How to Make Text Box Overlays for Photos in Photoshop

How to Make Text Box Overlays for Photos in Photoshop


– [Instructor] Hello and
welcome to this Design Cuts video tutorial. Today we’re looking at
adding text boxes for text over images in Photoshop. The first effect we’re going
to create is using a quote. So I have a quote here
from Jack Kerouac. What I’ve done is
to highlight in bold the words that I
think are important. So I’m going to enter
this as separate objects. So the first one will be
“there was,” and then “nowhere” and then “to go but.” so let’s see how we’d do that. I’m going to select
the Type tool. I’m gonna click where I’m
going to start typing. I’m going to use all lowercase, so I’m just gonna
type “there was.” and then I’ll press escape because that finishes
that text object but leaves the Type tool intact, so I can just click and
add the next piece of type. Now to save us some time,
I’ve already done this. So here are all my type objects. Let’s just turn the
visibility on on all of them. So every second one of
these objects is a word that I want to highlight. So I’ll just select on
them in the last panel, control + click on
every second item. Now if you find that you get
a stray empty Type box here, just delete it because you
don’t want any strays in here. It’s a little bit too confusing. Now the font I’m going to use
here is called Lemon Tuesday and I’m going to beef that
up to about 500 points on this image. I’m going to leave the
rest as just Myriad Pro. I’m not too concerned about
the fonts that I’m using here. I’m more concerned about
showing you the effects. So now I’m going to select
absolutely everything, but before I do that, let’s
first of all move Jack Kerouac down a little bit, and I also
want to size that right down ’cause I don’t want
that to be big at all. So I’m gonna make it 120 points. But then we’ll select all
of these type objects, and up here, you can
start arranging them. So I’m going to use this one, which is Distribute
Vertical Centres, and that just aligns them
so there’s a nice space between each of these lines
and it’s an even spacing. I also want them to
align on the right here, so I’m just gonna click
here on Align Right, and then I can just
move them out of the way so that they’re
actually in the document a little bit better. Now I need to put
a comma in here. So I’m gonna add a comma, and
doing it at this late stage has meant that this letter E, you’ll see that the letter
E doesn’t actually move, and that’s good because the
E is going to be lined up with these other letters and the punctuation is
going to be slightly out. It can often look
better that way. I’m gonna add a star at the
end of the word “stars.” So I’m going to Brush tool. There are two star brushes here in the Legacy
Brushes Collection. So click the flyout panel
and click Legacy Brushes to add them. But you might want to just
add something that is relevant to the kind of quote
that you’re using. So I’ve got my Star
brush selected. I’m going to need
a new layer for it because you can’t
paint on text layers. So let’s just click
to add a new layer. White paint. Let’s see if we can see
our star, which I can’t. So I’m using the
closed square bracket just to size it up a little bit. And I’m going to click
twice in the same place to get a nice-sized star. Now the text box I want to use is just going to darken
this side of the image, but I don’t want it
to be really obvious. So let’s add a new layer. I’ll select the Selection tool. I’m gonna drag a selection
out over all of the text and I’m going the full
length of the image because that’s going to
help me make this peter out to nothing, and so you
won’t actually notice that it’s there. So I’m going to fill this
shape with a gradient and I want the gradient
based on black. So I’m making black
my foreground colour. When I click Gradients,
the second gradient in is a foreground to
transparent gradient. So we’re going from
black to transparent. The only thing you need
to be aware of is that if you use colour to
transparent gradients, then when they fill,
they fill with the colour and go across to transparency. If you were using
a regular gradient that didn’t have
any transparency, you could just say, “Okay.
Well, I’ve got this around “the wrong way, so
I’m just gonna drag “in the opposite direction.” Well, when you’ve
got transparency that has an additive
effect rather than totally replacing it. So I’m going to undo this,
and now I’m going to put in the gradient the
way I want it to be. So I’m going from
black on this side to transparent over
here, and when I do that, let’s just press control or
command + d to deselect it, you can see that you can’t
actually see the edge of that gradient;
it’s all petered out. So all I need to do is to move
my gradient-filled layer here down to the bottom of the image and now we can see the
next way more clearly. If this is too dark,
you can just back off on the opacity, but
that transparency on
the left-hand side of this shape is helping
the box to just blend in with the image, so we’re not
losing a lot of the image but we are improving
the readability of the type considerably by
having this box behind it. So that’s the first of
our text box effects, the text box that you
don’t actually see. Let’s have a look at something
completely different now. For this next text box,
I have a different quote, and quote is “I put instant
coffee in a microwave oven “and almost went back in time,”
and it’s by Stephen Wright. In this case, I’m gonna
take the entire quote. I’m gonna make it
inside a single box. So I’m going to copy it
out of my Word document. Let’s go to Photoshop. I’m going to the Type tool. I want to work with white,
so let’s just select white as my colour here. And this time, I’m
going to drag out a box into which my type
will be placed. So it’s just gonna
go in as a paragraph. So I’ll click in here and
press control or command + v to paste it in. Now I’ll go and
increase the size of it. So let’s just have a
look at the sort of size. I think about 300
will work here. Now with this type, I want to
highlight some of the words exactly as I did last time, but this time I’m just
going to use bold. I’m using Myriad Pro as
the font and that helps me because I’ve got a lot of
different styles in Myriad Pro. So I can use the bold effect,
which is built into this font. So I’m just going to
set these words to bold. So I like the words
“instant coffee.” I think “microwave”
is important. So I’m going to
select bold for this, and then I’m going to
select “back in time” because these are the words
that I think are important in this quote. If you want to do
an effect like this, it’s best to do
it with a typeface that comes with lots
of different styles so that you can select the style that matches things
really nicely. It’s better than
using say a fake bold. So this piece I want to be
aligned over to the right and I want it to
be much smaller. So I’m gonna set that
probably at about 120 and I think I’ll
just drop that down, so I’ll just press the enter
key before I get there. Now I can realign this type here by selecting inside
the box here, just clicking inside
the box somewhere. And now if I adjust
the size of the box, the type flows round. Now if you do that the other way and try and do it with
the selection tool, nasty things happen
to your type. So just be aware that you need
to go and get the Type tool. Click in here so that you’ve
got something positioned in here with the Type
tool and then you can just size your box to suit. So I want mine to be
pretty much like this. I think my font is not
quite large enough. Now I’ll just move
my box into position and I want it over
the top of the cup. It’s a little bit difficult to
see over the top of the cup, so let’s see how we
would solve that problem. I’ll go to the selection
tool and I’ll drag out a box. Now I’m gonna fill
this with a colour and place it underneath the type and it’s going to
help make the type just a little bit more legible. But before I do that, I want
to apply a narrow stroke using this. So what I’ll do is
create a new layer. I’m going to select a grey
colour, so let’s just go and select a sort
of neutral grey. Mine’s 165, 165, 165. That just tells me it’s grey. Now I’ll go to Edit
and then Stroke, and I’m going to put a
three-pixel-wide stroke in this colour
around this shape, and it’s gonna be on the inside
but it doesn’t matter much where it is. So I’ll just click OK. And so if I move away from here, you can see that’s what
I’ve got, this fine line. I’m just going to undo that. So now I’ll go to
Select and Modify and I’m going to contract this. And I want to contract this
something like 30 pixels. So I’ll just click OK. The selection is now
inside that line. So I’m gonna add a new layer
and I’m gonna fill this with my grey colour. So I’ll do alt + backspace,
option + delete on the Mac. So now I’ve got my grey boxes that are going to help
my type readability. So I’ll grab both of these and move them
underneath the type. And I’m going to adjust
down their opacity. So I’m going to bring
the opacity right down. So they’re only just there, but they are going
to make the type just a little bit brighter and they’re gonna help
its readability a bit. I’m not gonna do quite as
hefty an opacity change on the outer line as
I do on the inner one because I still want
to be able to see it. We can link these layers
by selecting both of them, right-click and
choose Link Layers. And that means if you
need to move these boxes, you can do so. So I’ve got these
selected, they’re linked, and so they’re going
to travel together. So if you need to position
them slightly differently, they will go as a team
’cause you don’t want them to split apart because they’re
integral to each other. So there is a nice simple
text box for placing over the top of an image
with some text in it. For the final example,
we’re going to do a little bit of work with
this particular image. I want to crop it first
to a square shape. So I’ve got a
one-to-one crop here. So I’m just going to crop it. I’m going to place over the
top of it a couple of shapes. I’m using shapes because
they’re going to help me with the effect
I’m trying to get. So I’m gonna make sure that
I have Shape selected here. I’m going to create a
circle first of all. So I’m just going to
drag out a circle, holding down the
shift key as I do, and place it sort of
roughly in position. Now I want my circle to have
a Fill button, no stroke. So I’m going to the Stroke
and I’m going to set that to No Stroke. I’m now going to add
another shape over the top and that’s going to be a square. So I’ll select the
rectangle, hold the shift key as I drag out a square,
and I’m gonna place it sort of roughly in position
where I want it to be because I want my final
shape to be the accumulation of these two shapes. So I don’t want this to
have a stroke either. It’s just going to have a fill. If we have a look
in the Paths panel and let’s just go and get
the Layers panel as well, we can see what’s going on. So this is my rectangle
and this is my ellipse and I can mere them
together into one shape, but before I do that,
I want to make sure that they’re perfectly aligned. So with them selected, I’ll
go to Layer and then Align, and I’ll choose
Vertical Centres, and then Layer>Align
>Horizontal Centres. And that makes sure that
the two shapes are aligned. I’ll right-click the selection
and choose Merge Shapes, and that creates a merged shape. Well, it’s going to in a minute, but it’s not quite merged yet. You can see two
distinct shapes here. To merge them, we’ll
go to this option here and choose Merge
Shape Components. And now we’re going
to get a single shape that is this shape. I want to colour it
with a colour I’m
sampling from the image, so I’ll go to the
eyedropper tool. I’m just gonna sample this
sort of blue colour here and I want to use
that for my rectangle. So I’ll select my rectangle,
go back and select some sort of shape tool. So I get these shape
options up here. Go to Fill, and this is
the colour I want to use. So I’ve got my blue colour, but I also want a sort
of border around here. So what I’ll do is make a
duplicate of this shape. So I’ve got two of them. The topmost one I’m
going to add a border instead of the fill. So we’ll go and select No
Fill, and for this one, we’ll select a stroke
and the stroke’s gonna be the same colour as we’re using. Now the stroke is set to 14. That will probably be enough. I’ll select the
rectangle layer here. I’ll go to the Move
tool, hold the shift key and the alt or option key,
as I just drag this out and that allows me to put
an edge around my shape. So I’m gonna apply
this transformation. So I’ve got these two elements
and offset edge to my shape. I’m going to link these
two together as well because I want them to
move obviously as a pair. I also want to reduce
the opacity of them. And I could also set a
blend mode if I wanted to. So you could experiment
with different blend modes. Hard light’s got
some nice colour. But that’s up to you to see if you can find something
that you particularly like. Over the top of this,
I’m going to add my text. Now I don’t want this to happen. Photoshop wants to attach
this text to something, so let’s just go
and add a new layer. And now it’s prepared to put
the text where I want it to be. I’m working in
Myriad Pro regular. I want to work with
white, so let’s just go and select white and I’m gonna
type IN SEASON in capitals. I want this to be quite small,
so I’ll set it at about 120. And then I’ll type the
word “blueberries.” I want to be well away from
this type when I do that. I’m going to choose
an alternate font. I’ve got one called Alex
Brush that I kind of like, and I’m going to
increase the font size. Let’s try about 400
and see how that looks. So I’ve now got text
layered over a text box. We can always improve the
legibility of text like this by adding a drop shadow. So let me just select
this piece of text. I’m going to the FX icon and
I will select Drop Shadow. And I’ve got set a really,
really small drop shadow. I’ve got a black or sort
of dark blue colour here. I’ve got it set to
Multiply Blend Mode. I’ve got sort of
middling opacity but the distance
here is set to one, the spread is set to two,
and the size is zero. So this is only
just a drop shadow. But it’s enough to improve
the readability of the type. If you turn it on and off, you’ll see a very
slight difference, and it’s just lifting
that type a little bit away from the image. It’s just improving its
readability just a little bit. Now you could increase
this to say two pixels. It’s going to depend on
the image and the typeface that you’re using. But I find it that
that really helps with the text over the image. I hope that you have
enjoyed learning these Photoshop techniques. Let us know what you think
in the comments below and give us a thumbs-up if
you enjoyed this tutorial. Until next time, I’m Helen
Bradley for Design Cuts.

Capturing Movement With Continuous Shooting | I AM Different Tips ‘n Tricks

Capturing Movement With Continuous Shooting | I AM Different Tips ‘n Tricks


[Continuous shooting.] Hi, I’m Thomas from Nikon School. We’re here
on the set of the Blossom project and I will give you
some tips about photography. In order to capture
the moment you really want, especially when you take
some pictures of movement, the burst mode will help you to break down the movement
with many images. Especially if you have a moment
that will never happen again. You can use this burst mode
and secure your images. So about the D7200,
what makes it stand out is that there is a special burst mode
at 7 frames per second which is made by the crop mode. And then you’ll have
even more images to bring back
the right moment in your images. [Discover other inspiring ideas!
Explore more.]

Canon EOS 7D Shutter Speed Tutorial

Canon EOS 7D Shutter Speed Tutorial


a nice short episode of making I’ve made
I haven’t made any videos for a while but I just thought like this quick one
on this kind of 7d and today I’m gonna demonstrate how to change the shutter
speed and to get a really good shutter speed for like if you’re an Instagram
user or your loved shutter speed use an how to change you really on this model
so I’m going to switch it on first so that’s the switch ones them and switch
this on so you switch it on once I’ve switched it on I’m gonna put it into AV
mode so it’s already at the moment on AV mode as you can see so once I put it on
AV mode I can now play around with the shutter speed so if I click on this this
little cue button here okay so if I click on the little Q button it will
take me to the main menu ok so once I’m in the main menu I can then change
various things within there so if I go back to the queue and there’s my shutter
speed so essentially all I need to do is change that and how I would do that is I
can either I can revolve this rule little wheel bottom wheel button here
and that will allow me to change the shutter speed so if I just do that I can
change shutter speed so I can take your one 4/20 to the second 50 to the second
eighth of a second and I can take it back for through the way around so if I
take it 400 you can see it’s dead quick and if I turn it the other way so if I
can click on this cue button here and turn it the other way and I take it to
no one minus one point three seconds and take a picture this time moving my
camera around I should get a little bitch motion blur in the picture and you
can see it’s it’s overexposed the picture so I haven’t got card in here
but I’m just demonstrating this so if I do that again so if I see if I click on
the cue button there’s my shutter speed and if I take a picture move it around
you can clearly see there it’s overexposed okay so show speeds mainly
for using with in low-light you know you want to increase the shutter speed so
you got more like coming through to the aperture so therefore your pictures will
be better exposed you need to control it via the shutter
speed and aperture in order to get the right consistency you know obviously I
so plays a factor as well in low light so that’s something you need to think
about but summarize basically you just put your camera on to put it into AV
mode so it’s at the moment in AV mode there you go and then if I sort of press
my camera on click on the cue button that is my shutter speed and to change
you all I do revolve around this to increase and decrease my shutter speed
to get the best exposure for the before the image any questions about shutter
speed pleased to keep my shot so if you want to be low shutter speed like light
drawings and all that sort of so I’m really want to take this number down by
revolving this you know to get that nice exposure you might need to sort plan on
with your ISO as well and you have your aperture ratio to get the right noise
level down to get the nice image that you want okay this is obviously this
camera is not touchscreen so I’m not so I’m using the touchscreen features on
here because they don’t exist basically however you know it does you know it is
quite useful in terms of the your shutter speed you know I’ve got a live
mood live view here as well so as you can clearly see in my live view I’ve got
it in for camera mode here’s my shutter speed so I can also change you by the
wheel up here as well so there’s a weird there’s a wheel here and I can move this
in an at and I can also use this as well I want to do that you can see you can
see the number will change as you can see that okay if I bring a bit closer
maybe there you go so the number changes and then you know the more the more
seconds like seconds I’ll give it the more explaining focus it is the less
I’ll give it so if I take it dad you can see my screen starts to get out of like
it becomes white because there’s too much light going through to the sensor
so you know you’ll essentially what it is that the show is a gay and you are
controlling the matter light that goes to the sensor okay so as simple as that
okay so if you like you point and let’s see a visual then
obviously you can see by this but obviously if you want to see in your
quick time view which is this one here then you can see in your quick time view
and it will show you all the dials etc to show you what the views are okay
summarize I’ve just shown you shutter speed perfect for slow shutter speed if
you are thinking about taking those pictures in low light and you want to
create drawings like drawing shall I say sorry any questions please post and I
will be happy to respond to any questions you may have thank you for
watching guys see you next time

Part 2 of 7: Steve Thornton and his very personal style of lighting

Part 2 of 7: Steve Thornton and his very personal style of lighting


and none of that worked he was unusable light basically unless you want to shoot something gray with with no details whatsoever just the shadows was blocked up it was just it was just horrible especially dealing people who are going to move so you can’t use long shutter speeds so when I went to start using the strobes we had an assistant hold a reflector up and we attached the arm that some bounce now makes and I put a strobe head on it there’s a battery power stroke and we just adjusted to power up and down a little bit until it overpowered the light that was shooting into I was actually shooting into the Sun or where the Sun should have been he was brighter than we were had but i had to overpower that so i was running about f8 and i was using about 12 was seconds of power to get them and it overpowered the sun and you really came up with a stupendous image sorry the one good thing about yesterday morning as I learned a new trick Peter yes thank you yeah what I thought was I wish I had a lot earlier the Sun had been up for 45 minutes and the clouds were solid there was no edge the light it was gray it was ugly this is a commercial job i’m shooting for a client and i’m spending thousands of dollars every few minutes the very good people of California Sun bounce dragged out something that I’ve never seen before something that allow me to attach a strobe head to any of the reflectors and put like where it did not exist before it’s very controllable it’s incredibly lightweight if you use a portable flash or battery-powered flash you can have an assistant walk wherever the models going or moving on a little bit or move out a little bit and quite honestly for that portion to shoot it probably saved my keister because it was new I could do nothing absolutely nothing at all I’m thinking you’re right I look at every project as an individual there are some clients want me to do the same thing over and over and I try not to do that clients come to me for a photograph but I don’t give this photograph I give them my vision of the photograph my perspective on what I think that client is going to need to grow and to make money so as a result when I do is I will maybe follow the storyboard makes all the layouts they have and shoot that they now almost always go and shoot what I want the way I would have shot it before they even open their mouth I work very hard on locations locations are one of the teams I take the time to scout locations of the project I just finished up I’ve spent three days scouting and doing prep work finding out where I needed to be in what needed to be there in terms of elements whether it was just models or models and horses or models and horses and cowboys and longhorns at sunrise at sunset I spent a lot of time finessing every image I’ve already got in my mind what the photographs going to look like before I shoot it because I know the player is going to be brought to the shoot I know what the lights going to do I know what the location is going to give me I know what my wardrobe

DIY Photo Props! | Tay from Millennial Moms

DIY Photo Props! | Tay from Millennial Moms


(sweet guitar) – Hey guys, welcome
back to Millennial Moms. I’m Tay, and that means that it’s Tuesday. (smooching) Alright guys, today I’m
gonna be sharing with you another fun prop we made for
Landice’s tenth birthday. This is really easy, and it’s inexpensive, so let’s get going. (cheerful strumming) (camera click) Alright, so we’re gonna start
by cutting out some images, picking out what we want, lips, bow ties, hats, all that is good. I’m using my Cricut,
because Cricut design space has all of these already,
although you can go onto Google and find all the images you want, print them out, and then
cut them out onto paper I found these stir sticks
in the Target Dollar Spot. And I just cut all my pieces of paper out, and then glued the pieces together. For some of them, I cut
out two different sizes, so that I could layer them, so that they were more sturdy, and had a fun little pop
of color behind them. And then I just glued all the
little pieces, well actually, Landice glued all these
little pieces together. So we had ties, bow tie, lips, masks. Just make sure that you
make them nice and big. So you can also cut them
out onto regular paper and trace them onto card stock. So then I took the stir
sticks that I found, and you can just buy, like chopsticks, or any type of stick that you can find, but I like these because
they had a big base that I could use to hot glue to the back. And then a way to decorate them, I used chalk pens for some of them, and I just used the hashtag that we were gonna do for the party, #PartyLikeAPanda animal. Most of these girls
don’t have social media, so this hashtag really didn’t get used. And then the other ones, I
used glue and some glitter, because you always have to have
a little glitter at a party. You just have to, it’s
just one of the rules. So my favorite way to do glitter is just to make, like,
a crazy mess with it, dump it out onto a paper towel, and then fold it in half
and dump it right back into the glitter container so
you don’t waste any glitter. So then I went and I embellished
all of the little crowns and things like that that I did. Just made ’em really cute. And these’ll be nice, because
you can store them away, and use them for more parties later on. And they’re always good to have on hand. (casual guitar) If you guys want to see yesterday’s video, check out right there. If you guys want to see more
from me at Millennial Moms, check out right there. And if you guys want to subscribe to Millennial Moms, Millennial Moms, check out right here. Alright you guys, thanks for being a subscriber if you’re
already one already. I love you guys. Don’t forget to check out my own personal channel, Auntie Tay. Love you guys, bye. (smooches)

Animal Cell | #aumsum

Animal Cell | #aumsum


Animal Cell. Watch out. Risky road ahead. The Animal cell is surrounded by a semi-permeable cell membrane. The cell membrane allows only specific materials to move in and out of the cell. Let me get inside. Sorry buddy, Humans are not allowed – Animal cell Team. Please let me get inside. The police is chasing me. Okay, you are allowed to come inside. Scanning inside Animal cell. The different parts of the cell are called organelles. Nucleus, Mitochondria, Endoplasmic Reticulum, Golgi Apparatus, Lysosomes. The cytoplasm is a jelly like substance. Cytoplasm provides a surface for all the organelles in the animal cell. Let us study these organelles. Welcome my friend Mr. Nucleus My name is Nucleus. Being the control center of cell, I decide and control most of the functions going on in the cell. We are the mitochondria. We are the sites for cellular respiration in cells. We are the powerhouses of the cell because we release energy rich compounds called ATP. ATP is needed for the functioning, growth and maintenance of the body. Let us now study about the endoplasmic reticulum. The endoplasmic reticulum is a large network of membrane bound sheets. They help in transporting and exchanging materials between the various regions of the cytoplasm. The endoplasmic reticulum is of two types The smooth endoplasmic reticulum The rough endoplasmic reticulum. The smooth endoplasmic reticulum helps in the formation of lipids. Lipids are essential components of the cell membrane. The rough endoplasmic reticulum has ribosomes. Ribosomes help in building proteins in the rough endoplasmic reticulum. The proteins go to the golgi apparatus. The protein is processed inside the golgi apparatus. Observe the other side. The proteins are packaged and sent outside. The golgi apparatus is involved in the formation of lysosomes. The lysosomes contain powerful digestive enzymes that help in cell digestion. The cell is damaged. You must leave. The cell is damaged. When the cell is damaged, the lysosome bursts. After the lysosome bursts, digestive enzymes get released. The digestive enzymes digest their own cell. Hence, lysosomes are called suicide bags of the cell. The End.

Photography Tips: How dedicated to photography are you?

Photography Tips: How dedicated to photography are you?


a couple weeks ago I was sent a
question by a lovely guy calledf peter and he asked me, hi Mike does it happen with photography like music, that you could be a professional and/or great
photographer if you start at an early age? does age matter when it comes to
becoming an excellent photographer? Well the thing is, how much do you want to become an excellent photographer, is it
something you want to do or is it something you’re going to do? But what’s the difference? well I’ve been running my photography
business for a long time and many years ago I chose to turn my
hobby which was photography into my income and that’s a whole other
story but part of that was I wanted to be able to travel and to see
some of the wrold to sort of experience some of the amazing things that go on out there in the world, but it was always something
I’d like to do and time passed and the business started to grow and i was having a good time, i didn’t have to work terribly hard to cover my expenses and i could play on my motor bike and then last year something happened, my brilliant, awesome, inspiring, funny and witty incredible mum died last september, and it was very devastating despite the
fact I knew it was coming but something in me changed then. I kinda realized how old i was, i kinda realized that hey you’re in your fifties now and you’ve always wanted to go off and see some more of the world but that’s all it was, i wanted to. When my mum died it changed from i want to, to I’m going to, you may have already
seen there’s some workshops starting to appear in other countries and many of you
wonderful people have been inviting me to come in your country, but it’s because i got committed I got dedicated to doing whatever it
takes to make that happen, now whether that’s in what sort of photo’s you’re taking or wanna take, you wanna take great amazing pictures well you need to become dedicated to
doing it and that means giving yourself the time
it means dedicating time to doing it not sort of saying ok, i’ve watched all these videos on youtube that mike does or serge does or many of the othere awesome photographers put out there into the world, or going on courses, you have to become dedictated to giving yourself time to go and put
into action the things that you’ve been taught about.
last year I was teaching at a local nights school, i was just teaching an adult education to a bunch of people who were all paying a fairly reasonable fee to come on a photography course, and it was for the college it wasn’t me doing it at the college , i was employed by the college to do it for a short time. But something which really amazed me was that i would give poeple some homework to do which was assosiated with the leson which we just done and then the following week quite a large percentage of people would say I didn’t have time this week or I could see that they had sort of
come home and they maybe had half an hour before they jump in the car because they had to go and they sort of done their homewo because mike would grizzle at them. Well i don’t mind if they do their homework or not, and i don’t mind if you guys did the homework or not, i don’t mind what you do so long as you’re happy, but here’s the key if you want to take excellent photographs well or maybe become a professional photographer you’ve gotta do the homework, you’ve gotta put in the hours, you’ve gotta dedicate some time to doing stuff you have to get out there
and practice and get experience now when I say
dedicate and put time into it you know what time you can dedicate to it I mean when I dedicated time to becoming a
professional photographer I did it in a slightly unusual way as in I went on income support I told my
local a employment services office what i was
doing because i didn’t want ant trouble i wasn’t gonna sort of like try and defraud anyone and they were amazingly helpful, they gave me access to various courses and
training so I spent a year not working and everyday i was reading books i was practising, i was going out there i was taking pictures, wondering why it didn’t work and then trying something else until eventually I got to a point where
I could take pictures that people would pay me money for, and that was an amazing feeling but it’s within the dedication so whatever that may look like for you now that could be maybe an hour a week
because I know normal people they have jobs to go to every day they have to pay
their mortgage they have to pay their rent, their electricity bills and all that
kinda stuff. They’ve possibly gots kids and they’re mega expensive things to own aren’t they. So you’ve got calls on your time already but in order to get the experience that’s needed for you to take the excellent photographs or to become a
professional photographer that any of you guys not just peter you do have to dedicate some of your time in order to do the exercises to practice
stuff so that you get the experience because
photography’s experiential learning most things in life are you have to
experience it and get experience so that you know what
to do in a given situation much as I would love to be able to put
my hand up here and a clip unplug knowledge and then insert into your head for you for a
fee of course then it would be awesome but i cant do that wouldn’t that be easy I wouldn’t
have to webmaster the site, i wouldn’t have to keep thinking up new ideas for
films and shooting stuff and having lorna stand out in the cold and rain and all that kinda stuff while
we’re making films the thing is it’s a dedication thing so what
ever that may be for you I would suggest it’s a case of go on a
training course if you know you’re going on a training course, book some time into the diary the next day so that you can go and practice whatever it was because if you put it off and think oh we’re going on holiday i a couple of weeks in a couple of weeks time you would have forgotten all about it. It would have just kinda vanished into thin air like scotched mist. if you watch a video on YouTube, one of my videos make some notes maybe? go outside and then practice that and kep practising. dedicate time to it until you have your
head around that particular technique or building block as i like to call
them, there’s a whole new course on that coming fairly soon. Because that’s where you’re gonna get the knowledge you need to be fulfilled as a photographer and
become excellent and/or professional.subscribe to our
YouTube channel to be notified each time we upload one all cool
photography videos orfor more great photo tips workshops
and training come and see us at our website photographycourses.biz

THINGS TO CONSIDER BEFORE UPGRADING YOUR CAMERA | PHOTOGRAPHY TIPS HINDI

THINGS TO CONSIDER BEFORE UPGRADING YOUR CAMERA | PHOTOGRAPHY TIPS HINDI


Have you ever thought that the camera that you own is probably outdated? Probably its time for a new camera I hope I had that expensive, beautiful camera but then with the budget constraint I am unable to buy that… 🙁 If you own a camera already, is it the right time to upgrade? is there a need to buy a new camera , right now? Do you feel you will improve on your work with your new camera? Lets discuss on that..! 🙂 Firstly, let me tell you I was very confused if I should make videos in English or Hindi then, I created a poll and based on the result of the poll I have planned to make videos in Hindi, but you may find me speaking in English.. here n there… Coming back to the topic, let me share with you.. until some days back…. I have been thinking about upgrading my current DSLR to something really new and expensive one.. like.. Canon 1DX M2 OR Sony A7RIII with which I could make more beautiful pictures and videos with them….!! I used to get these thoughts consistently so, i thought that I need to have very strong reasons to either BUY them OR drop my plans of upgrading….!! So, when I thought of upgrading , they were technical advantages of the new Camera…. but when I thought about it logically I felt, probably its not the time for me and then I decided NOT to… Now let me share the reasons why it was not necessary for me to upgrade and I feel these reasons are going to help you as well to decide for yourself if you indeed need an upgrade..and eventually you may cancel your plans …. Why I thought about this….. I figured out there were so many things in my own Camera that I did not know very well… the reason could be that, I have not yet completely exploited my Camera..!! and even before I exploit my camera to the fullest, i am falling for new and expensive ones… So, the thought of going for a new camera is not great… My 2nd question was have I applied all possible techniques and skills in my genre of photography and then decide that the only thing to pending is to buy a new advanced camera? there are many things actually that I can do with this camera..! 3rd important question was … its a general tendency to think about a new camera for getting good quality photos…. but is there anything SPECIFIC that I am missing out on this camera, related to my interest/ work which I see in the new one? I had a 500D canon DSLR camera I had upgraded it to 5D M3 5D M3 was so important for me because I was into wedding photography…. I desperately needed a full frame camera specially to exploit my wide angle lens. I also needed a Camera with 2 card slots obviously because I did not want to change cards during an event and miss out on any important moments.. 5D was the only camera that was having 2 card slots those days… I rented 5D for around 10 weddings I really liked it ad I thought I should buy… So, even you need to think if there are any SPECIFIC TRIGGER POINTS which is compelling you to upgrade If the answers to all the 3 questions are ‘YES’ then you can go ahead and get a new/ expensive Camera If not..! its high time that you start exploiting your current camera.. Let me tell you… when a beginner photographer looks at a picture clicked by me and asks me ..” which camera? actually the question is wrong the question is irritating and invalid if the questions would have been could you let me know the settings…. which time of the day you did this shoot? whats lens did you use to get these result? All these are important questions…! In fact DSLR body’s contribution is negligible… except for clicking the picture and saving it to your memory card..! this can be done by any DSLR…. Yes, we can differences in ISO sensitivity, colour range and dynamic range… but its very negligible…. Potato jet- is a youtube channel, this guy is a film maker… he has compared Canon 80D , a mid range DSLR with ARRI ALEXA a Hollywood film making camera… If we look for differences we don’t find much.. Of course, we see differences … but nothing that can make a difference to you creativity …. the link for the video is in description, look for yourself….. One more important information…. Photographers find it difficult to handle flash after watching a lot of youtube videos, after a lot of trial and error, after experimenting in a lot of different lighting conditions…. I learnt how to use and so will you…. you will slowly understand the relationship between the flash power and shutter speed…. but without understanding the concept , if you just go for a high end flash for a better light… I can assure that you will not have it… the result will not be good…. So… expensive flash, expensive cameras, expensive accessories won’t help you… Then… What will? Its always about techniques, knowledge, skill and experience …. you need to develop this.. if you develop a skill today or understand a technique no better investment than that…… By using your knowledge and skills, you can even make beautiful photos out of a 7 year old camera… And … keep on thing in mind… Best camera is the one … on which you have maximum expertise.. And even big budget Hollywood films have used cameras like 5D M2 and 5D M3 in many of their sequences If a 1 – 1.5Lkh camera can replace 5+ lakh body…. then we can definitely use our old, existing heap cameras to make very beautiful pictures.. Parker walbek – one of my fav youtuber he shows in his video how a simple room can look cinematic when recorded with a mid range simple camera.. this happens with experience and understanding of light….! the full video link is in the description… do have a look.. Today, I have shared enough instances/ examples, given you some reasons.. to give a second thought on buying a new camera body…. Do expensive cameras really make a difference well, we will see a difference… but very little…. Major difference is made by your knowledge, technique, skill and experience … rather than thinking I wish I had an expensive camera…. Please give a thumbs up and let me know if you have liked this video… 🙂

Landscape Photography – A beginner’s guide to woodland

Landscape Photography – A beginner’s guide to woodland


If you’re interested in woodland
photography and you’ve always struggled on how to compose your images within
the woods and the forests, this is the video for you. My name is Julian Elliott
and I am a professional landscape and travel photographer. If you want to keep
up with my exploits as a professional landscape and travel photographer make
sure you click on the subscribe button just down there The absolute first step when it comes to
woodland photography is to go to somewhere that you know and that you can
practice. Why? Because you know it. And if you’re familiar with your surroundings,
like this woodland here which is about five minutes drive from where I live in
France, then you’re going to be able to create more successful images from that
particular area and also you’ll get to know the intricacies of this particular
woodland. So for me for example I know when it rains heavily where I’m stood
floods. I’ve had images, I think it was back in April or so, whereby this
whole area was flooded I had a really nice sunny day with blue sky white
fluffy clouds and I was able to get the reflections all in this woodland plus
the reflections of all the tree stumps here. So that is the first step to
creating your successful images within woodland. Get to know one of your local
areas. The next step to think about when
creating your woodland images is the light and the quality of the light.
Woodland is great in that it works both in flat light and also sunny light and
also when you have that low mist and there is the sun breaking through the
mist in the early morning creating those really nice ethereal looking images.
Absolutely wonderful soft light in the morning. You can’t beat it. So as I said
it works great in flat light. Today we have flat light. It’s a very overcast day,
there’s no long shadows anywhere and it pretty much works as you will see, not
necessarily here, but certainly in the next location
that we’ll be working on further on into the video.So that’s the next step you
must think about is light and the quality of the light in your woodland. Once you’ve got to know your local
woodland, and you’ve thought about the quality of the light that you want in
that woodland, the next step to think about is lens choice. Obviously we have
wide-angle; 50mm; short telephoto and long telephoto. Each of those
lenses will work in a particular area of woodland. Wide-angle, for example, is great
if you’ve got some foreground interest. We don’t really have any foreground
interest in this particular woodland so the next step up is to think about is it
somewhere around 35 or 50 millimeters that we’re going to work in. Here, because I
visit it very often, I know that around 50 mil and above works. Why? Because it
helps to compress a lot of the trees together and create a very nice
composition. Telephoto it kind of works in here but it brings things maybe too
close. So here, for example, I’m always thinking it’s around 50 to 70
millimeters. So 50 millimeters how our eyes see and then 70 millimeters so it starts
to compress things just a little but not too much. But what I’m going to do is I’m
going to take a picture.The same picture, the same composition and show you why
each of them does and doesn’t work so you can see what it is that I’m talking
about here in this particular woodland. I’ve set up my camera and I’ve put on a
zoom lens which is 28 millimeters to 70 millimeters and that’s because it gives
me most of the focal lengths that I would use in this particular woodland
specifically for me 50 millimeters and 70 millimeters. At the moment it’s set at
28 and you can see it’s it’s okay is probably maybe a little bit too wide. But
what I’ve done is I put this central trunk here in the middle this is what I
really want to focus on and you can see on the third’s here there is actually a
trunk and a trunk as well and the foreground is maybe just off the bottom
of the third and going toward the middle but not quite. But it’s just too wide and
especially on a day like today there’s nothing in the sky and it’s just white
and it’s going to be blown out so that’s 28 millimeters wide angle and that for
me is why this particular scene doesn’t work at wide-angle. If I turn live view back on again and I
go into 50 millimeters you will see, if I slightly adjust my composition just a
little bit, just around here that things start to become more compressed these
trunks in the background are becoming more prominent whereas they were quite
far away because of the wide angle of the lens so they’re starting to become a
lot more compressed into the scene and it’s how we see it with our eyes as our
eyes see around 50 millimeters focal length. So you can see there on the 3rd
we’ve got these trunks here so they’re starting to come in nicely. The
foreground is dropping down just a touch we’re losing the sky so when losing the
emphasis on what’s going to be an overexposed sky. Things are starting to
look that lot nicer. Let’s go in just a little bit more so if I go to roughly
here, and what I’m doing if I just turn live you back on, I’m paying very close
attention to these corners here. So this here this branch, this trunk here is
frustrating for me so I’m zooming in just to remove it from the frame then
I’m going to push this down just a little bit and then what you’ll see is that we
have an image that’s starting to look a lot more composed and a lot more
organized and we’re starting to see the wood for the trees so if I take that
image then you’ll see the difference between this image and the wide-angle
image and how using 50 millimetres and longer in the woodland can help
emphasize those tree trunks. Bring things closer together. Compress them and help
to create a more balanced image. As I said, you can use wide-angle but I think
you’ll find a lot of the time you’re probably working 35 millimetres and up
where you’re starting to get more of an emphasis on bringing things together and
creating a more balanced image. For the composition of our images it’s
good to start somewhere like this and the reason is because it’s an orderly
wood. It’s actually a man-made wood everything’s been planted in an orderly
fashion and so you can work things out a lot quicker than if you were to go in
just to a woodland, in your local woodland that’s been there for hundreds
of years. Because everything’s planted we can start to find compositions a lot
easier and then we can take that knowledge and transport it into a normal
woodland that’s been there for hundreds of years and it’s just a tangle of branches,
trees, trunks and whatever else. So I’ll just
explain some of the compositions that you can do here in this particular type
of woodland so you can get an idea how we’re going to transport it back
into a proper woodland and that’s been there for a few hundred years or. So this
is the first type of composition that you could do in this managed woodland.
You can use the avenue here and here to create a line of interest going in and
in to go back towards here. The only slight problem with this is there isn’t
really anything back here to create any interest. There is some moss or something
up there in the tree I think it might be mistletoe back there it’s lying on that
third. Detail-wise what I am looking at, and I might do in a bit, is just here
there’s a huge mushroom which I might go and take a shot of. It looks quite
interesting. But that’s the kind of first kind of composition that you could do
here in this managed woodland. This is another example of a composition
that you could do here in this managed woodland. It’s similarish to when i was
demonstrating the focal length in that the tree trunk is in the middle and
other things start dropping in behind it. However this time the grass is more
along the top third but it’s another example of something
that you could do here in this managed woodland when you’re starting to see the
wood for the trees. Hopefully you’ve seen in this managed
woodland how I started to create compositional elements to be able to
bring some kind of order into a final image. So what I’m going to do from here
is decamp into an ancient woodland and we’re going
to see how we can manage that and bring some kind of order to the chaos of an
ancient woodland. So we’ve swapped managed woodland for chaos. Ancient woodland. Where do you look? Well if you take some of those elements of composition like
the rule of thirds or like the managed woodland where we placed the tree trunk
in the middle. If you start to look around and start positioning yourself;
the tree trunk here or here and just move so when you move here you’ll see
behind in the background that the other tree’s move. Try to position things in
such a way that you order the chaos of this ancient woodland. So I’ve found
something it’s taken me about 15 minutes or so just wandering around in here just
to have a look see what it is that I could find and I’ve started to pick
things up. I’ve never actually walked in this woodland. I’ve driven past it many
times. It’s only five minutes from my house. But I’m taking the time today just to have a look; see what’s here and see what
I can do with the chaos of this ancient woodland. As a first composition and the
first time here this is something that I’ve found just wandering around as I
said to see what it is that I could come up with. So I’ve placed this tree here not
it’s kind of on the third but not really is actually off the third itself and
then I’ve placed the foreground so it’s just up shy of the middle and then
there’s a color here and the background from all the autumn leaves. As well as
that I’ve started to try and make some sense of the background. So I’ve used a
corner up here for one of the branches that’s going off and up here as well. It
could possibly be just adjusted slightly there and the very simple reason is so
I’ve got this branch going up in this corner here and also here I’m creating
some separation which I didn’t have before. So that it’s not just a tree trunk in the corner here there’s actually some
color going here so you’ve got these bands of color and the tree trunks
themselves. Down here you have this new tree that’s growing up which is creating
interest on the third. So that’s the first composition that I’ve done here. I’ll
just take a snap and then you can see when the image pops up in a minute how
that looked when we were here in this part of the woodland. Let’s move on to
something else and to show you how to bring more order to the chaos that you
see in front of you. There’s two more elements that I want to
add into composition within your image. The first is leading lines and as you
can see that’s running through me there’s this path that’s probably just
been created by animals such as deer and boar that we get here in central France.
They’ve created a pathway through the woodland. And that is another
compositional element that you can add in. Leading lines will always take your
viewer from the edge and bring them into the image let them look around and let
them explore. The next thing that I want to talk about and it’s extremely
important in woodland is the polarizing filter. And what that does is it
removes any glare from the leaves so yesterday it was raining a lot here so
there’s a lot of water on the ground. A lot of water on the leaves in the trees.
That polarizer filter is going to cut through the glare and be able to add
in more saturation to the image. So I will just show you what it is that I’ve
set up at the moment to give you an idea of how it is that I’m looking at this
scene and what you might be able to take away from it and be able to put into
your own images. This is the image that I’ve set up. I saw this path here while I
was walking along the main path. It’s not the main path obviously as I said it
looks like it’s been made by animals as it’s indistinct but it’s distinct enough
to give us an idea of a compositional element. And as you can see I’ve started to
arrange things here so this tree here the trunk is on the bottom third then
which is going out and then up to the top. I’ve cut out a lot of the sky as
it’s distracting and I’ve just started to arrange everything else so I’ve made
sure that there’s no trunks that are intruding on the edges here of the frame
and there’s no unwanted elements there at the top. So that for me, it starts to
create some order again out of the chaos that we have here in the woodland and
also as I said there’s a polarizer on the front which is taking the glare away
from the water that’s on the leaves that was from the fallen rain
yesterday so that’s helping to saturate the image a lot more than it is. So I’ll
take it a photo with the polarizer and without the polarizer so
you can see the difference and why it is that you should actually make sure you
have that polarizer with you and that it’s not just for those blue sky days. For this last sequence on woodland
photography, I want to use a blue sky day combined with the color in the trees to
help enhance the composition because very often all we hear about is the rule
of thirds; leading lines and s-curves. All these kind of things in composition.But
we never really hear about color. So if you look at a color wheel you’ll see
that yellow and blue are near to one another on the color wheel
thus they complement one another in any composition that you might
choose to use them in. The other thing that I’m going to do is I’ve changed my
lens to a wide-angle lens. So here I’ve got a Canon 17-40 millimeter lens. So
very, very wide angle of view. And when I look up, which is the last thing
that I want to do, it’s actually going to help the trees loom in above me while
looking up at the blue sky and the golden colors of the yellow leaves up
there. All the autumn color. So let’s take a shot and then see what it is that I’m
doing with that shot. So what am i doing when I’m looking up at those trees
trying to get an image that pleases me? Well the first thing that I do is I put
my camera in aperture priority and that’s very simple. The only reason I’m
doing that is just to take a few things off my mind what I’m composing my image
handheld. And in aperture priority I’m then adding in around one stop of
exposure compensation just to open things up a bit. The 6D has enough
exposure latitude that I know it will give me what I want for around
two-thirds of a stop or a stop over the the middle point on your exposure meter.
The next thing that I’m doing is I’m enabling the back button focusing on my
camera so that when I’m looking up my thumb is doing the focusing so I press
where I want to in the image to focus the camera and then when I’ve got what I
want my index finger then clicks the shutter to get the composition that I
want. So that’s it for this tutorial on
woodland photography. Hopefully you’ve picked up a few things here and there
and see how I finely compose some of my other images although it’s done in
woodland it might give you an idea as to how to really look at what it is that
you’re doing when you’re composing your images on the back of your camera. Will
there be more tutorials? There will be more tutorials! There’s going to be a
tutorial on a 10 stop ND filter very soon. As well as a few others so
make sure you click the subscribe button down there in the bottom right hand
corner and you’ll get notification whenever it is that I upload any videos.
So thanks very much for to all of my subscribers. See you again soon!