Photo Week 2015 West Coast Tour

Lesson 16 of 20

Photo Week Bus Tour - Clip 15

 

Photo Week 2015 West Coast Tour

Lesson 16 of 20

Photo Week Bus Tour - Clip 15

 

Lesson Info

Photo Week Bus Tour - Clip 15

Welcome to creative live this is photo week two thousand fifteen and we are here in portland way could see the crowd at some point this is amazing we love media wise in person and thank you for tuning in online. My name is kenneth classmen we are in the middle of our west coast bus tour where we are heading again from san francisco to seattle are big photo week well, we're already in it this is part of it but starts on monday it's five days we have thirty classes we have twenty five instructors over sixty hours of free education right here on creative live but once again we're so excited to have you all in person what's going to happen right now is we have a couple of classes that were going to stream right here from portland park. So this is victor huh? This is makris caskey teo teo you let us you know what it is that you're going to be teaching us and thanks again thanks everyone. So we're just gonna talk about getting creative with your like landscape photography using camera film s...

o hands up here how many guys actually use camera filters when you're capturing an image awesome all uv filters six of you uv filters polarize er's okay in these okay very well lindy's all right, so you guys are pretty knowledgeable already for those who did not raise your hands I want you guys to ask yourselves internally why don't you why don't you use filters and if it if one of those answers is all because I can do it and photo shop I'm going to tell you sometimes you can and all of a lot of times sometimes you just don't want to okay so I'm gonna cheat I got some notes I'm gonna cheat off of s o just give me a quick second so uh special thanks here tio company called view filters and the kids love them too you could tell there yelling anyway view filters is the filter company that I personally use and we're going to talk about what filters they offer but whatever it's awesome it's fun it's exciting so three using three reasons why I use filters so the first reason I use a filter is obviously I said before sometimes I can't do it a photo shop the next one is I don't want to do it it photoshopped and the third one is it helps me expand my creativity no aside from those three reasons they're fun if you get going I mean portland and oregon you guys are the beneficiaries of such wonderful outdoor scenery you guys are in that you guys are in like the haven for filters so right because I think we also want to set up so not really making art here today you guys haven't figured this out it's we're pointed out water because it's a demo and we just we wanted to show the progression of what we can do with filters and water but it's not probably not going to be a portfolio photos the end of the day so let's give me for me but the idea is is especially like if we're if we're in one place in the entire country that is perfect for this you guys have it because I think the stuff that we talk about you guys can use on just about any day absolutely so I just rattle off a town of different types of filters, so just so that we're all on the same page, I'm going to briefly talk about some filters just so you'll know what I'm talking about ok, so the first night we got is a uv filter andy, you filter general purpose it will help protect your lens from scratch is it will help eliminate some of that haze when you guys capture an image that you see far off for some days and it usually those what uv filters before ah circular polarizer generally will saturate your colors a little bit and the most important thing about a polarizer is it will remove reflections okay, so if you've got metal get light shutting off of a medal you got light reflecting off water a polarizer will help you really really get rid of those reflections and nd a filter for me is something that will allow you to be creative and really control your exposure your depth of field basically it's gonna ally to slow down your exposure so you can get those long and milky water shots you can see a lot of times and then a variable india legit in the same thing but it's a lot more flexible so the further you get those guys watching at home right now they're gonna probably flash up some before and afters have like polarizer shots and nd shots and then once we get further in the indy discussion will flash up a sign or slide that has all the detail kya later for you okay was good jumping so I'm just gonna pick so who has who uses a polarizer a lot anybody so gentleman right up front here so do you use it? What do you use it most for like when you pull it out what do you find use it most for so yeah so that he said to bring out the blues in the sky that's what he uses it most for and that's one of the things you know it's like you know we all have polarized sunglasses you kind of like turn him and you can see when it's going to affect the blues in the sky victor touched on I think I just it is important because when I think when I think polarizer you could almost get in a year and it's probably happened it's happened to me a lot you get into trouble with it if you turn it too much it's like just because you can turn it all the way doesn't mean you should and if you turn it too much then you're sky gets this like really deep blue muddy I know it's a weird color but teo the way that I think a polarizer is and again you know fall is coming up right the fall season reflections reflections any time even if the sun's not out you'd be amazed how much a polarizer will reduce reflections on things so the leaves whatever you're you're shooting the polarizer cz justus muchas they'll help the color of the sky they'll help the color and not necessarily the color of the leaves or whatever it's that they reduce the reflections and it just looks better especially on water a lot of the times we capture water and then we don't realize that there's reflections backing off with water and if you just actually take the time to put on a polarizer it's going to really mitigate a lot of those reflections and actually give you the image that you see not actually the one that you captured it happens a lot yeah it's like I see animation like oh yeah I got the same age I get home and like no that's not it right and here's the thing a polarizer the effect of a polarizer you cannot do that in photo shop there is no way you can get the true effect of the mitigation of reflection from a polarizer in photo shop see if you don't capture the with a polarizer on your lens at the time you will never be able to get that effect so that's why some of these things are so important we gotta learn honestly we always said we say it all the time get it right in camera that's one prime example where you've got to get it right on camera so I think right now matthew walk us through some stuff and then I'm going to kind of like pepper in comments because we we cannot yourself the same but we also kind of new stuff in a little bit differently okay all right so what I wanted to walk there I kind of mentioned it earlier was let's just take let's imagine this is big beautiful waterfall all right? And it's not moldova falls because I know you guys it's like you've got just drive past that rest of the country thinks that's the most beautiful waterfall they've ever seen and you guys are just used to seeing it so but let's just imagine a big, beautiful waterfall that you had to hike to that nobody else knows about ok and you're going to keep that location secret so there's people out there like oh yeah I am um so let's walk through the progression because you get out to these places the whether you get is going to be the weather you get you know you can't always especially for me traveling here the weather I guess what you guys can come back all you want but I can't so what do you do? You want the best possible photo? Well I'll walk you through the progression of throw lens on no filters no gear keep it as simple as possible we'll see what happens so let me take this off so we got a uh I'm set aperture priority I'm set to faa alright aperture priority means the camera's gonna pick the shutter cameras gonna pick the shutter speed so take a photo you guys can't see it but just imagine frozen water all right? Thank you. Concede every texture, every drop of water because it's frozen um cameras picking let's see what it's going to thousandth of a second that'll pretty much freeze anything. Okay, so what do we do if we want to slow down or shutter speed against this waterfall? I want to slow down I want to get smoother silk your water without putting any extra gear on without doing anything what's going to slow down the shutter speed raise the aperture so mad a fate so I'll go to f twenty two all right so now now I'm down to about two fiftieth of a second it still frozen to fiftieth of a second is still a fast enough shutter speeds of freeze most action so the water still frozen what's our next thing s o all right, check your eyes so make sure it's down for the lowest that your camera what you go some cameras did two hundred some do one hundred um I have a d a tenet does sixty four so we'll take her eyes so down way we're at four hundred taking down the one hundred sixteenth of a second we were close there's a little bit emotion but there's still a lot of frozen water in it it's definitely better than where we were you don't see every little drop of water in it but there's still a lot of definite frozen water in there so now we've exhausted all of our camera possibilities without taking off any gear, any other extra filters or what? So victor is going to put the filters on um we'll start off with a three stop. All right, so it's three stop neutral density it's a uh just drop it in there your camera well still meter and do everything through a three stop so you don't really have to make too many changes here um it's not dark enough that your your auto focus and your meeting is not going to pick up all right so let's see, I'm just gonna press halfway so now we're down about a fifth of a second we're pretty much there all right? We could see I feel bad you guys are like it's looks great. Uh we're pretty much there there's a lot of motion in the water the waters a lot smoother um at this point now it kind of becomes almost about your personal taste ah, why you guys have probably seen a lot of long exposure waterfalls and sometimes you see texture in the water sometimes you can still see that it's water but it's moving and then sometimes you just see white right? You've seen those photos that it's just it's just all white. So now at this point we've got our water we slow down or shutter speed enough now we can start to get creative. Are you good here or do you want to go in the higher neutral density filter to start to slow it down even more? So you get in the mac daddy out I am oh oh but you gotta hold this up though, okay, so this is a ten stop you can't even see through it like like I can't see anything through it, so this is they make higher but this is about the most that you're going to go umm if you're going to do long exposures in midday you're at the beach wherever it happens to be this is probably what you're going to need you're gonna have to almost go straight to it midday sunrise sunset it's not as bright out three stops is usually pretty good but if you're going to do anything mid day you're going to need a ten stop um so the thing about this is we can't see through it our cameras can't see through it so what's going to happen is is we have to pre focus did you provoke a bit so press the shutter halfway down pre focus get everything see what the shutter speed is going to be well don't pull up so on that a fiftieth of a second so you're gonna pre focus you know look at the shutter speed with no filters on fiftieth of a second all right then you're gonna put your camera into manual focus because the set you don't want to press the shutter down again because it's going to try to focus so you pre focus our camera told us where a fiftieth of a second so I haven't asked because I can't do this stuff in my head for some people it can um I have an app called slower shutter so what you do is you plug in fiftieth of a second, and then you plug in in the stop the neutral density that you're using, which is ten in this case. So I plug in fifteenth of a second ten years, ten stop neutral density and it tells me to get that same exact exposure with a ten stop. I need a twenty second exposure, so you just go on your camera into manual mode now, same aperture, but say your your shutter speed twenty seconds when you take that photo, wait twenty seconds, but when you take that photo, the exposures are going to be exactly the same. The difference is going to be whatever was moving in, that photo is going to actually start to look really, really smooth, really silky. So when I said it kind of gets and it's even got a timer on it, so if you happen to go over twenty seconds and our thirty seconds in your camera can't do it, so you get to see what I just did there, like I took it took the picture for then I covered the viewfinder, so when you take a long exposure that's that long any amount of light that gets into the camera is going to affect the image so a lot of times you'll see flaring in the image that's because a lot of it will fail to cover the view finder on a lot of time there is a on a lock up on some cameras that blocked out you find her that's what that's for so you're going to a really, really long exposure anything above twenty, thirty seconds you're gonna flag it off or you gotta lock it up okay such one thing and then another one is inside of your camera there's a feature called mirror lock up guys all not heard about that future so mirror lock up what that's going to do is it's gonna move the mirror into a locked position and then allow the camera to take a picture. What that does is a lot of times with long exposures if you if you use like a mirror and it mirrors up and takes a picture, that motion of the mirror will actually cause a vibration the camera that will then make the picture blurry, right? So you want the things that you want to be in focus to stay in focus for the things that you don't want to be in focus? You can you can blur those out using the filter makes sense and if I could offer any advice for the the remember he covered up the viewfinder it will happen to you just know when you guys see a little line so it's just above the bottom of your frame it's going to look like a light like a like a light saber across the bottom of your frame because it will happen no that that's lightly can you have to cover up your viewfinder because I never every single time I'll sit there and I'll do like I'll be like a five minute exposure click sit there for five minutes come back if it's the first one I guarantee you I forgot to cover up the viewfinder if I can offer up anything because years ago when I first did this I didn't know what that wass and I ruined a lot of what was that way so just know what it is when you see that line and you're wondering what the heck it is that's what it is you've got to cover your viewfinder cannon there's the one that comes on your strap with your cannons and it actually will cover it up but it's not going to have the same thing. A lot of the night cons have a little, uh cover that's built into it but uh that's definite so the photo we may hear I wish you guys could see but for being out here in mid day like we really zoomed in and got the details it's actually pretty cool, eh? So if anybody wants to see it after we can, we can show it to him. But it's actually a pretty cool it's I mean, it's it's smooth like there's, no texture in the water. It's kind of really all gone, almost white it's not overexposed, but it has a really nice look to it. So that's kind of the progression of when you're going to build this stuff up, to go from no gear all the way to pull it out, you know, a ten stop filter. So, like, one thing I'd like to touch on is there's a couple ways you can always get to a picture, right? We craft images differently, but and but at the end, the day we want to get to an image. So how many guys actually use one of these? Excellent. So this the light meter for those you don't know and what it allows me to do is that ensures that I'm going to get the right exposure so I can calculate my might might at ten. Andy, um, correctly, so we're outside writes let's pretend I wanted to take a picture of that builder, even if just this water, all I really need to do is just step out into the sun and get a reading because the sun's going to fall down the same intensity here as over they are right theoretically so I'm gonna still go and just get a reading real quickly so my reading up sorry ok so I'm going to stop that all the way here if I take a reading here and I saw one hundred f twenty two it's going to give me roughly one fiftieth of a second like that okay so then I could just go to the calculate what matt has dial and everything and then go ahead and get that exact same shot but now know that I'm a little more accurate in terms of what I'm going to be doing right so there's two different methodologies using the same and be calculator that allows to get the same image but in one way like let's pretend that you're going all the way across the way and a lot of times our camera meters are tricked because there is more brightness across the way than there actually is right if there's a lot of white in the scene it's going to reflect back into camp going to think that there's more light on then there really is so being able to take a quick reading of incident light that is hitting your scene is going to be a really good way to help understand and make sure that you get the right image you want cool yes up yes you'll get about this awesome uh, before we're done you guys got any questions comments, concerns anything you mentioned that there are you mentioned that there are andy filters that air higher than ten stops and if you're saying that daylight is where you would do ten stops what in what cases would you use something higher than that? Uh if if ten stop so just so everybody can hear everybody down here can't hear so I said there's ten stops and there's actually filters that go higher than that um yes. What cases would you want to do that um if a ten stop is not getting you where you need to so you saw you saw here we have f twenty two which is basically the smallest aperture for most of our lenses and a ten stop filter and all we could squeeze out of that was twenty seconds if you were doing something where you needed longer than twenty seconds um then you'd have to go hard get example a smaller or larger at stop. Yeah, we'll get a good example is have you guys ever seen a picture of a building? You know, on a busy city street it was clearly taken in mid day right clearly thinking in mid day but there are just no people yeah, right it looks like like like the rapture happened and is just a building and there are no people so that requires a lot of photos, a lot of photo shop or a really, really long exposure so you can actually stack ten stop filters or get bigger filters so that you can acquire the density you need to get the exposure time you need so that those people disappear right? Because someone walking through a photograph over like a ten minute exposure won't show up that's the beauty that's what's so interesting about using filters like this, right? So, yeah, I mean, I think that's that's, that's a good kind of note to end on is that using filters like this will allow you to really kind of experian creativity and do things in camera that really we don't want to spend the time doing and photo shop because to remove all these little little little bitty piece of things it thanks so much time where to be out there shooting, right? So, yeah, there you go. All right, well, thank you so much. Thank you guys for me. What was going out? Five road trip. We're so excited that you guys have come out. Oh, I need a mic. T I forgot I totally forgot. Thank you for coming out on. I wanted to tell you thank you, teo, matt and victor when I tell you about what we're going to do d'oh! Next in between when sue prize is going to start getting set up, you guys could go I think so much. I think that was our cue to thank you. You get back on the bus. No, thank you so much, everyone. So what we're going to do is we invited a few of our creative, live and struck actors who you may or may not know out because they are living in the portland area. And so we wanted you, teo, meet a few of them, and I have them give you some tips from the types of things that they have been teaching. So very first I want to introduce you all if you don't know her already. Her name is vanessa van edwards. Come on, al. Vanessa, you would've for vanessa van and went everyone so awesome to see you again. Vanessa, tell everybody a little bit just about yourself and what you d'oh because I love what you do. You make me happy. Yeah, we're going to do a happiness experiment tonight. So I'm a human behavior hacker. I look at what makes people tick and how we can use that information to make our first impressions better to more memorable, so I thought we would play people truth or dare you guys want to play with me? Yeah, all right, so first is I'll give you had people truth and then I'll give you a dare see what we can do it so the first people truth is that when we make a first impression research has found that it takes about seven seconds to decide if we like someone and the most important part of that first impression is actually that hand to hand touch or that high five or that hug if you know someone because it produces a little chemical called oxytocin I will get to geeky on you today but oxy toast in is the cuddle hormone it makes us feel that warm and fuzzy feeling inside that we really like someone so that's the truth and my dear there is I want to turn to someone next to you and what you give them a nice hearty handshake in a big smile on your oxytocin pumping right dare turn and shake someone's hand at home give yourself a high five in the air and let you know his hand like I like it oxy toasts in like pumping through your body do you feel the warm and fuzzy feeling I dio ok ok so the funny thing about that exercises that I've done it with people all over the world and it's always the hardest to get people to be quiet after the exercise because we feel that warm and fuzzy feeling of connection we want to talk so the second one has to do with killer conversation starters so how many times have you tried to talk to someone and you feel like you're having the same conversation over and over again? What do you d'oh where you from? So my challenge for you it's actually turn to the person next to you and they give one killer conversation starter so something that you wouldn't normally ask a new stranger a new friend it could be what personal passion project are you working on? It could be ah what's what's making you happy today but I want you to turn to the person next to you and ask them that one question and at home go ahead, start go so at home so I want you think of one. Can I ask you a question? Okay, here's, my killer conversation starter what personal passion project are you working on? Okay, so this one is for adam bauer. A personal project that I'm working on is that I am taking tour groups to cuba. And so I am working on working with photographers in cuba and getting photographers in the us and them to really have people to people exchanges and have projects and do you hopefully some really interesting stories as cuba is opening up and I want to say the word cuba just a few more times for adam bauer specifically alright cuba so also, if you're not following ken on instagram, her cuba pictures are amazing. Okay, come back to me. So what's amazing about that. Hello. So? So hopefully you just made a new friend. You just ask them something really invasively personal that you would never ask someone else before. And here's the last truth I want to give you in the last year which is that researchers found at harvard business school that when we stand really broadly, we actually begin to produce testosterone. The fancy blair word for it is power posing. So we stand broadly, we begin to feel stronger. We look more confident that's exactly how we want to come across to every single person we meet. So I'm hoping we can all power posed together. Are you ready? So I want you to strike your favorite superhero posed if you're at home and I want you to stand up stand like wonder woman to stand likes your men do I see any starfish people? Right? Just be real real spread out that's, right? And I want to turn to the person next to you and give them a big high five and say, heck, yeah e I will but thank you so much, vanessa, thank you for coming out, I want that well I mean, the folks here know about your class that you've done on creative I which was an incredible boot camp yes so we did ah people skills boot camp so thirty days of these tips and challenges to get your first impression more memorable to be able to talk people and I love give a lot of conversation hacks howto have really, really good conversations with everyone you meet so I love it and I'm so glad to be here and the science of people where can people find it? Your website so our lab is science of people we are right here in portland and you can play in our lab and take all these personality tests and yeah, really really cool stuff. Thank you so much. Vanessa thank you. Everyone keep during those power poses at home because we can't even see you so you could do the power poses as long as you want next up I want to bring out my friend stephanie zito pulling welcome stephanie zito give it up now we are on a road right now as you know and a lot of people out there I imagine that you love to travel like many of us and stephanie zito is a supreme travel hacker. Can I call you that? Okay, I love to travel, especially for free and so stephanie as well is chris gila bo who is a new york times best selling author have taught a class on creative live that was also a boot camp on how to make your dream trip a reality so what I've asked stephanie to dio is give you all three tips for travel hawking on a road trip thank you stephanie one hand you're like well I want to say first I think a lot of people have a misconception about using points and miles or travel hacking as some people call it and that is a lot of people think that you have to travel a lot to earn a lot of points and miles to be able to use them and what we teach in our course is that you can optimize all the things you're already doing all the things you already see spend money on to earn miles while you're sleeping so you can travel for free and so my three road trip tips are howto earn miles while you're on a road trip so you can use your road trip to boost your trip to your dream destination and so I drove to portland two years ago from florida when I moved here and I had this goal to earn more miles traveling to portland in my car than I would have I flown the three thousand miles here and so my first tip for earning points and miles on a road trip is plan your hotels out plan where you stay based on the hotel points you can earn along the way because you're gonna have to stay somewhere, so if you're earning miles in a hotel program, you can plan where your trip stops, they're going to be based on where those hotels are. If you don't know which hotels to stop that, I recommend some starwood hotels, those cheap four point hotels along the way, they earn points that could be transferred to thirty one different airlines, so my second tip is used the best credit card for your gas. You're going to be spending a lot of money on gas, so if you're new and you're starting out, make sure you have a credit card that earns at least two points at a gas station. And when you're on your road trip, use that card to buy your gas pretty simple if you've already got that than my third typist for you, and that is up about a little bit and find a credit card that you can use at a store where you can buy gift cards for a gas station, right? And so you can I have a credit card, the chase in card and you get five times points any time you use that card at an office supply store guess what they sell at office supply stores. Gift cards right for gas stations. So I go to the I go to the office supply store, buy a fifty dollars gift card, earn two hundred fifty miles and then stopped the show station and get my gas. So that's how I plan to get lots and lots of points when I'm on a road trip. So I hope you guys have an awesome road trip, and I hope you're earning lots of points for your trip to paris kind of that, sir. Thank you. So don't go away at, uh what I thought. So I hosted stephanie and chris's class about how to make your dream trip reality and the really cool thing I was hearing from people who were actually able tio because, you know, a lot of people hear that and they're like, oh, yeah, but I could never do that. What were some of the big winds that we that people uncovered like soon after the class, like, seven hundred, seven hundred thousand mile? We had people who had points and miles in bank accounts, and they didn't know that they could travel with we had some people who had some points of miles, and they gathered by the end of the thirty days of our boot camp, we had people who had bought first class plane trip. Plane tickets to australia and we have like fifteen hundred people in the dream took facebook group now who are still earning points of miles it's really fun to see where they're going yeah, I've already earned I think about ninety thousand miles so it's really, really cool there where can people check out there's actually a facebook group is that a good place trip creative live if you search it on facebook all right, thank you so much stephanie thank you. Great to see you. All right, thank you, stephanie dream trips I know you all want to do and it totally is possible I was blown away by what people were able to dio ok, next step I want to bring out somebody who is lives here in portland as well and he closed out creative lives photo week two thousand fourteen last year with a subject that a lot of people are interested in but don't necessarily always get to learn about so please help me welcome johnny davenport johnny come on out but you're so welcome great having okay stoked to be here thank you already have you have you have you used this, mike johnny is going to teach us a little bit about this beauty that he has here and just some tips and tricks about why people might want to be get into instant photography or I'm going to hand this over to you absolutely. Thank you. Can I'd like to. First things. Kanna, everybody here, kelsi, dania, all the amazing people that put on creative live and you guys for coming out, you are the reason that they do what they do. And I am always humbled and honored to be here. So the thing that I love I mean, I live in brief photography. Photography is my life. I've been doing this thirty years. Uh, the greatest gift I give is turning people onto old school cameras. People more often than not. Go. Hey, they still make film for that, and they always ask, like, where can you get film? What is this? You know, this is ah, sixties, polaroid land camera picked up for five bucks. You can go to thrift stores, garage sales. You probably have some of these in your attic and your mom's basement. Your garage, and they're accessible and easy to get. Fuji still makes film for this stuff. There's a couple different camera types. This is the land camera that shoots a peel apart film and then impossible project those old six hundred cameras, inspector cameras you can get film for and shoot with that. The biggest question I get is well, besides shooting, the film is where you can get the film is you know well, is it a lot of money? Yeah it's about fifteen bucks a pop but how much are you spending on digital slr cameras? You know, these days you drop in a thousand I five dollars go buy fifty dollars worth of film you're going to fail that's that's a tip you're going to make mistakes and that's how we learn and I think that's the whole thing about what we do here is we got to in order to grow you have to fail so why don't we take a picture? I want to take a give me somebody come up here let's show you how rad this is you get up here, levi sit down right in front here and we want all camera on you were gonna take your portrait I'm gonna put this down just just a little here and want to wait we'll wait fifteen seconds for that to develop we'll see what we get but you know I could fail epically, which I do did last year speaking on creative life photo weak and that's the thing is that you know when you're live and you're doing this, you don't know what you're going to get and that's the beauty of polaroid go ahead you know how to peel that well hold on here let's show you how to do it I feel this way grab that corner boom we got something they really way got something there so what I love doing it with a peel apart we've got a portrait here of levi a little light leak right there I mean that's the magic that you don't get digitally and what I love about what we're all here is connecting with individuals human here you go I hand away most of my prints and then what I'll do is I'll take my iphone out pop a photo of them with that post on instagram I'm a big fan of giving mohr taking less nice right? So if you have any questions about shooting polaroid the greatest gift that I got from creative live last year was the community that reached out to me uh saying you know, hey, I saw you on creative life you know what cameras should I get don't hesitate to do that reach out to me I'm more than happy to share my personal experience with these old school cameras uh absolutely thank you can thank you johnny johnny devenport everyone where can people find you and follow you? Johnny I'm on my web sites undaunted dot com and you can find me joanie davenport no aids jail and and why on instagram we need to do fantastic well, thank you so much. Everyone here in portland and everyone at home we are going to take a short break and when we come back, we're going to have soup. Rice who is going to be photographing are beautiful danielle right here, who is doubling as a camera up and she's going to be our model as well, eh? So everybody is stay tuned and we'll come back for more creative live here on the road for photo week two thousand fifteen thank you so much. We'll see you soon and welcoming one back to creative I've this is the portland stop on our bus tour heading up to photo two thousand fifteen giving up everyone, thanks so much for continuing to join us and continuing to be here next up we have you know her very well. Ms su bryce, you're behind me to tell us what you're going to deal and then let's just keep rocking because we are on a road trip. Thank you so much. Yeah, so obviously the weird thing is is the microphone that the girls were just talking in a dirty wishes, talking in as being transmitted to the live stream so everyone can hear them, but they're all talking as if it's ah loud microphone and it's quite hard for you to hear me, so I'll talk as loud as I can for thirty minutes also, the second weird thing is you can't see my tether so what I'm photographing is going live, but it's not coming to you guys, but what you do is just go and watch the rerun and then you can see the tether, okay? So that's kind of the way think about your life, but you're not getting the whole life experience what you are all right? So when they said let's, do a shoot in the park, I thought the best thing I can show you is how you move people and denny hours, the camera off, they just shot the first half of this life broadcast. I killed her here on the bus if you saw him before I was killing here with my straightening irons and the dress she's wearing is from my wardrobe, but she's tiny, so I had to get the hotel sewing kit and stitch here into it. So this is my little make shift blame a shade and I'm gonna shape. I shot in the next twenty minutes, that's like cover with the ok, so I'm going to make sure it's like, really good cover shot. So the first thing I just want to show you is something that most people don't get to see me do, and I want you to try it so it's going to look really weird because you're all going to be moving and doing your thing but who really kids? This is portland. You could pretty much do anything in the streets of portland, right? I just want to show you a couple of things outside terri now I haven't photographed ennio before other than the two minute segment we headed the road stops today, so I want you to try this, but every one of my clients I tell them to set up nice and told stand up nice and toll and I want you to will sit up nice and told very good. Now most people set six to twelve inches into the spine into their posture and the body changes significantly when you sit up tall, I don't describe it to people I don't get technical, I'm like the mother I like this set up all right now sit up now I found in photographing portraiture, the more direct in a suit and I am the more confident I am, the more mice my clients do exactly what they want I wanted to do but remember it's because I take charge of them if you leave somebody standing in front of a camera for too long without talking, they instantly rivet to what I call oh my god, I don't know what to do mode ok and they're faced goes back their pasta goes back down and before long they go from up here too down here and then they get nervous and especially if they were posed in a way that was something you know quite like this and then they kind of feel all quit so I realized that about ninety nine point nine percent of the population compose themselves they can and you think you compose yourself but you look something like this on and you don't know where the good light is because you can't see the good light in your own face so you views you got some jack mouth you know I like think don't you dear now it's enough that it's live trusting so I realized that uh it wasn't so much about the confidence off the pace in but the confidence of me so I took charge and I look at my clients all the time and I just hold this space now so many photographers asked me what does hold the space main? What does hold the space maine and because you're sitting in front of may I'm going to show you what it looks like for me to hold your space now when somebody is in front of me I look in their eyes I don't look at their body who does there who looks at somebody's body I look in their eyes what's your name rachel rachel has a name she's not gorgeous she's rachel okay and if she's beautiful then she's beautiful here you beautiful and when I hold the space I imagine that she's my subject and I'm a photographer and I'm looking at light and I'm looking at hippos in her body I'm looking at how I'm gonna shoot her in this funky outfit I'm going to choose opposed in my creative brain is assimilating all of those things at the same time I am holding here in a perfect state of what I call hypnosis is because from the moment I pick out my camera or put it here I'm in charge and I don't stop talking and this is what you have to do you know people say fake it till you make it I don't really agree with that the fake it is I'm going to talk confidently while I'm thinking what the hell to do okay that's a cz much fake it is you're going to get I'm going to buy me some time until I can see the perfect pose in the perfect light but for right now I'm going to stall and if you have to still do this I'm just looking at the light just turn your chin this way attach oh that's good all right back this way right I'm good to go but don't do this bang bang bang oh my god it's not waking oh my god it's not working because the internal fear inside you is it's really palpable just slow down and I always say this dave one slow down and hear my voice I just popped the button but luckily it's my conclave way to god okay, so what most people don't do is slow down the first shot you should take of someone is standing straight up and down like this okay? They can rock onto a hip so if you're standing show me some hips I want you to go side to side now side to side doesn't mean this okay it's not little t parts a case I decided not this side decided when your shoulders stay still and your hits move okay this is the fish out I take of everybody even kids like a side decided stayed up so we're trying to instantly go into prices I see it all the time these weird little forty five that don't make sense if guinea our and I were talking to each other the first post any I would do is exactly what she's doing now now all I have to do is get it feet apart a little bit more so that she can use her hips easier now see when you feed her apart you can move your hips like this okay, so feel that what you feed a pair of move your heads now I want you to imagine you're directing someone say feed a power move your hips nice drop your shoulders if they tend or rotate in any way to say no keep your shoulder still use your hips for me okay, now we don't want to have her hands back like this because we're going to cut them off in the elbows right but we won the elbe aspects so why don't we just bring them forward like that? All right, so fish out I'm going to take every single time now I don't have them forward because put the port because that's now how white cheers and I can't see a beautiful waste so I touched the thighs so I always say to people touch the thighs and if you want to slim them down it's my thighs and slide up okay elbow tax now watch the definition of my waist if that's my waist or if this is my way which looks better okay and into the camera tipped forward ever so slightly tipped forward tech this one all right and straight away I tech forward now I see this a lot people tip towards the camera and penny shoulders back and I'm like and what world is this a comfortable talking position so I want you to look at the strength and power of body language it's right she's holding it all right, so from here I want you just attacked one elbow not yeah so if you're gonna go this way now see how she goes this way now swap now swat now swap hello. Ok, try it out. Swap this way up. Suave it's, easy, it's. Just easy movement ok, now I want you to practice is set up nice and tall bring you tend towards may if you have a very lean body type of ten goes forward but not down. If you're habia the chin guys down even further the slim down your face. And if you're really could be back, foot goes back and showed a drop down. Create lots of space here push their tin ford definition eyes up. Okay, though to the three rules and chin towards the camera tend towards the camera now we've moved a hits we've seen her arms were pushed to chin forward she's in a perfect cover bill position to the camera. She looks lean, she looks beautiful. Her face is in alignment the composition I'm going to do for you right now the first composition is what I call one, two, three, four, five I do not know how many photographers now get into this position and take thirty three photographs in exactly the same frame. Come on, we've all done it, right? All right. So what I want you today is stop, and now I want you to do some tight chain ok, this is what I call tiki we could like this I'm going to take my cover girl frame I'm going to move my composition to the left I'm going to move my composition to the right I'm going to take a step back and then I'm going to take a step forward see what I'm talking about all right, move around don't just get stuck because your creative brain is going one hundred miles an hour you've got so many things to think about and you're just banging away like a machine gun and it's like thinking they're going to do that and then you got seventy five photographs to prices and this composition with this post and the only choice you've got to make is two or three expressions okay, I'm comfortable see me terrified looking a little bit more gorgeous and then smiling so you just sold to photographs and in the time you took seventy five repetitive shots I just took the same sellable images with fifteen different poses okay, so slow it down so this is what I do with the one, two, three, four, five and when we do it on the tv will be out of show them. In fact, ahlam put it on the creative life facebook page the five different compositions ok, now I'm going to take that killer face shot that I wish everybody would take of the clients that died ten ford and down good gil okay I'm just gonna focus on her eye and right now I'm just going to focus on here I I'm a two point eight three twenty isa good deal there it is and I can even go one closer to here and now I'm going to pull back so I look at it like this my first composition is nice and tight I usually do a top of the forehead to the brief line okay the nipple line straight across fear now I'm going to pull back a little wee bit I'm going to go higher on her forehead lower on her torso this time I think of more cosmo customize probably number three good girl beautiful and it's very subtle but I'm using my composition left and right to make it open on the left and right now again you can't see the tea either but what I'm doing is I'm living space I don't shoot down the middle cause that to passport photo and it doesn't look like a fashion shot now see how when I started shooting danny out instantly tip t head towards may okay which is cute right but that's not what I want so if I see people move the head I instantly go like this that's it push chin towards me and down stay down now right now would be a great time for me to put some air in here if we all blow really hard on three no coffee breath okay, so before I even move off her mac I'm going to take five different compositions just of this prize before I stopped moving. By the time I get to the end of my first five compositions, I usually find my client is party ok? They'll pretty much do anything I want they've already started to move into their I'm feeling confident I'm feeling like a bit of a supermodel this woman knows what she's talking about she's engaging may but I talk all the time now when I teach photographers always they grabbed the camera, they go to take a photo and I'll be standing beside them and they go cotton mouth and I'm like, why aren't you talking? And they're like I'm usually I talk about better bride nervous because you are looking at the back go back there and I'm like, oh, you're nervous because I'm standing here but you have to understand that from the minute you start posing someone, your goal is just to lock them down what they're doing, how they're doing it, the more confidence I give to her, the more she's going to let me move here turn here change here, but more importantly, the more secure insights he's going to feel all right so I got to make sure I got my five chin down and then I'm moving now a little sip away see doesn't even look like enduring match, and when I put the five up, you're going to be like I get it now chin down so as I pull back, I go lower on the money and I leave more space at the top, okay, so all I'm doing is dropping back in my composition, moving from left to right now, this is a really simple movement that I do now, so after I get to hear I start moving them a little bit, even before I sit them down or lay them down, I want them to move around you, right? Ok, so let's have a look at where the light is the best do we turn him this way towards the scrim yet when you feed as well? All right, I'm going to slide that I ever and see if I can pick up some light here my in your way. Okay, this's, good light on here go the pack I'm going to bring here off his shoulder so that we can see it and this is something that I really want you to see because it's sad, too beautiful shot to may and it's a hard one for most people today, I want denny out of putting right foot forward and the reason we're doing there it's because I want here to be albert a lean forward at the hips like that now I don't want him to cave in I want him to lean forward from the hip so if she doesn't have a foot forward then she's going to be like this and it's not going to work very well all the way it's going to be on her neck so if I get to put a foot forward like that then she's going to lean forward now instantly what most people do is put this hand forward and then her elbow is going straight down but I want hand on the side elbow band and then showed a ford so I want the shape of her shoulder to be engaged and before I take this shot well let me take it because then she doesn't have to stay in this position look over your shoulder at may that's a girl stay there lips together you just relax your mouth now let them come open that perfect little lips together again little wee baby smile you got it and I start tuning them away and I love the shot now there's something I want to show you his shoulders you've got that set up nice and tall you've got the chin forward you've got your feet in hips, moving your hips to shape your body the one thing we're really not doing or directing is photographers enough is l shoulder movements I want you to feel that figure eight with your shoulders this one I can't get used to moving your body you move bodies for a living okay? You actually direct people to move their body to look really flattering and beautiful you get paid to do this and you don't want to see you lynn more movement so make sure you know what the shoulder is because you know what a shoulder is a shoulder is connection and its body language because if you call my name and I looked to the front and I look at you like this or if you call my name and I look at you like this what's the difference to use our body shapes to slim down the body you just dropped that shoulder forward an end okay, just drop it in and a forty five degree angle they lift up nice and tall pushed the tin for drop that shoulder in the case use your shoulders you should shoulders when you move your body you showed us when you pose your shoulders and your heads so I've got this theory about people who dunn's ok, ok, I've got this theory about guys that dance and I tell you what it is I call it two, four, six eight and it also a place to help people move when they posing so we need guys dance. I call it the number to dan's that's the bus driver. This is the guy here and and the only two things they're really moving and that's his fate a case I decide we will go toe male friend of dancers and a number. I've got a few female friends it down so that number two then every now and then you get a guy. Who's had a number four so four things are moving usually two hands and two feet. So he's kind of got this going on he's a little bit of a progression on the two stepper, but, you know, sometimes they work at the same time so that never really works for anybody but he's still moving for things every now and then you get a guy that's got the shoulders, their hands in the fate I call him a six he's got something going on here. He's got a speech moving it's got his hands going. This guy can move this guy. I'm like wow, he's got two moves and then you get that number right? Get that number eight where he's got his feet going he's got his hips going he's got his hands going he's gotta shoulders going he's got it all going on right here. Ana I think to myself first thing is not much different way move little bits and we look all quit and we move people in and all could way with the truth is you were given two feet to hit two shoulders to hands move them and lead to move them men what looks good men to move in if it looks blocked up push it back okay just push it back try not to shoot down on people just get them to tilt towards you and just use the position use the body so I'm going to just free flow for the next five minutes I'm not going to think too much about you're watching I'm just going to move here oh, thank god they tend it watered down I was getting hard staying up there all those kids are having so much fun all right? I'm just gonna freestyle I don't have anything for him to sit on or lie on and as you know, the more objects that have to pose on the bike and do so I'm just going to move around and see what comes up and see what movement has any specific questions about shoulders, arms, hips or movement that you want to ask me I have got a mic away on microwave I've been on a bus for a long time and I've got a microwave kid's got a micro fine is there any questions here can you talk a little bit about the difference between posing a man and a woman? Because I feel like all that we are talking about is very feminine and sometimes I have a hard time with okay, so the opposing the boys is actually really, really awesome thing today for status they don't have to have lots of light on them in fact the heart of the light the more hands and they look that's so not fear by the way oh the older you get and you wear glasses and then you get great here and you're so hard and you know but we were like a and then the guys we have to have lots of light and the guys get the hard line and they look more masculine it's like here because that fear but it isthe and they look wonderful without the reflector and they look strong in you know this I mean they have more symmetrical posing than women we had differently more asymmetrical and opposing we like to kick out hips and move our shoulders, move their shoulders forward and engage our chin but the boys can be definitely more anchored more symmetrical stronger feet apart they can also be ford with the hips they can roll their shoulders forward it's almost the direct opposite for the boys the only real unfold that they can do is there is there men you know thing because any anything else just looks a little feminine I would never really put hands on their heads, but you know they can go thumbs into the pocket stunts into the genes but boys look really good with their shoulders road forward, nice and strong, you know? And they can just just make sure that they have the chin push forward because you want it. You don't want it down though, because boys don't want to be connected to the shoulder, okay? The borders khun b here and they can be up where is the girls can and says everything that the female posing is not the male posing is and just remember if you're posing a man and a woman and um let's say danny elsa girl and I'm the boy don't hit them sorry stood on you don't meet the boys put their hands in here and the girls on the outside get the boys to put the arms around let them be the masculine protector arms around girls go on the inside and then the girl can workers shoulder inside his arms and he can embrace here strong arms on the outside also, when the boys embrace the girls usually thereby see it gets bigger on here it's like squeeze it in and they're all like you that's my arms just be very aware I say in all of my posing classes don't do there I just popped my button like yeah, I stitched it or you don't be like moving a whole lot more about me than you wanted tio um that don't do the boob in each hand you know it's the body language is to cover up to embrace yeah that's important another question is coming through with the mike away okay, I was you said that when you're in her space and you're shooting her that you're you're constantly talking to her to keep her engaged. What kind of things are you saying? Okay, I got it made me just do it not that you began to hear me. I'll try and talk about this you can hear me. Okay? I'm just gonna fix okay? Danielle I'm just going to fix you here. Yes, I can I have that sign here we go. All right. What I'm going to do now is I want you to put your feet apart but one I'm back but with that hip out that there okay push your chin towards make good girl chin down just a little we touched any all perfect don't move all they want you to do is look straight down the barrel at a nice big smile with your eyes good deal okay no with your eyes just reelection mouth election math okay, now little we smile in those eyes good girl that third perfect I tend to be more directional don't know I tend to be more like good girl don't move you're doing good smile with your eyes relax your mouth nice and tool I recent the pose a lot I'll say over and over again chin down danielle nice and told him down stay with me reelection mouth like I repeat myself and it doesn't matter because what happens is it's a very significant difference and how she's feeling engaged often people are looking at me in the camera and they're listening to me and I can see them listening to may but if I take stop talking for a minute now wonder off they kind of become self conscious they think about being in front of the camera that's not cool you want people to actually you know listen ok what I'm going to do now is to in this way the team this fan going to go over their shoulder hold your elbows and you lose that's it perfect now just look at your chin this way that's a girl and just bring that shoulder forward nice I love that ice down beautiful big big smile looking down gotcha okay eyes up to me now core election out election mouth good girl stabia perfect lips to given our election out chin up just a touch you got it the perfect I want to just keep saying you know how important it is to not do the gorgeous darling you know I feel like if I'm giving her so much recon the positive information is well done you're doing a good job most people want to feel safe and I really have to just finish with a typical super race speech but it's so it's so much a part of what I do um the speech really is that I believe everybody wants to be seen in hood is there is a public figure one of the hardest things you have to even do is coming to a large group of people I would love to sit in talk to every one of you and I get a very short amount of time to meet people but I have seen people go to come towards may and get cut off by other people I've seen people wait and not get to talk to may and I've seen how they feel like I've seen it I look at them and the hardest thing is that I don't get to come and connect with everybody you know human nature is to be seen and heard and accepted and the idea that we can do that in front of a camera now a camera brings up so much that you don't like about yourself I've put on weight I'm old, I don't like my nose in fact usually what you don't like comes up before what you do like does and I realize that what people do is they come to me in quite an elevated, stately, quite nervous, they're quite worried they're telling you everything they don't like. I've watched that drop people to the knees with just anxiety of I'm not good enough, and yet I know when they feel good, and I know when they look good, they feel good, and I also know that, you know, when you look your best, so it's kind of a self fulfilling prophecy to me that you would come to may and then tell me everything you hate and then feel bad about it. And then I'm going to take a photo of you looking bad because you're terrified, you're anxious, you've just told me everything you I don't like about yourself, and I spend more time as a portrait photographer battling through that, then I do enjoying the good stuff, so my job is to make you feel safe. My job is to give you a space where I can hold your in a day and let you know that it's perfectly safe for you to stand in front of may in my studio and be beautiful, and you're allowed to do that, and I have to say, I've never seen an ugly bride in my life, I want I did one hundred one with things I never seen, and I'd be bride and I think to myself, why when it you've seen I'd be bride because it's more than just the dress they were wearing in the here and make up is something happens it's, like they get the theory, does the magic fairy dust and they walk in that church and you turn around and I have been to winning is a photographer at the peak and shoot up, so I didn't get to meet them. I have pain in the studio three weeks later, and the bride has walked in after her winning to seeing photographs, and I'm like, can I help you and she's like, oh, yeah, I'm here to say my wedding, and I'm like that was you? What happens? Not I just like I thought that now, you know, and it occurred to me that on that day, and if you've been married and you've walked that walk and you've had that day on that day, you're allowed to be the most beautiful woman in the room you're allowed to be the most beautiful woman in the room you are allowed to be nobody's going to look at you and go, oh, look, a little missing, a white lace streets wanting all the attention you are the most beautiful woman in the room and guess what nobody else is wearing white because that would be rude and you're in the best race with the base here and make up you're in love you're accepted and you're about to be married and you are unapologetically beautiful and if I could say why I'm women allowed to be unapologetically beautiful why why are they allowed that because we don't who do you think you are being so gorgeous and glowing and shiny and beautiful over there and laughing louder than everybody else and loving yourself you and yet in my space you are allowed to be the most beautiful woman in the room in fact I take my shoes off I put my hair in a bun I get a bit sweetie I don't care how they look when I am photographing you because how you look is the most important thing to me so as a portrait photographer it's not just about capturing something because you are capturing something that's a lifetime it's about giving someone the space to be the most beautiful woman in the room and being okay with it that's what I want to do to everybody that I meet and see so if you work on that everybody wants to be seen if one wants to be discovered everyone wants to be captured and in order to make money and sell you were doing this you just have to remember the value of what you're giving these people and I just read recently you should make a big promise and I thought, oh, do I make a big promise? Like in my business for twenty six years do I make a big promise? And I realized on my about paige I do make a big promise I say I want to take the police photograph you've even seen of yourself and when I say it I believe it I believe it you believe me, right? Because I believe in every cell in my body release it is that not leavis service warranted pitchy they've ahead because it's not about may they picked me to be your photographer. I want to take the best photograph you have ever seen of yourself because that photograph will be the most valuable thing you're going to iron your family's gonna and I mean I know you preach I said all the time but I feel like that is the most important part. So as a creative get out in your own way for like two minutes or as I like to eloquently say pull your head out of your butt take a photograph of this person in front of you this person who's paying your rent, see them listen to them with with them and take the best photograph they've ever seen of themselves that person will come back to you over and over and over and over again and send you all the friends what a gift yeah you are a gift. You are a gift. And what is so awesome is every time that you speak it's like we can do this right it's like you could do this. Yes, I see heads nodding eso thank you again for being here for being on the bus. Everybody, we so appreciate you all coming out here to portland to meet us in person, everyone tuning in at home, everyone, we are going to have more content coming up later, so stay tuned. Remember to go on I r s v p for photo week two thousand fifteen if you have not already on created wives lives website, we have so much excitement for next week you can download a guide. You could see everything that is playing to plan out your week, and we have over thirty classes. We have twenty five instructors, some of our favorite soup rice as well as some new folks, too. So once again, thank you and stay tuned. We'll see in a little bit thanks, everyone.

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
1:00-2:00

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!

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