Lessons
Class Introduction
00:49 2Settings
02:36 3Scouting Locations
07:36 4Shooting Reflections
06:26 5Shooting Leading Lines
03:05 6Shooting Skylines
09:26 7Organizing
03:32 8Removing Billboards
10:05Lesson Info
Scouting Locations
Hi guys swoops and I'm in Seattle for the first time. And today I'm scouting with Creative Live, and we're looking for some awesome imagery that I can use that I'm shooting with my IPhone around the city. I'm looking for some awesome natural landscapes looking for some six city skylines, and I'm also may be checking out some alleyways looking for some reflections. Some of the things that I'm drawn to specifically is lots of color looking for some empty space that I can kind of play around with anything that's going to really catch my eye and give me some nice, symmetrical shots coming into Seattle. I know for a fact that I have to get the skyline in the water, but also I'm super up for any surprises. Whatever the case may be, I'm going to grab it. Let's go. We're almost like shoot this just because I just like the colors. I see this already with a filter over, and it looks mad, clean, and I could see like a giraffe standing there. And the nice part about it to me is that I can play wit...
h this, like was foreground here, and that when I put an edit in there and I put, you know, a giraffe, Whatever I can cut in between where this foreground is, and it'll give it more depth and more real nous because almost people be like, How did you get that draft in there? How is that there? Do you really stands out to me more than anything? Oh, yes. Person, walk, walk problem is that there's always variables. You know, there's always gonna be a car in the way or something. Maybe, um and then also the light. I see. All right now, I noticed that there's like, some lights that's coming from the top. I know at a certain time of day like that would look fire in the pics. You could definitely do something. The only issue that I'm finding now is that I would probably shoot it from this way going this way. Maybe, maybe not, though, because of the trees in the background and this being so, yes, I have to see what it looked like. The best thing to do is break your phone. Now that's a little too dark, and the thing is too, is at the ground grounds to Messi to make it look good for for what I want, because it starts like gray and then it gets, like, dark and then gray and then darken and gray. If it was almost like all Brick, then I would be like, OK, this is fired. But there's something about the ground that just not it's not working for me. I'm looking for, like, shots that are like bangers like and I'm I'm looking at people I don't even follow. I don't even know how I got to their instagram, but I'm there and I'm looking at their shots because I know they live in Seattle. I'm almost like Googling Instagrams from Seattle, Googling like best photographers from Seattle. I'm like, just looking up people who I know what have some bangers and some good shot. So then comes in the planning of thinking, you know, how can I make sure that these shots are the best they could be? Can I get into these places? What time is the best time to get in these places? Should I go with someone else? It can be kind of all over the place, and it could be kind of messy, and the plans change up really quick cause you'll get somewhere and realize that maybe they're not open or we've got security at the door something, so you'll kind of scope it out, maybe look at it and then come back later when you don't have your camera backpack or you're dressed a little differently, are some things. And at least get the best case scenario that I get when I'm there without getting in too much trouble. Okay, this is this is a beautiful alleyway to me the red, the ground and even this, like orange cone in the middle of like something and then nice is nice to causes. I don't really know what this is, but I'll see if I can work with it. I do like my reflection shots. Now this is kind of pretty. I like there's some blues with the He's like super orangey reds. I'd love a person walked by, but I'd almost just put a giraffe or something or put my own person in there. Maybe there is just like a lot of color theory and play, and for me, color is like key. It's inspiring me to kind of play around with the idea of like just a color blocking situation was got the green with this, like pale pink. And then it's got the red and it's just so I just worked so well together. I'm always just like moving my body like everywhere, while I'm in the shot. Just see what I can work with. You don't want to just stay still. You're just like, Oh, that's the shot like you want to get kind of all over the place. Hello, being someone who doesn't shoot a lot of pictures of people sometimes like having an empty alleyways like my first go to is obviously like putting a giraffe or something in the shot. So I wonder this stop and shoot this. But my problem is is that it's just it's kind of messy, but initially I really just liked it because it there's just this high up, you know. And then there's with a nice view of symmetry and ST. But the problem is, is that this light right here is just off. There's no way you could fix it, so I just let it do its thing. I like this a lot, I think just like the bottom half is a lot. So what I would do is I would actually cut it from, like, right above that point and just use that top half of Skyla. Just keep it nice and clean. This is precisely why I have this thing attached to my phone for Wendy days like this, or even like if I'm on a high rise of something and I'm like looking down like it's just makes it so much easier So you don't have to worry about losing everything. Okay, See, now I got a really, really nice detailed shot of the skyline, which I'm loving because I could see each and every little line of all the buildings. And that's how I know I've got a nice skyline shot when it's just not like a silhouette you can really kind of cut out around each building. You conceive where each building ends and starts. So that's like something I just really love so that I can eventually maybe, you know, some of my work. I add like a mountain in the middle of the city or something, or like put a waterfall. And the nice thing is that I can see where those buildings are are actually laying in the photo. So for something like this, specifically, what could happen is, I might add, like a waterfall to the actual water below. People will ask, Where's that at? I'll say, Just go find it. You'll find it.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Kate Crossley
Found it very interesting how Elise translated Photshop style art composition onto her mobile and how she scouted for images. It would have been good to have had a list of the apps she uses in the class information page. I had to go to her website to find them. I appreciate she mentioned them in her tutorial but a list would have been helpful too. Having been doing composite work on my iphone recently it was great to see another artist at work and their approach. All in all, very enjoyable class.
Jennifer Pinter
I think the class could have been longer with more detail about the editing. I am glad I purchased the class and can go back to watch again because she goes through the editing process very fast. Overall some good tips about shooting with your phone and worth $25 to me.
Ken Hattie
I cannot attest to the course content as I tuned out after and left after the 10the use of the irritatingly over-used word, by videomakers, "super". By god, get a thesaurus, people.