Technical Shooting


Travel Photography


Lesson Info

Technical Shooting

To start with let's, go through some of the technicalities of shooting what do we need to do when we're out shooting so there's some lists if you get the pdf thes steps are all in their first off test your equipment, make sure it is working I know of a photographer, not me, but somebody else who went on a grand scuba diving adventure with this brand new camera and they didn't check to see if it had a battery and they ended up forty miles out on the water and they didn't have a battery and so they're not going to take pictures, so that is up to you that it's not anyone else's responsibility is your responsibility to make sure your equipment is ready to go, so make sure all your stuff is clean you clean all the lenses a nice of home when you have a clean environment, make sure your sensor is clean. We've talked about that and one of the things is pack your battery charger. I know that seems really obvious, but I don't carry a battery charger in my bag when I go out to pictures, I don't n...

eed it it's extra weight it's taking up space and wait, I don't need it's gets stored in my luggage someplace else, but that means sometimes people forget it, so you've got to remember to bring it along. And then, of course you've figured out your memory card system what size memory cards you get is up to you. It all depends on value what's working for you, but one of the things to do is to format your memory cards before you head out on this trip formatting is where you delete all the pictures you clear off all the folders, accessory folders and things that are on the memory card and what you're doing in that case is you're starting a fresh line of communications between your camera and the card. Now if I have my computer, I reformat after every time I download I fill up the memory cards as full as they need to be I download them I check on my back him up, I check him, check him again and then I reformat the cards. Uh, you want to do that on a regular basis, it'll prolong the life of the cards. The next step is making sure that your camera is set to the proper image quality for many of you that's going to be shooting raw, which is the highest quality that you can get in cameras. If not, you want to make sure that you're shooting the largest quality j pegs with these type of pictures, you do want to be getting the best quality that you can squeezing everything out of your camera possible make sure that you go through the menu and features and custom settings in your camera. This is something I do in my fast start classes I kind of walked through the entire menu with you, but just make sure that you have everything set where it is supposed to be. Sometimes you're out photographing at night and you made a bunch of changes on your camera and the next morning when you're photographing people and not landscapes, your cameras set in a different manners just kind of make sure that your camera is set where it is supposed to be get your batteries fully charged, make sure there are one hundred percent and they're in good condition and then set the date and time this is something that all cameras have and it records the data and it is an incredibly useful tool for reconstructing events that happened to you where you were in what you did and can be very helpful in key wording and just putting other information together. So what I generally do is I will set the date and time and make sure that it set properly at home and then when I fly to a new location and I hear the flight attendant announced welcome to melbourne the local time is and I quickly get up my stuff and I change it right then and there so that I have it set for that local time because that is not something that's going to change in one of the most frustrating experiences I've ever had was flying to australia for getting to reset four different cameras times and then trying to reconstruct four different cameras raw plus j peg files and it was a mess, so don't let that happen to you, okay? A big part about photography is getting the exposure right, and so you need to be very familiar with the entire exposure system on your camera to start with that's going to be the mode dial on most cameras, I could shoot an aperture shutter priority aperture priority and program whatever mode you want, we're not going to get into a lot of that in this class, but make your choices you should be familiar with all the different shutter speeds why you would use one over the other you're not just willy nilly guessing what shutter speed might be good, you should be familiar with the different apertures it's obviously helpful if you have an aperture that goes to one point four, we don't all have the opportunity with all of our lenses, but be familiar with changing your apertures. Of course, you should be familiar with changing your sos you want to keep it low like esso one hundred for most your shots, you'll bump it up as necessary I typically keep my camera in a matrix or a multi I'm segment metering system or evaluative system it goes by different names depending on which company you're with and if you do use aperture or shutter priority or program, you'll also want to be familiar with using exposure compensation so that you can quickly lytton or dark in your pictures and so these are all things that we're not going to explain here I assume you either know about them or you will know about them by the time you go on your trip and one of the great things about digital cameras for travel photography now is checking your results in the field and the history graham you should know how to turn this on in your camera and you should know how to use it on a regular basis because this is the truth detector when it comes to getting the right exposure when I'm out in the field and I set what I think is the right shutter speed an aperture I take a test shot I look at the back of the camera but I can't always see on the back of the camera if it's a good picture because a lot of glare from bright sunlight for instance you can't get a good view of the back screen of a camera unless it's fairly dark and so by looking at the history graham and looking at that mountain of information and knowing what that means is very important with many cameras, there is going to be an information button or a display. But look at the back of your camera right now. It probably says info display. If you have a nikon camera there's gonna be a little four way tab and you often press up or down to get to the history ram. Sometimes you have to go into the menu system and you have to turn on the history ram option. But it is something that has been available on all cameras for the last five years. So there's a good chance it's on your camera, figure out how to do it. Now. The history ram itself just as a quick example is showing you all the pixels how bright it is now. The way it breaks it up is it puts all the dark pixels in the left hand column. We have the shadow areas next to that. The main portion of it is the mid tones and then over in the far right hand side is the highlights. And what this mountain of information in the middle is telling us is that we have a lot of mid tones with a little bit of shadows and a little bit on the extremes. And so what this picture with this hist a gram? What picture this history ram is from is this wild tiger in india and if you've ever been to india, if you've ever ridden an elephant to photograph a tiger, you will know it's kind of tough to check your exposure while you're moving around on the top of this element, so I'm checking the history graham, if it is over exposed, this is what the image might look like. This is what the history graham would look like if I under exposed it would be stacked up against the left hand wall. The overexposure under exposure history grams are warnings that something is a miss, and so you would need to go in and change something else about the exposure. And so if you get a good look ng history ram, which in a very general sense is a mountain in the middle, you're probably doing pretty good and whatever you want to do with that photograph you will later on and so that's just a quick thing to look for, but it toe learn your history, graham next up. Ah, big part of up photography is getting the focus correct and there's a lot of ways of controlling focus in the cameras these days. The main modes that you want to be aware of is single and continuous single is for basic photography, where you focus on a subject and your lens focuses, figures it out, and then it stays locked in continuous are for subjects that are moving so wildlife and sports many cameras not all but most cameras haven't auto a f I don't like it, it's a little unpredictable, so choose either single or continuous, and that does go by different names in different cameras. Many all cameras these days have multiple focusing points. Some have as many as sixty one different focusing points to use most of the photographers that I know use the single one in the middle it's the most sensitive one it's an easy one to use, and they want to be very precise about what they're pointing at. And so that's what I do for most of my travel photography, I will go to a group system, or I will go to an all point system when I am shooting action and the subject that I'm shooting is moving around and less predictable and so make your choice know how to change the focusing points. The other little things that you need to worry about is the drive system in the camera. Most of the time, my cameras in the single mode, where I'm just shooting one shot at a time, I will sometimes be shooting continuous if there is action to shoot and I'll be using the self timer mode when I don't have my cable release out and my camera's on a tripod I use that to second self timer all the time, but sometimes I do have a remote hooked up a swell so you could be using any one of these white balance is controlling the color of your photographs because your camera doesn't intrinsically no what light you are working under, whether they're tungsten lines or fluorescent lights your camera just doesn't know so it's trying to guess on these things what I generally do is I shoot raw, which allows me to go in and change white balance anytime I want, but I will generally use auto white balance it does a pretty good job and I shoot ross so I can go back and fix it, but if I am in a situation where I'm not getting good color or I'm going to be in that situation for a long period of time, like on a kayak trip on a river for a week, I'll just put it to sunshine or cloudy weather depending on what the weather is. And so if you see unusual colors, if the white balance seems off, go ahead and jump in and change that. That should be a quick and easy change, but if you're shooting and raw, you don't need to be super critical about changing it in every situation, so the ten major controls that we've talked about let's bring them back up are these controls over exposure focus in a few other things and you should be very familiar with them, and I'm going to run through a couple of scenarios on recommended settings for different types of scenarios. For those of you who have seen my fast start classes, yes, I have stolen from that class to put it in this class, I think it's useful information that would be helpful. Okay, so let's say you're going someplace like the grand canyon or beautiful landscapes, and you want to take great nature shots. One of the things that a lot of these shots have in common is that there's tons of things and focus you want the foreground and focus you want the background in focus. Typically, these subjects, like flowers and trees and mountains aren't moving around too much, and so you're using a tripod in these cases, so let's think about landscape photography and the basic set up that I would have in my camera, I'm going to shoot several pictures, so I'm going to choose manual exposure. I could be very precise about what shutter speeds and apertures I choose here. The first setting I'm going to make is actually in the, so I'm gonna leave the iso at s o one hundred because that is the best quality setting on my camera and most cameras. The next setting I'm going to make is I want to make sure that I'm capturing enough depth of field. I'm going to be a f sixteen, maybe f eleven, maybe have twenty two maybe f thirty two it depends on a number of factors that we don't have time to do it get into, but I generally want more depth of field as faras shutter speed. Chances are I'm going to need more time because I have closed that aperture down so small if I'm on a tripod, it doesn't really matter how long my shutter speed is, because the camera's not moving during that period of time, we don't need to worry about exposure compensation because we're in a manual mode. I'm pretty much fine with mice, multi segment metering and auto white balance for most things focusing, I definitely want to be in single I don't want the camera moving around on me jumping focus in any way and for focusing points, I'm gonna choose the single point and cut to the chase real simply, I'm going to focus somewhere between the distance and the closest thing, and so if I have a flower a foot away from me and the distance which is infinity, I might be focusing at two or three feet depends on some factors, but kind of the middle between the front and the back. And then as faras the drive mode goes, there are some different options here you could choose single shot if you have a cable release, you could use the two second self timer or a wireless remote of some sort and so it's pretty simple and if something seems a miss like the shutter speed or aperture seem a little bit wrong, I could just click, click, click and make a quick change for the exposure and this is a pretty simple system for landscape photography all right let's, switch over and do a little portrait photography so you're going to take a portrait maybe you've asked somebody too stand in particular location or for permission to photograph them could be a person could be an animal what's typical about these shots is that you want the background out of focus and you're gonna have to be mindful of the shutter speed because you're probably not working on a tripod and you got to be concerned about your movement as well as your subjects movement during the exposure in this case, I'm gonna be thinking about shallow depth of field first and so if I have a lens that goes all the way down to one point for I'm gonna probably use it at one point for maybe two maybe to wait sometimes I'm using it my zoom lens, which goes to f four I'll use the best that I got after that, I want to make sure I have a fast enough shutter speed to stop whatever action may be happening. I generally like to be a one hundred twenty fifth of a second or faster from there. I would like to set the best possible way jj is one hundred, but sometimes under the low light conditions that gets bumped up to two or four, but I'm always striving to do the best that I can. We're gonna go ahead and leave the meter in system at the multi segment metering system because it does a good job, we'll leave it at auto white balance, and when it comes to focus, we're going to be very careful about where and how we focus. We're going to focus on the subject, and as long as they're not moving towards us or away from us, we wanted to be in single and I am definitely going to want to be very precise about choosing where to focus. I don't want to focus on the nose. I don't want to focus on the ears of the background, I want the eyes and focus the eyes of the most important thing to have in focus, and then I'll probably actually have my camera on the continuous mode because people's expressions and gestures change and you might just want to grab a syriza shots. Right when it's the right moment and so that's going to help you capture just the right instant. All right, let's, go to the next style action photography so something's moving towards you or away from you, it's, unpredictable, maybe it's predictable, but it's constantly changing so focussing is critical here. Shutter speeds are critical here in these situations I usually like to be in manual exposure like manual a lot because you could be very specific about where things are. In both of these cases, I knew this action was likely to be happening, and I could set my manual exposure ahead of time and make any adjustments for shutter speed and aperture to fix those problems ahead of time. So I'm anticipating the moment here's, where you're going to need a faster shutter speed one five hundredth of a second or faster. In most cases, it depends on the action. This is where it really pays off to have a fast lens, like a two point eight lands. If you don't have a two point eight lands, just do the best you can with what you have the so of course, ideally, it would be at s o one hundred. The reality of the world is, when you choose a really fast shutter speed, you're probably going to need a higher ece. So most cameras are very good at I s o four hundred that's sometime my starting point, but you go oppa's highest necessary we're gonna leave the multi segment metering right back for the meter and we're going to leave auto white balance this is where we make an important change and focusing we go to continuous focus so that as we focus on our subject to the camera, is constantly re adjusting focus as our subject moves closer and away from us. If your camera has a slightly more sophisticated focusing system where you can use a group, I like a group of nine focusing points that tends to work really well for a lot of action. Sometimes you have other groups, whether they're twelve or twenty one or something like that, you'll have to do some experimentation with your own camera. If you have a more basic camera where you either choose one point or all points, then I would use all points, but groups would be preferable overall points and of course, in the drive mode, we're going to be in continuous mode because we want to capture a siri's of shots during the peak moments of action. All right? How about those times when you just walking around and you don't know what your next picture is gonna be? It could be this it could be that you just have no idea you gotta have your camera ready for whatever may happen next and so kind of the general way that I packed my bag is an aperture priority it's a little bit of automation I am setting the aperture and it's not that I'm not worried about the shutter speed it's being set for me and I'm just keeping an eye on it, and so I typically said an aperture that's reasonably fast like f four and that's going to give me a reasonably fast shutter speed it's never been the case that I know of that I suddenly need a lot of death depth of field usually if something happens pretty quick, you need a fast shutter speeds so kind of better better to be ready for that fast shutter speed if the light's good albeit aya so one hundred if I'm indoors or I'm in a dark marketplace or something like that, I'll just constantly be up changing that up higher and higher depending on the situation that I'm in even if I'm not, I don't see a picture to take I walk into a market stall, be like okay? Says I s o four hundred I met a sixteenth of a second now maybe let's go up to eight hundred and I'm anticipating that something made hat might happen I'm not waiting for something to happen, I am getting ready before it happens the other settings kind of similar goingto be exposure compensation at zero unless it needs to be changed, we're going to leave me uttering and white balance where we have for the others and for focusing in general, I'm just going to leave it on single, focusing it's not going to be great if there's a lot of action running around, I'll have to make that change on the camera pretty quickly if necessary. I'm gonna leave it at single point, so I could be very precise about where my camera is focusing and the drive mode I usually leave it on single it doesn't hurt to leave it in continuous the problem I have with continuous is my camera fire so fast, I often take two pictures when I intended to take one and it's just work to go back and delete it later, and I can usually fire off a bunch of shots pretty quickly if I need to sew. Five tips for just basically basic shooting reiterating some of the things I think aperture priority is a good mode to b and when you don't know what your next shot's going to be and using the fastest aperture that you have on your lens, maybe it's three, five or five six for your walk around shots for anything that you're going to take multiple pictures of one thing you're going to try several different times to get it right use manual exposure it just helps you lock down a lot of the settings on your camera we'll simply some of the stuff from basic photography you're going to need about a sixteenth of a second or faster for casual human movement like walking and if they're moving around really quick you're gonna probably need ah five hundredth of a second let me address one shooting issue that is really good for travel photography and that is panorama work ok and so panorama could be done in two basic quays one way is to just take your normal picture and then go into photoshopped light room or whatever you got and crop it later and it's perfectly acceptable uh now as it always has been to crop your image is any way that you want now some people prefer certain aspect ratios and if you do want to print them and put him in a certain size frame you do it it have to adhere to those aspect ratios but in the digital world where it's on a screen you could almost make it any size you want and so I have no problem with these wide shots it seems to be just appropriate eliminating all that doesn't need to be there in the shot now the way to do it really well is if you want high resolution is a stitching technique where you take multiple photographs that are slightly overlapping just like clothing that you would stitch together, you need to have a little overlap and then using a program like photoshopped to combine all the images into one super high resolution image. Now this works for two different reasons. One if you want to make a really big enlargement it's going to give you more pixels of your subject and it can also work if your lenses just not white enough to get everything in that you want. And so this picture of the golden gate bridge is a monster of a file to put together because there's a lot of images that go into it now, the current versions of photoshopped do an amazing job at merging this together automatically. I have learned how to do it by hand, which could be very, very tricky and time consuming, but there's many different programs that will do it just fine. Now. Now, the best technique is to shoot verticals, like in the examples I've just shown you, but sometimes you just need a little bit wider angle of you and you don't need a huge resin resolution. And so, in that case, I might take two or three photos and then combine them together to get that one wide angle shot. Back in the days of film, you had to buy special panoramic cameras to do this type of work and it's so nice to be able to just take click click, click and you've got a panoramic there back down in monument valley my lens I didn't have the perfect lindsay had to compromise and have the perfect lens that I wanted, so I just took two overlapping images and photoshopped did amazing job just piecing it together and one of my favorite panoramas is here from the space needle and I broke one of my rules on how to shoot a panorama I shot this handheld usually used to be using a tripod and up in the space needle they have little indicators which direction north, south, east and west is as well as north, east, southeast and so forth, and I went to each one of these little markers and I took a photograph, so I took eight photographs horizontal, making sure to crop out the little uh, ring around the spacing it'll down at the bottom and then I combined them into photo shop and for the for those of you that have never been to seattle there's lake union and you want to know where creative life isthe here's creative lives right here in that building, that arrow is pointing exactly as to where we are in this building right now. And there's our downtown seattle. And so this is a great way to showcase a place that you've been by doing a full three sixty, and there were eight photographs, horizontal photographs to make this up so here's my panorama stitching tips first hip, it's best to do it with a tripod. This example was done handheld, so you can break these rules if you want. You do want to stay in manual exposure because this is one photograph it needs to be taken in one shutter speed and one aperture, because it's all the same exposure and things will start to look different if you don't get it right. You want to manually focus so that your lens does not change focus while you were going from shot to shot, you want to use a middle or smaller aperture when you do this so that you're getting lots of depth of field it's very challenging in not impossible, but next, too difficult to shoot anything that's really moving. And so if people are moving around it's going to make it interesting or difficult, or maybe both, uh, and then the final actually, two more tips here shoot left to right that way, when you download your images into your computer, they come up in a logical manner that almost looks like a perp. Panorama right there and then finally you want overlap, your image is a little bit about twenty to thirty percent is the right amount if you do five percent, you might lose some information here because they don't line up just right if you overlap eighty percent, you're going to be shooting too many pictures and you're gonna have huge file sizes for your computer to run through. So those are some techniques for shooting with panorama and it's a great technique to use when you're traveling. Let me talk a little bit about the workflow dealing with all the gear and stuff while you're out there. And so, as faras workflow is for us downloading your images you want to take your memory card out of your camera you don't want to download from your camera to your computer want to get the card out of the camera, plug it straight into the computer or get one of the card readers they're cheap and easy to use. You're going to use a basic program to review your images. Adobe light room is a great program it's, the most popular program that most of the photographers I know that are using and then you want to organize your files, you should probably have a folder for the trip that you are going on and the folder for each day that you're shooting, so if you're shooting in bhutan today this is the folder that you would have in all your pictures that you shoot today go into that folder and you'll have a folder for every day. The next step is you should rename your photographs with a date system so that they stay chronological in order. There are many different options, but this is one of the most popular options. If you have time you're traveling, you don't always have time, but if you do have a little bit of time while you're there while you're thinking about it while you have the spelling down while you have the brochure right there in your hand, put in the correct spelling for where you've been and what you've done just to give a few little hints that help you out when you get back. If you do have some downtime, you can do what I call a loose end it which is basically going through and marking some pictures. As for the garbage and other images that air your best, the reason this is helpful is it's going to give you a head start when you get home for editing? And if for some reason you need to throw together a quick slide show while you're out on the road, you can quickly go select all your best images for a short little slideshow, perhaps presenting to a family that you had dinner with to show some of what you've been doing and that's a great little technique to use while you're travelling is doing a little impromptu slide show even if it's ten people gathered around a little tiny computer monitor it can still work and be a lot of fun after that you need to back up your shots so they've been downloaded to your computer you khun storm on your computer if you want that's perfectly fine but you should have him in two locations and so you should have at least one hard drive some people like to have two extra hard drives as well as having them on the computer having those images in separate locations you take the memory cards back to the camera you re format in the camera for the next day shoot yes, you've deleted those images but the images air fully safe and backed up in other locations and then go back prepped and get your gear completely ready for the next day so that you're ready to go in the morning and all your gear is reset the way it is supposed to go all right we might want to check in with some questions and answers on just some of the other technicalities and things like that before we jump into the next section sounds get any questions from the media just wondering if especially when in basic mode if you have any thoughts, feelings or opinions on raw bit depth rob it death okay, so here's a guy who shoots an icon because kanan doesn't have that, uh and you can shoot in twelve or fourteen bit, and I like to shoot this high quality of possible so most people would think I would choose fourteen, but I've done my own testing, and I can't see any difference on dh, so I choose twelve bit, and until somebody can really show me some proof, and I've searched all over the internet, and I haven't seen really that it's just one of these things that I think there's some nikon engineers that are really geeks, and they want to be ableto add this extra level to it, and I haven't really seen much in the fourteen bits in theory or better, they make for much larger files, especially if you're doing hdr photography or panoramic and you're combining images. And it doesn't seem to me that it's worth the cost of the exercise when I think also, at least on some older de solares, it cuts down on your frame rate. So yes, that's it can affect the motor drive rate on some cameras and how fast you can choose because it's trying to choke down so much data so twelve it I think it works great, yeah, you take it, you don't trust me, do your own testing take a look all right question from the internet from sam cocks in colorado, um says many cameras have an auto exposure bracketing mode do every use this feature while traveling auto exposure bracketing I was very popular in the days of film when you couldn't see your results, and you really wanted to make sure you got it. And so kind of the old same wass ifyou're not sure racket like hell, you know, you just shoot everything I've heard of cases where a photographer would encounter something so incredible they would shoot an entire roll of film, just moving that everything over everywhere just to make sure that they got it in case something weird happened. Uh, but now that you can check cameras bracketing on its own is unnecessary. In my opinion, however, there are plenty exceptions to the rule if you want to do hdr photography, which we're not going to get into hi dynamic range photography, where you shoot multiple exposures and combined them bracketing is the way that you do that, so you would definitely do it. I can't remember the last time that I did bracketing on my camera other than for teaching purposes generally I'm going to shoot one picture, I'm going to look at the history, graham, and I'm going to go darker, lighter or okay and if it's darker or lighter, I'm going to make that adjustment and do it right there you can use it if you are just be familiar with how to use it's just wasting two frames in my mind I love just dialing it in right? Great thank you. I think we have another question from dana in the audience and by the way, really quick. Dana is one of ours, he works for creative life on is the director of product management. So you for being a part of this's back on the subject of tripods, but there are situations in which tripods aren't allowed in a place, and so in your experience, what are there some of tips or tricks you've used this stabilize yourself I know you can get into setting is well, but in terms of physical stabilization, right? And so when you are holding a camera, you want to try to get something solid as close to the camera's possible alright self right here the closest solid thing is the floor, not the closest thing in the world let's just say that this is super stable now I lean up now, my hip is a little bit closer or my arm is even closer because that's kind of a direct line or all maybe I'll lean on my back or maybe I'll rest my camera down here and so all of those sorts of techniques you could take your coat and rested on top and kind of pushed down on it and you could probably do a shutter speed is low is one second and so it's just trying to get yourself a cz close to possible and the tabletop tripod forced up against the wall is another technique or on a railing in some cases and yes, tripods air not allowed and it's the assumption in the world is that if you have a tripod ur professional, so if you want to be a professional, just go buy a tripod and your pro okay, so that those air some tips stabilization obviously helps uh, different lenses have anywhere from to up to five stops of stabilization. Some of the newer lenses have these three, four and five stops, and so some of the new orleans is a rh better than older, the original versions of stabilized lenses. So some thoughts on that way have a question from uruguay? Uh, do you use every still chief lenses for panoramas till shift lenses are awesome for panoramas, but they are a special lens that is very particular they're heavy and they're expensive and I don't typically travel with one depending on the type of trip, and so they know exactly what they're talking about as far as making for nice panoramas because tilt ships uh they keep things in perspective when you shoot here and hear things kind of get warped a little bit and the tilt shift can keep things so that they line up perfectly and so it's a great tool if you know you're going to do a lot of it the tilt shift is the best way to go but there's a lot of things that you could bring with you that would be the best but your camera bag would look like a stretched hummer. Okay, wei have a quite a few questions that have come in throughout the day on memory cards so I think now is the perfect time to bring this up and let's see there's one from I'm sorry I didn't catch their name oh it's isabel um and she's going to romania soon on just curious about what about memory cards to bring you know something that can capture video as well as still imagery right? Oh boy have cards changed. I remember when I started working it travels to the edge and I had I think I had three two gig cards and then art got some new cards and I got a hand me down for gig and it was so nice because I could shoot more than one hundred pictures but they are changing guards and recently I went and I bought a bunch of thirty two gig cards that were less than twenty dollars apiece and I can fit a thousand raw images on each of the cards. I mean, I have memory just waiting to go on vacation right now, so buying more memory is cheap these days, you should be able to handle just about any trip with one hundred dollars, worth of memory cards. You do need to be aware if you are shooting video, it is be aware of really cheap cards. Be aware of what the video speeds are. If you're using the smaller sd cards, which most cameras are using these days, you want to have class six or higher in most cameras. I was just looking at a new class I'm going to be doing on the cannon seventy d, and they were actually recommending class ten and higher cards on this camera. So it depends on how knew your cameras and how it writes data to those cards. But the higher in your camera, the higher resolution it shoots his faras video, the faster you need that video card. But for the average travel shooter carter, the speed is not hugely important other than in downloading, it might be a bit faster downloading.

Class Description

Travel photography is a wonderfully rewarding experience, but travel itself is a whirlwind in the best of situations. The mix of new landscapes, cultures, and logistical challenges can be difficult to navigate. Being an effective travel photographer requires careful planning and shoot preparation, but also the flexibility and openness of mind to take unforgettable photos.

Join pro photographer John Greengo for this class, and you’ll learn:

  • How to research and plan a trip around great photography

  • How to tell what gear you’ll need, and how to travel with it safely

  • Shooting tips and some of John’s favorite locations