Photo Week 2015 West Coast Tour

Lesson 7 of 20

Photo Week Bus Tour - Clip 6


Photo Week 2015 West Coast Tour

Lesson 7 of 20

Photo Week Bus Tour - Clip 6


Lesson Info

Photo Week Bus Tour - Clip 6

So we took a little stop on our way on our way over here you guys didn't get to see it but way stuff to this park and it was like there's a harsh light challenge basically like what do you do um you know we're going to be we're going to find different situations thing so one of things that I found was there was ah ah yellow greenish tree uh falls coming up way have lots of treats colors one thing that always kind of help people look for you so you get out there you're you guys air yes or close to tahoe so that's great you know, go to tahoe but there's not every situation you walk into is not going to be lake tahoe and all the beautiful things around that so one of the things that I look for was um I try to show you guys the picture it's gonna tio this is the fuji sixty one we'll talk we'll talk here in a second because I'll tell you the story behind this but let's just get so here I'll show you guys the shot so the idea was that you have those yellow ish colors you have the yellowish c...

olors on you have the blue sky contrast is great any time you can contrast those colors especially warm and blue anything yellow and anything cold is gonna look awesome so with the fall weather coming up that's it's just it's almost like a picture perfect it's a formula you know look up if that's yellow and there's a blue sky behind it you have a photo that was one thing uh the next thing that I looked that is see uh, just trying to get there we go now I got all that, uh I got all the text off there. The next thing is backlit. All right, so if you're out in a time of day like we are here, we're not going to get great stuff. So what do you look for when that's gonna happen? You know, and even even out of a beautiful time of day, even at the sunset sunrise these are things to look up, but but backlight. So if you come back late something, um to me that's going to be that's going to be a nice shot, one of the things that you look for when you're going to backlight something is put something dark behind it. All right? So I've been in beautiful places and you have all these layers of trees and if you can get a dark tree or whatever it happens to be a dark mountain or anything behind it that to me is a nice indicator that you have a photo that you can work with and especially as the light gets better this is at twelve noon lights not great, but as that like it's better it starts to get softer, it starts to get warmer and and that's something that will look for a lot so like as you look around here, it's you guys all here like it's all about the light right to me that's the most annoying statement in the world because I wasn't born knowing about light and light doesn't come easy to me like I don't look like some people it is all about the light people that can draw, they look at something and they see light and they see shadows and they see depth and they see those things I don't see that it just it doesn't come natural to me. So as I look around here it's like, you know that see the cesar chavez signs see the tree right behind those signs there you see all the light that's hitting that you see the dark tree behind it again, not the best subject in the world, but that's something you can look for when you're in a nicer place and you've exhausted the possibilities of like I said, we're lake tahoe is closely when you've exhausted that shot when you've taken that shot one hundred times already start looking around for things like that sunrise sunset the like it's lower the shadows get nicer, but you can see all that light on that tree and you could see the dark tree behind it that's what lets a c that light on that tree if you take you know if you guys can can all see but if you looked up there and you have all that bright light and you have the sky behind it that's probably not going to show up a swell in the photo right because it's um that's not going to show up as well as photo because you have all this bright light and you have great stuff behind it and that tends tio attends to kind of wash it out a little bit same thing with portrait you know yeah I mean you know sue and jasmine were talking about it before but you see rim light and steal the outline light around people if you put them up against that bright building you're not going to see it but if you put them up against something dark you'll start to see all that light in contour come out so that's another thing I look at um from there one of the things in a situation like this is going to try to find the son and I'll show you the shot and then we'll kind of play with it over here but I'm gonna try to find the son uh I have bad news I just charged it kidding me who's got a camera because we might need it just tell me you went to sleep mode and up. Oh, ok, I might have gone into sleep mode, but so here is another thing that I looked at when we're in our last park and you find the trees and then you find the son and shoot into it, all right to shoot, to try to get some, like this toe look good on anything else is going to be tough, but if you could use the sun, shoot into it f twenty two, get that little son star and put it on the edge of some and that's the case if you shoot right into its going to overpower the photo, but if you can move it and move yourself to where it's on the edge of something, now you're starting to make to make something happen. So if I'll show you here, it's going tio so you guys look like when you when you can't look at the sun, that means it's too bright, but like because you start moving around like you could start to see it pop out. So again, idea for that, and then a lot of people say, well, yeah, yeah, ah, a lot of people say, well, you know, your highlights or clipping and all that it's the sun it's going to be white it's supposed to be white don't try to take that away let the sun be white and in fact that was you know, I'm a little under exposed I'm going to try it again because we can get some detail almost there can't get it wait, so hold little detail out of the shadows take that into light room crank the shadow slider up a little bit, you know? We can see it like I'm sitting here looking at and I conceal the tree, but obviously the camera doesn't see it that way. So open up your shadow slider a little bit when you when you're doing something like that but that's another little tip that I get we did that the harsh light challenge and those are my three tips for when you're in harsh light so open it up to you guys, any questions? What about using the sun to, like actually shot through the flower of light of bank said yeah that's new that's that's, that's askyou perfect because it's a big crowd over there but there's some flowers, but yeah, you could do that like get close to the flowers and then get underneath that that's that's the things you want to get out, don't shoot down on the flowers, get underneath the flowers look at the sun and let let that light it up and those are nice photos I mean, you know, this is all about I think it's great it's great when we could get out to a nice locations we get that's a nice location. The photos happened it's all about location. That's that's. Awesome. I think it's trying to make something when that that situation is not there. When the fire truck passes, I'll tell you a quick story kind of just died way yeah. Hey, he knew so I'm going to say a quick photo here. Um, so I was in, um in your seventy were they here? So I was in yosemite a few months ago ends we're at one of the waterfalls and there's this waterfall that like at the right time of day there's a rainbow, right time of day, right time a year where the sun's going in a certain direction. There's ah, rainbow that appears so we went to try to take a shot of it and that rainbow never happened. Just, you know, the sun wasn't out enough for whatever, but what was interesting is is I'll show you guys the photo um in yosemite, right? One of the most photographed and beautiful places around and of all the photos I took when I posted them online the photo about to show you guys is the one that got the most comments the most likes the most everything and honestly it could have been take there is a little bit of a waterfall behind it so we're setting up but it could have been taken in so many different places there's not a mountain in there there's not this this great light this this is three hours after sunrise but that's the shot so show the camera here but that's thinking shot it doesn't have half dome it doesn't have el cap it doesn't have any of that stuff um and that was the photo that got, like the most traction on anything but yeah, I mean, it doesn't necessarily say yosemite but if you know if you look at the elements of it it's not a great time of day you know, um but it's got a lot of what we just talked about like that's what drew me to it is I told you guys, you know, I don't see light like some people see light like some people just automatically like listening to sue and jasmine before and you know, suze got her her scream out and and they're like, you know, look at the light here and look, I just have to think about it to see it that way it just doesn't come that way to me but when I'm in a location like that, I'll stop in a look and like, I'm looking around for what catches my eye and I was looking at the tree and then, like I started to pull back a little bit from I'm like, all right, I kind of get what people say, you know, it's all about the light and then there's dark rocks behind and things have started to fall into place, my first shot before that was much wider was including the whole waterfall in all that and it was was in shadows and again it was three hours aft sunrise, so the light wasn't awesome on it, but but I mean, to me, that's things like that can can help because we're not we're not always going to be in that great location, but sometimes I think we're in a location that we still want to get a nice picture from. We want to try to make the nice the nicest picture that we can from it, so, um, you wouldn't go ahead. Sure. So the question because the camera can't hear you, so the question is is filters you buy all these expensive lenses and then you go buy one hundred dollars filter fifty dollars filter and put it on the front of that expensive, lends weight, attracted her jasmine was here and then came out um, so it's a good question, because because filters are important part, so when you think about it a lens you're you're not necessarily just paying for the piece of glass is on the front of lenders there's a lot more into it that goes, what I would say is you don't want the cheapest filter out there, so, uh being w b plus w that's a good filter brand tiffin makes good filters splurge a little bit on the filter don't get the cheapest filter that you can get, so it's it's well made glass what you're really looking for is filters that are well made that kind of help, you know, sun flare and different things like that a lot of times and the make of the filter is important, but a lot of times what causes some of the problems is it's, not necessarily the make of the filter it's that you've got this light coming in it's hitting the filter, and then things were happening to it between the filter in the next piece of glass, which is your lens and that's that's where it goes wrong, so a lot of these filters have codings and everything on him that help reduce that, so look for ah decent quality, phil turley said the ones I used I bought a bmw polarizer um eight or nine years ago I cost me one hundred sixty bucks and it hurt to spend that much on this piece of glass filter that was going I still have it today you know it doesn't go bad technology doesn't improve it that months it's still a beast glasses of well made filter and you'll have it forever so I use the polarizer I used to be in w polarize er's and then and then my nd filters I use thes stiffens screw on pass it around but nd stands for neutral density um so neutral then basically it's just a dark piece of glass and what it does is it will slow down your shutter speed so few word imagine um if you would imagine there was a water fall out there and we want to take a picture of it and brighter sunlight if I let the camera do its work it's gonna overexpose for in order to not overexpose what your camera going to do short stop the shutter speed on what's gonna happen is you're gonna get frozen water so what we want to do is is we don't necessarily see water as frozen when we see it's always moving and so we want to try to capture that so this reduces the amount of light that hits the sensor and gives you longer shutter speed so I carry around a ah you could see I have a kit just of all the different neutral densities um way makes two stops rotating it rather than six so good question. So there's there's tiffin and a lot of other companies make what they call variable neutral density filters and it's kind of like a polarizer no syrup pull a circular polarizer turns and it affects differently uh it's basically to polarize er's stuck together and as you turn it, you get different so rather than carrying around a pouch like I have you get two three four that gets darker as you turn it they're great they save a lot of space from carrying a kid like that. Um got to be careful for two things with one is typically because it's two pieces of glass it's a little bit thicker and when you're shooting a wide angle lens like a sixteen of thirty five or you start to get a little bit of a vignette around there um so if you're going to get one you have to get the low profile one which is more expensive uh the other thing is is you have you can get into trouble with they have they have a range but the filter will turn anyway you want so if you're sitting there shooting and you've got this and you know we all know like you know, when sunset and sunrise happen it happens fast and especially if it's cold out and there's the video you're not some hundred just shooting and you're not paying attention to all the little things that are happening so what happens is is as you turn this filter if you turn it too far past you start to get this imagine two polarizer stuck together you start to get this pattern in the middle and you won't see it on the backer lcd right away and you won't really see it so you get the photo big and you're like yeah panels are another thing you've got to be careful with him yeah you won't see that I mean if you're really looking for you can see it on your lcd but a lot of times you got to be careful and it's just a little x and it means you've turned it past where it's supposed to go so you just got to be careful with it but it's yeah so either way they're good I mean I have I I do have one I just I kind of like the the single schools better oh the the the the yeah the lens the lens shade yes definitely so yeah remember out shooting anything like that and I'll definitely have that um and then also if you ever do in the longer exposures you have to cover up your your viewfinder I'm not as much with the mere lis but in the non marylise cameras you gotta cover up your viewfinder you'll get light leak and if you don't know what like leak is it's the most annoying thing in the world because you don't know what it's like it's affecting your pictures it doesn't always happen and until I had somebody tell me oh yeah that's likely close the thing I'm like I couldn't figure out what was going on like I had this pizza this light strip you know, just go across like the bottom third of my photo and because the longer exposures and lights leaking inside of there and so now if it happens to you guys you'll know what it is but that's another being one this one doesn't have ah I'm borrowing this so it doesn't have a lynn shed but uh anybody get anybody marylise yet? No merely so it's it's great great a great camera I'm a I'm in the process of of moving the sony so the a seven r two has been on back order a soon as I can get one on there so I shoot mostly with a nikon d eight ten and uh and they make a lot of what goes into the sony chips and all that I should say sony makes what goes into the nikon and so that night I mean eight hundred eight ten is our great cameras I'm tryingto cut down in size a little bit and I just I like what sony is doing I mean, there we're doing some pretty, uh, some pretty amazing things the live and food he has a two but the lcd is is pretty cool it's a different mindset, but, you know, for the longest time, am I alone in that you look through you look through your view finder in you're like, wow, this looks great! And then you take the photo and you're like, it doesn't look like that so it's not that the why not that the real time lcds make the photo better, but at least it shows me what I'm going to get where when I looked through me or my d a ten it's like that's not what I mean, it's not the picture I'm going to take, you know it's not how it's gonna look so it's ah, but great camera! Yeah, fire yesterday we're doing pictures and send feeding down got all this black I mean it's like almost like a moonscape now, so I get home and I'm you know, clicking away because first of all, I'm sucked into it because of what it is. What was it? We're reshooting fire taking pictures of the after the fire. And this is basically the ground looking like a moonscape now okay all those trees were gone beautiful kind ponderous everything when I get home I throw the cards in the camera and I'm excited that these were going to be killer shot and I look at them and I'm like this is like taking a picture of the ocean and over and over and the sun was down way can I do to make things better this's changing setting how tonight all right so so I think the question is is you know it was after a fire what was what was burns was in a forest or was it a building au force ok, so is after a forest fire everything was burned um yeah, but there's still smoke coming up and everything and so you get back and look at the pictures and you're like all right I kind of know how to answer this I kind of know it s so it happens I think it's happened to all of us have you ever so we've taken a picture of something that we're there we're in the moment it's cool and then we get back and we're like was I doing all right so I'm going there's ah gentleman um the website is www dot pro lost dot com p r o l o s t dot com all right when you get back home you can write this down somehow remember do a search on google for that website and the title fact moment light fact moment light gentleman's name is stew I met stew back in march at aa an event that we were at and we were talking about we're talking about photos we're talking about like looking at photos we have a lot of people that show us their photos and sometimes we don't know what to say and he said he told me he wrote this block post called fact moment light the idea is is he kind of breaks it out went toe to toe three things the photos made up of facts which is what you're shooting part composition moment so the way he said it is is you know he found a statue kind of a cool statue cool looking statue he takes a picture you know then somebody was walking through and the statue was of a lion and the lines eyes were like looking up somebody was walking through and as they were walking through he was taking pictures and they're walking through and they went they kind of looked up like this and so here's this picture line here's his pictures this dude walking through and he's looking up and he's like now I got a moment and he said and then light he said it's in harsh light but now take that picture closer to sunset closer to sunrise a little bit of room light maybe a light rayshawn whatever it happens to be now you got like you have all these elements and so so his whole point was sometimes we're out there and we're documenting history and that's okay, not every shot has to be something you're gonna hang on their wall sometimes you can be out there to document you know he was telling there's ah barge that was bringing through the tallest crane in the world under this bridge and there's only sixteen inches clearance or whatever it was he took a picture of it and he was wondering like why why don't I like this picture? And then so then he kind of said he's like I'm documenting history not necessarily making our I'm taking a picture to say I was here I saw something that was interesting let me take a picture of it I said it's important to kind of feel the difference between those two like are you documenting history? Are you out there trying to really capture something you know? So and in your situation you know where you're documenting history that you you saw something cool? Um now what you saw could have been better if there was, uh, person there that had lost something in the fire and they're sitting down and they're like this now you have moment, you know, you have an interesting fact and now you have the moment um throw in a better light and now you know you said you're out there s and harsh sunlight, so throwing better light and now now you're startinto to make more of it, you know? So I don't know if that yeah, no, that help that I needed to change my mind when I'm out there taking pictures and I needed to change it into that I was documenting an event and I went out there, you know, I found a shopping I photographed so there was no babies out there, yeah and the rest of time instruction fires or something like that, so this is the first time to be up there with just this total moon escape and I've never been seen anything any devastation like this in my life, so it was very, very surreal and then you're trying to capture that moment that you lived through the camera and struggling with it, and I'm like, why all these pictures are ugly and they don't look like anything, you know? They're not cute like a baby in there. Yeah, yeah, so some like location, location and timing, you know, so important and things and sometimes it's we've all had it it's like you, you can't bring that feeling back you were there, you know what happened, you know, the history and for journalistic purposes you can write a caption under the photo and that photo can impact somebody because now you can tell them the story but to just take that photo and put it on your portfolio website and if someone doesn't have a caption under it and someone can't read the story it's tough because it was there to document something it was meant for journalistic purposes it should have a story to go with it. Where were the picture of the mom and the baby doesn't need journalism? It doesn't need a story to go is like put a baby in it and it's oh suggestion with the scent of a wide shot get a close up shot of charred charcoal yeah, yeah which on dso you may hit so the general's point was get a get a closer up shot more detailed photos of something charge something that might still be on smoke or whatever and that's awesome from an artist six standpoint now that's the that's, the creativity coming out to the moment your job was journalistic and to take that photo and put it into a newspaper won't tell the story it would it would be better for your portfolio website from a creative artistic sandpoint, but from a journalistic standpoint would be tough to tell a story with that because people would know what they were looking at, you know I mean does that does so there's it's just which had are you wearing you know are you wearing your journalistic cattle? You were in your artist artery you trying to wear both I mean it's it's it's a combination of all of its own making that crossover from photojournalist to fine art found it hard when I turn on the switch oh, I need to get closer because I'm white shot sometimes just think where you could have like little pills that photo merging together yeah see more of this story that way to do a panoramic and see the whole thing yeah, and you know, tow walk around if somebody were to take me right now and set me around this park that none of us would really come shoot at twelve noon um if somebody were to set me loose in this park right now I would put my long lens on and we talked about those trees with light and then the dark behind and I'm going to zoom in and I'm gonna pick apart little scenes because the second I go wide here a second ago why here I bring so much junk into the scene I bring bright sky dark stuff it's going toe draw your eye away from things you don't want, you've got fences, you've got garbage cans, you've got all these things um so I'm gonna put my I'm gonna put my zoom lens on if it's an exercise and you know to walk around and start picking apart those things, I do it in landscapes, I'll shoot sunrise, I'll get, you know, go to lake tahoe will get the big scenes, you know, take the big pictures of the lake in the mountains and everything after the sun comes up and after the really good light has has left the hills and everything, I'll put my long lens on and start to pick apart some of those little scenes, and it might not be a portfolio photo, but it helps tell the story. If you wanted to make a photo book of your trip to lake out of your trip, wherever you happen to go. If you wanted to make a photo book of it to me, that photo of the tree that I showed you from yosemite but to me, those photos make up the trip. Not every photo has to be the grand landscape perfect portfolio shop. It takes all those photos to tell the story of the trip that you've been in, and I've really made a conscious effort over the years, so I used to be a snob you click, click, click. Fifteen minutes after the good light's gone pack up my tripod and I'm gone and I enjoy it more now enjoy just walking around and trying to it's almost a challenge to try to find those little shots time traveling take a snapshot recording kind of yeah remember it but you're not one is not as careful doing you know now I'm trying to make a good photo sometimes you could get sloppy on making good photo or spend too much time trying to take snaps are much more lucky yeah lucky is that you know, trying to balance um so I think the question is is you're traveling um you know, we go somewhere where their family on a trip or whatever and the whole trip can be about me taking out my my big camera and my tripod and doing perfect shoots through the whole trip yeah, exactly exactly my wife well, you know what my wife is ok, as long as she has her ipad to read books on whether it's oh so she'll sit there in the car and she'll read the whole time and I'll be out shooting and it's fine um and I feel worse than she does, you know be like are you okay? What she's like I don't care I got my book ok anyway, um I think part of tackling that situation is number one knowing what you're knowing when you pull up to that situation what are you looking for? You know is a two o'clock in the afternoon and you know you know had you been there at sunrise or sunset it'd be better photo at two o'clock in the afternoon you don't need your tripod you know it's good you're shutter speeds going to be a thousandth of a second you can hand hold that so you don't need your tripod don't overdo it don't overthink it and so then then I'll look at me like what I want to get from here it's it's a photo to remember the scene by I'll probably take my phone out and take the photo um if it's something that you you can take, I've taken nice pictures at two o'clock in the afternoon given the right circumstances um if it's something that you think like, I'm not to something and you might wantto bring out the bigger cameron spend a little bit of time working the composition to um and then the other thing I would say is my phone. The other thing I would say is don't we're just talking about this on the bus on one of the discussions we had but don't discount we think of it as snapshots don't discount this as a good tool to capture a nice photo so one of those days that was in yosemite we I'd gone to a sunrise location twice shot it with the dslr on day one. God god is good photos is I'm going to get of it you know, light was good, everything was good um went back with some friends that wanted to go back and I'm standing there I'm like this is stupid like I've already done this I've gotten the photos you know, that's el cap done all this stuff um so I took this out and I made a conscious effort to not think of it as a snapshot camera but actually think of it as a camera get down on the ground compose do different things that that you would do with your camera don't just walk out yeah yeah you would never hold your camera here to get a steady shot you know what I mean? Like these shots can be blurry to they can also be sharp so don't do this, you know actually come in hold you put my camera on something the panel feature so l calf was in the background, you had the water of front, I'm doing this and I can't get it in. So did the panel feature and I just did that instead of going across with the pan oh, I went straight up and down not a great picture and then I'm thinking, well, how good could these pictures be and so I take him into a light room, assuming I mean, they're sharp, they're really sharp, and I could still print him out sixteen by twenty you know, if I wanted tio I worked for on one, they've got great re sizing software could size it up to twenty by thirty. The re sizing software, even photoshopped, doesn't even bat an eye at at twenty thirty percent you know anything, we'll resize well, twenty thirty, forty percent it's you're really that software like shines when it's three, four hundred percent so imagine if I can get a good sixteen by twenty photo out of this and what I could resize it too, and again, the software doesn't even bat an eye and double that's nothing to it. So I said, you know, I start to think of it that way to, like, think of it as your camera, not your snapshot tool, and maybe when you're on those trips with your husbands, your wives or whatever, you could still grab some nice photos that you're not necessarily looking your tripod and they roll their eyes. I show you something that I picked up, I'll just say something that they picked up two so it's a company and maize it's called cinema, so take this off of it because you don't need it um it's basically your your phone locks into here and you can put it on a little tripod and it's it's a wayto really lock your phone into it um but to me one of the problems that always had is this doesn't go quite as white as I want it comes with this lens and you screw the lens on and now goes it's it's like kind of like a sixteen thinking about what it goes to uh it was like ninety bucks and it comes with filters it's got a nd filter on because here's what I'll say ah sin amount um here's what I'll say white room your dear solares, their technology's gotten great there's a lot of range I don't carry a graduated filter anymore did to darken the sky but your your phones they don't have quite that range so this thing comes with a grad filter and it tones down the sky because I can't do it on my feel once once it's blown out on your phone it's pretty much blown out its blown out on your cannon or your night cons you can pull it back inside of light from a photo shop, but it's got a little gmd filter that goes right over it and I hear pass it around but I mean for you know it's not cheap, it is ninety bucks but made really well and it's it's kind of got a good grip for video too, because these things take awesome video and I'll give you my one last tip is, um what I do now is I mount that to my tripod, I have a little tripod, and so when I go on a shoot, I'm out that too much my little tripod, I'll take my dear salar in my big tripod and I'll go shooting and I'll set my phone too, to show you I'll set my phone tio time lapse mode so here's a good example well, pass it, we're going to play it to the camera if you guys could like maybe get below so that they can see it, but I sent my phone a time lapse mood it's doing a time lapse while I'm out shooting you say, ok, I'll pass around after if you guys can't see it yeah, I got lucky on that, so but you're here with six plus, but you think about so we set up our dear solares own number one if you want to do this with your dslr, you tie it up right or you have to have two, which I don't want to so and think about like, why shoot a time lapse on this monster dslr that it's going to end up here anyway? Right. Were you ever gonna look at it a computer screen or on your phone? So why shoot a thirty six megapixel timelapse it's going to get shrunk down to this size anyway, just like this, do it and it's. So it's, a lot of fun, like I do this every every shoot I go on now, I set this up, let it to time lapse, and I just take my camera and I go out shooting. So every once in a while, you'll see me walk in front of it and everything but it's, just kind of a fun it's, a fun thing to do. So that's all I got guys, I think I think our time is just about up two, but thank you, thank you.

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.