Create A Style Guide
Lesson 50 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Create A Style Guide
Lesson 50 from: The Outdoor Enthusiast's Guide to Photography & MotionIan Shive
Lessons
Bootcamp Introduction
06:35 2Storytelling with Stills and Motion Overview
14:35 3Elements of a Well-told Story
22:12 4Storytelling in Motion
34:19 5Choosing the Best Gear for Your Outdoor Project
16:24 6Gear for Drones
02:53 7Gear for Motion
05:23 8Inside Ian's Gear Bag
20:07General Advice for Preparation
14:19 10Virtual Scouting
03:54 11Weather
10:17 12Permits and Permission
03:09 13Model and Property Releases
04:43 14Health and Fitness
03:04 15Checklist
03:20 16Location Scouting Overview
15:18 17Location Scouting in the North Cascades
15:24 18Drone Introduction
14:59 19Drone Safety
03:26 20What Kind of Drone Should I Buy?
02:58 21FAA Part 107 Test: How to Prepare
06:18 22Telling a Story With a Drone
06:15 23Drone Camera, Lenses and Movements
04:34 24Selling Drone Footage
02:39 25Why Does a Photographer Need Motion?
10:59 26Establish the End User
06:35 27Identify Your Audience
03:12 28Build a Production Plan
05:28 29Create the Story Structure
04:26 30The Shooting Script
07:08 31Production Quality
08:37 32Composition for Stills
08:04 33Composition for Stills: Landscape
08:15 34Composition for Stills: Telephoto Lens
14:48 35Composition for Stills: Macro Lens
07:50 36Techniques for Capturing Motion in the Field
25:15 37Lenses and Filters for Outdoor Photography
26:20 38Capturing Landscapes - Part 1
28:12 39Capturing Landscapes - Part 2
23:36 40Capturing Movement in Stills
32:17 41Shooting Water, Sky and Panorama
29:40 42Understanding Stock
20:45 43Editorial vs Commerical
03:57 44Pricing Stock
05:40 45Producing Stock
14:49 46Shooting for Social Media vs Stock
11:37 47Choosing an Agency
08:58 48Assignments and Capturing Stock
13:49 49Stock Photography Market
05:28 50Create A Style Guide
05:30 51Stock Shoot Analysis
21:29 52Workflow for Selecting Final Stills
27:43 53Initial Editing in Adobe Bridge
21:02 54Reviewing and Selecting Motion Footage
11:02 55Keeping Track of Your Story Ideas
22:40 56Script and Story Structure Evolution
04:34 57Editing to the Content
05:00 58Music as a Character
05:41 59Business Diversification
07:07 60Business Strategy
04:57 61Pillars of Revenue
17:09 62Branding
06:36 63Partnerships and Brand Strategy
05:12 64Galleries and Fine Art
03:11 65Budgeting
05:21 66The Future of Photography
26:12 67Q&A And Critique
1:09:39Lesson Info
Create A Style Guide
one of things I strongly recommend, uh, for this is creating a style guide. And I mean that in the most literal sense of going in and screen shotting images. Ah, whether they're your own, whether they're someone else's, to create a sense of what it is you're going after when you're first starting. It's like basically just creating a scrapbook of images and things that you like that you can learn from that. You can then not plea drives. But take those ideas and find How do you put them all together? Maybe like the way someone did a shadow here and ran here and could make those two shots work together in a whole new location. It'll spawn creativity, and it will keep you focused in on track for what the trends and styles are in the industry. So a style guide is really, really important. We're working on one now as a photo agency because the shift of styles and post processing his started to really latch on in a way that we need our photographers to understand it. So we're creating from ou...
r own library of work images that we think reflect the future style of our agency, and that isn't just processing. That's where people are in the frame, how they're interacting. Where there I line is where they're looking all of those kinds of things, and we'll talk about this in the analysis. But you wanna have a style guide? Create one a generic style guide as well. A short one, maybe before every trip. Hey, this is how I want my portfolio of, uh, ex National Park toe. Look what's in a style guide kind of covered it. I mean, it can be everything. It's people shots, Portrait's details, wide angles. It might be specific locations that you just don't want to forget. Um, it could be anything that will help you sort of drive your style and your shot list going forward. It's a lot like a shot list, except instead of it being line items on a page, it's actual pictures. They're really helpful. But a style guide will often have writing. So our style guide for the agency does have descriptive words and things like that. I do think every trip should have won. I still create them every single time. I don't sit here and tell you things. Hey, you don't need to dio. I'm sitting here telling you things I actually do because they work. There's a reason I can get my stuff published all the time, and it's because I have a process that works everybody a little different. But I think having won, at least initially, I mean, some shoots look from going out spontaneously. Sure, I don't have a style guy, but even coming to Seattle to teach this class, I spent some time looking. What are people doing? What kind of stuff being what's happening in Seattle? Is there any new area to go into? I mean, you could learn a lot just by looking at what's going on in social media, especially more than ever before. So it's a lot like research and scouting, except you're defining look, feel style and potential locations to create those kinds of things, uh, and doesn't have to be from the same location you're headed. That's also very important. You may want to before trip, but you might say I'm doing running in Colorado, but I really love these running in California images. I like the look and feel of them, so I'm gonna go and do that here on this trail in Colorado doesn't have to be from the same. Okay, should be from anywhere. It's about creating a look and feel Teoh to the images and helping to find that before you go out into the field. So does anybody have any questions about this before I start to do the stock analysis that's going to the next step? Quick question about the HDR comment. Do you mean each year filters? Or do you mean, like, splendid images of indoor outdoor? Sure, yeah, kind of referring to a pretty generically good question, I'm talking. So I know there's also like HDR settings, both even on my red. I can actually do like HDR X, and it'll capture a wider dynamic range and also burn more Amer memory. By the way, if you noticed on that one page in my motion introduce motion, um, the number of minutes will go down if you have your shooting an HDR mode. I'm referring to the process of blending, um, multiple bracketed images to the point where the highlights in shadows and mid tones are basically all the same. Luminess luminosity. I mean, they're basically flat. Um, and you can't tell the difference of war. One ends and one begins. Um, it doesn't work, and a lot of people way over open their shadows. It's usually the shadows that three people in it. It's not as often in the I mean highlights certainly can be, but they have a little more flexibility and staying authentic and bringing them back. It's usually in the shadows where it's like that's clearly a cave and I can see all the way to the back and there's no light in there like that's that kind of stuff that it's It's sort of like the saying, like an uncanny valley. When you look at, like, animation and you look at the eyes you like, it's creepy. It looks real, but there's something is not right there right kind of thing. Um, it's that same idea. It's like you're looking at you like, Yeah, it's a photo, but it's it's almost going into illustration. At that point, that's really what I'm talking about. There's nothing wrong, of course. I mean, if you have a very high contrast scene, you want to go to control and manipulate it later. Shoot. You know, if your camera has built in HDR, and you can capture a bigger file. By all means. I mean, I think it's worthwhile if you want to spend the space on it, but, um but be careful that I'm talking about the processing steps of processing. Yeah, it gets kicked out pretty fast every now and then. You see it, but it doesn't last very long.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
monica4
Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!
Cindy
What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.
Cindee Still
Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.