Landscape Photo Editing Workflow Part 4 Special Effects in Photoshop

Landscape Photo Editing Workflow Part 4 Special Effects in Photoshop


hello I’m Robin Whalley welcome to Lenscraft and this fourth video in my mini-series
editing this image in the first video we went through an assessment of the image
in the things I wanted to change in that video I mentioned that the Heather was a
little bit too sharp for my liking and I wanted to soften that we’ll be dealing
with that in this video which concentrates on special effects and I’ll
show you how I’m going to use the Orton effect to soften the Heather in the
second video we actually looked at processing our image in capture one
which is how we ended up with the image that you can see on screen now in
Photoshop and in the third video we then looked at how to edit that image using
the Nik collection to emphasize some of the elements in the scene and this was
the image we produced now if you miss the first few videos of this series
don’t worry I’ve put the links in the video information below I’m going to
start now by creating a frequency separation and use that to create a
norton effect now if you haven’t seen this done before you can find
information in a video that i’ve published previously and again I’ll put
the link in the video information below now to do this rather than we create it
manually I’m going to be using an extension panel for Photoshop called
whoa frequency equalizer Pro and again I’ve reviewed that and you’ll find a
link to the video in the information below now in frequency equalizer Pro
there’s this option here to create a quick frequency separation and I’m going
to do that and it will decompose my image into two layers and I’m going to
set a pixel radius and this effectively controls the level of blur in the image
and I want something around 30 pixels given the size of this image as a rough
guide work on the number of megapixels in your image as this is a 24 megapixel
camera somewhere between 20 and 30 produces the right level of blur let’s close that down now and I’ll show
you what the frequency equalizer has done so we’ve got our image now
separated onto two layers we’ve got this low-frequency layer and a high-frequency
layer no the low-frequency layers got all the color information from the image
and as you can see it’s blurred and that’s what we’ll use to create our
artifact the high-frequency layer has all the detail and if I turn off the
low-frequency you can see what that does but together the two layers actually
just create the normal image there you can see I’ve turned off the separation
that’s being created if I turn it back on there’s no difference this is how I
create my Orton effect so I’ll go to the high frequency layer and I’ll reduce the
opacity down to something around 80% and as soon as I do that we get this lovely
blurring effect on the header and it may be too strong but you can see it’s
soften the header up very nicely unfortunately softened up all the
hillsides as well and the sky and I don’t really want that I’ll show you how
we tackle that in a minute on the low-frequency layer what I’m next
going to do is duplicate it so I’ll use command + J on my keyboard to create a
duplicate and I’ll rename that soft glow and I’m going to reduce the opacity of
that layer down to something around 20% to start with and now I change the
blending mode of that layer to be soft light and that creates this lovely
glowing effect that enhances the saturation at the same time so if I turn
that off you can see the original turn it on and you can see this lovely
glowing Orton effect now that we’ve got now the thing for me is the Orton effect
shouldn’t really be plied globally to every element of the image it starts to
get a little bit samey after that I really wanted it to deal with the
heather in the foreground and possibly soften up some of the clouds in the sky
what I need to do know that is add a layer mask so that I can hide the effect
so I’ll add my new layer mask I’ll invert it and that hides the artifact
from my image next I’m going to use a luminosity mask to select the Heather in
my image now I could use a saturation mask and that would work as well but I
think the luminosity mask will work best and I’m going to use this panel that
I’ve previously reviewed called interactive luminosity masks and it’s a
free panel that you can get again I’ll put the link to that video in the
information below and I’m going to create a luminosity mask and in there
I’ll create a zone mask though the areas you can see in white and the areas that
are being selected by my luminosity mask and I can move this left and right to
either select brighter tones or darker tones so I want to select something
that’s picking up on the Heather and it’s probably slightly darker tones at
this stage and I can use these feather sliders to restrict or enlarge the range
that’s being selected now I don’t really want the effect to be seen in the
shadows I really want it to be seen more in the higher lives so I’m happy with
that and what I’m going to do now is create a selection from it I’ll hide
that panel and now I’ll hide the selected edges so that I don’t see them
anymore now over here I’m on my mask that’s attached to the entire group and
what I can do now is select a white paint brush so I’m using white with the
paintbrush and I’ve got the opacity set at about 50% I’ve got a soft edge to the
paint brush and the size is set suitable for this image I can adjust the size
using the bracket keys on my keyboard so the left bracket will reduce it the
right bracket increases it and now I’m going to just paint over the areas where
I want to see the artifact so the Heather here
is one of the areas where I want to see it and again the heather over here now
are painting the areas of the heather to start with just to create that softening
effect on the heather because that’s my priority and the thing you’ve got to
watch out for when you’re using this technique is that because I’m using a
soft blending mode here on the soft glow layer it will actually darken and
intensify the color so you may get a color shift involved here don’t worry if
you find that the whole thing makes it look too saturated we’ll deal with that
in a moment so let’s Oh turn it back on and you can see that
I’ve restricted my adjustment now just to the Heather if you look at the
maskers I’ve created you can see that it used the luminosity information that I
picked up in the luminosity panel now just soften the edges of the path as
well slightly I’m reasonably happy with that maybe we want to include a very
slight soft glow in the distance that looks reasonably good and now maybe just
on these clouds here to soften them up possibly
those clouds as well so let’s look that was the original and that’s my softened
image using my artifact so I just renamed that layer now if I think that
the image is looking a little bit too saturated now what I can do is add a hue
and saturation layer and just make sure that that’s outside of my Orton effect
on the layer stack now because I already had a hidden selection that I was
painting through it’s actually created that adjustment as a mask so I’m just
going to remove that mask and just add a new one in the human adjustment layer
we’ve got the master saturation and that will allow me to control the saturation
on the master layer which I probably don’t want to do too much and it would
also allow me to then pick a layer now in here we’ve got the magentas that are
in the heather and I can pick those and it’s actually saying that we’ve got them
as red now if I wanted to I could shift those and turn them into a different
color so maybe I do want to shift them very slightly
and I could also increase or reduce the saturation level depending on what I
felt was appropriate and I could actually change the lightness or
brightness of those now if I look back at my original image with that turned
off I’m actually happy with that so I’m not going to make any further
adjustments to this I’ll remove the hue and saturation lab and I’ll just accept
that I’m happy with that image now if you feel it’s a bit too light or too
dark I would suggest adding the curves layer
to it so that you can lighten it up or down it down I’m quite happy with that
now I think that looks like a good finished image I’ll just again make sure
that I’ve got that curves adjustment on the very top of the image and that’s me
complete now this has been the first mini-series that i’ve tried where i’ve
tried to demonstrate the end to end editing of an image right through from
assessment through raw conversion through enhancement using in this
instance the Nik collection and then onto special effects
now the first video a lot of people were very keen on this mini series now we’ve
finished it I’m hoping that you’ve enjoyed the series and thought it was
worthwhile if you did please leave me a comment below because I’m wondering
whether or not to do a number of other of these mini series where I demonstrate
different tools because I don’t always use the tools that I’ve demonstrated and
used in this series if you want to see something else another mini series with
another image and other tools please let me know in the comments below and I’ll
see what I can do in the future I’m Robin Whalley
you’ve been watching Lenscraft I’ll see you soon for another video

Central Victoria Aerial Photos | Bendigo Aerial Landscape Photography

Central Victoria Aerial Photos | Bendigo Aerial Landscape Photography


Sunrise – Weeroona Oval Bendigo Sunrise – Castlemaine Station Pineys – Castlemaine – Pine Plantation Eaglehawk – Canterbury Park Oval and Sports Precinct Bridgewater On Loddon Bendigo – CBD Taradale Railway Viaduct Lake Eppalock – Heathcote Lake Weeroona – Bendigo Kennington Reservoir – Bendigo Muckleford Train Station Crusoe Reservoir Bendigo CBD Lunette Walk – Winton Wetlands Rosalind Park – Bendigo Bendigo CBD Castlemaine CBD – Fog Lifting Paynesville – Gippsland Daylesford – Victoria Inglewood, Victoria Canola Crops – Elmore Victoria Castlemaine – CBD Bendigo – Golden Square Muckleford Railway Station Long Necked Turtle – Winton Wetlands Paynesville – Gippsland – Jetty Maldon Township Barkers Creek Reservoir Castlemaine – Black and White Campbells Creek – Victoria Guilford – Victoria Cairn Curran Weir Cairn Curran Reservoir Maldon Railway Swan Hill, Victoria Victoria Hill Mining Reserve Mt Tarrengower Lookout Tower Winton Wetlands Lookout Dry Lake Eppalock – Summer Mt Alexander – Harcourt Bendigo CBD Muckleford Railway – VGR Lake Eppalock – Spring Castlemaine CBD Bendigo Town Hall

Photography Tips | How To Hold A DSLR Camera

Photography Tips | How To Hold A DSLR Camera


What’s up? I’m Lydia Bailey. Are your images blurry? Do your images suffer from camera shake? Well, I’m here to help you to hold your
camera correctly… so your images are pin-sharp. To avoid camera shake, you really need to
know how to hold your camera correctly. where you’ve got an expensive DSLR, or a
smaller point and shoot, these 10 tips will help you take sharper images. Put your left hand out as if you’re about to serve a plate of food. And then, put your camera on top of you left hand. which will hold the weight of the camera. It can also control the focus and the zoom rings. Your right hand is able to press the shutter and operate the other controls. Next, tuck your elbows into your chest so you’re forming a stable triangular-shape like a human tripod. Now ,I’m going to show you what it looks like in profile view. As you can see, I have three points of contact. When shooting in portrait orientation
always make sure that your right hand is on top of the camera. Otherwise, this way is too awkward and you have to hold the weight of the camera as well as press the shutter – not
good! Part your legs slightly as it also improves balance. Finally, if there’s insufficient
light and you’re using a slow shutter speed, you’re gonna need a tripod. You will not be able to hand-hold a camera at shutter speeds slower than 1/60th of a second. Tripods come in a variety of shapes and sizes. You’ll be surprised at how
affordable, compact and… …cheap some of them can be. Well, I hope this video has helped? Don’t forget to download our FREE e-Book… …and if you want to learn more… subscribe to our YouTube channel! For more helpful tips, download our FREE eBook. and if you found this video inspiring…
thanks for subscribing to our YouTube channel. thanks for watching!

Broken Top – Three days backpacking – Landscape photography journal #11.

Broken Top – Three days backpacking – Landscape photography journal #11.


you see the terrain, basically no grass grows here. and we’ll sleep up there… but we’ll get there at dark and here… we’ll go straight here over a creek, there’s going to be water now … 😉 I don’t now why…? I have not studied … but I think that because it is volcano also… it blew up like Mt. st Helens you can see it here, it missing the top… 😀 I slep here… i slep here twice already that’s what i was thinking but it was still a bit higher . and tere is a trail. so, right there at the V so right there is the output and that were we go. if we want the first glow on the mountain…

Still life photography ~ Bronica SQ-Ai and Ilford FP4

Still life photography ~ Bronica SQ-Ai and Ilford FP4


Today, we’re going to be doing something completely different. As you can see, I’m going to be doing some still life photography some country still life photography I’m here at my parents farm and I’m gonna be making images of the tools that they use in the garden and all the stuff that they have here, like old TVs and old radios. I think it could be very, very cool. My setup is pretty simple I’m using just a piece of plywood here with a backdrop that I bought on Amazon for some 20 bucks I’m pretty sure that there are much better backdrops out there but this one is more than enough for what I want to do I’m gonna leave the link down below in the description if someone wants to check it out. Camera wise I’ll be using my bronica with 150mm lens I’ll be shooting FP4 but, since this is my second time ever doing some still life photography, and I’m still not sure where to go with my style for this, I’m gonna be shooting my digital camera as well That way I can play with the RAW files in the next few days and see where I can go with them but I do think that FP4, I’m gonna be rating it at 100, plus the orange filter is gonna get me very very close to what I want to achieve here, but we will see This is gonna be my first image. In this one, I want to get some of the details of that blade I got a reading with my digital camera f/5.6, 1/200. The Bronica doesn’t have 1/200 so I’m gonna do 1/125 to make sure that those details are going to be there in the shadows, and then I have to compensate for the orange filter so I’m gonna have to decrease the shutter speed by 2 stops Now, as I said, I’m gonna make the digital version of this. As you can see, I’m using my big lens the 70-200mm f/4. This is an amazing lens but it’s just too much for me to carry it on regular trips because I have my vlogging gear and I have the bronica So yeah, I settled on the 55-210mm that is just perfectly fine to take photos on trips but this one is perfect for these kind of situations where you don’t have to carry it with you. Looks good. The histogram looks good. So I’m just gonna take it And that should be it So I’m taking two shots per subject, the settings are the same but I’m trying different compositions like in this case I’m farther away from the TV. I have more negative space on top of the TV I don’t know what’s gonna work best, but I wanna have the option of choosing between the two compositions So that’s what I’m gonna do here I’ve been using the mirror lock-up feature because at these shutter speeds, 1/30th of a second I’m using now with this lens, the 150mm, that would be adding some camera shake. And of course we want to avoid that All right, so that was the 4th shot I gotta say, I hate this tripod every time I bring it with me on a hike or something like that because it’s so big and so heavy, but it’s also so convenient for situations like this because you can do pretty much anything you want with it So look at this, this is amazing. It’s just perfect for this situation Took me a long time to come up with this composition I’ve had a hard time with this tool. What I was trying to do here is to capture the whole thing That’s why I moved the whole setup here because of the white wall here that would work as a background I thought that it could be cool. But the problem is on this part of the tool, the tool itself I find it really hard to capture and to create a composition of that, even if I was taking the whole tool this part wasn’t looking that good. I’ve settled on a close-up of this part of the tool I like the details here how the metallic part hugs the stick So I’m gonna be showing this in the center of the frame, a little bit of the stick and then I’m gonna cut the top part of the tool here. So it creates a little bit of mystery too. And you wonder what kind of tool this is So that’s what I’m gonna do now So I just found these two I don’t think they’ve been used in years because they are full of spider webs and everything. Actually, I think a spider bit me here Oh, well, we’ll see what I can do with these two. They look pretty cool. I’m not even gonna take the spider webs from there because they look awesome too. So let’s try Last image of the morning What I’m trying to do here is to have the stick going diagonally through the frame and out of focus I’m gonna be focusing on the tool. It looks pretty cool with all that dirt and spider webs I already took one with my digital camera, but the Bronica is gonna be so much better here because that medium format negative size is going to completely blur this stick, and it’s going to look very, very good. I hope All right, so this is it for today, I don’t have more time this morning, but I will be doing this again for sure I hope that the images look good I hope that FP4 was the right choice for the film stock, to achieve the look that I’m kind of looking for, but I have digital if if that’s not the case, so I can play with it, and now the film back doesn’t want to work There you go. Hope you all enjoyed this video. Thank you so much for watching and see you in the next one

Landscape photography with Joe Cornish part 1/3 | Phase One

Landscape photography with Joe Cornish part 1/3 | Phase One


For the last few years I’ve become
more and more interested in and concerned about our relationship with nature. As individuals and as a society,
I really feel that we as human beings have become to remote from the natural world. I have photographed landscape
ever since I have had a camera. Over 35 years now and I still
find it endlessly beguiling, and at times frustrating,
but mostly inspiring. I have used dozens of cameras, mainly film cameras
of course, 35mm, medium formats, large format. Now I have a Linhof Techno view camera,
also a Phase One 645DF camera and on both I’m using the Phase One IQ180. For a lot of the landscape photography I do,
I tend to do quite extreme near-far focusing effects, and for that kind of work
a view camera is ideal, because of the fact that
you can tilt the lens like this, and so manipulate the plane of focus. And that makes it a superb instrument.
Its quite a skilled process. This is a Linhof Techno, a very up to date ….
of a very old camera design, essentially. It works very well with a Phase One back. The subjects of my latest project has the
working title “Awakening the Senses” and the idea is to convey
the physicality of nature. Its textures and colours,
the cold or feeling of warmth, wet or dry surfaces,
sense of space and atmosphere. Its a pretty broad approach, really,
but I’m aiming to get as close, emotionally, as I can, and convey those
ideas an feelings in my pictures. Landscape photographers are
creatures of the light. We often get up in the dark
and come home in the dark, because we need to use the early
and the late light very often to get certain kinds of landscape images. I like to to think of it as
going with the flow with the light. You can’t fight the light, it will always
win if you try to force a situation. I think the essence of being a successful
and happy landscape photographer is to learn the characteristics of
the light and go with that. The tide, especially in Britain, is a really
interesting opportunity and also a challenge to work with as a landscape photographer
because it moves so rapidly. If you have a tidal reach of 5-6-7 meters,
then especially in the mid-tides, the ebbe and flow of the tide are profound. So an idea that looks right in one moment,
once you’ve set your tripod up, within five minutes,
the idea will have changed. You’ll either be flooded out potentially,
or the tide will have disappeared from your picture and you don’t have
the water surrounding the rocks, perhaps, in a way that
would have worked previously. Its a real tricky one. The art of working with the tide is
to anticipate what is likely to happen. You have to learn to go with the
flow just as you do with light. If you try and force the issue or make
a picture that depends on the tide being in the fixed position that you see now,
you are likely to fail because its going to change to quickly. So learning to anticipate is the key.

Winter Photography Tips with the Fujifilm X-H1

Winter Photography Tips with the Fujifilm X-H1


Hey hello how are you guys? I am
currently driving on highway 22 just south of Jackson Hole, Wyoming. The views
out here are incredible. I’m driving into town right now and I’m gonna go see a
close friend. Today’s mission begins in the town of
Jackson where I’ll meet an old friend who rents fat tire snow bikes. We’ll
shuttle the snow bikes north of town and go for a spin in Grand Teton
National Park. I’m taking my camera and a few lenses on the ride so that I can
give you guys some pro winter photography tips with the Fujifilm X-H1. Hey Chris. Nice! So this is an ebike? Looks like we have an
electric motor down there. So nice. Wow I’m impressed with these fat bikes.These
are gonna be a lot of fun. How many speeds? There’s a 1X in the
front and then 11 gears in the back. Wow. All right let’s see what these things can
do! So what’s the brand on these bikes? This one’s a Bulls in that one’s a Haibike. They look like a ton of fun! Look at how fat these wheels
are. Dang. It’s 26 x 4 inches wide on these tires. So you’re saying you get like
somewhere around a four-hour ride with this battery? Minimum. Minimum? Okay,
maybe longer? Its range is like 20 to 70 miles depending on how hard you’re pushing it. I’m excited I
can’t wait to try these things out. There’s a road right here. There’s
usually wildlife down there. It’s like every time I come out here I see moose
and bison. But yeah, these are the Grand Tetons right here they’re just obscured
by all these clouds. We’re getting a lot of snow today which is gonna make
for a fun adventure. All right let’s do it! What do you say? So that was maybe like, a mile? But with
these with this electric assist we did it in like two minutes. Ha! I feel a little
bit like we’re cheating with the electric but it’s all about getting out
there. Yeah when is this much fun who cares?
Oh, is that a moose? I see some moose over there in the sagebrush. Nice! You can see
their heads popping up and looking around. I don’t know if there’s any bull
moose around here but if there are this could get interesting. Okay so this is
the Fujifilm kit that I brought out here today. This is the
50-140mm f/2.8 This is the 16-55 f/2.8 and then here I have the 100-400mm
variable aperture. This lens is a beast but that’s going to allow me to get in
nice and tight. This is the brand new, it’s actually the beta model of the
Fujifilm X-H1. It’s got this LCD screen on top and it has the in body
image stabilization (IBIS) and I gotta say it is pretty impressive. Alright guys now
that we’re out here let’s get into some winter photography tips. The first thing
is you want to make sure that you’re comfortable because if you’re not warm
if you’re miserable your photos are gonna suffer. Another thing is you always
want to keep your camera gear cold. You may have noticed I pulled my backpack
out of the back of the truck down there? If your gear is heating up and then
getting cold and then heating up again, it’s gonna fog up pretty quickly. You can
even get humidity inside the lens inside the camera. So at the end of the day if
you have to bring all your gear in to a warm house, put it inside like a ziplock
bag or some kind of plastic bag before you bring it in. That way all the
moisture will condense onto the bag and not on your camera gear. Resist the
temptation to stick your lens or your camera inside your jacket because that
humid heat in there is just gonna immediately condense on to the front of
your lens. The next tip is always have spare batteries inside your jacket. Even
better if you have some of these. You can pick these up on Amazon or you know
pretty much any like a convenience store. Pocket hand warmers. When you’re out here
in the cold your camera will show that you have a full 100% battery, the
next thing you know it’ll be blinking red at you.
That happens all the time. Chances are that you can pull it out stuff it
back in your pocket and the heat will bring it back to life.
But you want to have some backups that you can plug in. Actually I need to put
these inside my shoe right now. Hold on. The next tip is your camera’s light meter,
it wants to evaluate the whole scene and average it out into a middle gray. So if
there’s a lot of snow in your environment like this the key is to
overexpose either manually or with your exposure compensation by about one stop.
That will make your snow nice and white. As always the best way to judge
your exposure is by checking your histogram all the time. You want to have
all your values just barely touching the right side and that’ll make your snow
nice and white rather than a dull grey. Which, let’s face it, doesn’t look that great. So the next thing is camera waterproofing. If it’s really coming down, it’s wet
snow, you want to get some kind of weather rain cover for your camera. I can link
one up down in the description. Especially if it’s an inexpensive kind of
consumer camera where you don’t have any weather sealing going on like I do
with this. Dry snow is okay. Dry snow will just accumulate and you can brush it
off. It’s not really a big deal. That brings me to the lens hood. So when
you’re shooting out in the snow or in the rain whenever there’s any kind of
precipitation you definitely want to have a lens hood. This lens hood is going to
keep the water from hitting the front element. When you get water on there you
get water spots. That messes up the photo. No-brainer. All right guys so that’s
about all I’ve got for now but I want to hear from you. I’m sure that I missed
some really good winter photography tips so please feel free to drop them down in
the comments below. I think Chris and I are gonna get back on our bikes and
get rolling. That was a lot of fun man! Thanks for
taking me out. My pleasure. We should do it more. Alright guys, so that’s the
end of our e-fat bike adventure today. If you’re if ever in the Jackson
Hole area and you guys want to get out and just have a really unique
experience you should check this guy out. His bike shop is E-bikes of Jackson
Hole. This guy will rent one to ya. You’ll have a great time. I promise! Thanks for
coming along on the adventure and I’ll see you down the road! Is this thing on? Where did I put that? All of your values. The
mountain. You can see that you have uh…

Seeking Seascape Photography in Pembrokeshire, Wales

Seeking Seascape Photography in Pembrokeshire, Wales


what’s up guys I’m up early for for a summer I shoot here on the coast of Wales let’s go to remember back in Venice Beach when I used trover the apt rover to shoot street photography or to find street art within the city well here in Wales I’m doing the exact same thing except for instead of street art I’m finding landscapes so from my hotel just down in Pembroke I literally opened the app today and just searched around and within like 10 miles I found this place called the green bridge of Wales which actually looks like a really really cool landscape photography location so it’s cold this morning but I’m up to take some pictures [Music] [Music] some on location and the spots really really cool but there’s really heavy backlight right now so I’m trying to fight it a bit I’ve got this set up over here 16 to 35 and I’ve actually got two grad filters I’ve got a four stop medium grad envy and a three-stop hard grad nd so seven stops a light out of the sky I’m getting some vignette ink that’s anything I can’t fix in post I’m using like a bit of the foreground here just to you know frame the image a little bit and there’s lots of drama in the sea and I think this is actually coming up pretty cool [Music] [Music] this always seems to happen oh the Sun just came up I was gonna shoot that but I’m too late this always seems to happen there’s got the epic stuff that way and terrible light and you’ve got this kind of average scene this way but epic light so I’ve got the camera pointing the wrong direction shooting this fence line and coastline getting that sky and it’s it’s an OK image but I should be shooting that so I’m gonna stop talking to you and shoot that [Music] to feel [Music] what a really really really cool location and even better than the location maybe was there were some cool photographers there to hang out with and chat with I love that aspect of photography especially landscape photography coming to a location first thing in the morning it’s cold and then there’s just people to hang out with strangers to become friends with love that and yeah now I’m just gonna look around at some other spots here trying to see if there’s another location maybe for the morning or something like that [Music] this is incredible incredible year I’m gonna try to be quiet and slow but there’s these sea stacks here and they’re covered with these birds at first I thought it was just like bird poo but literally it’s black and white like penguins out here and just covered I’m gonna get the long lens out and try to show you guys what I mean [Music] I’m gonna talk quickly about whether whether I just checked the forecast for this exact location and it said blue skies with maybe a few clouds this isn’t a few clouds this is an epic amount of clouds and kind of the scariest guy in history this is white sands is another location that I found via trover as my trover landscape photography or I guess seascape photography treasure hunts or scavenger hunt continues this place is cool the tides out right now obviously but you can see the tides here in Wales are insane the beaches got all the way out there and you can tell that high tide it gets to right here and that’s absolutely nutty this is one of the places I wanted to check out I’m guessing it’s better at high tide so I think I’m gonna wander around and have a look [Music] [Music] so I’m gonna show you guys a clip on the drone right now that I just shot and you can see this really really cool landscape like a jagged rock formation that leads out into the sea I think that could be a really epic place for a landscape photo you might remember back when I was in North Devon like a month or two ago I shot this seascape and the seascape there had the similar sort of formation and I think it could be really really cool I love those jagged rocks that lead into the sea and yeah I think that could be brilliant but the problem is it’s really kind of cloudy and miserable here so I’m gonna head on and try to find another location try to pop another spot into this location scout and find a different seascape and I guess if that fails I’ll come back here this happens what are you guys going so bad just go to the side of the road and eat your grass guys it’s okay I’m not gonna run you over I promise oh my god I’m a herding sheep in Wales the owner is gonna be pissed he’s like where my sheep okay one has escaped there ya go no no guys just go to this side I won’t hit you no no no I’ve run them into the village oh the guy this car is about to get shocked here’s a bunch of I that was legitimately one of the funniest things that has ever happened in my life herding sheep in Wales too funny and that you know how bad I am at pronouncing things I met a burr ready if that’s not what it’s actually called I’m sorry but this is where I’m gonna shoot photography the tides are riding rising like yesterday – hopefully I can get a couple shots off in time there’s these leading line rocks that I was mentioning here as well and add already this is probably a better spot to shoot them – just because I can get lower to the ground there’s also like Ivan what that is I can old watchtower some ruins up that way so I might shoot this first until the tides get too high and then go try that this is a cool spot let’s take some pictures [Music] so this is a pretty fun place to shoot and the tides are actually perfect for this shot right now they’re coming in quick but right now it’s ideal and I probably only got a couple minutes of light because there’s a giant cloud on the horizon right now the Sun is coming through it and giving some really nice warm light some warm back light hitting all these rocks now the reason I like this composition the reason I like this spot is there’s kind of this balance between really rough sea and calm sea that’s not getting hit by the waves I’m shooting 30-second exposures at f11 straight into the Sun with a four stop grab mdf or stop medium grad ND and a six stop ND and I think it’s coming out pretty cool [Music] there’s few places in the world you get better seascapes in Wales this is just unreal [Music] this is coming out awesome but despite it being awesome I want to talk about the challenges the biggest challenges you’re gonna face when shooting seascape photography are keeping your feet dry obviously but finding balance in your images and finding leading lines I was shooting straight into the sunlight and it was looking good but now the sun’s disappeared so I’m trying to find other ways to work and I have that ruined way up on the hill and I think that’s a really cool shot but all the lines here as you can probably see behind me they all leave straight the opposite direction so the way I’m balancing that is I’m trying to find rocks in the foreground that form almost an arrow leading right to that and when I’m talking about balance what I mean is I’m keeping a certain percentage of the power of an image or the certain percentage of the capacity of an image in one part of the image while also having an equal amount in another part of the image so my foreground is like the bottom third of this image and I need something to balance that out it could be sunset in this case it’s the the ruins up there and as a result by doing those things I think I’m getting really cool images that are really visually pleasing [Music] the rules of photography the rules of composition aren’t sticky rules that you have to follow but they are definitely things that you can use to your advantage if you’re struggling a little bit and seascape photography is not easy but it can be fun and if you do everything right and you get lucky with the right waves and the right situation it can be really really rewarding I’m having a little bit of a battle within myself now not because I’m struggling with the images everything’s coming out really nice and maybe that’s part of the problem if I wasn’t getting good images I would sit around here and wait but the tides are starting to rise but I can see there’s like a break on the horizon and I think the Sun might come through that and light that’s all up again and that would be unreal and absolutely beautiful but on the other hand I’ve already gotten the cool images I’ve already gotten the images I wanted so I’m kind of deciding or trying to decide if I should go and try something else and it’s kind of the constant battle do i perfect something or do I try to get one cool shot and then get another shot somewhere else and I don’t know what I’m going to do ah nice tie to have no idea yeah let’s go for a hike let’s go see if we can try something different we got this shot knocked out I’m gonna have faith that it’s good let’s go shoot something else [Music] definitely glad I moved this is totally totally different than it was just down there and as I hoped the sun’s actually coming through there’s actually sunrays happening that way unfortunately there’s not a lot going on that way over here though it’s really interesting you got this area here which Google Maps tells me is the Blue Lagoon it looks like it was once a quarry at some point you’ve got that ruin up on the hilltop and you’ve got this really interesting rock formation in the middle here the problem is that it kind of blocks the light so I don’t really know what to do with this because it’s one of those places that’s really really cool to look at but just isn’t photographing well I think I need to once again try to push on and try to find another spot before the Sun comes out just came a little bit higher in the perspective is way better from up here because the light’s not being blocked by that mound over there and the image is just balanced better still the same set up six top ND and four stop hard or medium grad ND and I’m gonna shut up now because I think the lights about to explode [Music] the light and the weather is just changing so quickly on me here that I think I got a shot there and I am actually gonna try to get another shot somewhere else I don’t think I have time it’s 15 minutes until sunset and I want to go and see if I can get to that ruined building over there [Music] [Music] [Applause] [Music] [Music] if you were to say BBS how would your perfect day go that’s it that was phenomenal you sure I would have loved to get like epic light but that was just such a good day whales I absolutely love it here I absolutely love the seascapes love the openness kind of the solitude the driving everything about it and yeah I guess that’s it that is totally it this episode was sponsored by troffer and it wasn’t just sponsored by troffer it was also helped out by trover as i found all these locations not using anything else except for the app and then maybe a little bit of Google Maps to try to help find the perfect spot but ah good day and tomorrow I’ll be at it again here in Wales let’s see you there peace you

10 Backpacking Photography Tips | 2019

10 Backpacking Photography Tips | 2019


Hey what’s going on you guys.
This is Iron here. I’m on a backpacking trip at one of my favorite locations in the
Pacific Northwest. I have personally been backpacking with all of my photography
gear for close to ten years now. Iv’e made a lot of mistakes and do things a
lot differently now than I did when I started off. I thought long and hard
about if I could go back in time and teach myself, what I know now.
What the most important things would be. One of the worst things that could ever happen…
You backpack to a REALLY cool spot. You find this really AWESOME composition.
AMAZING light. You take these photos and get back home.
You get on the computer and your shots out of focus or
you blew out your highlights. You just technically did not take the photo
properly. That happened to me quite a bit when I started off. That only
happened because I didn’t really take the time to learn how to take pictures
properly. One of my really good friends and hiking partners has some of the best
information out there for learning how to take photos properly. Shout out to
Dave Morrow. I’ll leave a link in the description below, for those totally new
to just taking pictures in general. Some really useful information there.
So ya, learn how to use your camera properly. Try to start training yourself to
just be more present when you’re outside. When I first started hiking with
my camera, as I hiked I was always just thinking about the photos
I could take. You know, that really can be a bad mindset to be in.
If your mind’s always there, you’re not really connecting with the
place that you’re at. This is a practice, I still struggle with.
It’s a practice that always evolves. I just try to be more present when
I’m outside. Listen to the birds, feel the sun
and just try to connect more with nature and the experience.
Your best photos will come naturally. The most important tip. Leave No Trace.
Don’t go trampling through a field of wildflowers because you want to get a
shot. We are out here to experience nature in its most beautiful, pure
form. It’s our job to help protect it. Do your homework and look up
all of the Leave No Trace principles. Digital Leave No Trace.
Kind of a new space that we are traversing into, these days with
Instagram and social media. If you’re tagging exact locations,
it can be really bad practice. It draws a lot of people to the same spots.
I like to use broad terms like, the Olympics or Olympic National Park.
I’m not tagging the exact hike names. That will have a better
impact on the environment. Try to avoid hot spots. When I
started this venture I did what a lot of photographers do. We go online,
we look up the most amazing hikes. We kind of go to these same spots.
I’m not going to say there’s anything wrong with that.
I definitely did it for a while, but I can tell you right now. After
exploring so many other areas… I have found that so many of these other areas,
that I’ve found very little information online about or I’ve seen zero photos of
are some of the most beautiful places that I’ve ever been to. A lot of my
all-time favorite photographs are from places that I’ve never seen a
photograph from. As I have developed as a photographer,
I tend to only want to go into areas that other people haven’t
really photographed. Places that aren’t really crowded.
Once I’m over ten miles into most any trail. I never see another
photographer. Personally, I really enjoy that. I would highly
recommend doing your own exploring. Finding places that
are new to you. That’s going to enable you to come back with photos that
nobody has ever seen. Give yourself more time. Take an extra day off work.
One of my favorite things to do is hike into an area and then have a whole day
there to explore. A whole extra day. That’s how a lot of my trips are these
days and that extra day, gives me more time to explore and look for
unique compositions that I really like. It gives me more time to
connect with nature. Connect with the scene. The quality of your photos
is really going to reflect your experience. The more time out here the better.
Take that extra time off work. Do longer trips, 3-4 days.
Get out here for a week. You’re photography will grow exponentially if
you’re able to do that. I plan a majority of most all of my backpacking
trips based on the time of year. Personally I really like to see an area
when it’s most photogenic. That can be looked at a lot of different ways. I love seeing these peaks behind me, with snow still on them. The
wildflowers out here are in full bloom. Oh WOW. There’s a couple of goats over there
walking towards my my buddy Nick. That was cool. This is going to be one
of the very last years you’re able to see goats in the Olympics. They are in
the process of removing them because they’re not native to the area, which
makes me pretty sad. I really enjoy seeing them. I’ve seen them on
most all trips I’ve done into the Olympics. The Wildflowers
out here are in peak bloom, there’s still snow on the peaks. I’ve been to this
location almost every season and to me this is the best time of year to be
up here so I come up here around this time if I can. You know,
hiking into the rainforest during spring or fall is really nice.
Summertime I’m not the biggest fan. It’s kind of overgrown you’re
just not getting those peak greens or nice fall colors. That’s just the way I
feel about it. The rainforest is a beautiful place in
the summer. Just try to kind of think about that. It’s really
easy to just want to hike to a destination because of the destination
itself. Your photographs will definitely reflect the beauty
of the area in its current state. Personally I find it best to camp
close to an area I want to photograph. If you’re just starting out it might take you a while to figure out
what you are most drawn to photograph. What you like the most.
Personally I really love mountains, wide-open scenes. They’re my favorite
places to be in so they’re also my favorite places to photograph.
I typically try to set up camp really close to an area that has a lot
of the things I just like to be around. The spot that I’m in right now.
Maybe a couple hundred feet away, right on the other side of that snowbank.
You can see me and my friend Nick’s tent. Camping close to an area you
want a photograph is really nice if you’re trying to take pictures during
sunrise or sunset. You can sleep in a little bit later, and you’re not always
hiking back to your tent in the dark. That said, make sure you camp in an
area that you are permitted to do so. Do your research and make sure you set up
camp in a low-impact area. Don’t throw your tent down on a
bunch of vegetation. Look for bare dirt patches or spots that other
people have possibly already camped. That’s going to have a
better impact on the earth. That should always be number one.
Finding a friend to go backpacking with that’s also a photographer can really,
really help your photos grow. Being on the same page with
somebody can be really nice. You can motivate each other and learn from
each other. I really enjoy all of my backpacking trips with my friends aren’t
photographers but it’s good to have a balance. If you can find
somebody that’s on the same page and ideally someone on the same that
has been doing it longer than you, or is
is more experienced. You’ll be able to learn a lot faster that way.
Reach out to some people. There’s a lot of awesome resources
online. Find a friend to grow with. Having the
lightest base weight possible has really helped me be able to
hike a lot further.. Hike more days. You can lighten your base weight
by only taking what you need. Also using lightweight backpacking gear
and as minimalistic of a camera gear setup as possible. That’ll
really help you out there. It’s a really good to practice to have no expectations
for the photographs that you’re going to take back from your trips. When I first
started backpacking, I wasn’t happy if I came back home without
a photograph. Thats just a really terrible way to go about doing it.
The experience and being out here should always be first.
It’s okay if you don’t come back with a photograph. The more that you
have no expectations, the more naturally your best work will come. That said, there is a fine balance.
You still need to be motivated. Try to get up for sunrise. You don’t want to have absolutely no
expectations. Just make sure that’s not the only reason why you
are coming out here. If you’re only backpacking to capture photos you’re
probably not going to be doing it for very long. Following those tips
should really help you not only have a more enjoyable time backpacking, but also
help you come back home with some super awesome photos, that you’re super stoked
on. I really hope that helped you. Make sure you check
out my video going over the gear that I personally use. Stoked
you guys are here and I’ll catch you on the next trail. Peace.

Having faith in the composition | A landscape photography vlog

Having faith in the composition | A landscape photography vlog


I have to confess that I have no idea how the sky is going to look this sunset. During the whole afternoon there’s been small puffs of clouds drifting by and there’s been lots of them. But now it seems to have cleared up a little bit but there’s still this soft cloudy haze, laying a thin layer over the sky which could let up pretty nice during and after the sunset so I have kind of high hopes on this and it’s going to be interesting I think I’ve found a really awesome foreground here. Well, it’s basically a leading line straight into where the Sun is going to set so that’s going to be absolutely awesome. What I’m going to have to try to do here is just to frame it in the best way. First, way that I framed it which is just having it stick out in the middle of the image. Probably isn’t the best one I’m going to try to make it a little bit more dynamic try to get it to come from one of the sides and well incorporate the surroundings perhaps a little bit more so we’re going to see how I’m gonna be able to get get it into the way that really want it I’m not too sure about how it looks at the horizon there are some clouds lingering there and they look like they could be a little bit thicker so perhaps it won’t be that good sunset but as I said in the beginning it was a complete gamble this and well I’ve no idea if it’s gonna pay off or not just yet but before this composition is going to be any good the Sun really needs to go below the treeline else is just gonna create too much of a highlight in the water so I’m gonna keep working on the composition here and get it ready for the sunset I think I’ve found the best possible use of this foreground meaning the best composition here at least in my opinion what I did was moved the camera a little bit to the left just so that I could get the rock formation and leading line just in a little bit more of an angle really and that’s created well quite a lot more interest in in the whole image I think the only thing that the Sun is actually moving a bit further away than this foreground would have liked I’m actually quite uncertain about the sunset itself right now because it really seems to be quite a thick cloud coverage at the horizon from what I can see behind me nothing is really kicking anywhere it’s a little bit of colors out towards the left it’s the southeast something like that and well my only hope really now is that some colors is gonna to come when the sun goes low enough so that it gets under that cloud and hopefully can shine up something in these lighter clouds that above me now waiting game ok so the sun is setting properly now and it’s looking a little bit better than my worst fears but it could’ve looked better as well so it’s going so so at the moment we’re now having the absolute last light of the Sun Ray some nice purple in the clouds but it is really super visible and its really really small portion of the sky lighting up I’m thinking that perhaps I should actually wait a bit longer and see if something of the blue hour could perhaps add something more to this image because the sun’s it wasn’t really that good and perhaps some other type of light could create more interest in the image than what I’m currently having you can see behind me here it’s actually really beautiful but I’m set on the composition that I already have and I don’t want to change it to well somewhere over here even though it’s almost like an infinity see if over here you can see it’s almost like an infinity gradient there it is really really beautiful but as I said I’m set on the composition here I’m not going to change that because if i start to fool around with changing composition now it’s just I’m just going to ruin the one that I have and then it’s probably going to be something nice coming over here and then I won’t be able to get it there because I well lost the composition so I’m gonna stick with it that’s usually the best way to do these kinds of things in my opinion and hopefully it’s going to work out I guess my patients kind of got rewarded right now because the last really the last light is shining now I guess and would get I got some nice pink color even coming up above on these small clouds and that’s really a lot better than I actually hoped for for her because well it wasn’t looking like it was supposed to get well it didn’t look like I was going to get that kind of color but receiving it like this is just really nice it’s getting just blue really blue behind me now the last of the color is most certainly going away now and that nice gradation that I had won’t really be following around as a first thought because that can’t gradation I guess only happens when the water goes out all the way to the horizon because when the reflection and will the sky and the reflection of the sky in the water meet in a more natural way over here we have some land on the horizon so it really really destroys that kind of feature it really isn’t present when there’s a land mass at the horizon ok so now the color is gone real and I’m quite satisfied actually I think it turned out well I wont say better than expected I didn’t really have I didn’t really know when I went here or when I start to walk but I would say that it turned out better than I thought from well when I got to the location here so i’m actually quite satisfied with this it’s really calm just I wouldn’t like to say it’s the first real sensation that’s touching on well a summer sensation even though it’s really cold right now it was well extremely nice just being out here and standing by the water listening to the water I’m well there was a lot of seagulls nesting the that’s not really the most or the prettiest thing to listen to but hey it’s part of summer i guess anyway that’s all for me this time thank you all for watching I hope to see you all next week until then goodbye