One Hour Photo - Scott Robert Lim
Hello, welcome, everybody to One Hour Photo. My name is John Greengo. And on this episode, I'm gonna be interviewing Scott Robert Lim. He's a great portrait and wedding photographer who specializes in on-location portraits. He's brought in a collection of some great work. We're gonna sit down, talk about his work, and his career, and his teaching, and everything else that he does. And after that, what we're gonna do is both of us are gonna sit down and look at some of your photos that you've submitted to our classes. And I'll be honest with you, what I've done is I've kinda gone to his classes, where he has a lot of people doing portrait work. And we're gonna be taking a look at those images and reviewing them. We're gonna be doing this in Lightroom and see if we like 'em, we don't like 'em, and what sort of improvements and suggestions we have for all of you. But before we do any of that, I always like to answer some questions from all of you. So let's go ahead and get started with so...
me of your questions. Alright, let's get to our first question here. "I want to get serious about "taking close up flower pictures. "What kind of camera should I buy to get good bokeh "and detailed creative shots? "I'll be posting online only and am a big hiker, "so lightweight is important." Well, thank you, Ally, for that question. I think we have a lot of people who are in that category. Now you could be shooting this with your phone, but if you do wanna get really creative and you want that soft, out-of-focus background, nice bokeh, you're gonna need a camera with some sort of interchangeable lenses and a larger size sensor. And so I've gone through my class, I actually did a class here very recently on helping you choose your best camera. It's a free class that you can get on revealing different cameras. And let me show you a few of my favorite cameras for doing this type of work. First one is the Fuji X-T20. This is a mirrorless camera that uses a 1.5 crop sensor. So it's a medium size sensor in my mind. And it's a very small, very lightweight camera. And Fuji has a couple of different macro lenses. This is their less expensive, smaller, lighter weight lens. And this is gonna allow you to shoot with some pretty shallow depth of field, allow you full manual control, or full automatic. Either way, you can work with it as you wish. And this would be a really nice system. Another good system from Sony is the A65. This is a real powerhouse of a little camera. Lot of different features on there. They have a very simple basic macro lens, the 30 millimeter. I think they have another higher-end one as well. But this is the small lightweight version. And then one more recommendation here is the Olympus, and the very long name, OM-D E-M10 Mark III. Great little camera. They have a couple of macro lenses. 30 is the smallest here. And so if you're doing a lot of general hiking, and you wanna do some general landscape shots as well, you'll probably wanna bring a more general purpose wide angle to short telephoto zoom as well along with this. So you might have a two, or even a three lens system. But you could do so in a relatively small bag that should fit in the pack with everything else you have. And so there are many other good choices, but these, I think, are three of the best that I can think of right now. Alright, next question. "I don't always have my camera with me, "and I don't like keeping batteries always on charge, "so there are times when I miss out "on unexpected photos due to flat batteries. "What tips can you give for maintaining a charged battery "for those unexpected moments? "Thanks." Rob. Alright, Rob, good question here. A lot of us have become very aware of this. Back in the days of film, I used to like to shoot a Nikon FM2, 'cause it would still work without batteries. And in the days of digital, you have to have a charged battery, or you are completely out of the water. And so you do have to kinda keep up on where your batteries are charged. If you don't use your cameras on a regular basis, that can be a little bit of an issue. So one of the first things that I recommend in most all of my camera classes is always having a spare battery. And so that way, you have that battery charged, and then you kind of cycle through them. In fact, here's what I have today. I brought my little Fuji camera with me, 'cause I, not expecting to take photos, but I just want a small camera. And what I do is I have a small little pack that I bring with me wherever I take a camera. And inside this pack is the absolute essentials when you are shooting. Number one is a charged spare battery. When the battery in the camera wears out, I have this one. I also carry a memory card, because not that I'm likely to run out of pictures while I'm out shooting, but there may be a communication problem with my camera. And the simplest thing is to take out that memory card, put in a new memory card, perhaps format it, and that way you can continue to shoot photos. Now if I shoot too many photos, it's a nice thing to have. And the third and final thing I'll keep in this just very tiny little bag is a little tiny lens cleaning cloth. If you have a battery, a memory card, and a cleaning cloth, you can handle just about any situation as long as you have your camera there with you. But what I do is I usually have two batteries, and then I just cycle through those. Next up, "When I place my camera down on a flat surface, "the lens is tilted down putting pressure on the lens. "Does this place pressure on the lens "or the lens mount that may cause damage? "Can the lens be left with the zoom extended "without causing damage?" And that's from Michelle. Thank you, Michelle. Well, cameras are kind of unusual electronic devices. They're not like TVs, and microwaves, and stereo components that are designed just to sit there on the shelf. Camera manufacturers know that cameras are gonna be taken out into the real world, and used in a variety of different places. And so the lens mount from the body to the lens is generally a very, very strong mounting system. The one possible little exception that I would talk about is that a number of low-end lenses have plastic mounts, and they're not gonna be quite as strong. And if they get bumped really hard, they're more likely to just break and snap off. On a higher-end camera, it's not likely to move at all. Now I have seen some cases on the sidelines of football games where a football player has crashed into a photographer, and their 600 millimeter lens and their professional body have become separated, and damaged beyond repair most likely. And so with a normal case of taking a normal lens and setting it down, it's perfectly fine. One of the things I would caution for anyone that has a rather big lens is setting at the lens straight down so the lens is straight up and the camera's on the top, because that tends to be a very tall device that can fall over. The other thing I would mention, not directly addressed in this question, is be careful with camera straps and tables or counters. If you put your camera on a table or a counter, and you have the strap hanging down off the side, if somebody comes brushing by that, they may hit the strap and pull the camera off the table. So you do have to be careful, when you are not using your cameras, where you are putting them. And so I'm often trying to put them well out of the way, so that people aren't gonna trip over them, or I'm not gonna step on them, and keeping them out of the way. But as far as generally setting your camera down, no, I think that's gonna be something that all the cameras are built well to handle. Next question, "I'm going to Antarctica "on an Antarctica cruise. "What lens do you recommend for the Nikon D7100 and D500?" And that's from Tom Bailey, thank you. Alright, well, going to Antarctica is got to be one of the best trips that any one of us can take. I've been lucky enough to go a couple of times, and there is a lot of shooting that you can do from the boats, 'cause you do spend a lot of time on the boats. I know getting from the southern tip of South America to Antarctica is a several day, it's like a three-day cruise where you're on the water totally for three days. And as you get closer to Antarctica, there's gonna be lots of icebergs, land, potentially penguins, whales, and other animals that you'll be able to photograph out there. You're gonna need a fairly long lens. When you're shooting from the deck of the ship, I have found it's rather rare that you get to use any sort of wide angle to normal lens. And so something in that 70 to 300, 100 to 400 range is gonna be a great lens, 'cause there's gonna be a lot of details that are fairly far off. Now the D7100 and the D500 are crop frame cameras, and so I think a 300 millimeter lens would be good enough in most cases. If you have a 400, I imagine that you'll be able to make use of that as well. If you're going down to Antarctica, they see the animals and they let you on shore, and you get on shore, that's when you're gonna also want your normal to short telephoto zoom, your 24 to 70s, 24 to 105s. Those can be really handy. The ultra wides will not be as useful. It depends on the location that you go to. But if you're gonna be getting close to the penguins in South Georgia, yup, you can get down there with an ultra-wide lens and get right up close to the penguins. But from the ship, itself, I think hitting up on deck with a 70 to 300, or 100 to 400, is where you're gonna be doing most of your shooting. Alright, "What lens do you recommend for use "for street shooting in the nighttime?" So street photography has a number of characteristics on what's best for that. Now of course, all of this is filtered by what you wanna do and the style that you like to shoot in. But let me give you a little slide here on some of the best lenses that I think for this type of work. And so when you talk about nighttime, we're talking about it being dark, and so you need a lens that lets in a fair bit of light. And so all of these lenses are relatively fast lenses. Now in many cases, there are options for even faster lenses. But the problem is is that street photographers don't wanna have, they don't wanna make a big fuss of themselves in most cases. They want a small, discreet camera with a small basic lens that doesn't draw a lot of attention. So for instance, with Canon, they make a 35 1.4, that's an excellent lens. But most street photographers wouldn't be shooting at 1.4, that's a very shallow depth of field, and you would really have to be careful about getting focus right. A number of street photographers prefer just shooting at F8, and zone-focusing on something that's about eight to 12 feet away, and then they would just compose and shoot. And in that case, you don't need a super-fast lens. But if you are shooting at night, you might be shooting at two or 2.8. And these are all some good choices for some of the more popular systems out there that are small, lightweight. They let in a fair bit of light. You can manually focus or auto-focus all of these. And so this is what I would choose if I was gonna be going out doing some street photography at night. Alright, next up is my guest, Scott Robert Lim. I'd like to bring him out on stage. Scott, great to have you here. Thanks a lot for being here.
Thanks for having me.
Let's grab a seat here. We're gonna look at your photos here in just a moment. Now you teach a number of classes here at CreativeLive, don't you?
Yeah, I started teaching here about four years ago. And I've done a lot of different types of different workshops. And I love it. I just have a passion for teaching. It's so rewarding to kind of bring those people wanting to get to the next level with their photography, and you help them in some way do that. It just feels so great to help somebody along with their photography journey.
Well, one of the things, I've been watching a number of your classes, and one of the things I noticed about you, you got a lot of high energy.
You are pretty passionate about this.
Yeah, I love it.
Where does that passion come from?
That's a good question. I think in general, I'm a very positive and very optimistic person. And I really... (laughs) It's weird, you know. I would be teaching a class, and I think I would do a great job on teaching a certain lighting aspect, or whatever, and then people would come up to me and they would just say, "You know, "I just really love your passion up there." (John laughs) And I thought I just told them some great information about whatever I was teaching, and then so many people just comment about the passion. And then I realized that that's a key thing keeping people inspired, too. And I think when you're passionate about something, then they can buy into it. But if you go along, and teaching something ho-hum, whatever, they don't get inspired from that.
Right, and if you're not passionate, why are they gonna be, especially doing that same thing?
And so they'll go, "Wow, he's really excited about that." And it gets them more in-tune, and like, wow, yeah, you know what, I need that kind of energy. And so it's kinda contagious. When you're with somebody in a room, and they're passionate, and they're high-energy, you can't help but be high-energy also and passionate about something.
Yeah. There's some people out there that maybe don't know who you are. What do you like to shoot, and why?
I started out as a wedding photographer. And I think that's a great training ground, (John laughs) because you got to do everything, right?
That's a bootcamp for some people.
I know, and you gotta do it all within 30 seconds, too, and deal with the crazy mother-in-law, whatever, right? But then I tend to kind of grow out of that, because I was locked into a specific situation, and only gettin' two minutes to do something. I go, well, wouldn't it be great if I could go and kind of have a little bit longer to shoot something, and impart some more of my vision into what I shoot? And so I started teaching, which I really love. But I really just love shooting portraits in exotic locations, and travel locations. I just love it going somewhere, you've never been there before, there's tourists walking around everywhere, but this iconic landscapes, and like, okay, we gotta get something now, right? And that challenge of going in there, and finding something, and getting a great shot with the lighting, and the posing, and the composition, and then allowing others to do it is just a really great experience.
Well, I think that might be a good segue just to start getting into some of your photographs, because as I bring up our first photograph here, one of the things I noticed as I was kinda going through your website looking at your different photos is that location scouting, it seems to be a big part, because you have some great locations. Tell me about scouting, finding these locations even before the shoot.
Sometimes you're gonna never, the time that you get there, that's the first time you're gonna be there. And if you're going to a really far away place, you can't go there beforehand to check it out. Not unless you have a few thousand dollars to spare, or whatever. But I search online a lot. I'll put in that place, or let's say I'm going to Central Park, so I'll just type in Central Park into Google, hit the images, to see what come up, Instagram hashtags, and you can actually find a lot online that way.
Yeah, the research has been so much easier now than it was 20 years ago.
Yeah, oh, yeah.
And so is this Central Park?
Yes, that is.
'Cause I think I've been there. Now one of the questions that I'm sure people are gonna have as we go through more of your photographs is what do you do about all the other people there? Now are you going there at a particular time of day when there's just less people?
You know what? In this situation.
Are you photoshopping?
Okay, this is the best time to go on-location somewhere, when it's raining. (laughing) That's actually the situation right here.
Well, you got some nice clouds oftentimes.
Well, those are added in.
(laughs) But you know, that's true. I've been there when there's thousands of people walking around. And so you have to learn how to yes, although it's busy, let me walk around the corner here, let me take a different perspective of that iconic location, and find a little nook where you can shoot, but it still has the flavor of the place, but there's not as many people walking around. And that's a skill in itself.
Yeah, 'cause a lot of people are drawn to that most iconic location. Okay, I gotta be right here, front and center.
And they can move themselves back a little bit (Scott laughs) just to get to that.
You know the Spanish Steps in Italy?
Yes, I've been there, yes.
It's like thousands of people, right?
Right, it's always crowded.
Yeah, I was to do a workshop, and I said, "Hey, guys, what do you think "if we go to Spanish Steps at 1:00 a.m. in the morning?"
Oh, there you go.
And they were like, "Uh, yeah, sure, let's go." And it was empty, it was empty.
Really? Oh, beautiful.
Yeah, so it's just like kind of a landscape photographer gettin' that sunset. Sometimes you gotta go out of the way to just get the shot that you want.
And that's where that passion really carries you.
For two o'clock in the morning, you're like, I'm crazy enough to do that. Now was this a shot that you were setting up? Is this for the couple, or what was this for?
Yeah, so I was in a class, actually, demonstrating shooting with couples, and using a landscape, and just creating some different posing.
Beautiful, I love that. Now where are we, okay, no, I've been here. (laughing) But here we are, we're at an iconic location, but we're not front and center. We found a little corner just to hint at something.
Right, so I rented this huge five-bedroom flat for the workshop.
Yeah, and so the balcony was really, really long, but the reason why I chose it, 'cause it had a view of the Eiffel Tower. (laughing) I know I can get some sort of shot there. (laughs)
Well, you know, I could see how a lot of people would rent this room. They'd go, oh, well, you can see the Eiffel Tower. It's kinda down there. It's kind of away. (Scott laughs) It's not like front and center. It's not like we're right next to it.
You're probably 1/2 a mile away, if not more.
Right, and so you have to pull out your long lenses. I think I was shooting with and 85 here to bring that back--
Compress it a little bit.
Compress it to bring the background closer.
Now obviously, you're adding in some external lighting here.
Not natural. This is not the natural light that they have on the porch, is it?
(laughs) No, I had a guy pressed in the corner there with a flash and an umbrella firing some light down on top of her.
So if you were gonna go traveling to do this sort of work, whether it's for a workshop, or you're just gonna go do it on-location for a client, how big is your lighting bag?
You don't need very much at all, and that's what I really love teaching is just going out with a couple manual flashes and a video light and umbrella, and you're good to go.
And when you say manual flashes, are you talking about on-camera flashes, or you got little power packs?
Oh, yeah, a wireless system where you can control the lighting off camera. And you could just use a basic triggering system, or you can get sophisticated and do whatever you want. But yeah, it doesn't, when you kind of get out there, and have a little experience doing it, you don't really need a lot if you have the knowledge.
How many lights do you like to work with? You can deal with zero, (Scott laughs) because you could work with natural light.
Yeah, of course.
But what do you think about one, two, three lights? What are your on that?
Yeah, and I use the sun as a light source, too. So if you're using the sun as your light source, and even if you just had one, then you can add a rim light, or backlight on top of that, or whatever natural light's given to you. So I feel, in general, a couple flashes will do it, because when you're shooting in bright sunlight, you might need to put them together to overpower the sun. And then also you can split them up, so you can have a main and a rim light or something. So two to three. You usually don't go past three, 'cause you don't have the time.
It gets complicated if you have all those light stands and everything.
Yeah, I'm in Paris, and even if I'm setting up a backlight, there could be somebody walking around and kicking it or whatever. So you don't tend to have time to set up four lights in a location where a bunch of tourists are and everything.
How big of soft box will you bring with you?
Yeah, I just use a shoot-through umbrella.
Folds up nice and small.
Folds up, bam, protects you from the rain, too. (John laughs) I could tell you how many times that came in handy like, poof, it's raining, and you're all good.
Excellent. Alright, let's check out this next one here. So whereabouts was this one?
This was in Australia, actually, at a museum that we shot around. And so that was a really fun shoot. And I'm just using a popping, there's a great rim light in the back there, and I metered for that rim light. And then I just added a little bit of flash. And so a lot of times, people meter for the background wanting the background all nice, but when I'm shooting a portrait, it's really hard to recreate a rim light in Photoshop. (both laughing) I don't know if any, if you could create a app or program that could do that.
Or a filter.
A filter, right, you'd be a millionaire. So even at the expense of blowing out some background, which I know I'm doing, I love to just get that rim light even if it's subtly there to keep that there to preserve that.
Well, it's a nice separation between the subject and the background. It really separates them there. Now, when I look at her, and I look at her dress, and I look at her makeup, you're working with other people here that are helping set this up?
No. I mean, yeah. I mean, the makeup and the dress, but when you're on the location, it's all me, the photographer, directing and telling what to do and how to pose.
How do you keep track of everything? There's a lot of things just beyond the photography. There's organizing people, and making sure every detail. I can't tell you how many portraits I've shot, and then realized, oh, this is turned over, and this is in the wrong position.
(laughs) It's hard. It's really hard. You'll go through a string of shots and go, oh, shoot, her hand's right there. Why didn't I get that? Right? (laughs) You're killin' yourself. And I think that's just when shooting a lot and doing it... Just in a workshop that I taught, if you don't have some of the fundamentals down, let's say you don't have your lighting down, your mind is concentrated on how am I gonna light this? Is this gonna work? You can't notice all the other small details that are there.
But once you--
You're just consumed by that one thing that you're worried that's gonna go wrong.
So once you kinda have a handle on the lighting, the composition, the portraiture, I mean, the posing, and then you don't really have to think about that 'cause you know what you're doing, now, A, you can see the little detail. Oh, can you remove that bag back there? And then, what's more important, if you don't have to worry about those fundamentals, you can be more creative. And that's the thing that's gonna separate you from everybody else, getting to that creative side of yourself. But if you're bogged down just trying to understand the techno, you know that. Like if they don't know their camera, they can't get shots, right? (laughs) It's like aw, the sunset is going down. Ah, what do I do? Right? So you have to have those fundamentals to allow your creativity to shine.
Nice, nice. Let's go on to the next one, here. Interesting location. Whereabouts is this?
This was in another (laughs) museum in Australia.
And it was great there, because it was in Canberra, which is near Sydney. And they let you do anything in their museum. Shoot, if that was in Los Angeles, they'd be having security guards all over you.
You'd have permission slips from the state, the government. (Scott laughs) And what else?
And like, you sure we can shoot on here? Oh, yeah, we do it all the time. And I was havin' a ball, 'cause they had these, this was like a wave structure.
Is that like a metal wave, or concrete?
Yeah, it was a concrete wave.
And so I just used that as a backdrop, and we had a beautiful sunset goin', and I had some light coming in, that edge light there was a couple flashes from behind her just to give that edge.
So on this piece in particular, or in general on the other work, how much of it is your vision ahead of time, you know what the backdrop is, you know what the shot is versus you get on location and you start going, oh, this is gonna work, and you start changing and moving?
Right, I would say you get on location, 'cause you don't know what the weather's gonna be like either.
So you could look online and all the shots are in bright, or in nice sunset or whatever, then you get there and it's raining, oh, shoot. You know? So I kinda like, I don't do that a lot, because I don't want my expectations so high, because you might get there and it's a completely different situation. So I'd say, 95% of the time it's like, okay, let's go there and see what we can come up with. That's the challenge that I love.
Well, you have a skillset where that works.
'Cause you've been in enough situations where you can assess background, lighting, and all of that.
And that's what I love to teach is like, okay, you're in this situation. Let's break it down into small, digestible things that I can do. And so when I teach about composition, I'm telling them to look for a shape, and just put your subject in there. And so a few little tools that they can have going into places like that can make a huge difference.
Yeah, nice. Okay, I think we're in the studio now. (laughing)
We're not? Oh, really?
I got an interesting story about this.
Okay, let's hear it.
Okay, so I'm in China doing this workshop, okay? And the whole week we're taking a bunch of great pictures, and these are actually all the students in the class.
Oh, really? (laughs)
And then it's kinda like, hey, we've been taking pictures of all these other people. I want some pictures of ourselves all dressed up and everything. So the last day, I think this was shot at 12 midnight, or something crazy like that. And so they get all dressed up. I go, "Okay, fine, you guys get all dressed up. "We'll love to shoot you guys." So they got all dolled up, and dressed up, and then we just had a great time shooting. And this was happened to be the room that they were in, had an interesting wallpaper.
Oh, that's just the wallpaper.
I was almost sure that was a special backdrop you brought in.
No, it was the wallpaper, and it was actually gray.
Wow, 'cause it looks, I thought it was almost illuminated from the rear, 'cause it's got this--
It is, I put two flashes down there. I used these four small, little flashes. And then we kinda together kinda thought of this little, 'cause that's what they were doing, they were getting each other ready before the shot. And it's actually kinda one of my iconic shots that I've taken.
Yeah, very distinctive shot that is, for sure.
Love that. Okay, so tell me about getting in a location like this. 'Cause you don't just walk in.
No, you don't. I was doing a workshop in Kansas, and they had access to this place. (laughs)
So it was like, "Hey, Scott, "you wanna shoot in this theater?" "Uh, yeah." (laughs) But you know what? Getting access to the place, a lot of times you just have to talk to, you don't realize how many of your friends have a contact of a contact of a contact that can get you into places. But you just have to throw your dream out there. It's like if, oh, I wish one day I could shoot at Dodgers Stadium, or whatever. Throw it out there, and eventually, people know some people that know some people and you're there. Let me tell you a story. It's like one of my dreams. I'm a huge Oakland Raiders fan, whatever, right? And so it turns out that my cousin works for Marshawn Lynch, who is a big starter, right?
Ooh, yeah, yeah.
And so I just kinda threw that, hey, it's my dream one day to shoot at a Raider game there. And then he set it up for me. So like, the last game, I think it's December 31st, watch me, I'll be on the sidelines. (laughs) So you throw it out there. You know a location you see, you just keep throwin' it out there. It might not be the next month, or the next year, whatever, but you will get in there.
So on a shot like this, you're setting up some lighting, and I'm kind of interested, somewhat a topic we've talked a little bit about is once you have that lighting set up, and you're thinking, okay, well, I can try a few more poses like this, or I can move the lighting over to another location. But you know that moving the lighting is gonna, okay, it's gotta break it down, I gotta move it over here, I gotta reset it back up, and it's gonna be 15 minutes before I start shooting again.
How do you kind of balance off let me get more poses in this location versus okay, we gotta scrap this location and move on.
Yeah. Well, the first rule that I say is if you feel that it's not working out right in the beginning, cut it short. And so even I'll do that. (laughs) I'll be shooting and whatever, and go, "You know what, this is terrible, let's move on."
(laughs) And then you admit it's terrible right off.
Yeah, and they start bustin' up. They know I'm human. And that's the first thing. Because it's kinda like, you get in there and you're trying to polish a turd. (John laughs) Listen, that idea that you had just doesn't work. And that happens to everybody.
Yeah, no, it definitely happens.
And so, I think that's the first thing. You've gotta feel excited about what you're doing, and it feels like, hey, it's coming together. But if not, don't work it to death. Just go to the better location. It's kinda like when you take a whole string of photos at event, you know the ones that are good, and you can just see it right there. And the other ones are not so good, but then if you try keep working it in Photoshop forever, you're still, it's not gonna be a great shot, you just gotta move on to the good shot. And that's the same thing with locations, or the idea that you have. It's gonna just come to you, and you go, oh, okay, this is magic right here. So find the magic places and just go to them, and if you don't feel there's any magic there in the beginning, just cut it and move on.
Just move it, move on. Yeah, that makes sense, makes sense. Alright, so I threw this one in here 'cause this is a little different, multiple exposure, or layers, depending on how you wanna do it. Tell me a little bit about this one.
I just edited this one in my phone, actually. (both laughing)
You're killing me, you're killing me.
But then I took it into Photoshop and smoothed the skin out a little bit more, (laughs) but I just did a double exposure in my phone. And so I just, I wanted to kind of, I had a lot of great shots, but then I didn't wanna make people look at a whole string of them. So I go, I kinda like these two shots here. Let me just see if I can put them together. And I had some empty space on the other side, and so I tried that.
Fill the space.
It was kind of experimentation.
And I think that's what you gotta do sometimes is to experiment, and it might give you an idea about going down a particular style to develop more.
Right. So currently, you've been shooting for decades, it sounds like.
Yeah, about 15 years or so.
15 years now. What's your current challenge? What are you working on right now?
Oh, man. I think it always comes down to for me, teaching, and creating programs for people. And so for me, photography-wise, I love it. So what I'm trying to do is take my photography knowledge and take a person through a program where they could finish at a certain level, and make a certain amount of income. And so my mind a lot of time is, although I love the photography, my mind is actually more on the people and getting them to the next level, 'cause that's what really makes me tick is seeing them. And so that's what I'm trying to do is create something in the industry where they could go through a certain program, and then, hey, make x amount of dollars at the end just like any kind of profession of being an engineer, or a doctor, or whatever. I don't feel that it's there yet for photography. It's just scattered all over the place.
It is, it is.
And the universities have done a terrible job at doing that, because they come out of there unprepared to make any kind of money. Anyways, that's a little bit different than my photography, but that's really where my mind is.
No, that's perfectly fine. It has me thinking. So you lead a number of workshops yourself.
And when somebody comes on to your workshop, what is your hope that they already know, they already have down. 'Cause you're not starting at, okay, this is the shutter speed.
Right, right. (laughs)
You need to have them to have a certain amount of skill level. What are those basic things that people need to be addressing.
All I say is if you can shoot your camera in manual mode, then you're good to go.
That's all I require that when I say change your ISO, they know what that means. (both laughing)
You don't have to come around and figure that out on every camera.
Yeah, 'cause that's all I shoot is in manual, and I'm not a guy that knows every feature like you do. (John laughs) I know my five that work for me, and yeah, good.
Well, you know, that's the way most people are. You get the few figured out, and then that's as good as you can go. Alright, another interesting location here. Now where is this?
This is one of the most iconic places to shoot in Los Angeles.
Oh, really, okay.
It's a museum. (both laughing) And they don't let you bring a lot of lighting equipment gear. Anything that you can hold in your hand is cool, but once you put it on the ground, here comes the security guard. Pick it up, pick it up. (laughs)
Yeah, you're from Los Angeles. Los Angeles has got, obviously, the huge movie industry.
But there's a lot of still photographers down there as well, and it seems like every couple weeks on some photography blog, I see about some location you now have to get more permits to shoot.
I know, it's terrible.
Go to Australia and shoot, it's wide open. Spain is pretty wide open, too. I loved it there.
Well, there's a lot of countries that you can travel to that do not have the rules and regulations that we have here in the US.
I know, it's just getting terrible. Can't do it, can't shoot anything. Can't even shoot in a restaurant any more. It's like, oh, gosh.
Talk to me about working with models or everyday people, and how much time you have with them, how you direct them.
Making things easy on them, so you get the best out of them.
So usually the people that you see on my website, like for here, they're just friends, actually.
And so I like working with people who are not trained as being models, 'cause it's better teaching examples. You don't have a lot of time at all. You just have a few minutes, so you really have to practice knowing how to direct efficiently somebody to get a shot off that's nice. And for me I find that if you let a person just do whatever, it usually is not very good. (laughing)
They need your direction.
They need your direction, and you need to fine-tune it, because even some trained models a lot of times, their hands are not as finished, or whatever. So you need to know your craft, and then execute it. Don't have that expectation on the model. It's all about us.
Good advice, good advice there. Now I wanted to throw this one here, 'cause this just seems little bit different.
Is this some of your street photography, or are you directing this?
Well, no, we were doing it on a, so we were shooting this model here, which happens to be my cousin. And so we were just walking by, and I saw these guys taking a cigarette break. "Hey, go stand, do you mind if she stands "in that doorway there?" So then we put her up there, and they all started walking away.
I was gonna say, they're gonna scatter, they're gonna scatter.
Yeah, I go, "No, no, no, no. "Stay there, just do what you're doing." And then just, bam, clicked a few shots, and I loved it.
And that's the type of thing that you don't plan for.
I mean, you could hire everyone. But you can get it just if you're quick.
If you're quick, and you talk to 'em right, you can make things happen real quickly.
Yes, that's literally like a 30-second shot.
Taking advantage of the situation.
Perfect, perfect. And I think this is our last photo of yours to look at. Another great location, talk to me about this one.
Yeah, you know, every year that I go to Paris, I rent out this huge chateau. It's actually the place where they started horseracing. So it's built in the 14th century. And I rent the entire place out for our class.
And we always get some amazing shots in there. And I always kind of do, one of my things is nose towards the light, right? (laughs) And so that's what she's doing. And just taking a wide angle of it. And sometimes you have to learn how to shoot tight and wide. And so this was more of a exercise of trying to kinda show the kind of, the majestic, the huge, the grandiose place that you're at.
Right. Is this all natural lit?
And some Photoshop in there to give it that pink tone.
Give it the little color.
Nice. Well, beautiful, great collection of images. You have so many great ones on your website, it's just like, oh, boy, this is real awesome be able to choose from all of these different ones. So thanks a lot for bringing those in. Let's see. We might wanna let people know where they can find your other classes here at CreativeLive. Tell the folks at home a little about these three different classes here.
Yeah, you know what? I'm really proud about this Portrait Photography Fundamentals, because that was kinda the class where I felt like I could put everything together in a short amount of time. So if a student came to me and said, hey, I only got a couple days. Can you teach me everything? (laughs) Oh, okay. That would be that class.
And hiring you for a couple days would probably be a lot more expensive than the class.
Yeah. Just a little bit more. And so that's one where I put everything together. And then the other classes were on photo week, right? And I kinda get more specific and detailed about things. The Natural Light is great. It's like I give you several different ways to shoot in natural light with bright light and all that kinda stuff. And then the third workshop I really love, too. That's when I kinda get into business and life skills, where I talk about it's just not knowing your camera to be successful to earn a living. You still have to have these business, and people, and some life skills. These are the things that are important. And so it's just a really short workshop giving you the overview of, 'cause I've been an entrepreneur for 25 years, and so I'm able to take all that knowledge and put it into a really short condensed class.
That sounds like a great class. So folks, if you wanna check those classes out, they're all available at CreativeLive, and there are more classes as well. We just don't wanna overwhelm you with classes. Alright, and so those are three to take a look at right now. And if people wanna keep in touch or follow you? Talk about your social.
Yeah, actually on Facebook, I go by scottrobertlim all together like that, but there's also another business page, but I don't really, I'm more involved with my personal page. So just follow me on my personal page there. And then Instagram, of course, it's @scottrobertlim.
Excellent. So I'm gonna go ahead and switch over to the Lightroom that I have set up. We're getting a little out of my expertise. You're not gonna find these images, most likely, in my book. So my first thought is, okay, obviously, that's a pretty impressive place to go get a photo. And so somebody had to be ready, and somebody was thinking ahead, or this is a ramp on the back side of the rock where it's easy to get up.
(laughs) If you have the ladder on the other side, who knows?
But I love it. That rock is kind of like when you get on top of something, it's kind of like putting them on a pedestal.
Right, they look like they're on a wedding cake.
(laughs) Hey, that's a good idea. And so I love that, and I love how they created that sky there, and they found that space there, and they put them right in the middle of that. And then they put 'em up there, and I think that's great. When I'm looking at it, I would kind of like to, and I see that's very typical where you just get up there and kiss, and whatever, 'cause that's a very natural thing to do. But me in particular, when you kiss, you kinda distort the faces, right? And so this is one type of picture, but if let's say I was doing that, that wouldn't be my first choice to do that. I would do something a little bit more posed. And when you're taking a wider angle shot, sometimes I like to create a little bit of separation so I can see both of their profiles. And so that's one thing that I think would go good, and it would create more of a silhouette, too, is if you could see both of their profiles a little bit. So you could do the same thing, but maybe just open up a little bit. They don't have to be kissing to know that they're together.
And then another thing is whenever I do this pose, I have the bride arch her back a little bit back more.
And what does that do?
And so what it does is that you have kind of the solid straight up and down of the guy, and then you have a little bit of a bend for the female, and it just doesn't look like two parallel lines.
And so you wanna break that up a bit, and it just has more of a flow to the posing. Just those little tiny simple things like that. And so I kind of understand that. Another thing is I don't think they brought any lighting there. And so if you squint your eyes there, you don't really see their faces. It's kinda bright over here, so maybe you could tone down the highlights a bit. And there's a little bit, I would crop it maybe a little bit different, 'cause there's a little bit more space on the left-hand side of the rock, right?
The rock, on the left-hand side.
And I'm not sure if pulling it down a bit more would kind of focus on them a bit more, but I could see how you're trying to get the sky in there.
But you know, in this case, the sky is not super fantastic. So maybe just focusing on them a little bit more might work. Or maybe they got caught in between. If they just did a pure silhouette of it, maybe that would be powerful, too. But it's kind of a tweener, so you're seeing them, but it's also kind of a silhouette, too. So it's a little bit caught in the middle.
Right. One thing I'm noticing is it looks like they've lightened the rock up, and there's this kind of glow around the edge of the rock, where they've lightened this compared to the background.
Oh, yeah, yeah, yeah, yeah, yeah.
And I think that can be tidied up a little bit with a little bit better technique on that.
Definitely. Yeah, you see that halo there a little bit.
Yeah, a little halo around the rock. And so this comes from John Lambe.
But it's a excellent picture. It has amazing potential. I wanna go there. Where is that, John? (laughs)
So John did mention in his little comment on his own photograph that he did bring a ladder.
That was part of the plan there, so John was thinking ahead.
So thank you, John for that photograph. Our next one here is from LJ Denham. And we're going on-location. I don't know if you know this location.
Oh, I know exactly where that is.
Is this Los Angeles?
That's in Los Angeles, another iconic shot to take pictures. Okay, did you wanna say anything about it, or you want me to go ahead?
Well, okay, since you probably have a lot more to say than me, (Scott laughs) so my first observation is I think I would like to see a little bit more of the reflection on the left-hand side. And his face kinda got cut off with exactly where they positioned. And it might be nice to be able to see both of their faces, rather than having him in the crease.
Okay, that's it, I'm out. (laughing)
Okay. I think this has some good potential to it. And I think what draws your eye away, also, from that couple is that the ground is kind of brighter than them. And because there wasn't any lighting on them so you could reduce the ambient light to make the background darker, then I think in Photoshop, you gotta kinda tone that down. Or it does maybe look like there's some off-camera lighting. But because it looks like it's directly at them and not more higher, you don't see any shadows on their body. And so, I think that takes away from the drama when you just have straight light shooting at them. It looks like maybe on-camera flash or something, and there's no shadows to contour their body.
And so that takes away from the story, too, not only because that light doesn't look natural. 'Cause what I always like to say is if you're gonna do lighting, make it look like if there was a lamppost there up high, and that light was just coming down on top of them, and you just happen to catch them there makin' out. (laughing) So I think with a few things, I like the composition, and the reflection, and everything, but with more dramatic lighting, and more dramatic post-processing, I think it could really sing.
Yeah, 'cause you gotta remember your eye is drawn to the brightest elements, and it pulls away from other more important elements in the photograph. And so let's first give credit on this one. Oh, so this is a second one by LJ Denham on here. Usually, I don't let people get two in there.
Uh-oh, he's killin' it.
But I let him come in here. So this reminds me, 'cause I do a bit more in the landscape world, and so I'm thinking split neutral density filter here. They're darkening the sky. They might've done it in post. They might've done it with an actual filter out there. But I think they've--
I think it's done in post.
It could be done in post. I think they left that, there's a middle strip of sky that's still too bright.
Well, see, that's what happens when you do it in post when they don't know how to blend that in is that you drag your gradient filter there.
And so that's why you see it faded out there, because they don't wanna deal with blending it there.
Yeah, 'cause normally I think what probably would have happened if I did it in post is I would drag it down, and I'd say, oh, I don't wanna go on top of their heads, 'cause I don't wanna darken their heads.
So I stop it up there. It darkens the top part of the sky, but not the direct horizon line.
Yes, so I kinda feel like that. So I love the idea, though, of adding that sky. I think just it needs to be a little bit more believable. And a lot of times when you're not sure about that, if you probably reduce the opacity of that by 50%, then you'd get a little bit of in there, but it's blended a little bit more without a lot of work.
But yeah, it's a great idea, though, to enhance that.
And so, you know, let's just play for a moment.
Okay, so I'm gonna go in here.
Getting dangerous now. You do what you think.
Okay. I'm just gonna darken this kind of middle area here. I'm gonna overdarken it first, so don't freak out everybody.
Ah, that looks terrible. Oh, so you're gonna pretending like how you just brought it in.
And so, this is where it was, and I think having it down here, let's see that's too far, somewhere down here would be good. Now I think you may need to go in, and do another, let's see, we can close that, let's see. There's probably a faster way to do this. And you can go back in, and then lighten up a little bit on them, themselves. So that might be not perfect. I mean, this is quick and dirty, folks.
And so I talked about this in one of my classes in post-processing, the fundamentals one. When you're adding a sky, you have to blend them to make it look believable. And what I do is I create a yellow layer in Photoshop, and I use the multiply mode, so it creates all the highlights that color.
And then I take another blue, and I select screen, and it makes all the shadows that color.
So it blends the highlights and the shadows the same. And then you can adjust the opacity of each layer, and then it really blends it together, so everything looks like it's the same tone. Because this sky will produce this light on the ground. And so if that light is not matching this light down lower, then it's not gonna work together.
It gives you a lot more control.
So if you were shooting in this location, what sort of posing would you think about?
Yeah, that's not bad. This is like the most typical thing like just go over there and kiss each other. It's the most natural thing there. It's rather romantic, and I like it. But again, if you were gonna do this pose, if you just arched her back a little bit more, and you separated so you could see each of their profile individually, I think that would just make a--
Just a little bit of space between the bods.
Just a little bit of space, yeah.
Okay, well, good, very good. Thank you for that image. Next up, this one is from Chris Bergstrom. And so now we're dealing with some off-camera lighting. And this looks pretty good to me.
Mm hm. Yeah, I think they post-processed it well, and actually, the pose is pretty sexy. It's just the location and the pose to me are not really that matching, because there's nothing to put her legs up there.
So I like the pose, but I'm just not sure if that pose works in that particular location that she's in there.
Mm hm, okay.
But I love the diagonal, and I love the dark background that I think he darkened it. It looks like he darkened it, and it pops off, and she looks nice, and I love the pose and everything. But I'm not totally buying into the pose with that particular background.
Alright, let's see how good you are. Can you reverse engineer the lighting on this? What did they do to light this?
(laughs) Well, it looks like there's a little backlight coming from there. I see a little hot spot behind there, right?
I would have to see, there's some catch lights. You can see the shadow, right?
So you know there's some light coming from the back.
Yeah, and her right foot has a big highlight on that coming over the top there.
Right, right, right, right. Over there? Right. And so it looks like there's maybe two light sources going on, because there's not a lot of shadow on her body, so I think there's just basically some front light and some backlight coming in.
Right, front and back coming in. Alright, well, thank you for that image. Our next image comes from Mycheal Jones. And very shallow depth of field.
And so we're, do you like bokeh?
I love it, yeah. I do.
And so this kinda looks like a senior portrait.
That's my guess.
That sounds right.
And so I guess my first thought is the window right behind her head. (laughs)
(laughs) We're all thinking that. Straighten that out. (laughs)
So do you like the angle to this? How would you shoot this?
Right. Yeah, I think that window's a bit distracting, so I'm glad that they shot it shallow depth of field, because that takes that element away from that. And yeah, straightening out the window for sure, 'cause that bothers the heck out of me.
Are you talking about leveling the horizon?
Leveling the horizon a bit, yeah.
How do feel about exactly level versus little bit off versus very off?
Okay, yeah, I feel like you gotta get it right on or way off.
So you know it's intentional.
And it's close enough here where you're like, maybe they meant it, maybe they didn't.
Yeah, right, so might as well straighten it out. I just feel like if there was more light, it's kind of got a little bit of raccoon eyes where the light was not into those. The catch light in the eyes says so much about a portrait. And so especially if you're shooting waist up, to me, those eyes have gotta be there, bam. That's like essential to get a great portrait. And so you kinda see that shadow on her eyes there. That kinda means that there was not enough light put in there to bring those eyes out. And so I think if that was added, I think that would make a big deal. And if they had a cleaner background, I think that would really pop.
Now this seems like it's a really tough place to get a catch light in her eyes, 'cause it looks like they're on the top of a garage, or a balcony. And so you're gonna need an assistant with a boom pole with a light pointing back in or something.
Or pose them differently.
So if you kinda pose them where she's looking off to her left, right, or to the right side of the frame, then you can have lighting over there, and just pop it right in.
Where it's easy to get into.
Yeah, that's a good idea. That's why you're the expert. (laughs)
So it all has to work together, the pose and the lighting, and that's hard.
Yeah. Alright, so it's raining, so they don't have many people out there. Okay, I think we're getting back to that level horizon issue here. (laughing)
Yeah, well that river, right, is yeah, is a little bit crooked on there.
I mean, I like the concept.
Oh, yeah, yeah, yeah. I'm just kinda feeling maybe the Photoshop was a bit overdone, or not executed.
In the sky?
Because I can see how they made them brighter.
But then the trees them are brighter, too. And so that was either a very powerful flash, or (laughs) they went 400 feet across the way, or I just feel like it was just not Photoshop. I love the idea, and the concept, and everything. Plus that horizon is going right through their heads, and so that's a bit distracting. So they're not in a clean spot, too. And then the post-processing feels like it could be refined a bit more. But I love the idea of the backlight through the rain, and things like that.
I have a feeling that this somehow through the steps may have got cropped more than they intended, 'cause we're missing just that top little nubbin of the umbrella, and her dress is just getting cut off in an awkward spot right there at the end. I have a feeling that there's more on the raw file.
Right, maybe they were trying to straight it out, and then that's all the room they had, or something like that.
What about shooting tight versus loose? Do you vary that up a little bit so that you have room for cropping?
Oh, yeah. So when I go on-location and shoot, I have a 85 millimeter, one in my holsters, and a 16 to 35 on the other. So I can quickly, I don't have to worry about changing lenses. I just go and shoot, and I try to shoot everything both tight and wide to give me a variety of things.
Nice, so you can have lots of options to work with later. And this was from MG Photo Vision. Thank you for submitting that image. Our next one is from Dale Ann Calvin. And let's get that off of there. And so it looks like we're at a wedding, and the processing looks kind of interesting on this. So we got a black and white image. Do you do black and white very much?
Yeah, yeah, yeah. Especially when you're trying to show some emotion with it, or you have a great silhouette. And so I think it tends to work in this case. I really like this image a lot. However, I don't know if it could be more powerful just cropped. I know they're trying to get the dresses in there, but it's like when I look at it, I immediately go, I wanna see the expression on their face.
Do you wanna crop off the top? 'Cause you know what? Let's just do it right now.
So maybe let's try to go right below the hips maybe, and maybe do it a little bit more square.
Whoops, didn't mean to do that. So below the hips?
And you can kinda keep it wide and square, and then just.
Let me just get this lock off.
Or maybe that, yeah, that might work.
You know how to work Lightroom, I'll let you do it. (both laughing) Why am I doing all the work here?
Great, thanks for making me work here. Well, yeah, I kinda like the way you did it. But in my initially...
And you want the top of that, okay, there?
Yeah, but see how you can kinda get the emotion a little bit more despite how you do in this?
But let's go back to what you did, where you kinda had it like this, right?
Well, I was just bringing it in real quick.
Oh, what do you think?
Well, I think I'm gonna have a different version than you. Let's see your version.
So I don't know. So I think it's less distracting. And I kinda like it where I can see what they're doing a little bit.
You can see their facial expressions a little bit more easily.
Yeah, because that's what's drawing me to the image. And I think that's the thing when you look at an image. I know as photographers, oh, we're trying to catch everything, the dress and this, but sometimes less is more to create that impact. So personally, I like where they've shot it and everything, but I just think a different cropping situation. Why don't you give it a whack and see what's going on.
Well, I like their dresses down here, but I don't know that we need the whole window up here.
Whole thing, yeah. Yeah, yeah, yeah, yeah.
And so maybe we can just bring a hint of that window in right here.
The one other thing is oftentimes on black and whites, you need a really good black, and I don't know if they have enough black. And so I might add just a little bit more of a solid black in there.
Ooh, yeah, pops that a little bit.
And so get that in there.
The one thing about, though, when you're adding that in there, too, is these highlights are kind of distracting to me.
Yeah, that is true. And so yeah, if you do bring it up, you just have this nice, clean dark edge to the frame down here.
Yeah, yeah. But then, yeah.
So there's some give and takes on that once we get the options.
Right, right, right. So I don't know.
Just my two cents, who knows?
Dale Ann Calvin, thank you very much. I think that's a very good image there. Next up, Ana Gabriela Delgado. And I'm thinking we've got another budding portrait photographer here.
First thing for me is that big ole post in the background.
Right, definitely. That needs to be taken off there. I think what's happening is it's right away when you look at it, you go, okay, that's artificial light there. It's because what they're trying to do is they're creating some highlight, two off-camera lights, but then look at the sky. It has absolutely no contrast in it.
And so it's not believable at that time. So part of creating your light, it has to be believable to the situation. And in this case, it just looks very artificial there, and refined a bit. Or if you do that, then you're gonna drop in a different sky to match the lighting on, and I talk about that in my fundamentals class, 'cause I do that a lot. If I'm given a flat situation, I'll pop some flash on my subject, and then add a similar sky that has some highlight and shadow, and then it all matches, and it's all about being believable.
There's a certain realm that you have to be in.
Excellent, well, good tip on that. And this one looks.
This is a very impressive image here.
So they've got a great location. They got a great dress.
Good model in there.
Where the heck is that?
I'm not sure. It looks too nice to be here in the United States. (both laughing) I feel it.
There'd be security guards everywhere. We can't even take pictures of it.
It's dark, I'm not sure how much we wanna play with the lightness on it. The sky may be a little overdone for my taste. It's impactful.
I'll give it very impactful.
But that's my first thought on it.
Yeah, you know, I think they're trying to go for a surreal type of feel, too. And yeah, I think it's a tad dark there. And it looks, it doesn't look natural. You know what I mean when it's like that? So I think just blending that element in there.
You know, it depends on it's use, on what it's intended for. Is that sky too dramatic?
Or if you're just trying to make a statement, it's fine. If this is for a particular, I can see where it'd be too much for a lot of things, but for other things, it may be--
Let me talk about some of the things that I really note (laughs) than that is that in the posing. And so you can see how she has her arm on one side, so that pose is weighted there. And I talked about this in the fundamentals class is where you have to have yin and yang. So it looks like there's a lot of yin with that arm, and there's nothing to balance it off on the other side. So if he would've just had her bring her arm up on the other side.
So her right hand around her front.
Yeah, so she like, yeah. So her right hand come around and just kinda like right here, then it would feel more balanced there in that pose.
'Cause right now she has one arm.
She has one arm, right, and it just feels, which is okay, if it's balanced. And some people have one arm, and then they have the hair on the other side to balance it. But you need a element over there. And then he didn't place her in a space where it was clean. See that post coming right above her head?
Yeah, right in front of her head.
And so he could've placed her in a little area where it was a little bit.
Maybe this dark spot right over here.
Something like that.
Just a little bit to the right there.
Excellent, okay, that's some great tips there.
But it's a great shot.
Yeah, and Paco van Leeuwen. Very good.
Good job, Paco.
And this is our final image for Miklos Tassi.
And so this very reminiscent of, I don't know, this could be 100 years ago in some ways, except for you can tell the image quality is very good.
Yeah. Okay, I think maybe one is maybe cropped a little bit more center. And usually you use split lighting on guys, which is nice, and so it has a very moody feel to it. But one thing that bothers me about the yin and the yang is the yin that's kinda sticking out is that ear.
When you look at it, you go, bam, your eye goes to that ear.
So I would maybe take that down. And to balance that out, maybe open up the right side a little bit more to have a little bit more balance there, especially if that ear is so hot. And then also on the collar on the shirt, that's a little bit of a hot spot that I would reduce on that side also.
So I love the concept, it's a great shot. It just feels a little unbalanced with the lighting, and then with that ear so hot, it just feels a little bit pulling that way. But if maybe you put some more exposure on the right ear and open that side up, then it would feel slightly balanced a bit more.
That makes sense, that makes sense. Alright, well, I'd like to thank everybody who submitted images. Do you have any final thoughts on the collection?
You know what? These were a great collection of images to go through. And I think there's a lot of potential there for those photographers, and I wanna just encourage them to hey, keep moving forward, it looks great. And keep learning and developing your craft. You'll be surprised how good you'll get if you just concentrate and say, maybe you wanna work on one thing that year. Like just say, you know what, I wanna work on my couples posing, and you're just focused on that. And that's what I say to people, just take one thing where you feel uncomfortable with, and just work on that. And don't try to do everything at once. And then once you start putting all the pieces together, you're gonna find that you're gonna go very, very far by just focusing and concentrating on just one skill at a time.
Excellent, good advice. Well, I wanna thank all the students for submitting their work. Continue to submit your work, 'cause I wanna take a look at it, and we wanna help you out. That's why we're here at CreativeLive. We wanna help make you better photographers. So keep those images coming in. For those of you who are interested. If you're interested in some of my classes, I just put out a free class called the Camera Buyer's Guide. And this is where I take you through all the modern cameras, and tell you what's what, and what to look for, and some of my best picks for different types of photographers out there. I, of course, have the Fast Start Classes on different cameras. If you have a camera with interchangeable lens, I probably have a class on it. And then my Fundamentals of Photography is an in-depth course on learning shutter speeds, apertures, composition, lighting, and everything every photographer needs to know. If you want to connect with me, you can check out my website which is johngreengo.com. I'm on Facebook, I'd love to connect up with you there, and on Instagram. I'm posting on both of these sites on a regular basis, and would love to be in the conversation there with you.