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Create A Style Guide

Lesson 50 from: The Outdoor Enthusiast's Guide to Photography & Motion

Ian Shive

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Lesson Info

50. Create A Style Guide

Lessons

Class Trailer
1

Bootcamp Introduction

06:35
2

Storytelling with Stills and Motion Overview

14:35
3

Elements of a Well-told Story

22:12
4

Storytelling in Motion

34:19
5

Choosing the Best Gear for Your Outdoor Project

16:24
6

Gear for Drones

02:53
7

Gear for Motion

05:23
8

Inside Ian's Gear Bag

20:07
9

General Advice for Preparation

14:19
10

Virtual Scouting

03:54
11

Weather

10:17
12

Permits and Permission

03:09
13

Model and Property Releases

04:43
14

Health and Fitness

03:04
15

Checklist

03:20
16

Location Scouting Overview

15:18
17

Location Scouting in the North Cascades

15:24
18

Drone Introduction

14:59
19

Drone Safety

03:26
20

What Kind of Drone Should I Buy?

02:58
21

FAA Part 107 Test: How to Prepare

06:18
22

Telling a Story With a Drone

06:15
23

Drone Camera, Lenses and Movements

04:34
24

Selling Drone Footage

02:39
25

Why Does a Photographer Need Motion?

10:59
26

Establish the End User

06:35
27

Identify Your Audience

03:12
28

Build a Production Plan

05:28
29

Create the Story Structure

04:26
30

The Shooting Script

07:08
31

Production Quality

08:37
32

Composition for Stills

08:04
33

Composition for Stills: Landscape

08:15
34

Composition for Stills: Telephoto Lens

14:48
35

Composition for Stills: Macro Lens

07:50
36

Techniques for Capturing Motion in the Field

25:15
37

Lenses and Filters for Outdoor Photography

26:20
38

Capturing Landscapes - Part 1

28:12
39

Capturing Landscapes - Part 2

23:36
40

Capturing Movement in Stills

32:17
41

Shooting Water, Sky and Panorama

29:40
42

Understanding Stock

20:45
43

Editorial vs Commerical

03:57
44

Pricing Stock

05:40
45

Producing Stock

14:49
46

Shooting for Social Media vs Stock

11:37
47

Choosing an Agency

08:58
48

Assignments and Capturing Stock

13:49
49

Stock Photography Market

05:28
50

Create A Style Guide

05:30
51

Stock Shoot Analysis

21:29
52

Workflow for Selecting Final Stills

27:43
53

Initial Editing in Adobe Bridge

21:02
54

Reviewing and Selecting Motion Footage

11:02
55

Keeping Track of Your Story Ideas

22:40
56

Script and Story Structure Evolution

04:34
57

Editing to the Content

05:00
58

Music as a Character

05:41
59

Business Diversification

07:07
60

Business Strategy

04:57
61

Pillars of Revenue

17:09
62

Branding

06:36
63

Partnerships and Brand Strategy

05:12
64

Galleries and Fine Art

03:11
65

Budgeting

05:21
66

The Future of Photography

26:12
67

Q&A And Critique

1:09:39

Lesson Info

Create A Style Guide

one of things I strongly recommend, uh, for this is creating a style guide. And I mean that in the most literal sense of going in and screen shotting images. Ah, whether they're your own, whether they're someone else's, to create a sense of what it is you're going after when you're first starting. It's like basically just creating a scrapbook of images and things that you like that you can learn from that. You can then not plea drives. But take those ideas and find How do you put them all together? Maybe like the way someone did a shadow here and ran here and could make those two shots work together in a whole new location. It'll spawn creativity, and it will keep you focused in on track for what the trends and styles are in the industry. So a style guide is really, really important. We're working on one now as a photo agency because the shift of styles and post processing his started to really latch on in a way that we need our photographers to understand it. So we're creating from ou...

r own library of work images that we think reflect the future style of our agency, and that isn't just processing. That's where people are in the frame, how they're interacting. Where there I line is where they're looking all of those kinds of things, and we'll talk about this in the analysis. But you wanna have a style guide? Create one a generic style guide as well. A short one, maybe before every trip. Hey, this is how I want my portfolio of, uh, ex National Park toe. Look what's in a style guide kind of covered it. I mean, it can be everything. It's people shots, Portrait's details, wide angles. It might be specific locations that you just don't want to forget. Um, it could be anything that will help you sort of drive your style and your shot list going forward. It's a lot like a shot list, except instead of it being line items on a page, it's actual pictures. They're really helpful. But a style guide will often have writing. So our style guide for the agency does have descriptive words and things like that. I do think every trip should have won. I still create them every single time. I don't sit here and tell you things. Hey, you don't need to dio. I'm sitting here telling you things I actually do because they work. There's a reason I can get my stuff published all the time, and it's because I have a process that works everybody a little different. But I think having won, at least initially, I mean, some shoots look from going out spontaneously. Sure, I don't have a style guy, but even coming to Seattle to teach this class, I spent some time looking. What are people doing? What kind of stuff being what's happening in Seattle? Is there any new area to go into? I mean, you could learn a lot just by looking at what's going on in social media, especially more than ever before. So it's a lot like research and scouting, except you're defining look, feel style and potential locations to create those kinds of things, uh, and doesn't have to be from the same location you're headed. That's also very important. You may want to before trip, but you might say I'm doing running in Colorado, but I really love these running in California images. I like the look and feel of them, so I'm gonna go and do that here on this trail in Colorado doesn't have to be from the same. Okay, should be from anywhere. It's about creating a look and feel Teoh to the images and helping to find that before you go out into the field. So does anybody have any questions about this before I start to do the stock analysis that's going to the next step? Quick question about the HDR comment. Do you mean each year filters? Or do you mean, like, splendid images of indoor outdoor? Sure, yeah, kind of referring to a pretty generically good question, I'm talking. So I know there's also like HDR settings, both even on my red. I can actually do like HDR X, and it'll capture a wider dynamic range and also burn more Amer memory. By the way, if you noticed on that one page in my motion introduce motion, um, the number of minutes will go down if you have your shooting an HDR mode. I'm referring to the process of blending, um, multiple bracketed images to the point where the highlights in shadows and mid tones are basically all the same. Luminess luminosity. I mean, they're basically flat. Um, and you can't tell the difference of war. One ends and one begins. Um, it doesn't work, and a lot of people way over open their shadows. It's usually the shadows that three people in it. It's not as often in the I mean highlights certainly can be, but they have a little more flexibility and staying authentic and bringing them back. It's usually in the shadows where it's like that's clearly a cave and I can see all the way to the back and there's no light in there like that's that kind of stuff that it's It's sort of like the saying, like an uncanny valley. When you look at, like, animation and you look at the eyes you like, it's creepy. It looks real, but there's something is not right there right kind of thing. Um, it's that same idea. It's like you're looking at you like, Yeah, it's a photo, but it's it's almost going into illustration. At that point, that's really what I'm talking about. There's nothing wrong, of course. I mean, if you have a very high contrast scene, you want to go to control and manipulate it later. Shoot. You know, if your camera has built in HDR, and you can capture a bigger file. By all means. I mean, I think it's worthwhile if you want to spend the space on it, but, um but be careful that I'm talking about the processing steps of processing. Yeah, it gets kicked out pretty fast every now and then. You see it, but it doesn't last very long.

Class Materials

Bonus Materials with Purchase

Slides

Ratings and Reviews

monica4
 

Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!

Cindee Still
 

Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.

Cindy
 

What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.

Student Work

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