Mastering Mobile Photography with Chris Orwig | Adobe Creative Cloud


(upbeat music) – [Chris] All right let’s begin. First of all thank you
so much for coming today and I am super excited
to dive into our topic of how we can capture and create better mobile photographs. As far as my volume how is it back row? You guys can hear me give me a thumbs up. Everything’s kind of okay there great. Well what I wanna do is I wanna start of with a quick 60 second introduction so you have a sense of who I am and where I’m coming from. So that’ll give us a context. Then I wanna talk about what were gonna cover in the course and then we’ll dive right in. Does that sound good? All right well as a photographer, I get the chance to photograph people sometimes who are really interesting like Millie Bobby Brown
from “Stranger Things”. I also have photographed someone like Kelly Slater a wold champion surfer, or I do a lot of person, editorial and commercial portraiture, and that basically means
someone I find interesting I’ll photograph or I’ll do magazine or client work and I’m
a family guy at heart. This is me and my gang there and so I do a lot of family photographs. And I don’t necessarily do this as a big part of my profession but I do it just because I love it and I love family and kids. I also like you, like taking
pictures when I walk around, so this was just a walk in Downtown LA, or this morning I went out for a run and I’d bring my phone with me and I’m always searching
for photographs right. And I’m looking for those moments like these moments that
just happened to happen in front of you as you’re
out and about in the world. And obviously the colors and
the light these are unedited. It’s just, you’re there and you capture those moments right. And I like bringing my camera with me when I do things that I love, I’m sure like you as well whether that’s biking up in the mountains, or camping in Joshua Tree. And that’s the unique thing
about mobile photography, at least I’m gonna guess for 99% of us and it’s this, for mobile photography we’re catching something
kind of as it’s happening. We’re very rarely hiring
a production team, renting a location, have makeup artists, hiring talent we don’t do that necessarily but like something happens and we respond to it. And that’s what we’re gonna look at, how we do that and again for me that means doing stuff I love or out when I’m traveling, capturing pictures this
was a trip to Italy And so my little bit of a background is I do these things, I do photography and
teaching and write books, and I’ve done work for companies like Google or Patagonia and have work in I know publications like Rolling Stone, New York Times. I’m a Sony ambassador
so I do a lot with that and I’ve done a lot of online tutorials, over 5,000 hours which is kind of crazy, and I also have just finished or about to, and about to launch my seventh
book which is this one. It comes out in less than a month which I am super excited about. All right so that’s a little bit about me, let’s dive into this topic that we’re talking about today which is really how do we
capture better photographs? And the thing with photography is that it can be a bit of a maze right? ‘Cause you think it should be sort of easy ’cause when
you look at a photograph it just looks simple. But then when you try to take your own, for some reason all the
elements aren’t coming together. And so for us, what we tend
to learn with our phones is that is a lesson that pro photographers have been learning for years and it’s this and maybe some of you
have experienced this if you’ve bought an expensive camera, and that is that you buy
the really expensive camera and then you go out and
take pictures with it and the pictures are horrible and you realize that better gear does not always equal better photographs. Now does better gear help? Sure but if you think
about the photographs that have been captured on phones, they’re some amazing photographs that have been captured on phones that are like four years old right? Like world class that are in museums and galleries and National Geographic. Like the cameras that we have now, they’re good enough. So it’s not really the
cameras fault anymore, it’s kind of ours. And that’s where they fun comes in, and what I wanna look at is how we can capture and create better photographs. So there’s two sides to it for me and for this talk. On the capture side, I was thinking about this and I thought you know I could cover 100 topics in a really shallow way or I could deep into three. So I’m gonna go for the deep dive, and the deep dive for me is
one to think like an artist, two to compose with proximity or closeness and story in mind and then three to find or search for the light. Then on the create side that is when we were
finished after capture, how do we improve light? How do we enhance color? How do we fix and repair? And how do we also access
and share these images that we’ve captured because
that’s one of the reasons I think why were actually capturing them on our mobile devices. We don’t tend to capture photographs and leave them there. This device wants to send them out right? Even if it’s to your brother or a friend or on social media whatever. All right so capture,
think like an artist. What does that mean and how can we apply this to the craft of photography? What I think this means is developing a different sensibility with your, with your phone. So here’s what tends to happen, I’ll show you a lot of pictures and kind of tell stories, but you’re gonna have your phone and maybe you’re doing something that’s, I don’t know you’re checking email or looking for directions and all of a sudden
there’s someone on stilts, juggling I don’t know chainsaws. And you say, “Oh my gosh!” it gets your attention
and you push the button. But that push the button, that’s a really important first step. But that’s not necessarily the way an artist approaches it right? They just see that almost as the ignition, that’s where it starts and
so I wanna share with you a few thoughts from a
few different artists and you may have your own on how we might start to
think more like an artist as we’re using our mobile phone. Also I should say what tends to happen, a lot of people say to me
because I’m a pro photographer, they’re like, “Oh you’re
using your little camera. “When are you gonna bring
out your real camera?” This is a real camera if
you treat it like one right. So I give you Picasso he said, “If I don’t have red, I use blue.” and what I think he meant by that is I will make make the
most of what I have at hand, and people who are really, really good at mobile photography, they’re at the beach and their kids, their kids are on a swing set and they’re like, “Well I’m
gonna make the most with this, “and I don’t care it’s red or blue, “it doesn’t really matter. “I’m gonna bring something
to this situation.” And then there’s Bob Dylan who said, “The purpose of art is to stop time.” Now we know photography, mechanically stops time at
one hundredth of a second or something like that right? But beyond that the best photographs that you and I like, they give pause to the viewer right? I mean if your scrolling through them literally they stop that person. They stop time for a moment and a really good photograph, you actually forget about time and place. For me or for your maybe
if you see a photograph from 20 years ago, you can almost go right back there. Like time does not exist anymore. And then there’s Van Gogh, Van Gogh let’s go back to the time before he was Van Gogh. He’s a aspiring artist, impressionism doesn’t exist and he had formed a relationship with a painter who’s was a bit of a, a mentor to him and this mentor
did not like Van Gogh at all and he didn’t think what
he was doing was art. And Van Gogh writes a
letter to his brother about this experience and he says, “That this particular painter “takes it amiss that I
call myself an artist, “but I won’t take it back. “Because to me what it
means to be an artist “is to be always searching
but never finding it in full.” And I love that. It’s not something like
Art why I’m an artist with my phone now and
I’m going to stop time. It’s like I’m just searching and digging and looking and yes
there’s something exciting happening in front of me
but I’m gonna keep searching and keep trying to find a way to stop time and if there’s something
in the background, it’s red I’m gonna try to find blue you with me on that? And then the last thought I have for you is from Antoine Saint-Exupéry I’m not pronouncing that right. But from “The Little Prince” who said, “We can only see rightly with the heart “for what is essential
is invisible to the eye.” And I think what good artists know and what good designers know, and what good creators know is that the essential things and
something that’s really good, those things are intangible right? You can see ’em but you can’t quite, you feel them you with me on that? And probably when you
think about your own work, you have those things,
your own photographs. So what I want us to do
is start to think about how we can let other artists inform how we use this very
functional, simple tool are you with me on that? So here’s what I wanna do, I used to teach collage classrooms so I’d have to keep my students awake, so I’d make them talk to their neighbors. You’re gonna talk to your
neighbor only twice in this talk. But this first time is
neighbor nice to meet you, how might you use some
sort of artistic influence to shape how you use your phone? It could be one of these people or it could be I love this other artist, and they say something like this, I’ve never thought of applying that to working on my phone,
does that make sense? How can you apply those concepts to your own practice of photography? Let me give you an example. Let’s say I choose the last one, what is essentials and visible at heart. I might say, “Well I’m gonna start “photographing invisible things. “Rather than thinking
of the rule of thirds, “rather thinking about color, “rather thinking about composition “for an entire week I’m
gonna photograph a feeling. “And I’m gonna try that.” and you’ve probably
never tried that before, it’s very hard. ‘Cause you’re trying to go
beyond the way something looks and how many of us, let’s
do one if you’re a designer, two if you’re a photographer, three maybe if you do film and video and five if you just do everything. So one designer, two photographer,
film maker, everything. Just give me a show of hands just so I know who I’m
talking to as well okay. Some people had two fives, that’s odd. All right so quick introduce
yourself to your neighbor, how might you apply this concept to your own work with mobile photography of 30 seconds this is a real quick snap, just say hello. (audience chats) All right I’ll grab your attention just so we can keep going. (audience chats) One of the things, hopefully that wasn’t too painful, was that too painful was that okay? One of the things I’ve noticed about the artists that I like most, they’re very curious and
they’re always asking question and they get inspiration
from unlikely sources, and in this room there’s so much creative, artistic potential here. So what I’m tryna do is
help us tap into that because you never know what
some one sitting next to you might say that triggers
that little thought. And so what I encourage you to do is to think about how you can do this in your life and workflow. Let me tell you what it looks like for me. I’m on set and Millie Bobby Brown shows up and if you aren’t familiar with her, she’s an actress and she’s
this really stunning person and more importantly my
daughter is a huge fan. So I’m getting huge dad points here and she and her friends are like, “You’re photographing who?” and I’m like, “Millie, wait
how do you say her name? “Millie Bobby Brown?” and they’re like, “Oh my Gosh!” You know. And I’m impressed too, she’s amazing and she shows up on set and I just react, ’cause that’s what we do with our phones. Something happens, hold the
phone, take the picture, and it’s not a great picture. But what I’m excited about is the light and the wind turbine and someone called action, but I’m not there. So thinking like an artist or like let’s say Picasso, I can’t change too much red, blue, I gotta make the most of this. I gotta stop time. She’s gonna do a few more passes by this, I need to back up and I’m
shooting with my iPhone so I’m backing up I also
wanna show this light that’s coming in from above ’cause I kind of like
this BTS type thing going, and she does one pass and it’s too dark, and another one and I’m trying to get her into the light and eventually you know I’m obviously ’cause it’s a demo I’m gonna show you a good image. It doesn’t always work
in real life like this, but eventually I get it, she’s in the right spot right? And her foot, her feet are separated and her toe is up like that and I’m thinking through all of that, I’m predicting the moment
that’s gonna happen. And so for me, and that’s a closeup view and then pulled back view, that’s what I mean by
thinking like and artist. It’s not ego, it’s not putting on airs, it’s not putting on self importance. But it’s like something caught my eye and then asking yourself,
“What is it and why?” It’s lights, it’s movement, it’s emotion. You know when you shoot like this versus like this you actually, I saw the light up there even though it wasn’t in my picture. But the viewer didn’t
know that was there right? ‘Cause we, if we hold up a camera we have all this peripheral information and so I just say, “You
know that’s actually “what’s interesting back it up Chris.” You know frame that in
there and get the shot. Let’s do a couple more of these. So we saw kind of this
to that type of a thing, my little daughter goes out
to bring toast to the chickens and she’s dressed up for some reason and she has a book and a backpack on, and I’m like, “Oh my Gosh, she’s so cute!” and I run out there and
I take this picture. You know and it’s just reactive. And the reactive, I don’t want
you to feel bad about that. I want you to feel good, that’s a little spark,
that’s the universe kind of telling you something caught your eye. Something’s happening
’cause things that spark us are very different. So you pay attention to that, and then you arrange yourself or you maybe arrange your subjects and you get close, and doesn’t she look like a little doll you know what I mean? I’m like, “Oh she’s just so cute there.” and then you get the shot. Now here’s an interesting thing, those of you who are designers, you can show a logo halfway
done and it’s beautiful. You know the whole work in progress thing doesn’t work for photographers, because our work, if I
posed that on Instagram work in progress, people will be like, “What the?” That’s stupid right? But you have to know that’s
how photography works. It’s maybe similar to writers talking about their rough drafts, that they’re so horrible
and they trash them, and you never really
believe the great writers. They can’t be that bad. But it is probably, and
photography’s the same way and that’s okay but artists know that. Sometimes maybe it’s just a slight tweak, a friend loaned me his VW Bus for a day I was so excited. So I parked it by these palm trees, but there’s cement. I like palm trees and bus
but I just need to find a new spot right? So I just need to kind
of re-park the vehicle and so again it’s like
there’s something there but let me develop it further. There’s something there, big
bubbles in the front yard. Sun kind of backlit but
there’s power lines, but I move a little bit then I get another big bubble and then
if I get her at the right way, I can get her face in it and I can wait for a moment. And a lot of times, shooting slow mo video like I did here can actually teach you
a lot about photography. So it’s one of these hacks or these tricks because what photographers
have a keen ability to do like say with that Millie Bobby Brown, like how did you get it
with her foot right there? I slowed it down in my mind, and that only comes from years
and years of practice right? And so can do these little slow mo things and try to figure out well
what is a moment in a scene? And obviously this you know, I have still photographs of this as well, you know I like it right when the bubble sort of popping like
right there is my moment. You need enough bubble, not if it’s too much then
it’s not interesting. Here I am at the beach, a swing set on the sand. Oh my gosh how cool is that? I’m visiting my sister, there’s
my wife in the background, cousins are all swinging. I just respond to the picture and artists do that right? But then I have to kind
of arrange myself and say, “Well I need separation.” So then I get one with my Annie kind of swinging up high but
her feet aren’t above it, so then I need to get lower. And all you have to do to
make people higher or taller is just drop down and then I
need to wait for that moment. And then I have to keep trying out right? And then I’m like, “Well what
if I shoot into the sun?” and this kind of gave me the idea like, maybe I could isolate
someone away from the beach. Maybe I don’t even need the beach, maybe just a person
swinging out into space. And so you iterate,
you try, you experiment and you’re going for feeling right? And that’s what I mean by
thinking like an artist. Moving to our next topic composition. Remember I said there’s two things I wanna talk about with composition? Proximity or closeness and also story. So first one Robert Capa says, “If your photos aren’t good enough, “you aren’t close enough.” And I think what he meant wasn’t that you need to necessarily physically be close, all thought that was
a big part of his work and his instruction. ‘Cause these two photographs one I’m closer, one I’m further away, I think they both work. I’ll show you examples where it doesn’t work
to be far away as well, but I think what he really
meant on a deeper level, is you have to be so connected
with the subject matter and that the viewer feels that closeness. If you care about about what’s happening, there’s a greater chance
someone else will care. But if you’re just sort of like, “Okay, boom, done.” magic won’t happen. You with me on that? So what does that look like? Walking up the steps to the house, often that means changing perspectives and physically getting closer. So here’s there’s dew on the poppies, and I just get closer and it’s iPhone and I just get really close to the flower and that’s what makes the
background go out of focus with using an iPhone. It’s hard to do that
because you have to be so close to things, but for flowers it works. And I just put those purple
flowers in the background and that’s all we’re doing right? And so what you have to
do is you have to say, when I looked at the poppies, and this happens to you, I zeroed in on a flower
with dew drops on it I was like, “Wow that’s magical!” and my youngest daughter, they’re really into fairies and there’s like a fairy
that adds dew drops so I’m thinking this is
like magical fairy land or something you know? But the camera doesn’t see it, the camera see’s like a mess of flowers kind of stumbling over the steps. So I have to arrange myself. I have to get close to them. This is Downtown LA, I saw these buildings and I was like, “Wow they’re kind of like “coming close together. “What if I stand right underneath them “and just do this?” and that’s the shot and all of a sudden, that shot because of that proximity and that change perspective gives us a little bit more. A horse in morning, you know
I just wanted to get in there and fill up his you know, why the long face kind of thing with that type of a shot. And so what you have to do hopefully is see that this isn’t rocket
science necessarily right? What it is though is
giving a little more time, thinking a little bit
more about the process because what we tend to do is this, we see something we really like maybe even a design
like a cover of a book. We take a picture of it to remember it but we actually then forget what it was because it disappeared in our camera roll. But we somehow magically think that because it’s there, we know it more. If we really wanna know about cover, take a picture of it, sketch it, add notes about color, what is my emotional response to this? You know really are you with me on that? And so we’re doing that
same thing with our cameras. Beautiful morning, this
is a kids field trip, what a lake, and just get closer to it and drop down and cut out that foreground. ‘Cause when you see things, you actually zoom in on it and I could this, you
probably can’t do it with me, but I can zoom in on you right there and no one else matters right now. Just you matter but I took a picture everyone else would matter
you with me on that? So we have to start telling the camera how to link, how to look. Waiting to pick up my
daughter for carpool, I love drops on windows, and this case getting closer we’re just having the sky fill it versus the school playground
or the school parking lot, and just pointed up towards the sky and then in Lightroom changing
the color and contrast. With these pictures from
we saw earlier in Italy, I wanna go through the process with the one on the right. I don’t have a before the one on the left, but this was the first shot. I see this old man, see
my work in progress? I can’t share these you guys. So don’t tell people I took that. But I see this like endearing old guy with
some kind of injury, I don’t speak his
language, he doesn’t mine, and I just, I just take
a picture you know? And I connect with him you know and kind of get their approval, but I have to walk up to him right? And then you can see now
we’re like connected right? I did something a little bit more, I’m trying to think about this
a little more artistically. Same thing while at a skate park, but then arrange myself. Or chalk artist yes, wait for a moment but also get close, fill the frame up. Umbrella Downtown LA, fill the entire frame with
that rainbow umbrella. And we can do this in
lots of different ways if you haven’t tried this, look for situations
this is the ATM machine not too far from here
about a couple of miles, and they had this little sculpture and I loved it. And if I just get in close and fill the frame with
what that thing is, all of a sudden it takes on
a different type of beauty. And so that’s one of your assignments is to look at filling up a frame because what our imagination does is when we fill a frame up we imagine that whatever those things are, go on forever and ever and ever. And it’s not a weight, it’s not a burden, it’s kind of a simple beauty right? But if the pattern ends, then it becomes a little
bit more difficult or a little bit more problematic. Okay well we’ve talked about getting close but also have to talk about story because I think the
two are interconnected. We have to say is the person kind of in front of something or maybe within? We have to say, “Well what
is the size of the person? “What is the moment? “Are we trying to capture
something that has “some kind of feeling, is
it a story about quiet? “Is the story about reflection?” You know I think the picture after this, this was my friends son he was like sticking his tongue out
and doing this you know? But I like, I just kind of instructed him, just be real still and this is what I do with my people photography, those who know my jam. I say close your eyes, take a breath, and whenever you take
a breath you recenter. And so in my photographs
you see a lot of stillness, and that’s because I ask people to breath and I’m gonna ask you
to do that right now. Let’s try it, just take a
breath collectively ready? (breaths in and out) We take a breath and we feel more grounded. And what happens when I do
that in groups like this, a lot of you actually
smile after you breath, and part of it’s because
there’s a release of tension and there’s like, “Okay I’m present, “I’m here, I’m engaged.” And maybe we can tell a different story, maybe the story is
about movement or motion or I left I cut out the
sand here of the cliff and I just have the jump. Or we can think about
the scale of the subject. You know when you’re
using your mobile phone, typically you have approximately
a 35mm focal length lens. It varies camera to camera, but I’m just gonna go with that. And what that angle of view is, is it’s something kind of like this. Now if I were to put on my camera, a 200mm focal length lens, my angle of view would be right here. So if I’m photographing a football player catching the ball, I’m using 300mm lens so the angle of view is
right on that football player you with me on that? So I’m seeing this little,
teeny slice of the world. And what that means is when
we have wider angle lenses it affects how we compose
the stories that we tell. Think about popular images on Instagram, one of the formulas is
small person, big world. And the reason is you all
ready have a big world. You put a small person in there, and then all of a sudden
there’s mountains around them or something and it’s just like wow you know this, that’s
the beauty of nature, the grandeur of it. So sometimes we have to ask ourself maybe we wanna use that? Maybe we want the person to be small, I tried that, didn’t work, I needed him to come forward and things that are closer will always seem bigger
and more prominent. Here’s a small person in the big world and here’s small person in the big world, and different kind of story telling. Just so we don’t think
that iPhone photography is all about I don’t know puppies and sunsets and swing sets and those kind of things. There was a huge tragedy in
my town about two years ago, it’s this debris flow and I was there to photograph one of the relief workers who’s
doing a lot of work, and this was the path of the debris flow. And I took this picture and I realized it didn’t tell the story. I felt overwhelmed by doing this but I needed to integrate more. So if you look at this picture, you know it’s like a
$5 million house there and then there’s my friend
down below on the rocks, and you kind of get the scale that this whole wall
was sort of washed away. Or it could tell a different story, maybe he’s closer to the house and it changes the way
we think of the house, or maybe he’s even taller
or higher than the house or maybe we’re inside of the house. And this kind of lens, a
lens itself to these stories isn’t that kind of interesting? So the story that you wanna tell, it doesn’t really I’m not
saying you have to tell one kind of story but if you just sort of point the camera at something
without thinking about it, I’m sure a lot of your
pictures look like this as do mine, they just
look like a lot of stuff. And the viewers like, “I
don’t even know what that is.” Like even this picture it’s like, “I don’t even know what it is.” and I think I was emotionally
responding ,tryna organize, and the we say, “Okay yeah, “put scale, scale, proximity, “angle of view and tell that story.” It’s not always about closeness, as you saw sometimes pulling away this is my friend on a surf trip, and I’m really close to him but I’m behind him, that didn’t work so I changed my perspective and I like this a lot better ’cause I’m off to the side and I’m using that same angle of view. And when you have a wider angle lens and you get really close, it almost feels like you’re right there. Let’s flash forward to an
image of a GoPro camera, it’s a super wide angle view and those are shot really,
really close to the subject. So when the person’s
doing their crazy trick you’re like, “I’m right there with him “riding that wave or jumping out “of that airplane or whatever.” We’re not that exaggerated on our phones but that’s something we can use. If you want that sense of like we’re in that moment, we can do that. Other stories unfold for you and it’s your response or your, your responsibility, your joy to kind of follow the story. There’s this rainbow arch
I live in Santa Barbara and I was down there I was
like, “That’s beautiful.” and I just took a picture of it. And then I walked around
the corner and I was like, “Yes this is great.” because we have the
boyfriend and girlfriend or I don’t, maybe they’re married and we’re gonna have an Instagram moment which is she’s instructing him how she wants the picture made, and I’m like, “Yes I’m
loving this moment.” and now she’s telling him, and I get one in her power pose, and I get one notice
the purse on his elbow, (audience laughs) and I’m just following
this story I’m like, “Please, please.” you know, she hands him the purse I’m like, “Oh yes (mumbles).” I’m just aligning myself and obviously with mobile
phones we shoot quietly and so we can do these kind of things, and we’re following those stories. And sometimes when we follow
little threads like this, we can then turn them into projects and that’s what photographers do. I mean the difference
between a pro and an armature typically is that they have a thread that connects their body of work. The rest of us, if I went
through our camera rolls, they’ll just be alive like everything, like you basically
photographed everything at max. Like someone’s shoes,
something cool, you know. But the people are really good, you look at it and think, those of you who are designers, the designers who have that
voice and sense of style, you look at their work and you’re like, “Wow that’s cohesive. “It’s like all tied together,
like how did you do that?” and part of the way they do that is they have yeses and nos. One of my clients is Patagonia, they’re an outdoor apparel company, and they have a list of 10 nos, you can never have a
fence in a photograph, you can never have a power line, you can never have plastic, and there’s all these things. So once you go through all those nos and you get a picture, it has a Patagonia feel to it. And once you know that and
you look at the pictures you’re like, “Oh I get it. “They’re actually steering how this is, “how this is taking place.” So anyway the reason
I’m saying all this is let’s say with this one for me, I’m like on a mission to photograph to like create a set of 100 of these. I don’t know what we call these, but I’m gonna call it
like Instagram boyfriend or something you know or Instagram friend you know and I just think
that’s really interesting. I think a documentary film on these places that people travel to to take pictures would be fascinating ’cause it’s a unique time in our culture when it’s happening. But that’s me, that
doesn’t have to be you. But what I’m saying is
when you get something that you kind of like, you have to start to go
with it a little further. Follow the thread right. All right lights let’s talk about that. Moving to our next topic. One of my friends is a, he loves to sail. And he sent a picture of
him sailing and I said, “Oh looks like a beautiful day out there.” He said, “Yes there was no wind “so it wasn’t really sailing, “it was more like how do you say it, “precision drifting.” (audience laughs) I was like, “That’s really funny.” and then when I saw
these people and no wind I was like, “Oh my gosh
they’re just barely going.” and I’m like, “Come on,
float into that spot, float into that spot,
float into that spot.” and sometimes we have to do that, we have to be patient right? And this is the light that happens a lot of times in storm weathers, this is my wife’s
grandmas barn in Michigan. It’s a stormy day, this is
just five minutes later. There’s usually clouds
and at the end of the day the sun gets underneath the clouds and then the way the
light travels in there, bounces around and creates
a drama is always magic. So if you know it’s stormy and you can tell the sun’s about to dip, you’re like, “I’m just
hanging out at this barn.” because my first barn pictures okay, but I’m gonna be patient
and I’m gonna wait for that. Other times your kids at the beach and you’re waiting for it and you know the kids are doing stuff and you’re getting it together, family trip or early
morning this last summer, and again beach this was at noon. And this was a friend
who’s building new home, really creative guy so my point here too is that it doesn’t, it’s not always that the end of the day or the beginning of the day. Sometimes at noon, I just had
to wait for the right moment of him in this construction site where the light really worked. This is again around the middle of the day at a playground in Monterey, same time of day just one
on to of a play structure, the other one inside of a play structure. And so part of what the
waiting is with the light is sometimes you’re waiting
for the light to change, other times maybe in this case I’m just waiting for,
you can’t direct kids. Those of you who have kids, you can’t be like, “Go
climb in that tunnel “and look at me and smile.” you know they do the opposite right? So you’re waiting for
the alignment of things, you’re waiting for the
right type of light to work. In this case, I’m picking up my, another daughter from their
boating down at the beach, our little canoes over there and they hopped out of the canoe and were on this wall
and my daughters like, “Dad come over here, we want a picture!” and I’m like “Great!” ’cause my daughters don’t
say that very often. Most often they say no more pictures dad. And so the same time of day, this is a beautiful I think
picture in that moment, but then here’s them sitting on the wall. Different kind of beautiful moment. The same kind of thing but being aware of that,
having that patience. Where sometimes there is
sort of a call to arms right as a photographer? It’s like okay, and sometimes
it’s someone actually saying it, other times maybe it’s like, that moment is calling you like, “Oh my gosh I have to do this. “and this moment’s speaking to me, “and I better respond.” And so listening to that voice. What I’ve found as a photographer is this, the more magnificent the moment, the more magnificent the light, the harder we have to work. Here’s what this looks like for me. I love biking so I’m biking in the hills of Santa Barbara, I get to the very top, it’s about 4,000 feet hight, the sun isn’t even up, I biked up you know 4,000 vertical feet and I’m just like on
top of the world right? Hero moment and I see
a piano way down there, and there it is. And my eye and my mind and my heart are like yes someone brought a piano to the top of the mountain
and I take a picture of it. But you can’t see it right? So I have to get closer. And the light’s there
and I’m kind of listening and I’m like, “I have to work for this.” even though there’s a piano, even though there’s beautiful light, even on top of the mountains, I gotta work for this thing. And do then I get closer to it and I say, “Well maybe if I show it this way, “wow it’s like an old
distressed piano, even better.” But then I finally I turn and in Lightroom, I added a
little spotlight right there, little bit of a vignette, and just a touch of boost of color, but that’s a picture that works right? And the trouble is that
what most of us do, is we see the moment
and we kind of give up. And I know this because
I’ve taught thousands and thousands of photography students, and what I’ve learned is the
more magnificent the moment, the more beautiful or
handsome the subject, the worse the photography
from my students. And it would be like, let’s just imagine your
ultimate celebrity. You’re out here and they walk by, and you say “Can I take a picture of you?” It would be a horrible picture, ’cause you’re like,
“Oh my God, so excited! “just take the picture, I don’t
care what it is!” you know? But what you would have to do if you wanted to take
a good, strong portrait that could even be published in a huge, major publication and say, “You know I really respect
and honor your work, “and I know it could be an inconvenience, “but could we walk to the
window light over there?” “‘Cause that’s gonna create
something that’s really strong “and maybe you could just stand
in front of a white pillar.” and then you’re gonna get
like a studio quality, professional level image
you with me on that? But you have to really work for it and asking that person, whether it’s a celebrity or your dad who doesn’t like to be photographed, or your kids or whatever it is. Taking that effort is always worth it. So let’s go back. Capture there are three things
that I’m recommending here, I’m saying let’s think like an artist, if you don’t like my inspiration, the four I mentioned come
up with your own artist. But say like, “Okay this
is gonna influence me. “I like how, “I don’t know I like how
Vampire Zombie plays music, “and I’m gonna let the vibe of their music “this indie kind of rock, “I gotta let that somehow filter “into how I do my mobile photography.” I’m gonna compose with closeness and also with story in mind, and I need to be really connected. I need to think about what actually is the story ’cause here’s what
happens to a lot of people. You would show me your photograph and it’d be a picture of a boat on a lake, and I would say, “Great
it’s a boat on a lake, “and it’s a beautiful
boat on a beautiful lake. “But what’s it about?” and you would, not you, not of course you but armature
photography students say, “I don’t know. “It’s just a boat on a lake.” and it’s like but it has
to be about something more. There has to be a story. I once watched this interview with this National
Geographic documentary person interviewing someone and she would say, “Give me a one word
response to these words.” And so the word was watermelon, she would say summer, puppies, cute, story, she said connection. And that’s really interesting because really if you
think of any good story, any story that actually works, there is some sort of
connection that happens. And so we’re trying to
have that connection with closeness, the proximity and then figure out what do we wanna tell. Search for the light,
you gotta work for it, you can’t it’s not just
gonna give it to you. People say, “Go to Italy you
can’t take a bad picture.” Totally wrong you can
take really bad pictures. All right well let’s do this, we’re right on track with time, this is awesome but I want you, I saw someone actually go like this and nod down so I’m gonna
call you out right now, no I’m not but what I am gonna do, I want you to give a
neighbor a knuckle punch, wake ’em up a little bit
and just like this and say, “Neighbor what’s one thing you’ve learned “that’s been of value so far?” So just one take away, go for it. Neighbor, knuckle punch, one thing. (audience chatting) Let me grab your attention again. Also I have no problem
with people falling asleep because when you teach college, that’s just part of teaching college. And sometimes you’re like, “They probably need to sleep. “Like them them go.” yeah. ‘Cause Max is overwhelming, there’s so much to take in. That’s why I also like to do little breaks just to kind of like, okay. Let’s do a quick pause here. Any questions, any thoughts? What we could do is if you
have a thought or question, you say it, I’ll repeat it
so other people can hear it and then try to tackle it. Anyone have a thought or
question or idea yeah? (faintly speaking) Yeah let me reiterate the question. First was a comment, “I
don’t really try to take “great pictures with my phone “and then what do you recommend
in regards to settings? “Should we just leave it on auto “or try to do something else?” And the answer is gonna
be leave it on auto, and that’s where you wanna start because you don’t wanna overcomplicate too many things at one. It would be kind of like if you’re gonna, I don’t know let’s say if you’re gonna learn how to ride a bike, like ride a bike around
town it’s a beach cruiser before you go mountain biking in the hills with bumps and where you can
die if something goes wrong, you know what I mean? ‘Cause once you get tangled
up in those settings, then you’re creativity disappears. So I find that incremental technique is the way to
grow as a photographer. What people tend to do, let’s just say Photoshop. Someone who tried to learn Photoshop and learn everything that exists
in Photoshop usually fails. But someone who learns very tactical, very focusing becomes very good at it. I heard this from someone
who’s on the Photoshop team, that if ever you apply for a job to work at the Photoshop team and you say you’re a master or you have mastery in Photoshop, you’re instantly
disqualified from the job, because they don’t believe
there is such thing as mastery in Photoshop. And I’m like, “That’s
amazing, that’s brilliant!” and photography’s just like that right? No one like nails it and has it and you don’t have to feel bad. I mean even on other cameras if you put it on automatic, what you wanna do is figure out that. Figure out how you can
create well red or blue, I don’t have rea, I’ll use blue. Like if I didn’t have a camera and I didn’t know how it worked, I would just throw it on auto and I would shoot. Or if I didn’t have my phone
I’d grab any ones phone. And then incremental build up from that, you know and then say,
“Okay well next time, “exposure was weird, the
subject was under exposed.” We gotta go into the Lightroom mobile, or the Lightroom app. You can change exposure really easily and then kind of master how
do you deal with backlight. I got that one, now how
do I deal with sidelight or whatever it is yeah but great question, great question yeah
over there in the green. (faintly speaking) Yes. (faintly speaking) Yes so the comment was, “I got the new iPhone
which has the new lens.” if you’re not familiar with, it has one which is super wide, and it shows more and I think you said you kind of love wide angle photography and do I have any
thoughts on that process? One of the things I would say is I go to my landscape photographers, like let’s go to an Ansel Adams and study his work or something. He liked wider angled lenses, and when you have wide angle lenses, so if I’m shooting an landscape and I have a rock right here I get the camera close
and low to the rock. I need a foreground
element to anchor the shot, if I just hold it up like this, it’s just a lot of nothing. So the wider the angle lens, the proximity becomes even more important and also your camera angle. So if I’m photographing a person at and this may be too techy for people, but like get a 50mm focal length, I can get away shooting kind of up here or down here but if I shoot
with a ultra wide angle up here, their heads gonna be so big, their feet are gonna be really small, it’s just odd right? So it’s much more sensitive. And so what I would think of is you’re using an instrument
that has this sensitivity and it’s much more exciting. You put on that wide angle lens, wow look at all this stuff! And that tends to mean you
make worse photographs. So we’re gonna start to see a lot of really bad photographs captured with the really wide angle lens, because there’s a steep learning curve. Why did they give us approximately
30mm focal length lens? You kind of can’t go wrong, not too much distortion, not too close, not too far away, it’s kind of an easy, nice little lens to work with and that’s why we take pictures. We’re like, “Wow I’m
not that bad you know.” But then if you, when
you get to those extremes that’s something to consider. And it’s not something to feel bad about but to really learn from. And what people do like
let’s say a pro photographer, I don’t have that camera
but you pushed it. So you take a photograph
of someone at 10 feet, at eight feet, at five feet, at two feet. You put, you’re really close to the rock, really far away to the rock, and you actually figure
out where it falls apart if that makes sense. Any other thoughts or questions? Yeah in the yellow t-shirt? (faintly speaking) Yes. (faintly speaking) Yes. (faintly speaking) Yes. (faintly speaking) Yes so the question was, “We shoot a lot of corporate events, “and it’s stale and boring and how do we, “how do we change that up?” There’s no hope for you. (audience laughs) But I think what I tend to do and I don’t know your exact situation, I’m just gonna invent a couple. What I would do I’m
just gonna go to a CEO, I know this is an event, but if I’m photographing a CEO and I need the forward facing, strong CEO and there she is in kind of the power, powerful person I would say, “Hey.” and I know that’s her default mode, and I’ll go to the group shot. I would say, “You know what? “I need one shot that’s really strong. “I mean this the forward
face of the company, “and then I also need a second shot. “I know that you’re, you
know you have three kids, “and you’re really into library, “and you donate, volunteer
a lot of your time “at the library I need one “which is a little bit more soft and warm. “We’re gonna do two shots.” And she’s like, “Got it.” and we do shot one, and
then you do shot two. But if I hadn’t told her that, I could never get shot two. So you set them up for it. So when that corporate thing and think of like kids
soccer pictures even like, “We’re gonna do one as a team, “we’re gonna do a goofy one.” I’m not saying you’re gonna do goofy, but what you’re gonna try to do is really direct them. And so what that mean is like, “Hey we just need some action shots “of you guys here and I wanna look like “you’re interacting, so I
want you right here to say “a funny joke and this is your funny joke, “this is a funny joke and
I want everyone to laugh.” They say this is a funny joke and then they all start laughing and it’s so dumb that it
really makes them really laugh and you capture an authentic moment. Then I say you know,
“Pretend like you’re a team, “and you’re together and you’re
connected in this moment, “you’re excited or…” (phone rings) oops, or
something along those lines. So what I really try to do is to tell them that, so they know that versus
kind of sneak it in ’cause then the resent it. Especially at corporate settings, ’cause people are tryna look their best, maybe their job review’s on the line, or maybe I don’t know what the dynamic is. But if you go in and say, “hey we need three things,
can you guys help me?” and often if you ask for help, people will and I learned
that from Steve McCurry, the famous National
Geographic photographer. He photographed the Afghan Girl, the most famous cover of a magazine ever but I asked him, “Steve how do you get
these connected portraits?” and he said, “Why I talk to people, “and I say I’m here on a project “with what ever their language I can “and I need to photograph something “or people in your town
or village or something. “Could you help me?” And go back and study his work and you realize like every portrait, someone is actually
giving something to him versus him taking it from them and so that can help a lot. All right I’m gonna cut off questions, we can do more later
but I have more content. But those are good,
hopefully they’re helpful to hear that stuff and we
can always talk offline too. Create and improve. This is kind of a part
where we’re gonna look at lights and color and access
and those different things and how we do all of that. So to do that, I’m going
to jump to Lightroom and inside of Lightroom here, I have handful of photographs and… I’m gonna… Er I can’t talk. Lightroom and there’s two
versions of Lightroom, Lightroom Classic more desktop focused, we’re obviously talking about
phones and stuff like that, so we’re in Lightroom which is the one which is more cloud based which we can use on a desktop. We can use on a tablet and
we can use on our phone. And whatever change we make
shows up in all three places as long as were connected
to the internet in some way, does that make sense? And we probably all ready know all that. But it’s helpful to say that. So maybe I should jump actually to my iPad before we do that and it
doesn’t look that different. But what I wanted to highlight here, we heard how they released
all these tutorials and I had a chance to make a bunch of them and so if there is stuff
that we cover in here, you’ll find it in these tutorials. And what you can do, is there’s different types of tutorials. Some where you can kind of click through and it looks like it’s loading right now. You can click through and watch the steps, and kind of see like okay
how is this image made? And you can also go in and do that. So it will kind of give you a guide, like here’s how you
might move that slider. And you can always press and hold and kind of see the before and after. I’m not gonna go through all of that, but I do kind of wanna
highlight that you know, I have I think 50 tutorials if you just go to your
home screen in Lightroom and then I have 100 discovery files. Discovery files are
things that I’ve edited and it just plays along
and you can kind of scroll back forth and see how that works. And the reason I wanna highlight that, is I do think it’s pretty cool how Adobe’s working to bring tutorials inside of our app experience. Oh it looks like I have to either finish or cancel out of that. I’m gonna give it a smiley face. (audience laughs)
I just, I don’t know. I mean if that’s what I’m supposed to do, but I wonder if I can keep doing that. Maybe I’ll get really high reviews, I could (audience laughs) ’cause they don’t know any different. And then let me just show you discovery files real quick. And then let me just go into one here. Well we can see some of these guys. And just to kind of
show you the difference of what these are and it shows you kind of the capture and then it goes through it, and how that image is then created, and what you can do is sort of scroll through the edits like this. And so it’s more of a kind of follow along or watch type of experience. There’s a lot of great stuff on there from a lot of different people. But mine are the best (audience laughs), that’s horrible. (laughs) And so here, I guess I’ll sit down. Hopefully I can see some
of you over on that side, just so I can work on
the iPad for a second. What we can do in this case is, we can go into a folder of images, let me just do start off with a fix thing, and in this case I’m taping
in what’s called an album. An album is one of the ways
you can organize images. We can do the gesture thing like we’ve been able to do before. And we have tools which allow us to, to heal and change different
elements in the picture. So I’m just paining over the object. In this case, the feather was so high that it kind of bled into the edges. Can you guys see that? So I kind of decreased the feather and then that helps to improve that. In this case we remove that little tree so that that’s gone from the image. I also brighten that photograph up. But one of the things you can do, is or what I’ll do sometimes is those little movements can be sometimes too hard to do on the phone,
have you ever tried that? ‘Cause your like, “Ahh!” We can switch to a different
device to hit those and let me do a couple more fixes and just talk about how we might do that. Here’s one I could do on my phone, I just have another plugged in. Again that’s using a tool
like the healing tool, clicking over it and this
one’s kind of interesting because it’s grabbing a source which isn’t the same kind of light, and it’s cloning it. So up here we can change that to heal and that blends and then
just to give you a sense. If we change from clone
it’s a direct one-to-one. Healing it’s kind of just trying to blend and bleed that in together. So that’s typically what we would want when were doing kind of clean up or retouching work like that. We’ll do one more little one. We’ll do a couple of
things on this picture, again zooming in and
what I’m gonna do here is just hit some different techniques. I’m getting rid of in this photo, I’m waiting for my kids at the fair and I am just cleaning up these little buildings on the edge. And the reason why I need to do that is because when there’s
things on the edge like that, the eye goes there. And you almost wanna think of it like having a wool sweater on and walking through a forest or something and it gets snagged on the branches. So the eyes will always
be snagged around edges. They go to areas of
focus, areas of brightness and they want a clean edge. Those of you who are graphic designers know how important edges are right? So you’re never sloppy and
unintentional about that. Then with this one if I wanted to crop it, we can select the crop
tool by tapping on that and I’m just gonna come into the image because it was the
balance of the photograph was a little bit off. And when we crop as you know, we have the ability to you know do a freeform crop or we could do a specific aspect ratio if we wanted to as well and have it in that way. All right let me jump through a couple of other things here, and really the intent here is just to give you a handful of ideas on how you might start to
modify some photographs. We’ll go to Elsie and her toast. Come on I mean how cute is she? (audience laughs) And with this one, I’ll
actually go through a little bit more of a workflow. I’m gonna bring up shadows, bring a little light,
bring a little contrast, and you can press and hold, that gives us our before and after. I also need color, and with color I’m bringing up a little bit of warmth here and it looks a lot different over there than it does here. So we’ll just kind of roll with that. There it looks really, at least to me over too
bright and too saturated but who cares? But hopefully you can
see some of those changes and I also wanna do this to highlight how one of the things that, that I’ve done here is
I’ve changed a little bit of the way that I’m working with panels. And I’m gonna jump back to this computer because it’s easier for me to stand and see
you as I’m doing this. And as you’ll see is it’s going to be the same folder, it’s the same images, and same things here. So let’s do this in this case. So and I wanted to highlight
something related to panels. So I have this color panel
and I’m just warming that up. And if you click on
these three little dots, you’ll notice highlighted in blue, it says single panel mode, and that’s something I
recommend that you turn on. Other wise what happens
is it’s almost like you’re dresser drawer when
you have all the drawers open, the dresser tips over. But this says only one
drawer can be open at once, and so as I went down to color, did you notice how it closed light? So there’s three little dots, just throwing in an expert tip. Single panel mode is a nice way to have a little more access to it. Now another thing that we can do here, is we can add a little bit of light, and we’ll talk about this
in a few different ways. But I can go in let me just reset these, double click in the sliders to reset them. I can have this source of
light that’s right here, that has a certain amount of feather, let me make it look bad for a moment. You can see it’s a really defined edge. The more feather the softer, so if ever you’re bringing light in and the reason why this
technique’s so important is usually with natural light, you don’t have an external light like directing light to a face or highlighting whatever’s important. So by using this method where we can say, “Hey let’s do a little bit
of a brightening there, “maybe keep our highlights down.” Let me try to look at what
I’m seeing over there. I can’t really tell too much. But and then I can tap the backslash key and you can kind of see
how we’re brightening it up and bringing more light into that area, does that make sense? And what I want you to
start to think about as whatever device you’re one, is really think about you know when you look at studio lights and you see there is a light source, where is that light
source typically pointed? You know if it’s people
it’s toward the face, or if there’s something that’s to bright in some weird area, they kind of flag it and
block light out from it does that make sense? So we look at how we can kind of burn and dodge different elements. We’ll look at another example to kind of show you this
in more practical ways. And this one I’m going to go ahead and just create a shape over this here. Let me just do this, one second. Delete that, clicked too many times. So I have this little, this radio adjustment
that I’ve brought out on top of this and what we can do is invert that for a moment and just to kind of exaggerate. So what I have now is I have
it getting dark everywhere. I can define my feather effect, I’m not saying this looks good but I’m tryna kind of highlight how we can identify where
an area’s affecting. Sometimes if you do something in exaggerated way can
help you see what you have. Now go back and invert it, I don’t want dark but what I do want is I
want a lot of contrast, I want a lot of clarity, I
want a lot of color saturation, and maybe I want some warmth. And again this might be
a little over the top on your screen but can you kind of see how I’m bringing that into that area? I think it’s about 50% too strong but for demo purposes, I’m illuminating a part of the image. Okay so let’s say, let’s go a little bit more subtle. What do we illuminate in this image? In this case adjustment brush, and what I’m going to do with this adjustment brush, I’m double clicking the slider, it’ll just reset them and maybe grab some exposure and go down, let’s see my brush size
a little bit there, and I’m just going to paint
over my little path here. Couple of times and I’m
not being too precise, but I’m getting a little bit in there. Let’s just leave it at that. You can kind of see how I’m saying, you know what? This image, the feeling
of this image for me is this is out in the
desert in California, I just want like going down that road. So I’m bringing light into that area and this time I’m
painting it with a brush. Other times I might use that radial or we could use a gradient
across an area as well. All right let me jump to a couple more tips and tricks for you guys. This image is over exposed. One of the things you’ll encounter in the controls which
allow you to fix an image is an auto button. I find it tends to work
best with over exposure. It didn’t do quite enough for me ’cause that shirt was so bright, the image was over
exposed kind of so much. So I’m gonna try to even
darken that a little bit more. And then we have the color issue so I’ll go in and I’m just gonna drag my color slider to bring back warmth. And again what we can do before and after if you’re on your computer, you can’t push on the screen
for the before and after. That’s a backslash and that’s a key which shows you that before and the after. And let’s jump, let’s jump to color, we
did a little bit with light and I wanna do a little bit with color. So you obviously can tell
the story I’m trying to tell. I’m exposing like your exposure question, you know this time I’m
customizing my exposure so I have that. And I have the ability to say well with my shadows I
could bring more light into that so I could see her. Or I could black that completely out which is what I wanna do. And this image to me is really about that silhouette but the trouble is there
isn’t enough color in it. So we can add color just
by cooling things off and adding a little bit you know our color temperature. We can also go into specific colors or we can add color effects here. I’m going into the area
where I have split toning, and I can add a highlight
color if I wanted to. Don’t think that really looks very good, so I’ll leave that off. I could also add a shadow color, so if I wanted a little
more blue in those shadows. And sometimes oops, sometimes when you do something like that it all of a sudden creates
a fully different feel right with your images. And so with these kind of
things that I’m showing you, I’m basically kind of hopping and skipping between a few different
ways you might use the tool. But what I’m tryna highlight is that it’s sort of that
intuitive, intrinsic feeling of where you wanna go with it. And sometimes what you do, at least for me when I’m
using Lightroom in this way, is I’m not over processing
the image right. It’s like I did a little brightening. I did a little contrast, and that’s it. I think what tends to happen is that we tend to think that we need to go and do maybe more than is necessary, but just letting the image be often is the best way to go. All right well one thing we
haven’t really talked about is access and share and I’m just gonna type in Hanalei ’cause we were in Hawaii this summer, and we’ll see you know
there’s all these little these pictures from family trip, and there’s my little Elsie feeding a pig on the side of the road and I want to change the image. So I tap the C key, go to the crop tool, and I also I’m trying to highlight that you can access photos by just typing in words that
are associated with them. I can type in the word ladder and I would see all the photos I’ve taken with a ladder in it and so that’s that whole sensei magic that’s built in here. And so once we do that, in this case cropping in the
pig that was on the other side, I probably think that’s
really all this image needs, it doesn’t need a lot. Especially up there
maybe just a little boost in the shadows, maybe
just a little fun contrast or something like that and we’re done. And if we’re ready to share an image, there’s an icon in the
upper right-hand corner. This is you’ll find has new features, it’s a ton better than it was before which I’m so excited about with the drop that came out today. And what we can do is
choose export options, so we can export images
out in specific size, with the specific JPEG
compression settings, and we can also do the share and invite. The share and invite looks like is, if we have a folder of images and I did this right before just so it’d go quicker. I selected all of these and I went to the option which allowed me to share and invite, it’s great up because I already did that. And what that does is it then creates an online gallery which is right here, of all of those photographs. So that you can then send a link to that gallery of images. You could do this for a
single photograph as well. Or you can just do share
and it’ll create a link and they can you know
they can click on the link and view that particular image. So you can do gallery, you can do images, you could export it out and then integrate it into social media. One other thing I wanna cover here and that is in my finish and share area, actually let’s do two more things. With this one we saw kind of the light with the globe. We can also do that same thing in other areas in the image that we wanna draw the viewer into. So here what I’m looking to do is to try to figure out is there someway that I can add a little bit of visual
interest into the eye and just brighten that up? In this way maybe we
do something like that. And then if you over over that, you can right click or Ctrl+click it in any version of Lightroom, and choose duplicate
and then bring another light source over. Now that’s very, that’s very convenient when it comes to eyes. But think about whenever you’re using something or we’re adding light somewhere. If you have kind of you
want turn a light up this side of the image right click it, use duplicate and then bring
it over somewhere else, change the shape to cover
the other part of the image. And tap the H key, it hides those odd overlays
that we can see there. All right last image and
then a few more thoughts. In this image, I tap the C key to go to the crop tool, and I wanna share this on Instagram as a story and I know
the aspect ratio is 16:9. So I’m going to 16:9 inside of Lightroom and the reason why I wanna do that is I kind of wanna have control before it gets to Instagram
if you know what I mean? And the story just kind of resized and you’re like, “What happened to? “You know what’s going on?” and so I have that control here with how that looks, and then also while I’m here, before I post that image, I’m doing a little bit
of my basic work flow. Which in this case is some light work, and maybe a little bit of clarity and that’s a wrap right. So keeping it really simple, and one of the reasons why
I’m kind of emphasizing the simplicity of this is
what I’ve tend to find, and obviously we all have
our own style and taste, is that the, kind of the
best case use for these tools is that light, bright, easy, quick, here I am, here I go type of a workflow. If ever you feel like you’re
getting lost in that workflow, that’s where I jump to
a different computer, or that’s when I jump to Photoshop and do something else along those lines. All right well there’s
quick kind of preview of some of the things
we can do in Lightroom, back to my little deck over here, and a recap, some take aways. How do we create better images? One I think we start to
think about artistry, and even now if you’re
taking a picture of the notes like what is the artistic
photograph of this? Is there an artistic photograph of this? What am I doing? Something caught my eye,
I wanna remember this. Why do I wanna remember this? And then is there someway to frame, is there someway to get closer? Is there some way to compose
for connection and story? Then as we’re out in the
world and light is happening, do I need to be patient for it? Do I need to be predictive for the light? How do I really search for that, remember that idea about Van Gogh that he said, “I won’t take it back, “because being an artist is searching “and never finding it in full.” It’s always that search, you’re just looking and digging and then finally we jumped
over to Lightroom quickly and just said, “Hey this is a tool “we can use really easily
to enhance light, color.” and what I mean by clarity isn’t the clarity slider, but it’s like the clarity of the image of what it’s about. Because what I find is 90% of my images aren’t good enough in capture. They need that extra little touch to get them to where they need that to be. So it’s that adding that
clarity of your vision to it. And then of course a huge thank you and I’ll have a couple more slides, but if you want my info or my website you can contact me
through that or Instagram, follow along that would be super fun. I love talking about photography, so be happy to do that. My books coming out so
if you’re interested in that kind of thing,
then check that out. And don’t forget to
take your session survey but we have a few minutes. So I’m gonna say a big thank you. If you wanna stay and chat, I would be welcome to that but thank you so much for coming today and have a wonderful rest of your day. (audience applause) (upbeat music)

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