Engaging with the locals
Video: Engaging with the localsStarted out earlier this morning over here at the Noyo harbor in Fort Bragg, and really didn't know if we were going to find anything. I suspected we might because these type of places often times have something hidden, if you dig a little bit. We, we found something really cool. We we ended up over here at the (SOUND) Sea Pal restaurant. I walked in and I was already intrigued by the, the facade of this restaurant. It's kind of, it's very simple and small old obviously.
- Road trip review
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A favorite travel destination is the seaside small town—a place with salt air, beaches, shingled houses, and seafood on every menu. And a great way to get there is by car, making stops along the way.
In this course, photographer Mikkel Aaland travels to Mendocino, a classic seaside small town in Northern California, making stops in Mendocino's Anderson Valley and redwood forests along the way. The course details the gear and shooting strategies involved in capturing the personality of a small town and, just as important, its natural setting and the people who live there. Throughout the course, Mikkel emphasizes the importance of putting your own creative stamp on your travel photos through the use of simple props, friends, or family members.
- Shooting along the way, from farm stands to redwoods
- Engaging with—and photographing—the locals
- Going beyond the postcard shot to personalize your photos
- Stopping at a bed and breakfast
- Shooting dunes, waves, and beaches
- Reviewing the photos from the road trip
Engaging with the locals
Started out earlier this morning over here at the Noyo harbor in Fort Bragg, and really didn't know if we were going to find anything. I suspected we might because these type of places often times have something hidden, if you dig a little bit. (SOUND) (SOUND) Sea Pal restaurant. I walked in and I was already intrigued by the, the facade of this restaurant. It's kind of, it's very (SOUND) So, I walked in and I saw the guys working in the kitchen and just tried talking to them.
They're young kids and you know, they weren't the owners, they're not the people that really would give me permission to photograph normally. But just a few minutes later the owner walks in and it's really easy at that point to say, do you mind if I take pictures here, is it okay, you know, I just like this place a lot. You just engage the guy. You're friendly with him, he's friendly back. And before you know it he's opening up (SOUND), open up, there's not just one thing that opens up.
All kinds (SOUND) And then turning around and seeing John's father show up who started the business, you know, 20 years ago. And it's a portrait situation. So, I put them in front of their their little restaurant (SOUND) I think I have a really nice (SOUND) From a technical point of view, this was all pretty simple. I, I used the combination as I always, often times do, of the digital SLR.
I was using a lot of the 14-24 mm wide angle lens. This is a, really special lens for me because it allows me to get into small places like that tiny kitchen (SOUND). And get the whole feeling of the kitchen but I also can go down to 24 millimeter if (SOUND) so it's a very versatile lens it's not everything I needed though. For example, when I was shooting the fried Snickers bar. I wanted to, I really wanted to be able to see that grease bubbling up out of the chocolate.
And the wide angle wouldn't have captured that as well as having a macro (SOUND) But in general I, I kept this lens on, the, the wide angle. And then if I needed some other kind of fill in shots, I don't hesitate to use this little, I have a Panasonic LX7, a Lumix. It's a beautiful little Point Shoot (SOUND) (SOUND) equivalent 1.4 lens. So, that's a kind of thing when you are shooting be open, you know, you are not just doing one thing.
You are shooting many things and if you open to it and prepared, going to get some great shots.
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