Photo Week 2015 West Coast Tour

Lesson 2 of 20

Photo Week Bus Tour - Clip 1


Photo Week 2015 West Coast Tour

Lesson 2 of 20

Photo Week Bus Tour - Clip 1


Lesson Info

Photo Week Bus Tour - Clip 1

Welcome back everyone to creative live this is the photo week two thousand fifteen bus tour we are headed all the way from san francisco to seattle today are big stop is in sacramento and I am kind of gloucester and I'm here with matt close kowski everybody we want to make sure that you are following us if you're watching us loud right now you guys can take part in our creative live facebook page we need to be looking for questions were about to talk about gay review questions from that it's out there go there hashtag photo week two thousand fifteen we want to hear from you all right so we're on a road trip and we're only like thirty minutes into it we are thirty minutes already like it's like a calamity everywhere you know what that was busywork trance water this house people are falling is all that was just me and that was just you and there's like twenty other people way are having we've got sixteen people here on this bus but people want to know people that don't want to know what ...

did you bring with you on this bus trip on this road trip? What got let's look and it's it's pretty typical of what you might bring with you the on what kind of trip so uh so on primarily issue landscape out the words you tell us about you man yeah, I work. I work full time for on one. Um, and so do a lot of teaching on the software and, like, you know, between on one and later shot, but as a photographer, I shoot landscaping outdoors. Um, my I guess probably what I try to do the most is travel like, ok, I want to be a light as possible, so right, let's see it. This this battle tiny bag? Yeah, like this backpack and tripod is pretty much all I tried to go, so I try to go as late as possible, and I'm actually in the midst of trying to go later. Okay, so so I'm pretty good. Yeah, I carry this around. I think this actually has some extra stuff because I want to know I want to be a little bit every, but I'm gonna all right. Let's, take a look here we'll start off. So this is the, uh this is the nikon d eight. Ten, right? Um, I've been shooting the eight hundred and ten for long as they've been out to me. This is this is like the holy grail of landscape cameron's why is that? What is it about landscapes that this is great for, um a couple things so obviously the features of the camera it's gotta be it's gotta work well for that but at the end of the day I think I think the files that come out of it you know, think about a photographer back in the film days it was the film that you used right people you grew accustom the film that use you like the way you could process it like we could push it do different things with me files that come out kind of like that and so the tenets just like I've bracket a lot of my shots where you take over exposing under exposed but that one photo I can actually usually do whatever I want with it and get all the highlights back in the sky could open up all the shadows want done so uh that's a great team back so this is this is what I've been using now I'm actually in the midst of switching toe what? Sony really yes tell us about that um because sony as faras files go are very, very similar to the nyu cons it's there's a lot of similarities and like chips and everything that get you so um nikon uses a lot of the behind the scenes stuff that sony right? Um are you getting the seven to eighty seven are too wow, this is all arranged like that's why I don't have it because it's it's like just out so I just I don't have my name okay um process that gets in a couple weeks back so I'm in the process of getting that it's smaller I really like where sony is going a lot of things, you know? They're just they're there had the cutting edge of so many things so it was it took a lot to get me back away from the ten and a lot of like aside, a lot of people are doing it right? Yeah. It's it's an amazing camera. Now you're gonna be able to get the same nikon lenses that you already use. So yes, are you gonna have to it get up on your senate lenses so there's adapter so you can use all the same lens is what's cool about it is they make a lot of the same focal length, which we'll get into nets as faras lunches go great as we go through the gear and at the end of the day, I think like who's ever watching if you have so many of you have olympus if you can't it doesn't matter like their home good, they're not gonna hold you back and I think the ranges that will end is they're all the same across the board, okay, so everything what do you have so that's the fighting that's the camera body now I'm gonna confuse things even more we won't go confusing it um probably the workhorse of my my landscapes they're going to be the twenty four to seventy linds so this is a tamron cannon makes it coming sony maysam whatever so twenty four to seventy reason being is is personally you see you see a lot wider turn uh poverty um for me when it gets super wife it like you take all these beautiful places and when you go out wide it makes everything off in the distance that small so you get these gorgeous mountains in the distance and if you shoot it at twelve millimeter or forty millimeter they look some small so I found this guy style yeah, that twenty four to seventy rains it's like if I can fit it in there then I figure something out um there are there are some times where I go wider I have a fifteen millimeter that what did you bring any of those white england's so let's talk I'm now confusing things even more okay? All right, all right. A friend of mine documents so I started just testing out the fuji system okay, great, so I brought the, uh, fuji sixty one nice um how about this one so another mirror lis you when you look at it when you when you look at the so when you look at the mirror a list lineup that's pretty much sony in food year or two of the big show and um so I like it a lot there's a lot of neat things about it I think it's great for a photographer especially if you did shoot film and this has interchangeable lenses yet yeah. So it's yeah it's got the wind you know that ten to twenty it's got twenty four to seventy it's got the sixteen tio thank sixteen fifty five got a lot of the same lines but it's got a very film ish feel to it the way everything operates and everything like that so the non yeah all the knobs on the top um I don't how much everybody can see it but it's got it's got that's fine feel to it it is a lot of fun it's got any feature? Um does that that come out yeah back actually where we can get a little bit too um it's got a neat feature which you can actually set it to save three different images based on film so we have like bell via there monica I mean there's all these different like in j pegs yes oh that's automatically basically right out of camp right on the camera you have three different images of three different versions of the photo so it's different if you're the kind of guy if I as well, I don't know, okay, because then you can go to ac tio. But if, uh, if you're not into post processing yeah, and that's, why I'm interpose processing. I don't mind. No way she don't mind doing those things. My photos. But if you're not in a post processing will get you could get a lot of those looks right now can right? So you have a range here. I've got nikon. We're looking forward to sony got your fuji. What else have we got? All right. So as far as the linda's go, I brought the, uh, the fuji one that's, the fifty two one. Forty. Okay, um, probably very equivalent to your seventy two, two hundred and then there's a wider one. How heavy is that? I mean, I think that's. Some of the questions I see ally hungry alive is wow, that's heavy is can those little bodies? Yeah, four thirds and whatever. Can they actually handle the big lenses? They can? Would you put this on the time? I would put this on a tripod? I mean, I walk around with two, just this shooting it's this full scoring this focal length is awesome for its awesome for landscape. But it's, great for people to don't really like your background just so so smooth, blurry in the background. So, um, this is one that if I have to go super late, okay, back. Ok, that makes sense because you're going to get you're gonna get a little bit more intimate. Landscape is not gonna be your super wide landscape and so it's a little bit more special and you're not always always going to see sometimes I have some late for and it does that a lot of weight. So cool. All right, well, now that we've got people who are asking questions, let's do lines. And so if we want tio, take a question. We've got lindsay, our social media person. We're gonna hear from her. What? The question. Okay, I'm from base, please. What year would you recommend for someone just starting out? Um, landscape, I would say whatever camera body you you can get your hands on because at the end of the day, the higher the mega pixels just gives you a bigger print. So whatever. Everybody get your hands on to me. The holy grail of your lenses is gonna be your sixteen to thirty five, twenty four to seventy and your seven, eighty two hundred. So I would start with twenty four to seventy that's all you can afford. Great. Get that. If you could go one more than get the sixteen. Thirty five and I go one more than when you go to get the seventeen, two hundred and then from j ghost in what bag is that? Oh, yeah. This is a vanguard. Analysis is vanguard. So vanguard a and g u a r d um, it's. Nice back, it's got let's. Open it up against. Got all kinds of stuff appear. So it's gonna pack just a containers that go all the way? No, no. This is just a container of cops. All look like the lens caps and everything in there. It's. Kind of cool because you imagine the bag. The bag is on your you're back. And then what you can do is you can let go of the shoulder and it swings around like this and then you can get into your gear right? So that's where those mean one yeah there's three three things inside so works out great cause no matter what side you want to swing it around on get into your have to put the bad especially if you're near water and everything you don't have to put the bag down and are you able to carry your tri pad, try pine on the bank or doesn't have a summer back? No, I have a pretty beefy tripod so I'm the fanatic that we'll see that at some point maybe maybe we'll see that ok? One more question from twitter we have from does sergeant at still does are there special permit our scarlett if you think our special permits ever a concern when scouting landscape locations so you don't need a permit for you're just shooting for yourself even if you're selling your work you don't need a permit you only need permit I'm crying out the best asking but um if you're doing something commercial in the park in certain parts or wherever you happen to be especially for taking a model if there's gonna be props if you look at a lot of the burbage and always says if there's models if there's props um then you need a permit but if you're just going in and shooting for yourself, or even if you're going in and shooting for yourself. But you're selling, the image is generally don't need a permit way. Definitely need some permits here way. Have a process. Wait perhaps we have you know we're filming so again we're on our way right now to sacramento and if you go to our facebook page kind of lives facebook page you'll see the different event invites we're going to be having a mini conference there at noon today tomorrow is gonna be one p m in portland we're giving away prizes off glass surprises somebody's gonna win your collection of creative live classes by the way I should mention that everyone to people who are watching at home right now that of course we're heading into photo two thousand fifteen which starts on monday go check out the calendar on creative live to see the lineup we have over thirty classes way have twenty five instructors and that's gonna be crazy we're it's a crazy week sixty hours of educational content and you can actually pretty purchase that as well so if you guys know that you already have a really crazy week ahead of you is only one hundred ninety nine dollars you don't have to get on a plane right you don't have tio pay for a hotel all of those things and that is the special price so if you don't know if you're gonna be able to catch it all go ahead and pretty a purchase photo week two thousand fifteen right now in addition to that or there's more believe there's more all of your classes are on sale so all over you try them, all of our returning educators weigh air featuring them and so that has several classes. You were here for photoshopped week? Yeah, you do your landscaping photoshopping lately the landscape photographers that their long exposure photography class what's your favorite thing to teach my favorite thing to teach both of those topics. Notice, I believe, for landscape. Yeah, I love teaching long exposure because it's like it's, such it's when you, when you see people get it, it's, like it opened up this whole new world of photography, for it really does. So I travel a lot as well, and it wasn't enough. But I always never brought a tripod along with me. And on my last trip I did I know we talked about your changed everything, the ability, tio, obviously at night, but that's what I always thought was like night photography, but no to get the motion of things moving, whether that's fabrics or the water moving or what have you or the blue our whatever, it's that camera's khun see more than the human eye can see, right? And when you introduce motion into a still seen it really it's um, it it takes a couple, I agree, was there anything else in the bag, um, you know, they're so this is something I've been playing with the lack of a here let's, put it back, put it back here, and I should mention you because I was listening a little bit too soon before, yeah, I should mention, you know, I think a key thing for landscapes because somebody and this is for anybody that's watching about wondering about gear is with portraiture, generally looking for those prime lenses and try to look for the really wide apertures landscapes you're never going to use those wide fighters. So whatever going to shoot it at two point eight? So it's, usually at eight and eleven, I have sixteen you're never going to shoot your lenses at that, so you don't know. So you want to get a good quality land, obviously, but you don't have to get everything crime, because you're just gonna make your bag huge, and I think that's great to point out, because I think if you start with portrait photography, you think are kind of you think in general? Oh, I got to get that two point eight that point no, but what is that sweet spot in landscape? Like you said that or why is that that the sharpest break the law? Because generally with landscapes, we want sharp from front to back. Um, so no it's, not necessarily the sharpest parlance. You don't even worry about that. We want the way. Yeah, we want sharpe that the field from front to back over eleven. Sixteen. Right now we're gonna get you there. All right? So what's this guy. So so I've been I've been trying to get my incorporate my phone. Yeah, a lot more into this because obviously, gears this heavy and and all that and I went to yosemite and men. And so I took a morning where I just used my phone and I was amazed at the quality that came out of of of this, this the iphone. Plus, I'm gonna be borrowing this guy. So one thing that I'm always missing yeah, is why, yeah, I mean, I the plus goes decently wine, but I was always missing trying to get some of that foreground, everything like that. So this is a system it's ah it's called cinema. Okay, um, you could take it's. Got an extra land. You can take that off. Basically, your your phone goes into it here and this mounts tio two a tripod and you can shoot away. That's fantastic. Otto lin's that screws on so it'll go wider it's even got what happened. It's even got a filter that is didn't go a little filter so it's a graduated filled nice that you can put over. And you, khun kind of tone down your scott. Pretty cool for the iphone for the iphone. Yeah, I'll actually fits a lot of different phones, right? Right, right. It's. I mean, it's made really well and they're using it a lot for video to absolutely will you hold a very a very firm, so all right. So what else? Filters for my last thing here? God, I got way too much crap. You did say you were trying to go a little bit later. I was, you know, my filters on my left that you're going to kill. All right, let's, talk about why you bring those shelters. So we talked a little bit about long exposure. Yeah. Biography. Um, neutral entity filters, that's. Pretty much from a newbie out there. Why do you why do you use our wendy? Is the new you new? You use your neutral entity filters when you want to slow down something that's. So usually one what, it's gonna be me okay, um, so, if you're let's, see we go somewhere today and it's two o'clock in the afternoon you want to take a picture of a waterfall at two o'clock in the afternoon it's any day my cameras going over expose every photo that so it's gonna freeze the water so if you want to slow that water down and get that smooth look you need a nd filter in just a dark piece of glass and they vary in andy's it very from one stop to stop three stuff all the way up so it just slows down the shutter speed campbell looks through it slows down the shutter speed and now you can slow down that one. I think filters is definitely a big topic that a lot of people are constantly ceos types of questions so be cool way you get to see that in the field at some. Yeah, well, different there. Listen that's, what about a polarizer polarizes the other one so I only take nd filters and a polar ok, then the polarizer a lot of people use polling. Think of polarizer like you. You look up in the sky and it makes the sky blue are everything like that. So to me that's where you can actually get into trouble with polarizer because you can make the sky look unnatural and everything um the best use of a polarizer is to reduce glare okay, so if you're out on the sunny day fall is coming up so you know feel it somewhere where the leaves are changing color and there's a lot of glare on so if you ever were polarized sunglasses and you're near the water like you turn your head you'll see it change right and that's the idea with the polarizer and hopes reduce claire does pop the color a little bit um that's way to figure out if it's gonna help your here is you look at the sun and if what you're looking at like a ninety degree angle from that yeah that's a good indication of polarizing gonna help but even on a cloudy day it'll still help reduce glare that was tough really one of the biggest tips that I learned john gringos class is that sort of ninety degree if you're from this side and being able to figure out whether you need one or not itself very manageable but yet but don't again don't like even on a cloudy day it'll help the ninety two everything is more for the sky sure um and that's where they'll have the most effective this guy but on a cloudy day it'll help reduce clare's how often do you probably not any more at this point but I would often find myself leaving the polarizer on uh that then why can't I get my pictures brighter when you're inside or what so only use it when you need it right yeah I mean once I needed I kind of leave it all away like if I think I'm in a situation where I need a where like you know if I'm taking a trip to the northeast during fall colors just kind of leaving on I mean the worst little where it'll heart you is it will extend your shutter speeds right? Because it's like about a stop of darkness tonight it'll stand your shutter speeds a little bit so if your hand holding it could bite you it's never really gonna hurt you that bad okay unless you have it pointed at the sky and the sky turned a weird blue but it's not gonna hurt you other than just extend your shutter speed a little so I'm really excited too check out that the mobile stabilizer on the wide angle on that because in the whole like you said like the cameras nowadays the mobile cameras could do so much including film and so many people have come on the road actually uh my uh my lift driver this morning was asking me about if we had classes on global photography and a z was saying you know that's what I use and that someone in the moore joining people do use we will have some classes next week on photo week about mobile photography to uh I held off for a long time yeah I mean, like, I'm late to the game with really using this not as a toy like and just adding that's, I think that's one of the breakthroughs is you have to stop looking at this. I don't have a better camera with me, so let me take my iphone out. You have to start looking at this as this is the camera that I want to take a good picture with someone treated the same with the same exact way once you kind of mentally do that your pictures and that's what I did, I gave myself a morning, and you're somebody didn't even bring this, yeah, and just use this and when about shooting, as I normally would with this and I was amazed at the quality, I think that's really interesting because I think, yeah, I think with what you said first was I think of it as like, uh, what? I I don't have it, but changing that perspective is awesome, so we're going to see you doing that and on the road. So thank you so much for sharing what you brought with us, matt. Awesome everyone, we are going tio, take another break here on the bus and just stay tuned keep watching, keep watching our twitter feed photo week. Two thousand fifteen on creative live doing behind the scenes at all of that, so stay tuned. We'll tell you, I'm a spring roll back, and thanks for joining us. Thank you, matt. Thanks.

Class Description

CreativeLive is kicking off Photo Week with a West Coast Tour and you are invited!

Join Sue Bryce, Jasmine Star, Victor Ha, and Matt Kloskowski as they begin their adventure in San Francisco – meeting up with students in Sacramento and Portland – while making their way to the Seattle CreativeLive studios for Photo Week 2015!

Online viewers can stay tuned-in to their adventures by watching the On Air broadcast and following the hashtag: #photoweek2015

West coast CreativeLive fans are invited to join us, in person at the San Francisco, Sacramento, and Portland stops!

San Francisco - CreativeLive Office
444 De Haro St San Francisco, CA 94107
Friday September 18, 2015
8:30 AM - 9:30 AM

Sacramento - Cesar Chavez Park
910 I St Sacramento, CA 95814
Friday September 18, 2015
12:00 PM - 1:00 PM

Portland - Jamison Square
810 NW 11th Ave, Portland, OR 97209
Saturday, September 19, 2015

We are kicking things off in San Francisco with an early morning meet-and-greet. Join us in our Potrero Hill offices for coffee, donuts, and fun with your favorite CreativeLive instructors.

In Sacramento and Portland, you’ll get to watch the masters at work and take part in our exciting and educational Photo Walks! Sue, Jasmine, Victor, and Matt will be shooting and exploring – while our awesome partners will be out with us, ensuring you leave feeling educated and inspired.

If you love CreativeLive and have always wanted to get some face-time with our incredible instructors, don’t miss out on your opportunity to join us on the road.

BONUS! We’ll have some seriously awesome swag for the first 50 folks at each location!



This has been a fabulous way to introduce Photo Week. We have had a chance to see the masters working in real conditions, and making the best of the conditions they found themselves in. Well done.