Photographing America's National Parks

Lesson 29 of 37

Hoh Rainforest Post Processing

 

Photographing America's National Parks

Lesson 29 of 37

Hoh Rainforest Post Processing

 

Lesson Info

Hoh Rainforest Post Processing

Now the end result of course is the biggest question of the whole thing and I know we've got a lot of questions so but I'm gonna do is I wanna actually get through the editing process and I know we kind of I ran through the mount rainier one so we'll take a little bit more time and actually walk you through it especially because they capture on the panoramic ce is really just the beginning the ability to bring them together and photo shop is really important and the way the light and the different compositions were managed we're gonna focus on the editing I'm going to show you the end result here real quick these are actually some of the it's a really, really, really, really warm on that television at the moment but you know basically this is the idea and is somebody in the audience point out it's basically the ultimate outhouse photograph however I did inspect it pryor and it was a storage shed at least at this point I didn't see anything indicative of the fact that that was the case ...

but the rain forces really cool they got old phone booths as well that air out on along the road that have moss growing on the roof in the visitor center so this is really just a skill that you can apply to just about any structure out there it's a it's a really cool little area so the photos really came together pretty, pretty, pretty neat, and I love the the eye line and the and how complicated is and ultimately being in the being in a very a contrast, the situation, the results were not all that bad. Ultimately, as faras panoramic go, this is the shot that I end up getting that I liked the most out of it, and you could tell just teo, just right on how it manages teo fit itself on the television versus another frame you're getting, you know, full screen at sixteen, nine dimension and that's, actually, the vertical stitch, not the horizontal, when I'm gonna show you exactly what happened on both of those so let's, go and visit through those images. And by the way, if you're wondering what the czar will tell you about that at the end of the segment, these air some images from the rest of olympic national park that we did out on ruby beach, putting some bald eagle work, so we'll show you that in a bit. But first, let me go through and show you what we got. So before the crew set up and we started recording, the first thing I did was try to figure out where we wanted to be on dh, so I wandered out into the woods, and these are just ah couple frames that you'll see here that were, you know, not warmed up I didn't do anything with my color balance you can see the difference between when I warmed up the color balance tio prior to doing that and adjusting it now again you can do this after the fact but I wanted to have a reference and get some sort of idea what the image would look like at the end of the postproduction process so creatively give me a little bit of reference in the field the more reference you have, the better you can start to work things in your mind or worry about worry about it later now again I like the idea of warm you might prefer to be more cool the truth is when I warmed it up I warmed it up as you saw in the video I warmed it up using the actual environment is my reference so the back of my monitor matched what was going on and so thes aren't artificially warm and that the cooler image the bluer image being more accurate rather this was actually the most accurate for that scene it was, you know, three, four o'clock in the afternoon now these air not good photographs these are in my opinion there just meet point my camera trying different things out, working my way up to it trying lower angles I mean I you need to adjust my shutter speed. I was just getting a feel for it, taking literally a walk in the woods and enjoying the process of doing so. And so after we finally figured out where to go, you can actually see my my thought process here. I mean, that's. The cool thing about looking at your shoes and analyzing it. You, if we actually go through, you could see where I walked and I'm literally just moving through the frames. And then I see this tree on and I see the tree, and then I go over and look in the shade, but then come back to the same tree and you can see there's a structure in the background. I want to shoot that direction, then assured to mess around, start playing with this, and you could see that immediately my eye shorts to work into that area. So this is really a great way of showing the thought process. Then we went back, and ultimately I went and did that set up. And this was the image that eventually settled on, obviously using a tripod, maxing out the depth of field at f twenty two. I really in this situation feel in the in the force that in each day our situation is really beneficial, andi, I actually wanted to point out there was one comment that that was in the chat room that I thought was also really, really relevant and knowledgeable on dh that has to do with the photo shop emerged to thirty two bit feature on dso essentially, when we're referring to hd, are a lot of the the unrealistic effect I'm talking about has to do with the tonal mapping, or how you actually process that, but photoshopped does have a the ability to merge or create essentially a better or deeper level raw file and that's a thirty two bits, you can take one or two exposures and bring them together, so, you know, when we were editing earlier, and you could see that we're reading at sixteen, but essentially it allows you to double the amount of death for that color range for that information that's in the image, and it helps you still get a very natural look, provided you don't take advantage of that. And now, that's, the hardest part, I think, for any photographer, is to avoid taking advantage of, of all of the information there, and just making every shadow and every highlight absolutely perfect, the idea of contrast, of shade, of elements you can't see, and moments you can see, or what make great photographs, you know, certainly a great reference to that with the black and white photographs from you know back in the day where maybe they'd only be a single beam of light going through and that's what you would see photography is about as much as what you can't see as it is what you can on dso that's I think really great about the creative process in this particular case in a forest with a lot of highlights I do think that having some sort of a uh having some sort of a uh hdr multiple exposure process or just really just taking the highlights all the way down and boosting the shadows all the way up it's not a bad thing to try it can definitely look a little overdone if you're not careful but to be honest with you it really doesn't look all that different in this particular case at least in my mind but again it kind of boils down a personal preference you will see things like this though you can tell that without an hd our image and watch me bring the exposure down is there any information in there not really there's a little bit more but there's not there's not a whole lot and you can also turn on this uh item here called clip which analyzes clipping for highlights so you see highlight clipping warning when you click it it shows you the areas in bright red ofwhich information is being lost not necessarily so you see if you increase it and I'm exposed to doing over exposure so this is a good way teo, to try and figure out okay, how much information is ultimately really being lost in this image? Now if I bring it all the way down, you could see that it's it's uh it's not really showing you anything but the second you start to move up and get into the brighter and looks like I turned it off by accident that I d'oh we're not getting clipping it right around and they're starting to get a little bit of clipping in our highlights. So, um, even still though there's not a lot of information in here that textures all pretty much white and that's just because the highlight is so bright, so again that's a good tool you can also do the reverse with shadows on dsi what? What? Where you're losing information because the area is simply too dark, so that's one thing that's great, especially in a situation like this where you're trying to manage those highlights throughout what works for the image. Ultimately, I didn't do a whole lot in here a little bit of vibrance little bit of saturation little bit of clarity working the black super contrast e on the television at the moment, but I'm looking for more of uneven balance but again not not opposed to having highlights and things like that the exposure was pretty much spot on where it was the color temperature as we did in the monitor was pretty accurate as well still looks a little warm if you want to cool it off, you can try and cool it off a little bit but then immediately started to look a little green you could try and balance it out, but ultimately the the color balance ended up working out pretty well so that adjustment in the field was almost spot on I'm forgetting that and then open the image and this is not what you're supposed to see yet cued up because it takes a while to get an idea of what we're what we're looking at here and you know looks like I got a little bit of smudge could be could be from the heat humidity could be bug landing on the lens so it probably go back to look for a different frame you could see that we've got a lot of death, a lot of texture and hear everything looks really good really sharp and overall it's really nice composition double checked my levels once again if you're looking at your history graham I'm using command l checking my levels under the adjustments and everything looks really good I really don't need to anything here the contrast looks good if I add any more if you like it bea to contrast e so uh in those mid tone so I'm just gonna leave it where it is sharpened my image and call it a day so that's how that shot mohr less came together and overall really pleased and in that sense of place thing I think is really important because that mosses just looks like an old beard hanging off of this tree and really gave me something to focus my attention on too a ce faras the panoramic I want to show you these this is ultimately how this works so actually let me before I get there one more thing I wanted to show you how this shop hand out the ultimate ultimate outhouse so I took a lot of frames and you could see that we had different focal length let me pull up the box you can see what we're shooting at file properties groups and you could see were at sixty five millimeters eso were almost all the way out at seventy and as I mentioned during the course of the shoot you're moving around, you could see that there are little adjustments the land we want I wanted to sixty six millimeter andan eventually on to one hundred seventy millimeters so I really think that this is the shot before I even brought it in you know it works really great in this case I actually think the highlights of pretty cool I think that they the fact that it's so rich and warm feeling and that the lights coming into this side is really really great the one thing to that I think if I were to choose to go here and do this any other time if it was overcast you would that word to me would have been ideal the idea that everything would have been even very balanced throughout the scene if it was raining or misty I think it would have a completely different effect completely different field but as I always say don't make something try and be what is really not in this particular case I am not going to get that no matter how hard I try the only way I could have possibly have explored getting ah mohr even light would've been simply to wait for the light to go away in which case I would have probably a very narrow window of time to get good landscape photos in here on because you're in the forest and the light goes away and it really goes away faster stark in there so trying to get that nice even balance light would have been on lee after sunset or certainly before sunrise but we had very clear weather on this particular day so I immediately just decide to embrace the idea of it and then go and hone in on pulling out the subjects and using a shallow depth of field you always have to use a you know, maximum depth of field of twenty go, shall I this case two point eight just really narrowing in my focus on one area and letting the rest sort of drift off, and so I looked at the verticals, you know, you know, me as I don't even adjusted and what I can't turn my head, and you're all right, you know? I mean, I thought they were okay. I'd probably from a stock photography perspective would take one just so that we have an option, but nothing terribly exciting. This was the one I started when I was doing my edit and, uh, kind of ended up on that focus on much of the little details that out the chute didn't really love really anything in particular, ultimately what I ended up liking the most, wass the panoramic ce, so let me dig into that a little bit, as I mentioned, the shot works actually pretty good, just as it is in this particular way, and and the benefit of a panoramic, of course, is the fact that you can take the two frames and pull them together, and you basically double your resolution. As I mentioned in the video, you get to increase the the quality of the wall art might be producing, like if instead of having three images across this trip take you have no loss of resolution in getting that large I've been very lucky in that I've had a lot of my image is actually blown up too full wall size before and the ones that always worked the best of the ones that are two, three, four, five frames long in this case I'd shot a bunch of different frames and they saw in the video I thought it might get three across instead and we got two across and this is what it looks like side by side and you could see the overlap and when I did it initially and I'm gonna show you the actual process and photoshopped I didn't quite get it didn't quite overlap the right way when I did it through all the auto, so it ended up kind of creating some weird shapes I'm going to show you that in a second, but the first thing I did was I color managed and did all of my post production work hold on one second story uh, what happened? So we're basically what I like to do is make sure that all the adjustments that we've been doing in dhobi camera raw are done now in the first image and I don't want to do the images separately I want to do them both, so these adjustments that I made over here in this panel I got it to work finally instead of going in and opening this second image and I'm gonna pair it up with and doing different adjustments I want them to be as even and equal as possible now is not to say you couldn't, but I want them tio match up as close as possible and then when I bring him in a photo shop then I'll start to make all of the other additional adjustments so instead of going in and opening it, I'll simply control click go to develop settings and do previous conversion and that will apply the same settings as the last frame to the next frame. That way they match the same thing over here. So one thing you'll notice when we put all three together it's almost like you get to see a preview of what that panoramic will ultimately look like and almost even gonna work is a cryptic in itself in a way yeah, it's pretty neat and you could see the amount of overlap I probably didn't need as much overlap it probably couldn't even stretch it out a little bit more on dh had less, but that reference that frame of reference is really important I've tried to do panoramic ce in places where the lines are not so clearly noticeable panoramic works really wait well in a forest because there's a lot of reference points there's a lot of things for the software and lined it up tio when I tried to do panoramic ce in places like white sands national monument in new mexico, where all of the lines are very subtle and the shots all look more or less the same, I had a really tough time getting them tow line up, so reference points are really important, depending on how you want to throw it all together, so to bring it all together, all you don't have to do is you highlight all three, just like I did. I've already made my adjustments to this. We simply go to tools down a photo shop and you click on photo merge and there are a lot of options in here and you'll see that you have all these different options on dh there are I'm going to choose auto in this particular case, we see a cute my three files I'm using blend images together, I'm not going to vignette removal because we don't really have that much of a netting, if any going on because we're getting maximum depth of field, we're using a telephoto lens and so on, and then you also have the option for geometric distortion correction in this case and you're going to show you what the stitches and depending on your goals, you knows there's perspective, so on and so forth, depending on what kind of panoramic you've done experiment with them all. I think you get different results in each case, and from there, the software will more or less take over and through them all together, so we'll let it do its thing. I mean, we probably question while it runs in the background. Absolutely. So this was a question that had come up earlier when we're doing our last and it really enjoying this courses from colin? What elements besides composition blown out pick souls can't really be salvage in post processing what elements can't be salvaged? Yeah, processing well, focus is certainly an issue and that's something that I think continues to change. His technology evolves there's some new sort of semi experimental prototype cameras out there that are very much like a raw file in the sense that focus will one day be a thing of the past in the sense that it will capture the entire range of focus. And then you choose two point eight f twenty two depth of field vocal range. Everything will be something that you can adjust after the fact, but for now, I think that if something is out of focus in your raw file, you know, you might be able to sharpen if it's ever so softly out of focus, but if it's out of focus completely. You're not going to be able to recover that and that is truly the bane of every photographer's existence I think is making sure you get those nice, crisp, beautiful sharpe images that hold up when you put him up on the wall so I'd say that's the big one for me so you can see what we've got in the result of now I want to add that there's also another tool out there that you can use this was a pretty primitive or basic way to do a panoramic and everything that I'm showing that this course is meant to be accessible for people. I want you to be able to say I don't need to have a whole suite of fancy gear to be able to go out and do panoramic if you don't have all that gear, you know that you're gonna have some sacrifice here and there with how certain things overlaps if you notice I've got these angles because I don't have a perfect line up in the focal. The particular focal length of my lens that I used was a little wider and my positioning wasn't exactly perfectly, but there are brackets actually try potheads and mount that you can put your camera on that you could make perfect adjustments to make sure that you're covering an entire scene to do these ultimate very large megapixel type of images and you'll have an even better line up with less sacrifice when I say sacrifice you'll notice what happened was it put all these things together and if you look over here on the right hand side he'll notice that it took the three photos and it essentially paired them together but doing so with a layer mask and the layer mask showing you which portions of the image were used and which portions of the image we're not and so we had a lot of the right hand frame being used a little sliver of the middle one and actually not all that much of the left left left most frame so so how do I make this into a picture that's usable without all this border and everything so you can go and simply flatten it because we have three layers and if you go you can if you want to just one layer in time you can if you have adjustments you want to make to the layer mask you can certainly do that this looks pretty good that was like the zoom in and double check you know what everything looks like I don't see any errors in the way lined everything up made it really really easy for me to line up those three frames so what I'm going to do now is flattened the image so that I don't have layers but rather one layer and then you'll see I have a white background I'm going to crop the image so they can get rid of all of that excess space, and if you want to get really close to detail and crop, you can click hold and hit control if you're on a, uh, mac and then you can or apple and you can get right along the edges, and normally I would zoom in on something like this make sure I'm getting absolutely every last pixel that I can, and then I just square it up, find the edges and pretty good to me, and you might want to move it in a little bit more or less if compositions not ideal, but I'm gonna go for the maximum of images. And now if you look, I've got a panoramic it's a little bit of that sixteen nine ratios you see, like almost like a television screen that's called aspect ratio, and then if you click, the image dies, you'll notice there's something really great. This is now suddenly a ten thousand one hundred forty eight pixel three hundred peopie I am, it is twice the size and of being three frames, three verticals, but it is twice the size of a normal photo that my camera would take in resolution I've doubled effectively doubled the resolution of mike of my image over my camera are the power of my camera and the image and it's final form now, have you noticed before I cropped the image and we lost some of the edges on here way lost some of these little triangle things, and that comes from the fact that I was shooting remember the focal length? It might have been around twenty four thirty four wide angle lens, you're going to start to get that stretching on there in those areas will be sacrificed in the in the crop in amore perfect lineup. You know, I got a two hundred millimeter, no shooting, something from a distance, and it was three frames. I probably have a perfect or near pearl crop on it, and I wouldn't have to sacrifice that because that is still loss of resolution. This image could have been even higher resolution had it had less overlap on dh, less cropping on the edges, but either way, it's still a great, big, beautiful image looks really great now that I flattened it. Now that I've cropping it cropped it. I will, uh, cropping bit trademark that I could make my level adjustments. My levels were pretty good. I did a good job doing my adjustments earlier. I want to reduce the amount of contrast in this scene I can radically different here, click okay and then ultimately won do saturation, dust spot and then ultimately go ahead and sharpen the image, and then you can save it. So those are the steps for the pan around it's. Pretty simple. I get three frames, do your adjustments on them tools, photoshopped, merge, photo, merge tried different types of murders. If you want to play around with the different distortion elements and so on perspective elements on dh, then you get it in, you flatten it, and then you can make your normal adjustment. Says you would so it's not super complicated in that regard. When I get a lot of highlights in the forest like this, this is this is getting now more into really big artistic license, what I'm about to do, but I like tio really try and play in the fact that we've got this backlighting and these highlights that air coming in, and I haven't done this in a long time, actually, but there's a really simple way to give a soft focus look to give it that even mohr of a magical field to it. One away, I like to do it, which gives you the most control is I unlocked the layer that I have, and then I d'oh duplicate layer, so now I've got two layers of exactly the same picture I'm going tio turn off the, uh, the, uh bottom layer when you just stick with this top layer here and I'm going to filter filter, I'm gonna go blur when he's a gouge in blur, which to me is always the closest seems to me to be the closest of actually just taking a a picture and going completely out of focus and I'm gonna go to about it twenty six that's just a twenty six pixels and you'll notice that the picture looks very, very soft now, if soften with the focus throughout it, don't go in the opposite direction of sharpening an image going like this, and then all I'm going to simply do is go back up to this layer here, this top layer now, and I'm going to reduce the opacity on it that basically makes it see through sort of opaqueness and look what happens to the forest doesn't do that. You're getting a blend of a sharp lair and a software, and it starts to get more of that artistic sort of ethereal look, and whenever I have highlights like that and sort of this sort of composition, I really liked the effect that it has. I'm gonna really exaggerate the effect you could see how it kind of goes out, um, and I would, uh and and it just kind of overall gives it a softer, softer feel and makes the highlights look more ah playing in an idea of fairytale land or whatever this would obviously be digital manipulation there are ways to do this with filters and so on but I think it just kind of a fun way to take a midday forest picture to the next level special here in the world of fine art prints essentially if we want to introduce this we also took a trip to re beach on dh there is we're going to preview the images so much that we've been our editors have been working on for this class that the turnaround time has been so tough so this video is actually gonna be part of the bonus materials when you do purchase the class it's a fifteen minute video edited down from their trip to ruby beach we're going to take a look at some of the images right now so so we we had a similar sort of situation originally I thought to be a great sunset location and like everything else the weather dictates what my photo shoot will be common theme I think for sure so of course you want to embrace it for what it is and try and do the best you can and you could have probably save sunset did some low light blue type of imagery but honestly fog is awesome anyway I love fog is a nature photographer it gives drama to a landscape on it makes it really beautiful so these are some of the raw files that we got from the beach, you know, pictures of the crew you could see how I really worked the scene right from the moment we got there tio all the way up in teo you know, different parts of ah of the beach with the formations they called sea stacks on dh there's some really cool little areas in here and this is ah really kind of a zen little moment that's going on on the beach out there they'd love how many of these things that people create but we had an incredible time for sure out there processing these images have been interesting because they're very, very monochromatic you know? Whenever you get fog like that and you get these kinds of landscapes, you're the whole perspective on a change of when I first got out there we had literally driven an hour earlier from the whole rain for us where I had warmed everything up and when I got out here all that warmth was completely gone eso way went from sweating and mosquitoes too literally cold and shivering and very, very wet with you. You purchased the course and you get a chance to see the fifteen minute video you'll see by the end of it I'm literally dripped my hair is dripping I basically became a giant dandy line, basically catching every little drop of moisture there was but it is great cause we got to really focus on some detail shots and tide pools again. Kind of taken abstract look towards thean m unease. But the other thing that we saw, which was really great, is we got a bald eagle out on the beach on dit was pretty graphic in the sense that this bald eagle basically had in its talons, eh they kill had some sort of ah duck or something. Some sort of species like that. We were far away. And he gave me an opportunity to add a wildlife element too. Uh, everything so there's, basically no stone unturned in the course of this word shop. It's. Pretty cool. But this was awesome. Originally, we thought when we saw the bald eagle, it kept trying, it would fly up and it would settle back down. And we were out with a park ranger. Park rangers actually joined us on the beach, and so we made sure we were at the appropriate distance and not spooking. The bird is about four hundred. This is not about this is a four hundred millimeter lens. And it was actually interesting because this became almost a bit of almost a bit of a photo forensics in the sense that the the eagle would lift itself up and then drop back down, and at first we couldn't tell what it had in its talents. It just looked like this is kind of this black mess of something on dh and the way it kept going up and going down and going up, going down, literally, we left it for a while, I went and made a bunch of landscape photographs, and by the time we got back, evil was still doing the same thing, but was much farther down the beach, and there were no people around there is nothing, so we thought the eagle might have been stuck in a neck. Um, and so not being able to see all the way in there, we took a picture with the four hundred millimeter lens and with zoom in, and so we took a lot of pictures of the bald eagle until eventually we could weigh got a shot where you could actually clearly see that it had an animal and that there wasn't a net caught in its talents or some sort of other element, but rather that it was simply that he was really greedy and really want to make sure that this thing is going stay with me, and I'm going to eat tonight, so so that was a pretty cool, pretty cool story that we got to experience and I'm also really got the chance to talk a little bit about wildlife photography, the settings and also just rapidly changing year and it was really, really a great opportunity I think so show you some of those images final images that I got from the from that day um the open that folder up these are the images these are some of the images that we got and you saw a lot of them already as it is with the bald eagle and the beach and of course uh you know get to check it out you get the course fantastic well, thank you for that let's see, do we have we have time for a couple of questions? So do it, jared uh when it comes to putting together your panorama is how much does the focal length of your lens affected? Especially if you're shooting it there were rotating at the parallax the focal length plays a huge role and in putting together a panoramic it's definitely easier if I was shooting something in a long way away with two hundred mill and he said it's very easy to figure out exactly where to line it up because essentially you're pressing the scene when you're shooting with a wide angle, you're getting a very expansive, almost distorted view it's taking all these elements and bring him into a different composition if you take those and you don't line them up right or you line them up off and you're not thinking about the fact that you're almost kind of going on a fan type of shape then you're going to end up having a lot of images with v shapes between them that won't line up well and you end up in a cropping a huge amount anyway so is there an ideal focal length where you won't get us much? It depends on how dedicated you are to shooting a lot of frames because you could also shoot twice or three times the number of frames and really just super cover an area and stitch him altogether you need some killer processing power and a lot of patients as it does so on assuming that the composition lends itself to that there's not really a bad thing of shooting too much in a way if you're doing a panorama you could get a lot of coverage then try and put the elements together and then crop it down if you want from there could even recompose almost by using backdrop so not really a sweet spot necessarily I think it is easier though for telephoto I would say seventy onward is definitely an easier place to begin if you're just trying to stitch two or three frames together but I have heard of I think it's isn't a giggle giggle pixel type of merge where people are photographing with a very, very long lens, many elements that maximum depth of field in a scene creating hundreds and hundreds of mega pixels in the image so that it looks like an image like this on the right. But you go zoom all the way in and see, like, you know, one little bird on a branch and perfect detail, as though it was the only photo you had taken so you can really go really far and wide with put, doing panoramic sits is an entire skill into itself. Okay, quick question about white balance with that piano shot, do you white balance for the overall scene for the overall effect? Or do you allow the camera to adjust for each frame on this particular case? I was using a custom white balance, so I had said it based on what it looked like when I was looking above the camera and then on the monitor, so is using reality. Yeah, and that warmth, those using reality as my checker and I was doing it by eyeball. Now, of course, when you get back into the studio and you're looking at it, and you're in a nice, relatively dark room, and you could really get a sense of what that color truly looks like if it feels just absurdly off or very warm you can make minor adjustments, I think again ultimately it boils down to the amount of creative control in the application of that that you feel comfortable with very cool. All right, we have another question from s r photos that had a vote. Teo, do you ever use content where phil in photo shop on the areas in the paint o's that are blank rather than cropping? I haven't I know content where phil essentially is when you have a blank area you can extend out and the software will basically try and anticipate what would be next. I haven't really gotten into that. I've tried to either guy get it on camera or it doesn't this essentially, eh? So it's not something I've done. I do know that it worked really well. I don't really know the limitations of it personally, though, because it hasn't been something I've used a lot well, and I also have heard you talk a lot about the integrity of what actually wass versus, you know, creating something that might not have been there. I'd be curious to see how content aware phil would work on a tree with moss on it does it add moss in a way that feels dramatic, you know? Do I suddenly have an owl appear where one nun was, you know, that would just keep expanding and the scene gets better and better eventually there's a dear I wish I want that all right dobie get on that get on that we do have a lot of great questions coming in that air topics we've already talked about you don't use a uv filter no no menial uv filter it all even with the spray of the water that was a the question that was coming in specifically yeah even with the spray of the water you know and honestly this was I wasn't close enough to the ocean to get spray I was simply getting fog which fog near an ocean of course there's going to be a little bit on the salty your side salt in general is any electronics worst enemy so I'm definitely very careful of it and as you'll see in the video there are actually some basic tips and techniques that I use teo prevent any sort of damage or elements with the lens so I do take steps past great thank you this question further on filters we've got a lot of people we've talked a lot about filters, but a lot of people are new this is from if stop has some votes if you're asked about our using plastic or glass filters is there a starter kit that you would filters that you would recommend for people that aren't yet ready to buy the caliber of of filters that you d'oh look ultimately it's all about end result, and there are a range of products out there that function in a very similar way at different price points, four different cameras and different lenses, generally speaking, smaller cameras, smaller filters, lower price. So there's, not any one particular brand I would I would endorse one way or the other, I part of it is I'm a creature of habit, and I have always used the filters that I'm using. I haven't gone out and tested every different brand to see the those and results that said, I have seen the results from other people's work using a variety of much more affordable or various options, and they've had great results out of them. So again, it really boils down to what I want to do. I don't think you need to go out and buy forty four filters today, you know, I think that it's always good to maybe just start with one two and that's it, I think that's actually a great idea. I think if you only had one filter it's either it's a toss up between a six hard or nine hard and that'll just at least get you it going on it help you get started, maybe start thinking about it, and then you might say, well, I really wish I type of landscapes I like to make. I wish I had this type of filter that would work for me, and now you know what your second filter is. You don't have to buy everything all at once. The truth is, with shooting in a forest and shooting a lot of places and landscapes, you might not need any filters at all. You may want to simply bracket your photos and just try and use them in photo shop, and if you feel like you're not getting the results you want, then maybe consider purchasing again at least one filter.

Class Description


Outdoor photography celebrates the varied and stunning landscapes of the natural world – in this unique course you will learn composition and shooting techniques for getting beautiful outdoor shots.

Shooting and teaching from two of the world’s most pristine parks, Olympic National Park and Mt. Rainier National Park, award-winning photographer Ian Shive will teach you new ways to create outdoor photographs that are powerful, captivating and fresh. You'll explore key elements of great outdoor photography including: composition, working a scene, selecting exposure, using filters to manage natural light, and scouting a great location. Then you'll learn how to put it all together to tell a story in a single image or series. After spending time in the field, Ian will move into the studio and present on the equally important tasks of managing and editing your work from the field.

Ian will show you how to capture images that are both technically and emotionally engaging. Don’t miss this incredible opportunity to learn how to document the beauty of the great outdoors, in camera.

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