Tip 3: Get Closer!
Tip number three is to get closer and actually wrote macho much closer because getting a little bit closer is not really going to do it this is a photo of my husband and I we were so young in this picture a two coliseum in rome and we were taking our own pictures like video ray like selfie is back before there were sylvie's but some really helpful tourists like insisted on helping us by taking our photo and I was trying to tell them like no it's ok, we've got this and they were like no, no, I'm going to help you so they took the camera and like kept walking away right? And I'm like that's far enough and they're like, no, I'm going to get the whole whole coliseum behind you, so they kept walking and we now have the whole coliseum behind us as well as this thing and like some crazy light on our faces and just not the thought I was just for myself. But this is what happens a lot because I don't know, I think when we put a camera to our face, we're trying to fit our field of vision in the ...
lens and people are like, well, I can see the whole coliseum that doesn't necessarily make the strongest image so after we saw that we were just kind of laughing like this will be a great example then we just took our own shot, and we can see the coliseum, and we know that the call sam and I don't know this shot was fined for us, and then we can actually see us and it's just an example of getting much closer. Here's another example, let's say you're just wanting to document your life. Maybe you're baking cookies with your kids on a saturday morning, and you want to document that because it's a special time, the temptation is to just stand where you are and just shoot the way your eyes are seeing, but you might just end up with sort of a throwaway photo like, what is that throw away right there, but if you just get moved so much closer, then you can actually get into the scene and it becomes something completely different then just a third party observer when you're back out with all of this, because sometimes when I talk about getting closer, sometimes people go oh, yeah, well, that's, what the cultural for later, right? But the crop tool is not how you fix bad compositions, okay? We'll talk a little bit more about compositions, but you don't want to rely on the crop tool, and here is why let's say, you've got this image that you saw. And you did not get moved so much closer so you're really far away and you've got all this crap on the table that you really don't need in the photo but you think I'm just going to crop it no problem well, the image like this was shot with thirty, six hundred by twenty, seven hundred pixels approximately so that's fine if you like to the image like this but let's say you want to crop it to this so you want a crop in crop all this junk out, right? We just want her and the cake so we crop to that now we're down to fourteen hundred by eleven hundred pixels so you got it acknowledge the fact that when you crop you're throwing away pixels so that comes at a cost if you crop even further because you're like, well, who cares about the cake? I want to see her cute little face and the fact that she's three and that's so darling so we crop even further now we're two, seven hundred by six hundred pixels and you might be thinking, so what? What does that mean? I don't have any idea like how to quantify that, so why do we care how many pixels we have? Well, because it turns out we need a certain amount of pixels per inch in order to print that image and make it look good so we need somewhere between one hundred fifty to three hundred pixels per inch to make our images look good, so if you don't have enough pixels, you are not going to be able to print like the more inches you want to print, the more pixels you're going to need, right? So here is what you're going to end up with. If you don't have enough pixels branch, you could, like play checkers on it or something. You have a really cool art where some like atari graphics if you don't have enough revolution so here's, another way to think of it from one of my other workshop on revolution, I likened pixels to peanut butter, the fact that you have a set amount so, like if you were going to make a snack and you stuck your spoon to get the peanut butter out, and this was like the only peanut butter you had, you got to make it work, right? So then you have a choice. You could take this whole bunch of peanut butter and put it on a little cracker that might be a good snack, or you could take this peanut butter and spread it thin on a big tortilla, for example, but if you put it on, the little cracker is going to be thick, like a high resolution print. If you take this amount of pixels or peanut butter and you spread it on a big tortilla it's going to get spread more thinly right to this covering a bigger area so you may only have let's say seventy two pixels per inch and if you recall, we needed and like one hundred fifty to three hundred so that's where the pixels come into place so you've got a set number of pixels depending on the size you want a print you're going to need possibly more pixels, so cropping them throws them away it's very much like cookie dough view took a cookie cutter and cut out a little piece of dough like one little cookie, but then you were like, now I'm going to make this one little cookie still ah whole cookie trade I'm not a big baker and pretty clumsy in the kitchen, but that's not going to work okay and it's the same thing with our photos, so to avoid that instead of shooting a scene like this, you want to get moved so much closer and just shoot it like this so learned tio crop in the camera. So when you look through the viewfinder and remember that you're not trying to state what you see with your eyes in the viewfinder, you want to fit your perfectly dream crop into the viewfinder and just shoot it that way more or less