third the frame is and turn off the auto focus because you don't want every time you take a picture to have a try to focus because once it gets dark it's going to have trouble finding something to focus on so turned off the auto focus once you focus and typically you've gotten there when it's there's plenty of light out manual mode manual exposure that's the em on the top warren the men in the menu white balance sonny probably don't want auto because it's going to cbc and all these different colors have been trying to do some walkie things s o two hundred to four hundred not completely imperative but just in that range so you want to make sure you can set your eyes so whichever he understands what I also is basically how? Sensitive your camera is to light the larger the number four hundred, five hundred, six hundred. Eight hundred sixteen hundred. The more sensitive your cameras to light the lower the number, the last sensitive so I so two hundred to four hundred abbott, your f eleven could be up sixteen it's not super imperative. You know, this is not like this. This is not the equation of all equations shutter speed ten to thirty seconds. The caveat here. If your camera does not have a manual settings mode and nineteen five percent of these cameras these days, do you have a manual setting? There will also be a fireworks mode probably built into that menu system, and it'll look like fireworks. So if you're not comfortable in manual, you can always go to the fireworks mode, which is built in. But I would say for me personally, I would rather be in control because being a professional, the more variables I can cut out of the equation, the better the pictures will be so ten to thirty seconds for you exposure, you're going to want to have a remote trigger cable release or a little infrared trigger release, which you can buy after market or again, go to the self timer. A self timer is the thing you know, the little little time thing on it meant to take pictures of your family so you can set it, run around and take the picture by doing this, you won't have any camera shake and there this is what we get kind of cool super simple set up, set up a tripod, be there early, set the modes and then just click through as they're shooting these fireworks. A lot of these cameras can now shoot well past when the sun went down. This is hong kong from last week this is actually four frames stitched together a panorama so we've gone doing the panorama function I've told you about wasn't built into the camera, but I've taken four pictures overlap them click click click post processing put him altogether but by taking that one test picture and again it go all goes back to that one test picture in the beginning getting that exposure right getting that white balance right that allows me to do everything after that again. Hong kong this is one single picture straight at the camera there is an intersection where the lights from the city and the light you're ambient light comes down to where they intersect to, where you can see light, you know from the buildings and everything and that windows about three to five minutes it's not very long so you sort of wait for that moment when it's just dark enough to where you can see the light in the buildings and you can also see still some light in the sky and it's still blue, not black again, same thing here continue to shoot after the sun goes down, new york city created white balance. You can see this in the next frame. Look, the difference this was shot on shade, the little house you'd also shoot on cloudy. This was shot on incandescent with a little light bulb. So by doing that one simple thing in the camera, we have a completely different picture and a completely different field. So by controlling one thing, mrs shot on automatic mode of some sort, I don't remember what it was by controlling that one thing, which was the white balance were able to produce an image which is very different again, going out and continuing to shoot shoot early, shoot late and you'll be amazed what you walk away from again. This is dumbo, same exact spot where we had those models model left berlin, like I'll shoot some cynics, some sort of cool right? Two different white balance is completely different feel both built into the camera, super simple, super easy, so this is the ending quote here. Chance favors the prepared mind, and this is sort of what I lived my photography by, I do a lot of research and by taking as much things out of chance, you know, taking the variables out that's how I try to stay consistent so let's, go ahead. And, um, do you have any questions in the audience? First of all, I guess so I was going to ask you about things like the macro mode, which apparently if you really understand your exposures and how your camera works, you can probably replicate. So is there a time when you would do that, or do you just generally fall back on the pre loads? I mean, you could mean the macro mode, basically in a in a in a compact hammer sense basically just allows you to get closer to your subject, per se, so it's not changing any of the other modes. Think of them as little buckets. You're white balances over here, your shutter speeds over here you're after is over here, so that's a that's, an independent variable that separate from all those other things so you can change those other buckets if you want the macro mode just allows you to physically get closer to that subject and fill the frame to make it macro or, you know, close up photography

Class Description

Learn how to break into lifestyle and adventure sports photography from one of today’s best working outdoor photographers. Lucas Gilman — whose lengthy client list includes Red Bull, National Geographic, Patagonia, ESPN, and Maxim — will teach you how to get your first big break in this competitive category. You will learn how to hone your style, build a portfolio, and separate yourself from your competition using technology. Last but not least, Lucas will show you exactly what gear you need to make sure to throw in your bag.

Reviews

Roman Romanchuk
 

In every other course you'll hear that you need expensive dSLR system to be a photographer. In this one Lucas demonstrates that it isn't required to spend huge pile of money to achieve good results. He will teach you how to stop taking a fotos, and start making them with your compact camera.