isn't this a great little place it's
just the sort of place you'd want to
come and live I think unfortunately it's
an abandoned little restaurant it's on
top of a hill in lanzarotei I've just
been running the workshop here and this
is one of the locations we come now when
you go away somewhere make sure you go
and look around go and look for
interesting places put a bit of effort
in put a bit a bit of research
photography isn't just about going click
it's about finding the right place and
the right time and right now over there
look at those clouds and we've got light
reflecting off the water and there's a
lot of mist in the air but actually it's
giving us some great light to work with
so I thought I'd come out here and see
what shots I can find in this little
place because usually I'll shoot it in
the middle of the day or not the middle
of the day but later in the afternoon
when the lights coming in here and
lighting up these palm trees and you can
sort of look through the view beyond
right now beyond there is some beautiful
light on the little town of Huriya and
it's because of that light just coming
in sneaking around the edge of the
clouds so let's go and take a little
look at that i aint got a camera person
so i'll go wobble you around as i turn
this on and off i think i might have
been a bit early but premature with the
off button there guys but look and if
you can see them here in the valley with
this cloud going on up here in the top
and then the little village down below
and you can see there are little pools
of light going on down there maybe if i
just roll up my fuji and see if i can
zoom in a little bit and just show you
what i'm seeing that is just so lovely
right let me see if i can roll a bit of
video here we go look we got the volcano
in the background we got that soft kind
of moody hazy like going on all across
the town of Huriya isn't that gorgeous
now how could we shoot that well we can
either shoot it straight like that or we
can kind of open up i zoom a bit and see
if we can include a little bit of the
foreground this old patio here from the
restaurant
there are all sorts of possibilities I'd
quite like coming in a bit wider maybe I
like this little bush the town's very
small now and possibly the edge of the
house there I don't know here's one of
the things don't be afraid to experiment
when you go somewhere don't be afraid to
get it wrong try different things shoot
them anyway okay may or may not work it
shoot it anyway also this time you're
going to have to wait for light now
right now I've got a lovely pool of
light going on in the distance on the
town can you see that the foreground the
first part of the town there's no light
on it but right at the back just in
front of this volcano over here we've
got a little pool of light on the town
when that's cause for the edge of the
clouds thickening and thinning utilize
these things photography is about your
environment it's not just about the
camera and it's certainly not just about
memorizing settings this is thinking
like a photographer this is a seven
building blocks of photography this is
about understanding what the settings
and controls do then you look at your
scene and you reverse engineer back and
that will tell you your settings and
things it's not about memorizing f stops
and apertures and ISO so let's just
take a shot anyway before that light
goes you've kind of seen what I'm
thinking I'm just going to go for a
straight shot without any foreground to
begin with those of you who are regulars
may noticed I'm not actually got my
little 18 to 55 which I love so much
because when we're on the Iceland
workshop the camera went over face down
I smashed the lens I had to get another
lens the only one available in
Iceland was this 16 255 costing a huge
amount of money but the good news is my
little ones being repaired I'll have it
back and I may well plop this one on
ebay because I don't really need a
wethersfield f 2.8 lens for the source
do with there's a camera anyway
let's get that shot before that lights
completely gone so let's do one kind of
zoomed in a bit what depth of field do I
want come on reverse engineer this stuff
I don't need much because I'm shooting
over there this is all beyond infinity
so I don't really need a huge amount of
depth of field let me just have a look I
want to make sure my shutter speed fast
enough or don't get camera shake I'm
F5.6 apt just thats why my focal length is about
at 35 I'm getting a hundred to the
second F 5.6 I want to put the volcano
on the left and that little pool of
light and those lovely clouds little bit
of dark fields in the foreground and
shoot it isn't that pretty I really like
that let's try another one if you want
try things out from the very same place
all i have to do is shorten that focal
length little and include some of the
foreground now looking at it through the
camera I don't think I like that quite
so much it's okay but I don't think it's
great what I do like is the light and I
think when these go into Lightroom for a
little bit of post-production I think we
can really make that pop and I will show
you that in part two we'll have a little
look at those now interestingly over
here we're getting a few little beams of
light out on the sea coming from behind
the clip I'm going to stop the camera
turn it around see If can show you here
we go now I know I may be a bit dark i'm
leaving the camera also exposure so i
don't have a camera person but look out
there in the distance look out there you
see there's just a few little Ray's
coming in there's all those highlights
out there on the sea I know this small
in your video and you see if I can do
the same for you here we go that we were
little town there we got that band of
dark cloud and as we sort of widen the
lens we're looking down the valley
towards it i quite like that with a
little bit of foreground that looks like
it could be quite interesting in the
time it's taken me to move the camera
those little beams of light is pretty
much disappeared which is a shame but
nevermind it's still quite a nice shot
and we may be able to rescue a little
bit in post-production so let's take
that last shot with the foreground
looking down the valley again work it
backwards what aperture do we need we've
got a little bit more depth of field
going on hungwy because i'm including a
little bit of this fall ground on the
edge of the hillside so what's that
going to give us in the way of an
aperture
I don't going to tell you for a minute
you're gonna have to think about it I'm
sorry I just don't help it right where
am I going to focus well let's focus on
that foreground its focus somewhere out
here that tells me on my depth of field
scale that I am focusing from five
meters to infinity so that's good enough
I wonder what aperture it is gosh this
is a mystery you're going to have to
wait and see now let's see we've got a
very bright highlight in the sky but I'm
hoping it'll be okay and let's just
shoot that picture that moody thing
looking down that Valley now I'm going
to check the histogram because of those
bright points in the sky I think it's
going to be okay I've got a little tiny
flashing highlight warning I don't know
if you can see another see if I can do
this I don't know if I can the camera
can focus on that new show is a little
flashy thing going on my highlight
warning is doing a little tiny flashy
thing but the histogram that showed that
the highlight hasn't burned out the
histogram is a histogram of the little
jpeg preview the camera creates for
shooting raw you're safe you're okay I'm
pretty sure it and rescue that and I
can pimp up those shadows a bit so we'll
have a look at that shot too but there's
something else I want to show you down
here and this is about using the
environment so okay this is a great
little location we use it on the
workshop but also how about framing the
landscape within a frame let's just have
a little look at that for a moment and
they have to wait because looking down
the valley this way again we've lost the
light on it so I've got to wait until
there's a little arch in the clouds so
that the light the Sun can get
underneath it and light up the town
again photography's about waiting how
many times have you been off you've been
for what with a camera you've gone
somewhere really exciting but let's say
you're with your partner your wife your
boyfriend your cousin you're on to your
children whoever it may be and you're
looking at something and they're going
will you just get on and take the
picture it's because they don't
understand that actually photography is
often about waiting particularly if you
want to shoot landscapes landscapes is
the domain of the exceptionally patient
it's something which I enjoy doing but
I'm not really patient enough I much
prefer travel type photography you know
I like shooting in markets unlike
certain people doing their thing I like
shooting crazy stuff like that anyway
I'm just talking for the sake of X I'm
waiting for the light to move although
it is starting let me go and set the
camera up somewhere else and I'll show
you what I'm thinking how's that look
we've got three no less than three
frames to choose from that we can frame
up on landscape and what's going on
beyond with just by coming inside this
little ol building we can put a lot of
foreground in and kind of make it a bit
more interesting I also like the fact
that there's graffiti on the wall I
think the camera its friend you can't
quite see it there's a pig drawing on
the wall down here I'll show you in a
moment so the lights not bad on the town
we've got a very misty volcano going on
in the distance so next gift have a look
see what I can do I'm going to use this
video to try and show you what's going
on first off let's have a look I have
got I want to think about exposure here
because why would I do that it's because
in here I've got a little bit less light
than there is out there so you've got to
think about this because I don't want to
lose all this splendid grafiti that's
going on inside I want to be able to see
both that and what's happening out there
and what's happening out there is a bit
brighter I'm losing the light off the
village I may have to pause the camera
but let's go through this little set at
first if i should stop the camera I
will the video so let me see what we've
got I'm going to need to shoot fairly
wide if I want to include windows let me
see let me show you the environment
through this camera here we go bit of
video rolling now even with my lens at
16 from here I can only get those two
windows and I'd kind of like the little
pig down here which I just mentioned a
moment ago I'd like to include that that
means I'm
get very close to you indeed I don't
know if I can do it yet but also you've
got to think of that where you stand
photography is also about where you
stand it's also about bending your knees
composition is a function of bending
your knees and tilting the camera moving
your arms composition is not a camera
function it's an arms and knees and
hands and feet come function so let me
see and when I look through here I've
got a lovely bit of window I can see the
little town even though it's not that
brilliantly lit at the moment but you
see right in the middle here is this
pillar now what's behind that pillar
this is something you just need to think
about and watch because the volcano is
behind the pillar so if I move to my
right look now the volcano is framed in
the window that's going to be more
interesting when i zoom back out isn't
because the volcano is the cool bit
now I want to see if I can get a little
pig is we're going to have to move back
here and really jostle you don't jostle
the chosen one I know that's all I've
got my pig back awesome i'm going to use
that pillar there and then the edge of
the pig let's zoom it up here we go I'd
like to try and get the the stuff that's
written on the wall I'm trying not to
jostle the camera but I've got to get
close to you this is a intimate viewers
those there we go right that's pretty
good I've just about got the composition
that I'm going to want what about depth
of field what will we do with that think
about it we've got a bit more foreground
here how far away is it from where you
are which is where I've got stand well
let's have a look one two three four
submit five paces it's about five meters
so if you have a depth of field scale on
your lens use it if you have one not all
lenses have them some do the little
mirrorless Fuji i have here has a depth
of field scale which i've been looking
in the viewfinder which is very very
useful now i do have to wait for the
light i can see
there is a pool coming but it's not a
great one so again we may have to pause
stop and wait so what's our depth of
field well I'm going to need to make
sure this foreground this wall is
graffiti is sharp so let me see what
happens if I focus on the pillar on the
far side of the room that tells me from
it's not bad that tells
me that from 2 meters to 10 meters is in
focus and focus out the window here we
go yeah that's telling me from three
meters through infinity is in focus
that's five paces away happy day
everything is going to be sharp so now
tell me the f11that will work but my
shutter speed is now drop so eight eight
eight three and eight per second that's
going to be a bit too slow to handhold
so this pimp up that ISO I'm going to
take it out to about 500 see what it
looks like just give me a twenty fifth
of a second i'm shooting it 16
millimeters it's going to be nice and
shot so now i'm already this is an
important thing get ready don't forget
we've got to wait for the life so I'm
going to just might poke the video
camera out the fit-out out the door
there and see if I can speed it after
the light comes in and have enough time
to move you back see what I can do
ok here we go camera rolling then if you
can see there is a little bit of light
on the back of the town now since I
moved in so let's be quick Michael be
nimble might be quick take the picture
or you're a anyway so let's focus out
here we know where we're focusing we've
got everything good folks over there
that's why i got my focus point from get
my composition nice with my pig and
frame it up like that we've got it we
got it there I kind of like that I'm
just going to stand a little higher look
at that we've almost lost that volcano
in the mist now let's see if I can take
my exposure down a bit since I'm gonna
bring it back here we go i'm at a
sixtieth let's take that down yeah
that's going to help the volcano get
myself lined up get my verticals as
straight as possible yep piggy in I'm
going to come right back here against
the wall if I'm going to do this
properly there it is and take the shot
so we've got a picture now FRN always
equals results are out I would stay here
for quite a bit longer and see if the
lights will move this is why you can't
do photography with someone else is when
you have to think things through yes and
now your camera settings you have to
know what your camera does you have to
know the techniques and then you string
them all together when you think like a
photographer now i'm just going to buy
my time if I get a shot with the light
coming on to the village in the
foreground which it looks like it might
do now then I'm going to give it a go so
you may get little bonus bit on the end
of this if not I hope you enjoyed the
video please share it around with other
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so take care guys you may get a little
bonus video right this minute because
the light who's actually moved while I
was babbling at you let me take the
second shot and I think you should just
be able to see yes that's better so I'm
going to take this shot you see how
light changes all the time here we go
we'll take this one here like that and I
think you'll see there's now a little
bit of light in the foreground village
I'll have to zoom in on to it a little
bit for you like that then we go so
there we go we've got a picture take care
see you next time