IntroductionWelcome| 00:04 | Richard Koci Hernandez> What makes the
iPhone the perfect device right now for
| | 00:10 | creatives, especially photography?
| | 00:12 | It's the camera in your pocket,
it's the computer in your pocket, and
| | 00:16 | it's your printing press.
| | 00:18 | You have this with you all of the time.
| | 00:22 | It's really democratized
the idea of photography.
| | 00:26 | What I love about the iPhone is that
it has stripped me of all the things,
| | 00:31 | technical things that I had to think
about or forced myself to think about, and
| | 00:36 | what this device has done is make me
think about the content and the story.
| | 00:42 | What we are going to do is go on this
creative journey and we are going to start
| | 00:46 | on the streets of LA.
| | 00:48 | You will get to see my approach and
maybe some of the things that are going on
| | 00:51 | in my head as I shoot.
| | 00:52 | We will break it down and bring it back
into the studio. You will be able to see
| | 00:56 | some of the apps I use, some of the
approaches. You'll be able to see how really
| | 01:01 | critical it is to play around with apps.
| | 01:04 | We will also talk about how
storytelling is one of those tools, one of those
| | 01:09 | skills that if you learn it,
it will help your stories,
| | 01:13 | your images, really stick in people's minds.
| | 01:15 | We will also talk about how important
it is to then share those images that
| | 01:20 | you take, and finally, we will
bring you to the 1197, the very first
| | 01:24 | iPhoneography conference.
| | 01:26 | It is the first of its kind, where all
of these iPhoneographers met and shared
| | 01:31 | secrets, tips, tricks, and ideas.
| | 01:37 | This is my favorite camera.
| | 01:39 | It's also become my box of crayons,
a place for me to experiment with my
| | 01:44 | photography, to kind of
color outside of the lines.
| | 01:48 | What I hope to do is share with you some
of my tips and tricks of iPhone photography.
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Shooting on the Streets of Los AngelesiPhone shooting techniques| 00:03 | Richard Koci Hernandez> I have been a
professional photographer for 20 years and
| | 00:06 | really the iPhone in essence as
a creative tool is unprecedented.
| | 00:12 | I shoot with the iPhone
because I can do anything with it.
| | 00:15 | I can now react on instinct. I can
shoot when I want, I can look, I can see.
| | 00:20 | Every time you get an instinct to
shoot a picture, boom, I can shoot it.
| | 00:24 | I can work it up, I can share with the
world, and at the same time I am learning
| | 00:28 | to master this tool every day
all the time.h ere are no excuses.
| | 00:31 | So what I want to do is try and help
you get better and part of that is tips,
| | 00:37 | it's tricks, it's technique and it's also
a lot of practice and a lot of shooting.
| | 00:49 | Before you start shooting, you have
to have a camera app to shoot with.
| | 00:54 | Let's talk a little bit about the options.
| | 00:55 | So you can go ahead and launch the
default Camera app that comes on any iPhone.
| | 01:00 | In new iPhone iOS 5 update, they have
done some really good updates with the
| | 01:07 | camera that they previously haven't had.
| | 01:10 | One of those is the ability to tap and
lock exposure and focus at the same time.
| | 01:18 | You can snap your picture, that's great.
| | 01:20 | Another option that I like is if you
are a professional and you want a few more
| | 01:25 | options, I like an app called ProCamera.
| | 01:27 | ProCamera not only allows you to lock
focus with one finger and also lock and
| | 01:37 | change exposure with another finger.
| | 01:40 | So it unbundled that feature
that the default Camera app has.
| | 01:43 | So in my opinion, that makes this app,
and you will find the one that's right for
| | 01:47 | you, a little bit better
than the default camera app.
| | 01:50 | Now I have two controls, one
for focus and one for exposure.
| | 01:55 | Go and shoot your image. And then if you
just want to really simplify things and
| | 02:00 | have a little bit of fun on the side,
you can launch an app like Hipstamatic.
| | 02:05 | Hipstamatic is a wonderful designed
app that allows you to put a skin on your
| | 02:11 | little virtual camera.
| | 02:12 | It allows you to change the lenses if
you want, which is a great way to get a
| | 02:19 | light leak or a particular look or
feel that you are going for and you can
| | 02:24 | also change the film.
| | 02:27 | So if you want to those things and
customize your shooting experience,
| | 02:31 | you can go in and do that.
| | 02:33 | A great thing about Hipstamatic is it's
kind of - again, no fuss, no mess, but
| | 02:37 | it gives a little bit of a look to it,
and there is also a little trick here
| | 02:41 | in Hipstamatic.
| | 02:42 | If you just double-tap on the screen
there, it gives you kind of a wider view
| | 02:47 | and here there is no locking exposure,
there is no locking focus. You just tap
| | 02:53 | and you get what the camera app gives you.
| | 03:02 | We have to be ready to shoot all of the
time otherwise what's the point, right?
| | 03:05 | I have launch the camera app I am
ready to go to, and then turn your camera
| | 03:10 | off, so as you are walking down the
street or you are somewhere where you are
| | 03:13 | ready to take a picture, it's just boom,
slide open, and you are ready to take a picture.
| | 03:17 | Just like that.
| | 03:18 | So it's I think a great tip to think about.
| | 03:20 | It's not in phone mode, it's not
looking at email, it's not on Safari.
| | 03:25 | This is a camera and that's the way it
should be used and now you are absolutely
| | 03:29 | ready for anything that comes your way.
| | 03:43 | I am seeing a building with some really
bright sun on it and the architecture is
| | 03:47 | really beautiful and I want to lock in
that exposure, because I really like it.
| | 03:51 | Right now that's my story, that's my subject.
| | 03:53 | So I am just going to take the Lock
Exposure button and I am just going to drag
| | 03:56 | it on my subject, on my story, and a
building can be a story, it can be a
| | 04:00 | subject, and there it is.
| | 04:01 | Now it's locked in.
| | 04:02 | Now al I have to do is wait for the
right person, another part of the story, to
| | 04:06 | come by and what's going to happen is
because we are right here, I am in the
| | 04:09 | shadow, I am in the shade, that is
going to create a really strong silhouette,
| | 04:15 | right, of somebody walking past.
| | 04:17 | So it's just a matter of changing our
exposure there, and also, if I wanted to,
| | 04:22 | I could change the focus, but right
now we are really locking our exposure.
| | 04:31 | So here is a great example, exactly from
what I was talking about, this situation.
| | 04:36 | Again, locking new exposure, the
professional is going to know and love this
| | 04:40 | feature on an iPhone with this app or
any app that allows you to lock exposure.
| | 04:44 | So he knows what's going on. And
somebody that's new to photography, just this
| | 04:48 | little tip of knowing to take this
little button, move your finger, lock the
| | 04:53 | exposure on the
important subject in the picture.
| | 04:56 | To me, the important subject
in the picture was the building.
| | 04:59 | With that simple little tip here,
your photos are going to improve greatly.
| | 05:14 | This is an amazing spot, because
the light here is outrageous, right?
| | 05:19 | When you see a nice piece of light--
in fact , this isn't even direct light.
| | 05:22 | It's light bouncing from a
building, that's bouncing back on this
| | 05:26 | beautiful, great, right?
| | 05:27 | When you find something like
this, you want to stay here.
| | 05:30 | This is photography for the
professional and the amateur.
| | 05:34 | It doesn't matter.
| | 05:35 | It's all about light and when you find a
piece of light that's working of you, stay.
| | 05:39 | I will stay here until I am absolutely
positively done, until I worked it, until the
| | 05:43 | lights gone, or I feel there are no more people.
| | 05:46 | In fact, there is a beautiful picture happening.
| | 05:49 | So the anticipation, the light, I
have locked exposure, so this is a great
| | 05:53 | little scene of what
everything is coming together.
| | 05:55 | I am anticipating and the light is coming.
| | 06:00 | So let me get ready.
| | 06:07 | When you find the light, even if you
don't really know light or you haven't
| | 06:11 | studied light, be an observer of the
light. Just watch it for a little white.
| | 06:15 | It's not all shoot, shoot, shoot, shoot.
Take a few moments, look at it, study it.
| | 06:20 | Oh, look at their
reflection, oh, look at the shadow.
| | 06:23 | So be a student of the light.
| | 06:25 | So that maybe you can learn something from
it, for the next time you go out and shoot.
| | 06:29 | And then if you find it, you go, "I
like that light, I want that light."
| | 06:32 | Stay with that light.
| | 06:44 | The idea of being able to camouflage
myself in street photography is one of the
| | 06:48 | reasons I wear headphones.
| | 06:49 | It's absolutely essential
for me to kind of blend in.
| | 06:53 | I will pretend phone call to myself. I
will trigger the shutter with the release
| | 06:58 | on the headphones. I will
pretend to yawn to get closer.
| | 07:02 | I will find just about any trick.
| | 07:04 | I will stand at a bus stop and
take a bus that I will never get on.
| | 07:07 | I'll walk around.
| | 07:09 | I will do everything to blend in with
the moment, with the people on the street,
| | 07:13 | just to get closer to them,
just to get closer to that moment.
| | 07:25 | I see something that I like,
that I am interested in.
| | 07:27 | There's a guy in a hat, which I happen
to love, and he is shining some shoes, and
| | 07:32 | I am on this side of the street and I
could shoot it, but this is a situation
| | 07:36 | where you have to work it a little bit.
Where I want to work it a little bit.
| | 07:39 | I think we need to zoom with our feet
and get closer, right, and then just get
| | 07:42 | in there and work it and just see what happens.
| | 07:58 | I'm looking at the first one and it's
there, but I'm not close enough and I'm
| | 08:03 | not tight enough, so I am going to
look through what I have and as I look,
| | 08:07 | it's still not good but I got in closer
and then I moved around a little bit more
| | 08:13 | and I really worked the situation, and I
am obsessed here about looking with what
| | 08:17 | I got, and there are a few that I like
from the right angle and then it was one
| | 08:23 | or two steps closer.
| | 08:24 | Sometimes that's all it takes, or
it's bending your knees a little bit or
| | 08:28 | standing up. And all I did is I make
sure that I framed, I had this right frame
| | 08:33 | where he was with the light.
| | 08:35 | Now there was this
distracting white chair I don't like.
| | 08:38 | And I moved the camera just a little bit,
just to work it a little bit more and
| | 08:42 | crop that out of there in camera.
| | 08:44 | It's about working the right situation
for whatever your story is, for whatever
| | 08:49 | your photography is, maybe your
kids, food, cat, I don't care.
| | 08:53 | Work it from many different angles and
many situations. Even the composition
| | 08:57 | here is completely
different than what I was going for.
| | 09:14 | There is something in every creative
person's mind where you want to take a picture.
| | 09:19 | You are just like, "Oh, I love
that, but I want to take a picture."
| | 09:22 | But there is something in our head
that stops us and what I love about the
| | 09:26 | iPhone is it since it's always with us,
it becomes not about technique anymore.
| | 09:31 | It's about following that news, following
that creative idea to shoot, no matter what.
| | 09:37 | It's going to build up your style. You
are going to begin to know what you want
| | 09:41 | to follow, what you want to shoot, and
then you are going to look at that and you
| | 09:45 | are going to analyze those pictures
later and then you are going to begin to
| | 09:49 | think, "Oh, this is my style,
this is where I am going."
| | 09:52 | "This worked, and this didn't work."
| | 09:54 | Every time your head and your heart
and your mind and your finger all line up
| | 09:58 | for you to shoot, you should shoot.
| | 10:00 | There should be no reason that you
are not shooting an image at all.
| | 10:18 | I have a really strong belief that if
you don't know what you are looking for,
| | 10:21 | you aren't going to find it.
| | 10:23 | And if you don't have a goal, how are
you going to score? And I think that
| | 10:26 | that relates to style.
| | 10:27 | I am all about hats. Put a man in a
hat in front of me and I am there.
| | 10:33 | That's my style, it's part of my style.
| | 10:35 | It's part of what I am looking for.
| | 10:38 | The rest of my style is dark, gritty,
kind of noir. I want you to feel like it's
| | 10:45 | 1950s most of time and then you picked
up a photograph that was on the ground
| | 10:50 | that 100 people stepped on. That's my style.
| | 10:53 | You are going to have your own subject
matter. You are going to have the people
| | 10:57 | and the story that you are after.
| | 10:58 | You are going to have the things that
you are looking for and the only way to
| | 11:02 | know what you are looking for and to
get to the point of what are you looking
| | 11:06 | for is to shoot and to practice, and
to shoot over and over again, and employ
| | 11:10 | some of the things that we talked
about in order to find your style.
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Using Apps to Enhance Your ShotsSelecting your best shots| 00:00 | Richard Koci Hernandez> So we're here
back in the studio after an amazing day
| | 00:03 | of shooting on the streets of Los Angeles,
and I have to say that I shot 750 images.
| | 00:11 | We transfer the images on to an iPad.
We're going to begin to look and review
| | 00:16 | what I have, and I'm just going to go
ahead and launch this RAW take here, and I'm
| | 00:21 | just going to begin to scroll through.
| | 00:23 | For me, editing is very much on instinct, right.
| | 00:27 | What I'm doing is I'm remembering some
of those highlights, those moments that
| | 00:32 | made me excited to shoot the pictures
and I'm just going to scroll and I'm just
| | 00:35 | going to kind of look for them
and find things that speak to me.
| | 00:39 | It doesn't mean that all of
the other ones aren't any good.
| | 00:43 | It means that instinctually I found
something that I remember and actually I
| | 00:47 | just did one right now.
| | 00:48 | So I'm just going to put it in a folder.
I'm going to create a new folder so
| | 00:54 | that these are the images I know
I'm going to work out and I'm going to
| | 00:58 | call it "LA selects."
| | 01:03 | Looking at this proof sheet, this
digital proof sheet, I know that that's one
| | 01:07 | I'm going to work on.
| | 01:08 | Here's another one, right here.
| | 01:10 | Again, very close, very similar. Now
that I look at it, I just got the instinct,
| | 01:14 | I went "nah, I don't want that one," right?
| | 01:16 | It's too close to what I just edited.
| | 01:18 | It doesn't mean I won't work it up later,
but right now I'm not going to look at it.
| | 01:22 | I'm not going to put it in the select
folder. I'm just going to keep looking.
| | 01:24 | Here is a situation that I love.
| | 01:30 | Photographically, whether you're a
beginner or professional, it doesn't matter,
| | 01:33 | you see something immediately and it
just stands out to you and there is
| | 01:37 | reflection of LA City Hall in actually
the downtown police station and it was
| | 01:43 | just a beautiful reflection.
| | 01:44 | And I saw that, then I did another
thing. I waited and not only did I wait, I
| | 01:50 | thought and almost created this moment,
in that I said, "Wouldn't it be cool if
| | 01:55 | somebody walked by here, right, in
front of this little scene that I like?"
| | 02:00 | And funny enough that was it's a
walkway, so people were going to walk by.
| | 02:04 | So, I waited a little while. Somebody walked.
| | 02:07 | I had the instinct to shoot and I shot,
and that's what we're seeing here.
| | 02:10 | It's not quite there yet, so
I worked it a little bit more.
| | 02:13 | All right, so now this particular
composition is a little bit closer to what
| | 02:18 | I'm looking for.
| | 02:19 | There is a person in the foreground,
I'm working it, the light is right, and
| | 02:23 | it's one more step over.
| | 02:24 | Boom!
| | 02:25 | I think photographically this is what
I was going for. There is person in the
| | 02:29 | foreground, a strong sense of
composition here, and this is the kind image I
| | 02:34 | absolutely know I would I work up.
That's a keeper, that's one I'm going to
| | 02:38 | put in LA selects for sure.
| | 02:44 | Here's another great, great little
scene, one that I love, because I was
| | 02:50 | shooting with the RAW camera, right?
| | 02:52 | Just RAW, it was going to be in color.
Not quite me, and then I switched, and I
| | 02:56 | kept switching between my apps,
because I wanted to try another app.
| | 02:59 | And I brought out an app called
Hipstamatic that shoots in black and white in
| | 03:03 | kind of a tone that I like, and
I kept switching back and forth.
| | 03:06 | So I think this little part of
the proof sheet is interesting.
| | 03:09 | It's interesting to look as you're
reviewing the differences in what apps can do.
| | 03:13 | And in these three shots that I'm
reviewing here, really liking what's
| | 03:17 | going on here.
| | 03:18 | I love what the app is doing just generally.
| | 03:21 | There might be time where it's so
close to my style and I might not even
| | 03:24 | touch it, right?
| | 03:25 | Look at the little
vignette that's going on here.
| | 03:27 | It's already in black and
white, which I'm a big fan of.
| | 03:30 | Then you can see as I go,
boom, I've switched to color.
| | 03:33 | Now we're in color, these were the
ones are shot RAW, and now I'm looking at
| | 03:37 | going "not my style, not my style," but
it's okay, we can use the processing power
| | 03:43 | of the apps to bring that into my style.
| | 03:46 | The reason I switched apps was
the light changed a little bit.
| | 03:49 | Maybe Hipstamatic or the app I was
using wasn't quite giving me the feel
| | 03:53 | that I wanted.
| | 03:54 | So I thought, "let me just
go ahead and shoot it RAW."
| | 03:56 | If I shoot it RAW, I
know I can process it later.
| | 03:59 | So here we are, we are almost to
the end of the 750 images here.
| | 04:05 | There is another situation that I love
here and I want to relive it again and
| | 04:09 | just see how it played out.
| | 04:11 | See what's there. I'm going to
discover this little situation here.
| | 04:15 | Now again, man with a hat, man with a
hat, beautiful light, not quite there.
| | 04:21 | Ah, there it is, that's the image.
| | 04:23 | That is the image I now I'm going to work up.
| | 04:25 | This is where I would be very close to
taking the next step into going into apps.
| | 04:32 | You can come back to these images
later, you can step out of the process of
| | 04:36 | reviewing anytime you want, and that's the
beauty of doing all of this on one device.
| | 04:41 | I see this now, I'm almost at the end
of my role. I'm going to step take the
| | 04:45 | next step and take this image and
just go ahead and process it, right?
| | 04:50 | Bring it into that world of apps and
app stacking and make this particular
| | 04:55 | image that's speaking to me right now,
make it mine and put it into my style.
| | 05:00 | That's going to be different for you.
| | 05:02 | But right now I'm just
going to take that next step.
| | 05:04 | I'm ready to work that image up.
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| Using apps to add a unique look| 00:00 | Richard Koci Hernandez> Let's talk a
little bit about going beyond the default
| | 00:03 | camera app to create a look.
| | 00:05 | I'm going to show you a few apps
out there that allow you to do that.
| | 00:10 | So we can start at a very basic level.
Let's say you just want very minimal
| | 00:14 | control, you want to create a little
bit of a look, a little bit of a style.
| | 00:18 | Let's say you want to have the image
be black and white as you shoot it.
| | 00:23 | You can launch an app like
Hipstamatic and you can actually choose the film
| | 00:28 | that you want.
| | 00:29 | There is many films. Maybe it's not
black and white, maybe that first layer, that
| | 00:33 | level of processing look/feel that you
want is a reddish glittery gold, right.
| | 00:41 | There is a film for that, so you can
go ahead and choose something like that.
| | 00:44 | It's gives you kind of very entry-
level level of control over your image.
| | 00:49 | You can also switch between different
lenses, so you can have different lenses
| | 00:54 | bring a little bit of look.
| | 00:55 | So when you go ahead and shoot that
image, it'll already come into your camera
| | 01:00 | role with a little bit of processing on
it, but you might want to take it to the
| | 01:05 | next level or this might not be the
right app for you. You can take it to the
| | 01:09 | next level by going to another app.
There are many of them out there.
| | 01:12 | I like to go to an app like Camera Plus
it's going to give you the second level
| | 01:17 | of control in terms of apps.
| | 01:21 | So we can actually use it as a camera
and if we use it as a camera we can lock
| | 01:25 | our exposure, lock our focus, and do all
those things. Or the great thing about an
| | 01:28 | app like this is that you can pull in
an image that you've already shot with
| | 01:33 | this app or any other one, and you can
began the post processing step, right?
| | 01:39 | And you can begin to do that and
we'll go ahead and get an image here.
| | 01:43 | All right, simple image. Qe've got
it in here now and we can go ahead and
| | 01:48 | edit it, which is really good.
| | 01:50 | Now the level of control is that next
step which I really love. There is one,
| | 01:55 | all of these different kinds of
filters that might suit your scene are
| | 01:59 | called Scenes.
| | 02:00 | So if you wanted to play with the flash
scene, the backlight scene, all of these
| | 02:04 | kinds of things, you can already see
the level that this app is playing on is
| | 02:09 | the next step and this might be for you.
| | 02:11 | There is a great filter while we're in
here called Clarity. I just added it.
| | 02:15 | You don't have to understand what
clarity is or what it does; just click it,
| | 02:18 | play with it, look at what it
does. This is amazing, I love it.
| | 02:21 | Crop, we understand what Crop is. I'm
going to go ahead and crop this. I happen
| | 02:25 | to like my images to be square.
Crop it up, drag it over, love it.
| | 02:30 | We can flip it, flop it, do
all of those kind of things.
| | 02:33 | Again another level of control that our
previous app didn't have. This one does.
| | 02:39 | Now here is a beauty.
| | 02:40 | Now we can go and create other post
processing effects, looks, or styles.
| | 02:46 | We've got normal color ones, Vibrant,
Sunkiss'd, Magic Hour. I mean the list here is
| | 02:54 | pretty amazing what you can do.
| | 02:56 | We can go all the way back to the
beginnings of photography and hit Pinhole.
| | 03:00 | Right, of course that would be and look
it. Beautiful tones, beautiful imagery.
| | 03:04 | I don't have to know anything
about this, here we go. I've got this.
| | 03:07 | We can even change our
level of intensity if we want.
| | 03:10 | So you can begin to see the power of
apps and also the power of why you want to
| | 03:15 | get apps and why you want to play with apps?
| | 03:17 | So they're going to have features in them,
combinations, things that you might not
| | 03:22 | know that you want to play with.
| | 03:23 | I love this image, I'm done, and I've
just did a simple post-process. I've taken
| | 03:27 | a raw image I shot with Camera Plus, I
crop it, I've add a little post process
| | 03:32 | filter called Pinhole, which is
great, and I've made it square.
| | 03:36 | Go ahead and save that, because I
actually like what it did. But if you need
| | 03:41 | more we can get into another app and
there's plenty of them out there that will
| | 03:46 | allow you that professional
level of control if you want it.
| | 03:49 | Now right now we're in Filterstorm.
I'm going to pull up an image, okay.
| | 03:55 | Right away we can see all of the control
that we have and we can go into filters.
| | 04:00 | You look at these filters. These
aren't pre-baked filters that have
| | 04:03 | funny retro names with them.
| | 04:05 | These are things that are
professional photographer might understand.
| | 04:08 | Listen if you're not a professional
photographer, doesn't matter. Get in here.
| | 04:11 | Press the button, play with
the buttons, see what they do.
| | 04:15 | It's a lot of what I do.
| | 04:17 | I don't know the particular names or
what they're doing. I know sometimes it
| | 04:21 | gets me where I want in
terms of my style and my image.
| | 04:25 | Other people are going to go right
to something like Curves and know what
| | 04:28 | curves are and begin to play with the
curves here and see the histograms, see
| | 04:33 | the luminance, see the add point, the
reset, all of these very deep things that
| | 04:38 | you can get into.
| | 04:39 | So I'm just going to go ahead and
change the curves a little bit here and
| | 04:43 | go ahead and do that.
| | 04:45 | This is an image. Right away I know I
would want to crop that image up, so we're
| | 04:51 | going to go ahead and hit the Crop
button there and I'm going to pick a lovely
| | 04:56 | square and I'm going to square
there and I'm going to pinch that image.
| | 05:03 | I'm editing by feel, right?
| | 05:05 | You don't have to know all
the rules of photography.
| | 05:08 | It's great if you do without the rules.
I'm just editing by feel right now and
| | 05:11 | that feels very good to me, that kind of crop.
| | 05:13 | So even in app that's as very
complicated as Filterstorm I could go levels and
| | 05:18 | levels and levels deep
beyond this to add things.
| | 05:21 | Right now I've adjusted the curves. I've
added a crop to it. I could add a text to it.
| | 05:27 | I could do Tone Mapping, Vignette.
I can even do double exposures and
| | 05:31 | this is wonderful to have the power to do that.
| | 05:34 | So you have the power to do that
in the palm of your hand, if that's
| | 05:37 | something you want to do.
| | 05:38 | So I love the idea of levels.
| | 05:41 | There is a level here you're
comfortable with. Get in there, play with it, make
| | 05:45 | it your own. You're done with
that and you move on to the next.
| | 05:48 | That's what's wonderful about iPhone
photography, is absolutely what you can do.
| | 05:54 | It doesn't matter what app level you're at.
Find the one that is comfortable for you.
| | 06:00 | We went through a few, from basic
to intermediate to really advance.
| | 06:04 | You're going to find the one that
just singes you, where you're going to
| | 06:08 | working there, you're going to play
with it, it's going to feel comfortable.
| | 06:11 | That's where you're going to find
your style, that's where you are going to
| | 06:13 | find your creativity.
| | 06:14 | Ultimately it's where
you're going to be comfortable.
| | 06:17 | But don't limit yourself, right?
| | 06:19 | Go in that really high level app and
play in there. You don't have to know what
| | 06:23 | Curves is. Pay with them anyway, right.
| | 06:26 | You're professional photographer,
you've been doing this forever?
| | 06:30 | Don't fear Hipstamatic, don't fear the
filters in there. Go in there, play with them.
| | 06:34 | You may find a part of yourself, of
your photographic creative part, that you
| | 06:39 | didn't know existed.
| | 06:40 | Ultimately this is about having fun, this is
ultimately about just listening to the muse.
| | 06:46 | It's ultimately about creativity.
| | 06:48 | You want to get into these apps and
find your creative home, the place that
| | 06:52 | really sings, right, the place that's
really allows you to come out as an artist.
| | 06:57 | That's what this is about.
| | 06:59 | This isn't an about Curves.
| | 07:00 | It isn't about those things.
| | 07:01 | Ultimately that's really what's important.
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| Combining apps to further refine photos| 00:00 | Richard Koci Hernandez> Apps themselves
are great and they have tons of power.
| | 00:03 | I've found that they have even more
power if you stack them on top of each other,
| | 00:08 | or use one app over and over and over again.
| | 00:11 | So that's what we are going to do. We
are going to play a little bit around with
| | 00:14 | something that I call app stacking.
| | 00:16 | It's really fun and I'm going to
show you what I did with this image.
| | 00:20 | Straight-up image here and it's not me.
| | 00:23 | It's not my style.
| | 00:25 | I want to play with it, I want to app it.
| | 00:27 | So I brought it into an app. I
brought it into an app called ScratchCam,
| | 00:31 | a great app, grunges it up really well.
| | 00:34 | Then I saved it to the Camera Roll
and I brought it back into Camera Plus.
| | 00:39 | I made it black & White, so
I made another adjustment.
| | 00:42 | Why? Because I am trying to get it to
my style, to my feel, something that
| | 00:46 | feels good for me.
| | 00:48 | Still not quite there, right?
| | 00:50 | So it's got a few more
stacks, a few more layers to go.
| | 00:53 | Then after that I brought it into
an app called Pic Grunger, which adds
| | 00:57 | another layer of grunge.
| | 00:59 | So right now we've got two layers of
dirt and grunge, which is probably two
| | 01:03 | layers too few for me.
| | 01:05 | It probably needs a few more, right.
| | 01:07 | So now it feels like somebody stepped
on this photograph a few times, it was
| | 01:11 | sitting in the street, which is
where I want to be. That's my style.
| | 01:15 | So we are already, right, one app,
two apps, three apps, that's four layers
| | 01:21 | of fun already.
| | 01:22 | Now we are another layer. This is
back into Camera Plus, using what Camera
| | 01:27 | Plus is good at, right, so making it black &
white again. So three times in Camera Plus.
| | 01:32 | Finally, brought it into an app
called Lo-Mob. Lo-Mob is an app that I love
| | 01:37 | because it's got really wonderful retro
borders and little bit of a texture that I like.
| | 01:43 | When do you stop?
| | 01:44 | Sometimes you don't, sometimes you
can go on and on and sometimes you know.
| | 01:48 | In this instance I knew this was done.
It was stacked four or five times, five
| | 01:52 | or six times, six or seven
times, who knows, but I was done.
| | 01:56 | This really feels like something
that's close to my style, something that I'm
| | 02:00 | ready to share, something that I am
ready for the rest of the world to see.
| | 02:04 | So what we are going to do now is,
| | 02:06 | I've just glossed over it.
| | 02:07 | Now we are going to get in to
actually taking an image from its raw state
| | 02:11 | and stacking that puppy up and just bringing
all the layers and bringing it to my style.
| | 02:16 | So I am going to grab one of the
images that I shot in downtown LA.
| | 02:22 | It's a reflection of City Hall in
another building across the street.
| | 02:26 | It's got this person in the foreground
silhouetted, strong compositional lines
| | 02:32 | going on here, but I am going to stack this.
This isn't quite where I want it to be.
| | 02:36 | So the first step in my stack is to take
that image and bring it into Camera Plus.
| | 02:44 | So I am going to go ahead
and bring that image there.
| | 02:51 | So here it is. We are just going to
hit the Edit button. Now we've got it.
| | 02:55 | My first step is to crop it.
| | 02:57 | Again, the great thing about this app is it
has all of the features that I want, all right.
| | 03:02 | So now it's square, and somebody might
be saying that the image uncropped was
| | 03:09 | decent, good, had all of
the lines of composition.
| | 03:11 | And that's true photographically
speaking, but stylistically, it's not where
| | 03:16 | I want it to be.
| | 03:17 | And I played around with the crop of this
image until it really felt right for me.
| | 03:22 | And so I found right about here, that
this is really where I want to crop it.
| | 03:29 | Okay, I am going go take back and
click back on the scenes, because the next
| | 03:34 | thing I am going to do is add a
wonderful little feature here called Clarity.
| | 03:38 | I don't know what it does.
| | 03:39 | It just makes my image look way better,
which is really where I want it to be.
| | 03:42 | So now I've added a level of Clarity,
I've cropped the image, we're still in
| | 03:46 | Camera Plus, there's one more thing
I want to do in here, is get it again
| | 03:51 | closer to my style, right, and I
am going to make it black & white.
| | 03:56 | I am going to pick the preset which
they lovingly called Ansel, right, a little
| | 04:00 | tribute to the wonderful
photographer that was Ansel Adams.
| | 04:04 | Now we've got this image, you
can think about as being done.
| | 04:07 | For me it's not done.
| | 04:08 | We've got some more levels to put on this.
| | 04:10 | So I am going to go ahead and save it.
| | 04:12 | It's going to save it to the Camera Roll.
| | 04:14 | It's not done.
| | 04:15 | So I am going to go into
an app called ScratchCam.
| | 04:19 | Now ScratchCam is going
to give us some scratches.
| | 04:24 | So we are going to go ahead and go in there,
we are going to go to our Camera Roll,
| | 04:26 | and we are going to pick that image.
| | 04:30 | And the great thing about
ScratchCam is it had a lot of levels.
| | 04:33 | We talked about apps that are pretty
basic; you just go in there and you
| | 04:36 | press some buttons.
| | 04:38 | ScratchCam have tons of control over
different kind of textures, borderers, levels.
| | 04:45 | Once you apply them, it also allows
you to play with the intensity, which
| | 04:49 | I think is good.
| | 04:50 | The only way I found out about
that wasn't reading the manual.
| | 04:52 | It was playing with the app, which is
essentially what I am going to do, is go
| | 04:56 | in here and continue to play with this app.
| | 04:59 | So I've created a little
thing here called a Favorite.
| | 05:03 | And a Favorite is just something
that allows me to start with this image
| | 05:08 | somewhere where I like it, right.
| | 05:10 | And I am going to show you
the process of doing that.
| | 05:12 | So we are going to go ahead and
go to Scratches, and look, again,
| | 05:17 | the beauty of this is that look it.
The potential for how I can scratch this
| | 05:21 | image is amazing.
| | 05:23 | And I randomly picked one
and I am already in love.
| | 05:25 | I don't even want to press
another button, I love this so much.
| | 05:28 | But I am going to, because
that's the beauty of playing.
| | 05:29 | Now I love that too, right,. This is
where you get to that point where you
| | 05:33 | have to figure out what it is you love,
what it is you like, what is it that
| | 05:38 | really speaks to you?
| | 05:39 | This is the part where you're looking
inside, where you're really thinking, what
| | 05:42 | is the story you want to
tell with this image, right?
| | 05:45 | So, for me this image, I want it to have a
little bit more of a classic noir feeling.
| | 05:49 | So, I want it to be grunge, but
I don't want it to be too grunge.
| | 05:52 | So I think that this scratch
here that I put on is really good.
| | 05:56 | So the next option is Textures and
Borders. Again, really wonderful amount of
| | 06:04 | playfulness that can go in here.
| | 06:05 | Ah! One, I feel like maybe I've never
clicked on before that I absolutely love.
| | 06:09 | What I love about it is there's just a
little subtle border around it, that's a little
| | 06:14 | irregular, so it doesn't feel so perfect.
| | 06:16 | Sometimes for me, perfect is boring.
| | 06:19 | A perfect sharp image, a
color image, is just boring.
| | 06:23 | I want it to have a little bit more
characters and that added a little bit more character.
| | 06:26 | In fact, that added a lot more character.
It added this huge scratch in the middle,
| | 06:29 | which I absolutely love.
| | 06:32 | So the last thing I am
going to do is go to Colours.
| | 06:35 | So I can look for a color here.
There is all kinds of tints.
| | 06:37 | There is just a normal black &
white color here that I like. I'm done.
| | 06:43 | I'm done with the edit.
| | 06:44 | Now in this app what I would do is,
I would just click on Favorites
| | 06:47 | and I would save that.
| | 06:48 | So a lot of this app stacking that
you're doing, you are able to save presets,
| | 06:52 | and sometimes saving presets will
help you with some steps along the way.
| | 06:56 | So I've saved that preset. Maybe
there's an image that I bring in later that I
| | 06:59 | want to add that preset to, but I'm done.
| | 07:03 | Added just about everything I want to
this image in this app. Saving it to my
| | 07:07 | Camera Roll. I've probably got a
few more apps to go before I'm happy.
| | 07:11 | Now one thing I want to do now for
myself is maybe just bring it back into
| | 07:16 | Camera Plus. Okay, let's bring it back
in here, let's have a look at it, okay.
| | 07:24 | Let's add the Clarity
filter one more time, right.
| | 07:28 | Whoever thought, I could save it, I
could bring it back in I could add
| | 07:32 | the Clarity filter, add ten filters on an
image that I had not thought about, right.
| | 07:38 | No, I like that. There is a little bit,
a little bit clearer, a little bit
| | 07:42 | crisper, but maybe I am not happy.
Maybe I am going to play off, just when I
| | 07:46 | though I had it, Darken is better, right.
| | 07:49 | So this idea of playing, this is real
time. I'm trying to give you a real good
| | 07:54 | example of what's going through my head and
my heart and my mind as I work up an image.
| | 07:58 | So I really like Darken. I don't know
that it needs another effect, but I am
| | 08:03 | going to look. Maybe I want to
Pinhole camera and just have a look.
| | 08:07 | Sometimes it's about a look and a feel.
| | 08:09 | I don't like that;
| | 08:10 | it blurs the edges too much.
| | 08:11 | So I'm not happy with that.
I might look for another one.
| | 08:15 | Let's go under Retro, let's go into Color,
let's go into the general black & white.
| | 08:20 | I think that's good. I think
that's very, very, very close.
| | 08:24 | Notice I said very, very close.
| | 08:25 | It's not done yet.
| | 08:26 | Somehow I feel like it's just not done.
| | 08:28 | The image is there;
| | 08:30 | maybe I just need to put a
frame around it now, right.
| | 08:32 | So I am going to save this and I am going
to open the app I talked about called Lo-Mob.
| | 08:38 | What's beautiful about Lo-Mob is for me it
has a lot of retro styles that I really like.
| | 08:44 | Lo-Mob is an app, one of many, that puts
a lot of frames or borders around things.
| | 08:50 | So we are going to go ahead and open that
image that I just saved to the Camera Roll.
| | 08:54 | We are looking at our Camera Roll now.
| | 08:56 | We're seeing three different
versions already saved of this image.
| | 09:01 | Now we are going to bring in that
last image and we've got Classic Vintage.
| | 09:06 | We've got the 35mm Film
Experimentation section. I love it.
| | 09:12 | You can make it look like a slide.
| | 09:14 | You can do all of these things.
| | 09:15 | There's a section here called Through
The Viewfinder, which I absolutely love.
| | 09:19 | And there is a setting here called 6x6 TTV
Noir, right. I mean, this is perfect for me.
| | 09:26 | I added the filter.
| | 09:28 | There it is, love it.
| | 09:30 | I'm ready to save this
image and be done with it.
| | 09:33 | Maybe now it's ready.
| | 09:35 | It's ready for the world
to see, it's ready to share.
| | 09:38 | If I wanted to, and I want to show
this because, again, I only found this
| | 09:42 | little feature by playing.
| | 09:44 | If I click on the image, there are all
these other features that were hidden
| | 09:49 | to me before.
| | 09:50 | And I didn't know they were there,
and all I had do was touch on the image.
| | 09:53 | In fact, I can pinch this image and
re-crop it a little bit if I want.
| | 09:58 | I can turn on the Blur or I can bring up
a little bit more contrast to the image.
| | 10:03 | So sometimes in apps you're going to
find things by simply playing around, which
| | 10:09 | is how I found this particular feature.
| | 10:11 | Now it's done.
| | 10:12 | I'm going to go ahead and
save it, back to the Camera Roll.
| | 10:18 | So here we are with the
image right from Camera Plus.
| | 10:21 | It's got a square format, it's black &
white and it's got a Clarity filter on it.
| | 10:26 | That's the first level of app stacking, right.
| | 10:29 | Then the second level was to bring that
image into ScratchCam, so that added a
| | 10:34 | little bit of grunge to it, kind of this
little gritty feeling that I wanted to it,
| | 10:39 | but it wasn't done yet.
| | 10:40 | After that I brought it back into
Camera Plus, added a Clarity filter to it, so
| | 10:46 | Clarity filter twice, added another
Black & White filter to it that added a
| | 10:51 | little bit more contrast to it, and
then finished it all off with another
| | 10:56 | stack, with another app.
| | 10:59 | So four different times, bringing it
around, stacking these apps on top of each
| | 11:04 | other to get the really look
and feel that I was going for.
| | 11:08 | So, this is my final
image. This is my app stack.
| | 11:11 | I took some apps.
| | 11:12 | I stacked them on top of each other to
create something that I'm happy with, right.
| | 11:17 | I broke out the box of crayons.
That's what's beautiful about the iPhone;
| | 11:21 | it's this new creative way to express yourself.
| | 11:25 | I stack some apps.
| | 11:27 | Apps are just crayons, right. I
pulled them out, I played with them, I was
| | 11:31 | coloring outside the lines, I just
created something I was happy with.
| | 11:34 | I'm ready to post this image on
the refrigerator. I'm done with it.
| | 11:38 | You need to find the apps, pull out
that box of crayon, fill it with the apps
| | 11:42 | that you like, get out there, color, have
fun, be creative. That's what it's all about.
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Storytelling and Sharing| Telling a story with your photos | Sharing photos on Instagram| 00:00 | Richard Koci Hernandez> The amazing
part of what we're doing here is the
| | 00:03 | ability to share.
| | 00:05 | What iPhone and mobile photography
brings to what we're doing is this huge
| | 00:10 | audience to share our work with.
| | 00:12 | That is unprecedented, that we can
create and stack and do all of these things
| | 00:17 | with our images and we have the power
to share those images with the world,
| | 00:22 | instantly in a touch.
| | 00:24 | I am going to show you an
easy quick way to do that.
| | 00:28 | There are many out there. I
happen to be a big fan of Instagram.
| | 00:32 | I love Instagram and its ability to
share, to share my images with the world.
| | 00:38 | So I'm just going to launch Instagram.
And the beauty of all of the communities
| | 00:42 | out there is it's not just about sharing.
| | 00:45 | It's also about having a conversation.
| | 00:48 | So I can post an image, which I did,
one of these images from LA, which is
| | 00:52 | up here on the screen.
| | 00:54 | And already there are 53 comments,
there are 53 people that have something to
| | 01:00 | say about the image that I stacked
and put out there in the world to see.
| | 01:05 | And I'll go in there, and I'll talk to
the people and I'll have a conversation.
| | 01:09 | That is super important.
| | 01:11 | This isn't just about photography
any more; this is about community.
| | 01:15 | And also the community is the
community that's going to help you to be
| | 01:18 | creative, because there are
comments in here asking me how I did it,
| | 01:22 | and I'm going to share.
| | 01:23 | Some of what I learned from Instagram
and making comments is asking people,
| | 01:28 | how did you do that?
| | 01:30 | I have a few good tips about how to be
a good photo-sharing community citizen,
| | 01:38 | about gaining a few
followers and really participating.
| | 01:42 | A lot of times you just want to go
out and post our images and wait for
| | 01:45 | the influx to come.
| | 01:47 | I think that if you post an image,
you should at least comment on two
| | 01:53 | images and like three or four images.
That's the way that's going to start
| | 01:57 | the conversation.
| | 01:59 | Not only it's going to start the
conversation, it's giving good will back.
| | 02:02 | It's letting people know, hey,
I'm out here, I'm shooting images,
| | 02:06 | I have something to say, come check out my feed.
| | 02:09 | It's those kinds of things that really
raise the level of conversation of what's
| | 02:14 | going on in Instagram, to a
completely different level.
| | 02:18 | It's just not about sharing our images;
| | 02:20 | it's about having a conversation.
| | 02:21 | I think there is a lot of power in that.
| | 02:23 | One of the features I love about
Instagram in particular is the Feed.
| | 02:27 | This is a group of people that I've
decided to follow and in an instant, in
| | 02:32 | one click, I can see what they're posting.
| | 02:35 | So right now I'm looking at images
from all over the world, from 300
| | 02:39 | photographers that I've decided to follow.
| | 02:42 | So in one-click I'm already inspired by
a piece of work that really speaks to me.
| | 02:48 | It's not my style;
| | 02:49 | it has nothing to do with that.
| | 02:50 | It's really about sharing.
| | 02:52 | I'm already the inclination to like, which
I just did, and comment, it's there, right.
| | 02:58 | I'm ready to do that and I can just
scroll through my Feed, right, that's
| | 03:01 | something taken 31 minutes ago, and 40
minutes ago there's already something in
| | 03:06 | this Feed telling me that
there is a meet-up, right.
| | 03:10 | There was an Instagram meet-up in the
East Bay and in the Bay Area, they're all
| | 03:14 | going to jump on a BART
train and shoot pictures.
| | 03:17 | That's community, that's exactly
what I'm talking about, and why I love
| | 03:22 | this particular tool.
| | 03:23 | Ah, beautiful image,
beautiful street image from Spain.
| | 03:27 | And 11 comments, hundreds of likes.
| | 03:30 | Now that I'm here, I'm really inspired
to share something from my shoot down in
| | 03:35 | LA, so I'm going to do that.
| | 03:37 | It's really easy to do, but at the same
time the power of any social network is
| | 03:46 | its ability to create conversation, and
just looking at those images I'm ready
| | 03:50 | to create a conversation.
| | 03:51 | I am ready to post something that I'm
happy with, that has been stacked and app
| | 03:56 | stacked, and is it a right
style? I'm ready to get out there.
| | 04:00 | The good thing about being in
Instagram is it also allows conversation on
| | 04:04 | other social networks.
| | 04:05 | So I can go ahead and share this in
Twitter, on Facebook, on my Tumblr and
| | 04:10 | boom, it's out there.
| | 04:11 | It's finishing, it's uploading, it
just been birthed into the world now.
| | 04:15 | That conversation is open.
| | 04:17 | I've shared, and also I can be inspired.
That's what I love about this thing.
| | 04:22 | This is all about sharing and community.
| | 04:25 | It's just not about photography.
| | 04:27 | It's not just about creativity.
| | 04:29 | It's also about sharing and conversation.
| | 04:32 | That's the beauty of this device.
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The iPhone Photography CommunityMeeting up at the 1197 Conference| 00:02 | Richard Koci Hernandez> I've never
ever done one of these. I am ridiculously
| | 00:05 | excited, but I also
don't know what to do, right?
| | 00:08 | So this is Dan, everyone, you
guys know, constructivist, Dan, our
| | 00:14 | co-instructor for the morning workshop.
| | 00:16 | I've walked this a few times and some
other areas. I think this is that has the
| | 00:20 | best potential for this time
of the day and the area it is.
| | 00:26 | So we're just going to go and it's going
to be freeform and we'll just do our best.
| | 00:31 | To me this is what it's about, right. I
mean, so all right, we're going to go.
| | 00:36 | The 1197 conference itself was based on
the idea of bringing like-minded people
| | 00:41 | together, iPhoneographers.
| | 00:42 | It was early morning. There was
hardly anybody on the streets and then
| | 00:48 | eventually people just kind of came
and gathered together and it became like
| | 00:52 | a little great community and the
walk was the best experience of the
| | 00:55 | conference for me.
| | 00:57 | (Music playing)
| | 01:05 | A lot of people like to create all by
themselves, but there's also a power in
| | 01:08 | creating with other people.
| | 01:09 | You get around other creative types
who are thinking the same things you are,
| | 01:14 | using the same tools you
are. Magic happens, right?
| | 01:17 | And it doesn't matter what level you
are. A community is just about sharing.
| | 01:20 | (Music playing)
| | 01:35 | When you're known for something
photographically, like I happened to be known
| | 01:38 | for hats, having that community around
and then having them see that yes, hat men,
| | 01:42 | people in hats do come around me,
was actually really good, and shooting
| | 01:46 | with the community helps break
down the mystery of photography.
| | 01:50 | You see somebody whose work you really
admire and then you watch them work on
| | 01:53 | the street and you realize, there's not
that much magic to it. All they are out
| | 01:57 | there, they're just practicing, so
it kind of breaks down that idea.
| | 02:00 | (Music playing)
| | 02:08 | You go out in kind of this big group
and then the group begins to kind of a
| | 02:11 | splinter apart and they'll go, and then
another person comes and another person comes.
| | 02:17 | And you have this one object that's
being seen by seven different people in
| | 02:21 | seven different ways.
| | 02:23 | And then you get to experience that
online. "Oh look, oh look at the way they saw
| | 02:26 | it, look at the way they saw it."
| | 02:28 | It's absolutely a great
creative learning experience.
| | 02:30 | (Music playing)
| | 02:50 | There are some universal things that
all good photographers gravitate to.
| | 02:54 | So, even the community, it was great
seeing, there comes the beautiful light, and
| | 02:58 | just like every single person
gravitated towards the light.
| | 03:01 | And it reinforces kind of the good
principles of photography, because sometimes
| | 03:05 | that we get too excited by the app or
we get too excited by what the device
| | 03:09 | brings and the community grounds us,
and in seeing that kind of happen, like
| | 03:12 | "oh, there we go, we're all
going back to the same principles,"
| | 03:15 | is really kind of a grounding idea.
| | 03:16 | (Music playing)
| | 03:44 | The exciting thing was not only
to start at the beginning of mobile
| | 03:48 | photography and hear from the creator
of the mobile phone and the great story
| | 03:52 | that went behind that,
| | 03:54 | it was great to your professional
photographers, photographers who are in war
| | 03:58 | zones, photographers who are
commercial photographers at a very high level of
| | 04:02 | sharing their work with the world.
| | 04:04 | Dan Rubin> Learning to watch the
light is super, super important.
| | 04:07 | Understanding how light moves.
| | 04:10 | There was a documentary I got to see at
the SFMOMA, actuall,y a couple of years
| | 04:13 | ago on Richard Avedon.
| | 04:15 | And one of the things that struck me
most was this comment about how one
| | 04:20 | of his favorite past
times was watching light move.
| | 04:24 | He would spend entire days just
sitting in one place, watching the clouds,
| | 04:28 | watching the sun, watching
the patterns of the light.
| | 04:30 | And it can show you I think a lot about
how to anticipate where that next great
| | 04:36 | shot is going to come from.
| | 04:37 | Lauren Lemon> It puts the
camera in everyone's hands.
| | 04:41 | It's now everyone's looking,
everyone seeing, everyone's getting better
| | 04:44 | composition, looking at light differently.
| | 04:47 | The cell phone and mobile photography
has made this like fast-paced world.
| | 04:51 | Maybe it's made everyone just slow
down to stop and shoot their feed on the
| | 04:55 | street, or to stop and enjoy
their coffee before they drink it.
| | 04:59 | If anything, it's just kind of
lets everyone-- a moment to enjoy the
| | 05:03 | pretty things.
| | 05:04 | Jessica Zollman> As we've seen on
Instagram, we were finding images from the
| | 05:08 | Texas wildfires as they were burning.
| | 05:11 | You can also find photos from
NASA in outerspace of the earth.
| | 05:16 | So all of these things, this
photojournalism aspect, the social photography
| | 05:21 | provides people with a real-time
visualization for fun and historical events.
| | 05:25 | Richard Koci Hernandez> We're human
beings. We are built for connections;
| | 05:29 | we are built for being with each other.
| | 05:31 | To me that's really what it's all about.
| | 05:33 | We need to get together, we need to get
out of the virtual world and we need to
| | 05:37 | get into the physical world. It's essential.
| | 05:41 | (Music playing)
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|
|
GoodbyeSome final tips| 00:00 | Richard Koci Hernandez> I want to
share with you a few last tips and tricks
| | 00:03 | about gear before we finish up this title.
| | 00:05 | One is, is that you really want to
treat your iPhone just like a professional
| | 00:10 | treats his or her professional camera.
| | 00:12 | Every professional photographer has a
camera bag, and inside that camera bag we
| | 00:16 | want to put things that are going to
help make our iPhoneography better.
| | 00:20 | For example, make sure you have a good case.
| | 00:23 | For me a good case is one that has a
lanyard so that I don't drop my tool.
| | 00:28 | A second thing that's really, really
important is if you're going to go on the
| | 00:31 | street, you're going to be on a trip,
you're going to be on vacation, you want to
| | 00:34 | have extra juice, you want to have extra power.
| | 00:36 | That's why I always carry extra power with me.
| | 00:39 | You may also be inclined to do a time lapse
video or do something that requires a tripod.
| | 00:44 | Every photographer has a tripod,
| | 00:46 | whether they use it all the time or
they rarely use it, but when you want it,
| | 00:50 | it's better to have it.
| | 00:52 | Lenses are great. If you want a wide-
angle shot or you want to work some macro
| | 00:56 | photography, there are plenty of
lensing options for you to use out there.
| | 00:59 | And now that I've shown you my approach
to iPhone photography, there is a whole
| | 01:06 | community waiting out there for you to
discover more apps, techniques, and gear.
| | 01:11 | Hopefully, what I've done here for you
is just fan that creative spark to get
| | 01:15 | you out into the world and to
discover iPhone photography for yourself.
| | Collapse this transcript |
|
|
Bonus Chapter: 1197 Conference SamplerShoot Now, App Questions Later, with Dan Rubin| 00:00 | (Applause)
| | 00:10 | Dan Rubin> A little about me first.
| | 00:11 | I am a lover of Instagram.
| | 00:14 | I was beta tester before it launched,
which I feel very lucky about, because
| | 00:19 | it's done something for me as a
photographer that nothing else has done, and
| | 00:23 | I love photography.
| | 00:24 | It's a fairly new thing for me.
| | 00:27 | I shot a lot on film when I was in my
teens, then went away from it and become a
| | 00:31 | lover of typography and
graphic design and the web.
| | 00:35 | And I got back into it, thanks to
Polaroid discontinuing their film.
| | 00:39 | I bought myself an SX-70 and started
shooting every pack of film that I could
| | 00:44 | scrape up. Which got me then into
shooting with a DSLR, which then got me into
| | 00:49 | shooting other types of
film, medium format, 35mm.
| | 00:52 | I've got tons and tons and cameras.
| | 00:54 | However, the camera I shoot with all the
time is the one in my pocket, just like
| | 01:00 | I'm assuming most of you in the room.
| | 01:02 | Instagram has done, I think, a
marvelous job of allowing us to share so much
| | 01:07 | that we get all this feedback so we
keep wanting to give and it gives us this
| | 01:13 | instant connection with people
who are looking at our pictures.
| | 01:15 | I don't know about you, but a lot of
the pictures I shoot on my DSLR stay in
| | 01:20 | like Aperture and never get shown to anybody.
| | 01:23 | I am lucky if I look at them.
| | 01:25 | So we are in a very, very special
time I think for photography in general.
| | 01:30 | It just happens to be thanks to, as
Jessica kind of laid out for us, the iPhone.
| | 01:35 | Mobile photography in general, also yes,
but it's because of the iPhone that
| | 01:39 | we are I think seeing this amazing
amount of momentum behind mobile photography.
| | 01:45 | I'm a huge fan of Henri Cartier-Bresson.
| | 01:48 | Any other fans of his work?
| | 01:50 | He has said so many things, but one
of the core ideas that was behind his
| | 02:01 | approach to photography was
this idea of the decisive moment.
| | 02:04 | That there is a moment at which
if you are ready you can capture
| | 02:09 | something special.
| | 02:12 | Thanks to the iPhone and any other,
really, any other mobile device that has a
| | 02:16 | good enough camera to actually make
sense to take pictures with all time
| | 02:21 | allows you to basically have as many
decisive moments in everyday as you feel
| | 02:27 | like, as you are aware of.
| | 02:28 | Now this can be a good and a bad thing.
| | 02:31 | So the philosophical part of my talk is
about what I think we want to make sure
| | 02:35 | we avoid with our photography.
| | 02:38 | We have to remember what it is that we
are looking at and not hide behind our lens.
| | 02:44 | We have this wonderful thing that
Steve gave us and just like with a lot of
| | 02:50 | cameras, the tendency can be to walk
around looking at the world through
| | 02:56 | this viewfinder.
| | 02:58 | The world is all around us,
but we spend our time doing this.
| | 03:00 | I was actually at the photo walk.
| | 03:02 | Who else is at the photo walk?
| | 03:03 | We had a load of people there
this morning. It was awesome!
| | 03:04 | Anyone who wasn't there missed it.
| | 03:06 | That was a perfect morning for it.
| | 03:08 | And I was kind of surprised, because I
think I knew this about myself, but I
| | 03:14 | wasn't aware of it, the way I shoot
with this is I have it in my pocket.
| | 03:19 | I don't have it on, I don't have it
fired up, I am not holding it all the time.
| | 03:23 | I'm looking for the opportunity, for
the thing that I want to shoot for the
| | 03:28 | moment that's about to happen.
| | 03:31 | And I've had to train myself to do that.
| | 03:33 | There are a lot of other people--
everyone has their own shooting styles but
| | 03:36 | I saw so many people on this photo
walk who had their phones on, not on auto
| | 03:41 | off, not switching off, just like on
all the time like this constant at the
| | 03:44 | ready kind of thing.
| | 03:45 | And I think it's something that has been
led to by this idea of decisive moments.
| | 03:50 | So this idea of capturing everything
we possibly can, which is something also
| | 03:55 | it's led to by shooting digital. If
you shoot with a DSLR you probably shoot
| | 04:00 | hundreds of images in one outing in a day.
| | 04:05 | I find that my photography has become
better and better the more film I shoot,
| | 04:10 | because I shoot film very, very slowly.
| | 04:12 | I've started to shoot my digital, my
DSLR or my iPhone, in the same kind of way.
| | 04:19 | When I know I've got ten exposures on
a medium format 6x7 camera, it takes me
| | 04:25 | forever to get through those ten
exposures, because I will not trip that shutter
| | 04:29 | unless I know that the exposure is right,
the depth of field is exactly what I want,
| | 04:34 | the shutter speed is
exactly what it needs to be.
| | 04:38 | And because of that, the number pictures
I'm happy with go up, which is a good thing.
| | 04:43 | That's a good side effect,
percentage of good shots.
| | 04:46 | I know we all probably spend a lot of
time deleting crap shots in out iPhones.
| | 04:51 | But more importantly I spend a lot of
time looking around me and I think it's
| | 04:56 | really important that we
don't get lost in the apps.
| | 05:02 | I love apps.
| | 05:03 | I am going to talk more about them later.
| | 05:04 | This is nothing against apps and filtering.
| | 05:07 | We'll get to that.
| | 05:09 | But it's important to remember that we're
experiencing a wonderful world around us.
| | 05:14 | And the more we experience it through a
device instead of just sometimes putting
| | 05:20 | it down, I think the more we are missing out on.
| | 05:22 | It also affects our pictures, because
like Cartier-Bresson said, it's about
| | 05:31 | understanding the world around you
and what's happening, to be able to find
| | 05:35 | those particular moments.
| | 05:37 | You have to be actually just looking.
| | 05:38 | You can't be looking for them. You have
to be looking at everything, seeing the
| | 05:41 | systems that are working around
you and preparing for that moment.
| | 05:46 | Which brings me to kind of the filtering thing.
| | 05:53 | How many of you shoot when you
shoot with something like Instagram?
| | 05:55 | Well, I guess Instagram is the big
one that where you have to actually
| | 05:58 | choose your filter.
| | 05:59 | How many of you shoot directly in Instagram?
| | 06:01 | Well, really a small percentage.
| | 06:03 | Okay good, so all of you are
kind of already ahead of me on this.
| | 06:09 | The less that you worry about your
filtering and post-processing and everything
| | 06:14 | else at the time that you're taking
the picture, the more engaged you can be
| | 06:16 | with everything that's going around you,
which I think is supremely important.
| | 06:20 | Even with something like live filters,
which are awesome, I like that in Instagram.
| | 06:25 | But, you're still kind of forced
into this flow of making a lot of other
| | 06:30 | decisions that you wouldn't
necessarily have to make with any other camera.
| | 06:36 | I like to think that filtering and
post-processing are kind of our film
| | 06:39 | and darkroom.
| | 06:40 | It should all happen sometime later,
afterwards, whether it's as you are
| | 06:45 | falling asleep, which I love to do, or
waking up, which I love to do, or on a
| | 06:49 | plane, which I love to do.
| | 06:51 | I basically, I've spent so much of my
little spare time doing like my filtering
| | 06:55 | and post-processing.
| | 06:57 | So that when I'm taking my pictures I
don't have to think about anything other
| | 07:00 | than looking, framing, snapping, so
that I make sure that I don't also miss
| | 07:06 | what's going on around me.
| | 07:08 | I used to be one of these guys, where
I would actually spend, in the first
| | 07:13 | couple of months of using Instagram,
which is when my iPhone photography
| | 07:16 | used like soared.
| | 07:18 | I would sit and I'd process one, and I
figured out some tricks on how to process
| | 07:22 | without posting to Instagram. So I
prossessed one, have it-- make sure it's
| | 07:25 | saved to the photo album, process
another one, process another one, agonize
| | 07:30 | over which filter I was going to use.
| | 07:31 | And very quickly I realized, what am I
doing? This is not how you tell a story.
| | 07:38 | The filters, if you approach them like film
-- How many of you have shot film before?
| | 07:45 | Okay. And of those who have shot film, how
many of you have a favorite stock or two,
| | 07:51 | that you just know helps you tell
the story the way you see the world?
| | 07:55 | And after a time you kind of see,
if you like shooting a nice ILFORD
| | 08:03 | black-and-white film for instance, you
see the world exactly how those tones
| | 08:07 | are going to be represented by that
film, and I think filters should be used
| | 08:11 | the same way. Whatever your post-
processing approach is, it will make you a
| | 08:16 | better photographer the more you can hone in
on what allows you to tell your story the best.
| | 08:20 | Start using one or a handful of filters
or approaches or processes over and over
| | 08:27 | and over again to the point where you
know you see, you don't even have to pull
| | 08:31 | up your phone. You kind of know the
framing, you know what it's going to look
| | 08:34 | like, you understand more about
what that capture is going to be.
| | 08:38 | So the combination of that kind of
understanding of the darkroom and the film
| | 08:43 | and forcing yourself to put that phone
down at least. Or if you're shooting with
| | 08:50 | your DSLR, not chimp constantly, will
help you engage I think a lot more with
| | 08:57 | what's going around you.
| | 08:57 | So that's kind of a little bit of
the philosophical side of things.
| | 09:01 | Getting back to the idea of that
decisive moment, we all have our
| | 09:05 | different styles of shooting.
| | 09:09 | But if we're getting away from
focusing on what's happening on the camera and
| | 09:14 | looking everywhere else, there can be
a disconnect for some people on -- like
| | 09:18 | how do we actually, how do we actually
do that, how do you compose, how do you
| | 09:22 | plan for that shot without lining it up?
| | 09:24 | I am just going to share a couple of
thoughts that I have on this that work for me.
| | 09:31 | I find that these things are
consistent no matter what piece of photography
| | 09:36 | equipment I'm picking up, whether it's
analog, digital, mobile, iPhone, whatever.
| | 09:41 | Learning to watch the light
is super, super important.
| | 09:45 | Understanding how light moves. There
was a documentary I got to see at the
| | 09:49 | SFMOMA actually a couple of years ago
on Richard Avedon and one of the things
| | 09:55 | that struck me most was this comment
about how one of his favorite pastimes
| | 10:01 | was watching light move.
| | 10:03 | He would spend entire days just
sitting in one place, watching the clouds,
| | 10:07 | watching the sun,
watching the patterns of light.
| | 10:09 | And it can show you I think a lot about
how to anticipate where that next great
| | 10:15 | shot is going to come from.
| | 10:19 | Because I don't know. I don't like
shooting, shooting, shooting, shooting,
| | 10:23 | shooting and then having to go and
edit and find out of 30 different pictures
| | 10:25 | what one was the best. That's one of
the things that's frustrated me about
| | 10:28 | digital photography.
| | 10:29 | My 5D Mark II takes amazing pictures,
but when I've got 300 of them to sort
| | 10:33 | through after like two hours out,
I'm not going to do anything with that.
| | 10:39 | So I shoot less and less and less now
and I'm happier with the time I spend
| | 10:44 | outside, or with my friends, or
wherever I happen to be, because I'm engaged
| | 10:48 | with them and not with my camera,
but I am also happier with the output.
| | 10:53 | And I think that's a huge
thing, understanding light.
| | 10:56 | Sometimes it can also be about having patience.
| | 10:59 | I like to shoot a lot of structures,
I like to shoot a lot of places where
| | 11:03 | people usually are in busy times of day
when there are no people there, which is
| | 11:09 | a really, really difficult thing to do.
| | 11:11 | I love stairways apparently.
| | 11:14 | This is one -- if you've ever been in
any Apple Store, you'll know that they
| | 11:18 | are never empty.
| | 11:19 | I had to wait like probably 25 minutes
for there to be no one on this, which
| | 11:24 | was a short wait.
| | 11:27 | And applying patience to what you do,
again it ties into Cartier-Bresson's
| | 11:34 | approach and this idea of
engaging with the world around you.
| | 11:38 | It can be a struggle for some
people to wait, especially in this age of
| | 11:43 | everything being instant,
everything happening right now, but it can be
| | 11:46 | incredibly rewarding.
| | 11:47 | This is, it's either St.
Pancras or King's Cross.
| | 11:50 | I think it's in King's Cross station
in London and right in the middle of the
| | 11:53 | day, busy, busy station.
| | 11:57 | The wait to get some of these
shots can turn into a little bit of a
| | 12:03 | meditative thing. You get to
watch people. I like watching people.
| | 12:07 | And you get the opportunity to take
shots that most people wouldn't get because
| | 12:12 | they would be too impatient and you
actually see things while applying patience
| | 12:17 | to your photography that you wouldn't
even see if you were just hanging out and
| | 12:21 | waiting, because you're looking at
the world now in a different way.
| | 12:24 | You don't have your camera up in
front of you, you are not completely
| | 12:26 | waiting, you're not at that ready,
but you're taking extra time, not just
| | 12:30 | lining up your shot, but kind of
seeing all these other details about
| | 12:34 | wherever you happen to be.
| | 12:36 | And I know we do it all the time
when you do photowalks and stuff.
| | 12:39 | It's one of the great things about it.
| | 12:40 | If you've never been on a photowalk,
it's fantastic. Get like one or two other
| | 12:43 | people and suddenly you are in this
environment where no one is waiting for
| | 12:47 | you to catch up;
| | 12:48 | you don't feel like you are lagging behind.
| | 12:49 | You can actually take your time and
get great pictures and enjoy whatever
| | 12:54 | you're looking at.
| | 12:56 | And then the anticipation part,
which can be the toughest part.
| | 13:01 | But I think again it's really, really
rewarding to start understanding what's
| | 13:05 | happening when that moment is about to happen.
| | 13:10 | Watching what's going on, who's moving
where, and seeing the patterns that start
| | 13:15 | to evolve, where those natural pauses
occur in crowds, where the-- if you've
| | 13:23 | ever been in Grand Central Station in
New York, like find one of the elevated
| | 13:27 | areas up one of the stairways and just
watch for like 15-20 minutes, watch the
| | 13:32 | center of activity and you actually can
feel the rise and fall of the pace when
| | 13:38 | a bunch of trains arrive at one time
and you hear kind of the sound as people
| | 13:41 | are coming to the hallways.
| | 13:43 | And you start to realize whenever you
pay attention enough in those kind of
| | 13:48 | situations when those
excellent moments are about to happen.
| | 13:51 | And that's whether it's a
big group, or if it's small.
| | 13:53 | I get a kick out of finding a certain
framing that I think feels like something
| | 14:00 | is going to happen here in the
time that I am going to be there.
| | 14:03 | Like this sitting on a bench waiting
for a train and it was actually a family
| | 14:09 | that was standing there. This young
girl was the daughter of the family and the
| | 14:13 | family was just being really, really
active and really alive waiting for this
| | 14:16 | train and then all of that kind of
energy started to burn off and the young boy
| | 14:22 | who was with them kind of ran off to
the left and both the parents kind of
| | 14:25 | shifted towards him because he was younger.
| | 14:28 | And the girl just kind of stood there
and as her energy died down, she just kind
| | 14:32 | of put her hands behind her back and
bowed down, and I felt that coming, so I
| | 14:38 | kind of slunk out the
phone and I was just waiting.
| | 14:40 | I knew what the frame was going to
be. I didn't have to like be sitting
| | 14:42 | there like a creep.
| | 14:43 | It was creepy enough, taking a
picture of a young girl on a train station.
| | 14:47 | But it tells a story of some
sort and it's because I was ready.
| | 14:55 | The second I took this picture, she looked
up and like she was back to her normal self.
| | 15:01 | And it's this idea of anticipation
and seeing kind of all the moving parts
| | 15:06 | around you, can create some really,
really wonderful compositions.
| | 15:12 | And I'm certainly not saying that that
they're best. I mean I'm thankful that people
| | 15:18 | even look at my pictures and I've
been asked to speak here at all.
| | 15:22 | I shoot because it allows me to interact
with the world around me in a different way.
| | 15:26 | I like the way that I see the world
because of photography and the fact that
| | 15:32 | anybody else likes the way I see the
world because of that, it just humbles me.
| | 15:38 | And opportunities for like anticipation,
I think make everything more exciting
| | 15:43 | and more interesting in some way.
| | 15:46 | Like as another example, I was on a
train trip from Newcastle in the north of
| | 15:51 | England down to London and train trips
can be boring or exciting. I like staring
| | 15:56 | out the windows, but I was noticing
that on that particular day there were a
| | 16:00 | load of freshly baled hay and stacked
in all sorts of different ways, sometimes
| | 16:05 | in round bales, sometimes into rectangular ones.
| | 16:08 | And it's really hard when you're going
about like 80 plus miles an hour, like
| | 16:13 | those trains go, to snap anything,
especially on an iPhone without everything
| | 16:16 | like bending, like you are at warp speed.
| | 16:20 | So I actually started taking a
couple of test shots, figuring out where I
| | 16:25 | needed to focus to get like the right
shot and figure out how I could make the
| | 16:30 | iPhone do something that it wasn't
really meant to do, to like capture
| | 16:34 | something flying by at high speed.
| | 16:36 | And then it was kind of sticking my
head not out the window, because that
| | 16:39 | would be horribly dangerous, but like
looking as far ahead as I could out the
| | 16:43 | window to see when that thing would
come that would be with an empty field
| | 16:47 | behind it, all the elements that I knew
and I wanted. I pictured the composition
| | 16:51 | ahead of time and I was lucky enough to
be able to capture something that looks
| | 16:56 | kind of all right.
| | 16:58 | So I am going to do a very quick live
demo here, which I've never done before,
| | 17:02 | so this will be very interesting.
| | 17:04 | We are going to see first of all how
this manages when you rotate -- ooh,
| | 17:07 | it does, cool!
| | 17:09 | Sid from Bolt Peters was nice
enough to loan me her iPad 2 so we could
| | 17:16 | actually do this, so I
could do a quick little demo.
| | 17:18 | Because one of the things that I get
asked a lot, but I actually ask people
| | 17:24 | more often is how they take their
-- how they process their pictures?
| | 17:27 | This is why I said I am a fan of
apps as long as it's done outside of
| | 17:30 | the capture process.
| | 17:34 | I have a couple that I love and I am
not going to show you all of them, but one
| | 17:39 | of the things I wanted to show you
was just a little window into how I take
| | 17:46 | pictures and how I process them,
because maybe it will help you.
| | 17:49 | I love, as a designer and as a photographer,
I love seeing how other people do things.
| | 17:54 | So hopefully by sharing a little bit of
this with you, you might learn something.
| | 17:58 | So, this morning on this photo walk,
one of the last spots that we were right
| | 18:05 | down the street with the highway and
the train tracks, this is kind of just
| | 18:10 | a quick way to show you one of my
techniques. I always use the HDR on the iPhone 4.
| | 18:15 | I think it's brilliant.
| | 18:17 | And with the 4S, it shoots
even faster which is great.
| | 18:19 | It's one of the only times that I'm
okay with shooting more than I have to,
| | 18:22 | because the camera is doing it for me.
| | 18:24 | And I actually find that it's one of
those little hacks that helps sometimes
| | 18:28 | produce a better picture.
| | 18:29 | So in this case we've got the regular
exposure here, which is super blown out,
| | 18:36 | which sometimes I like,
but in this case I didn't.
| | 18:38 | And then a more kind of even-toned HDR exposure.
| | 18:43 | And most of the time my process is
look at which exposure is better, quickly
| | 18:48 | delete the one that isn't, because I
don't want it taking up space, I don't want
| | 18:51 | to be seeing it, I don't want to think about it.
| | 18:53 | And then sometimes I will pull it into
Camera Plus and tweak the Color Balance
| | 18:59 | or things like that. I don't
like things being overly filtered.
| | 19:02 | I also don't like
spending a ton of time on things.
| | 19:06 | Sometimes I'll do-- I am not going to
show you retouching, but if you haven't
| | 19:09 | played with TouchRetouch and you the
automatic healing functions of Photoshop
| | 19:14 | and Aperture and all those things,
it's amazing. It's mind-blowing.
| | 19:16 | The fact that that thing kind of works
the way it does on a phone is amazing.
| | 19:20 | It's one of my little cheats.
| | 19:21 | Most of the time, I actually like what
CrossProcess does, except for the fact
| | 19:27 | that when you launch it, it
always launches into Camera mode.
| | 19:30 | So, this is kind of all I typically do.
| | 19:35 | I love the-- I prefer
the green cross-processing.
| | 19:38 | It has a ton of different features,
but this has been my thing, playing and
| | 19:41 | playing and playing with every single
filter and feature and everything else
| | 19:44 | and a ton of different apps until I find
something that I really like, that suits my style.
| | 19:49 | It just so happens that the way I look
at light and the way I look at framing and
| | 19:55 | composition, works really well with
CrossProcess app and what it does and it
| | 20:00 | feels very much like film.
| | 20:01 | I mean it has tons of options like
every single app does, but one of the things
| | 20:05 | I love is that you don't have to
interact with those options to use it.
| | 20:09 | Once I've found this thing I know it's
my style, I know 9 times out of 10 it
| | 20:13 | does exactly what I want it to do.
| | 20:15 | And I just kind of load the image in and
it outputs it immediately and I am done.
| | 20:21 | A little bit of cropping later and if
you haven't played with Square Ready, I
| | 20:24 | recommend it because so many apps crop.
Square Ready just does it in this really
| | 20:29 | awesome simple kind of way. "Did you
know you can tap the ad banner to--" No.
| | 20:38 | Well, the only downside here is it
doesn't show you what I am tapping.
| | 20:40 | So if you tap those four arrows down
there in the bottom, it will automatically
| | 20:44 | square it up and if every -- if there
are any iPhone app developers in the room
| | 20:49 | who develop apps for camera stuff, Tom, someone?
| | 20:54 | This has one of the best features ever.
Like I'm dragging at full speed here, but it
| | 20:58 | by default, do you see this little walking
man icon? Not the best iconography here,
| | 21:03 | but you can adjust in a course way,
which moves really, really fast like
| | 21:08 | every app on the planet does, but by
default it's got this fine-tuned adjustment.
| | 21:12 | So if you are like a pixel-precision
based guy like me and you really, really
| | 21:16 | like to line up all your diagonals into
the corners and be really precise about
| | 21:22 | your crop and your framing, it
allows you to do that and allows you to
| | 21:26 | constrain your movement.
| | 21:29 | Maybe it doesn't seem like a huge
thing, but for me, since Instagram is my
| | 21:35 | canvas, the square is a big deal to me.
| | 21:38 | I know how to anticipate the square.
I know how to shoot for it on a wider
| | 21:42 | format, because I shoot a lot of square
format film. I shoot it on a Hasselblad
| | 21:46 | and a Mamiya and all
these things that shoot 6x6.
| | 21:49 | And if you shoot and crop and pull
into Instagram a lot or Hipstamatic or
| | 21:52 | anything else, you know that as well.
| | 21:54 | And you can start to see even though
you are using a longer, wider rectangle
| | 21:58 | or a taller rectangle you can anticipate.
| | 22:00 | So having a good cropping app
actually is a really important thing.
| | 22:04 | Then you just pop it out in Instagram
format. Every app should do this kind of thing.
| | 22:12 | So what I get is this kind of really
streamlined process where most of the time
| | 22:17 | now when I shoot, I know exactly
that it's going to look like this.
| | 22:23 | I've got that in my mind when I'm looking
around, before I put the camera up to my eye.
| | 22:27 | The same is if I have my Bronica
with me, this is a big 6x6 film camera.
| | 22:34 | I've got Kodak 400TX,
beautiful black-and-white film.
| | 22:37 | I know exactly how every picture that
I take is going to look with it and I
| | 22:40 | frame them and I look for the
lighting because of that film.
| | 22:44 | I don't know. It makes me feel a whole
lot better about the work that I produce
| | 22:49 | and this is fun for me. This isn't work.
| | 22:52 | It has to be fun and it allows
me to have more fun. (Bless you!)
| | 22:55 | So, that's the quick little demo just
to show and tell because I didn't want to
| | 23:01 | take up a ton of time.
| | 23:02 | My last thought that I am going to
leave you with is learn to see what's around
| | 23:08 | you by putting your camera down sometimes.
| | 23:10 | As much as we're tempted to kind of always
have it at the ready, always have it on,
| | 23:15 | be kind of half looking through it
all the time, you'll have a whole lot
| | 23:23 | better time with this device in your
pocket, with all those moments, when you
| | 23:28 | can actually experience them for
real and capture the ones that matter.
| | 23:32 | So thank you very much. We
missed you, Gotham, we miss you.
| | Collapse this transcript |
| iPhone Photography: Why Should We Care? with Jessica Zolman| 00:09 | Jessica Zollman> To give a little
background about why I chose to talk about this,
| | 00:13 | essentially a lot of my friends in
East Bay, I grew up in the area, do not
| | 00:18 | understand technology or this whole
iPhone photography thing, and I am
| | 00:23 | constantly getting in arguments on
Facebook and in real life with them about the
| | 00:27 | legitimacy of iPhone photography.
| | 00:30 | They basically have pretty much written
me off as like a chick with a phone who
| | 00:33 | thinks that I am special,
and I enjoy proving them wrong.
| | 00:38 | So hopefully, I don't really have to
do that with anyone here and all of you
| | 00:41 | agree with me, but we will see if
you feel like arguing with me after.
| | 00:47 | So I am going to just give a little
rundown of the camera phone up until today.
| | 00:54 | Basically, the first commercial camera
phone, commercial, was available in 2000,
| | 00:58 | and it was a 110,000 pixel image sensor.
| | 01:06 | Then in 2002, there was a 30,000
pixel image sensor phone, which was about
| | 01:11 | 640 by 480 pixels.
| | 01:14 | It's essentially enough to print a 6x4,
but it would still be really fuzzy and
| | 01:19 | blurry and not great quality.
| | 01:21 | And then by 2003, there
was a one megapixel phone.
| | 01:25 | This is kind of crazy. In 2003, I
graduated from college, so to think that eight
| | 01:29 | years ago, actually high school, sorry,
to think that eight years ago there was
| | 01:34 | only a one megapixel camera phone,
and I could have cared less about camera
| | 01:38 | phones too. I think I was still playing Snake 2.
| | 01:40 | It's kind of insane.
| | 01:44 | Then, within the last four years, more
and more people began to actually utilize
| | 01:50 | what was available and on hand.
| | 01:52 | So it turns out that the
iPhone was what came out.
| | 01:58 | So while other camera phones had a
five megapixel camera, the first iPhone
| | 02:01 | appeared with only two megapixels, no
flash, no optical zoom, and no auto-focus.
| | 02:07 | I remember having that phone and I still
absolutely loved taking photos with it.
| | 02:11 | I can't imagine ever using
that phone camera again today.
| | 02:15 | I have friends that still have it.
| | 02:16 | I don't know how they do it.
| | 02:18 | And then in 2009, the 3GS came out,
with a 3.2 megapixel auto-focus, auto white
| | 02:23 | balance and auto macro.
| | 02:25 | And then in 2010, the iPhone 4 came out.
| | 02:29 | In my opinion, that was the first time
that we really started seeing that Apple
| | 02:32 | was focusing on creating a phone
that also had an excellent camera.
| | 02:37 | I think that photography on the iPhone
just kind of started exploding and they
| | 02:42 | really banked on that.
| | 02:44 | So it had a really high resolution,
could capture low light images, it had a
| | 02:48 | flash, and it was the first
phone to add HDR photography.
| | 02:51 | And then in October of 2010,
Instagram went live and social mobile
| | 02:56 | photography began rising.
| | 03:00 | Everyone has seen these
charts everywhere, I'm sure.
| | 03:03 | The first chart is from a TechCrunch
article that came out, basically pointing
| | 03:09 | out that the iPhone 4 had surpassed the DSLRs.
| | 03:13 | And the second one is from this last
month, and you can see the huge boom
| | 03:17 | that's occurred.
| | 03:18 | Something that's interesting to note
though, and it was also noted in the
| | 03:21 | TechCrunch article, none of
Flickr's photos that have been sent from an
| | 03:26 | application note that it's an iPhone.
| | 03:29 | So all of the data is stripped. If
you're sending your information from
| | 03:33 | Instagram or from Hipstamatic or
any other photo sharing, it strips.
| | 03:37 | So even though this was a huge milestone,
it most likely happened much further,
| | 03:43 | much sooner, and this chart
is probably way off as well.
| | 03:48 | So now on to the iPhone 4S.
| | 03:51 | It is one of the most
dramatic new features of this device.
| | 03:57 | This is the greatest photo of a
squirrel the world has ever seen, obviously.
| | 04:00 | I actually was watching the keynote and
like lost my mind over this photo of a
| | 04:03 | squirrel, which is so silly,
because really, it's just a squirrel.
| | 04:07 | But it's a hybrid infrared filter.
| | 04:11 | It's a backside illumination, which has
73% more light, and 8 megapixel camera,
| | 04:18 | with a 2.4 aperture, and in my opinion
what is the most impressive feature is
| | 04:22 | that it can take a photo in only 1.1
seconds and then half a second for the next photo.
| | 04:27 | So basically it's making this camera--
Apple is deciding to make their camera
| | 04:32 | just as good, if not better,
than a point-and-shoot camera.
| | 04:37 | But would any of this really matter
if the iPhone advance in camera wasn't
| | 04:44 | shareable, if there wasn't a way for
you to send your photos to your friends or
| | 04:49 | share your photos with your parents or
maybe just strangers who are interested?
| | 04:54 | Social photography has given
iPhone photography importance.
| | 04:58 | In doing research for this talk I find
it extremely difficult, in fact almost
| | 05:02 | impossible, to basically find any
information on the first camera phone
| | 05:06 | without also finding information on the
first camera phone photo shared, which
| | 05:11 | we all just saw.
| | 05:15 | Mobile photography is accessible,
and it appeals to the masses.
| | 05:19 | It's thin.
| | 05:20 | It fits in your pocket or your purse.
| | 05:23 | It's relatively inexpensive
compared to film or DSLR lenses or bodies
| | 05:28 | or accessories.
| | 05:29 | And the photographs captured on an
iPhone can be just as good, depending on
| | 05:34 | who is behind the lens.
| | 05:36 | A fun fact is that, as Nate pointed out,
the whole reason why I even got into
| | 05:39 | mobile photography is that I
wanted to buy a better DSLR.
| | 05:43 | I basically was the most jealous of him having
a Mark II, and I was like, I can't afford that.
| | 05:48 | I worked in support at the time. I
was like it's not going to happen.
| | 05:53 | But I wanted to get back into
photography and I wanted to be passionate about
| | 05:55 | it again, and I found that the iPhone,
because it was so accessible, because it
| | 06:00 | was so cheap, and even the
accessories for it are so inexpensive, kind of
| | 06:05 | became that medium for me.
| | 06:06 | Yeah, future phone, that
was straight out of Star Trek.
| | 06:12 | So the iPhone has been such a huge
success in the world of mobile photography,
| | 06:16 | because it's a phone from the future.
| | 06:18 | I mean, seriously, like this is a stuff
that the Jetsons played with on their TV show.
| | 06:24 | It's the thing that like we saw in Blade
Runner and freaked out about basically.
| | 06:28 | So we'll take a multi-touch interface
phone, with a robust app store, and a
| | 06:33 | robot secretary by Apple, even
if the camera is still behind.
| | 06:37 | So right now there are mobile phones
that have 12 megapixel cameras and have
| | 06:42 | much better technology.
| | 06:43 | But people are so loyal to the brand
that they are willing to overlook all of
| | 06:49 | that just because it's an Apple phone.
| | 06:52 | People who use Apple products love Apple
products, and they will continue to buy
| | 06:57 | the second, the day, maybe even wait in
line the night before it comes out, and
| | 07:02 | that brand loyalty helped make the
iPhone photography so successful.
| | 07:07 | There can be a lot of pressure when it
comes to the constraints behind creating
| | 07:12 | like a witty or relevant tweet or
sharing your information on Facebook.
| | 07:17 | But the constraints behind the
iPhone are less limiting, and sharing a
| | 07:22 | photograph of where you are or what you
are doing or what you are looking at is easy.
| | 07:26 | So you don't have to convince your
parents why they should share a photograph,
| | 07:31 | and you don't have to convince them
why they should look at a photograph that
| | 07:35 | you have posted, because everybody
wants to see and keep up and connect.
| | 07:39 | So it's that ease that also
makes mobile photography successful.
| | 07:43 | If people can dismiss a photograph of
where someone is currently standing,
| | 07:49 | or the side of a building while
looking up, and even an image captured out
| | 07:53 | of an airplane window.
| | 07:55 | But like Kevin has been quoted as saying,
we have seen some seriously incredible
| | 08:00 | photos of all of those things at Instagram.
| | 08:02 | Sharing is important, because as we've
seen at Instagram, we were finding images
| | 08:12 | from the Texas wildfires as they
were burning, Hurricane Irene as it was
| | 08:17 | devastating parts of the Caribbean
and the East Coast, they could share the
| | 08:22 | remembrances during the 10 year
anniversary of September 11th, and we can follow
| | 08:28 | Occupy Wall Street as its happening.
| | 08:30 | You can also find photos from
NASA in outer space of the earth.
| | 08:34 | So all of these things, this
photojournalism aspect to social photography
| | 08:39 | provides people with a real-time
visualization for important and historical events.
| | 08:45 | And users can also follow their
favorite bands like Bon Iver or The National
| | 08:48 | while on tour, catch a glimpse into the
everyday life of a celebrity, see Fashion
| | 08:53 | Week photos, and even catch a behind-the-
scenes glimpse into like their favorite
| | 08:59 | chef's kitchen, for example.
| | 09:02 | Sharing gives all different types of
brands an outlet to visually connect to
| | 09:06 | fans or consumers or users.
| | 09:11 | So everything is share-worthy in
social photography, within reason, please.
| | 09:19 | People share everything from
engagements, weddings, birth, summer vacations,
| | 09:23 | festivals, food, and of course their
cats and dogs being adorable animals.
| | 09:30 | I could have had an entire presentation
about the psychological reasons behind
| | 09:37 | why people really want to
share these moments publicly.
| | 09:41 | It's anything from affirmation, to
overwhelming desire to show other people
| | 09:45 | what it's like to be them.
| | 09:47 | But it may even be as simple as
watching feedback, like likes and love and
| | 09:51 | comments and kudos on a photo that
we've taken, shared, and accumulate just
| | 09:56 | feels really good.
| | 09:57 | So basically, as the iPhone camera
becomes more advanced and eventually will
| | 10:06 | become as advanced as a DSLR, and are
available in more countries, on even more
| | 10:13 | carriers, and their accessibility
grows and increases, the appeal will give
| | 10:17 | mobile photography even more legitimacy.
| | 10:20 | Recently I saw an article in The New
York Times, it was on their website, that
| | 10:25 | had iPhone photographers' Hipstamatic
images accompanying the actual text, and I
| | 10:33 | thought that was amazing, because
those occurrences are going to become more
| | 10:36 | frequent, and people who never
considered themselves photographers before will
| | 10:41 | discover that they have talent and a
gift when put behind an iPhone and that
| | 10:45 | they cannot be ignored,
especially as it's discovered in mass.
| | 10:50 | And that's why iPhone photography is
important and why eventually everyone will care.
| | Collapse this transcript |
| The Camera Phone and the Pro Photographer, with Lauren Lemon| 00:08 | Lauren Randolph> I'm going to talk a
little bit about my photography and then
| | 00:12 | how I use mobile photography a bit differently.
| | 00:16 | So I've always had a passion for portraiture.
| | 00:18 | I shoot a lot of self-portraits.
| | 00:19 | I like kind of creating these
alternate realities, kind of putting people in
| | 00:24 | scenarios that are part
of this big made-up world.
| | 00:27 | Like I like to look at all of my photos,
as maybe a small fragment of like a big
| | 00:32 | of made-up world I have in my imagination.
| | 00:33 | So some of you may know this
man, his name is Ryan Freitas.
| | 00:37 | He is the co-gounder of about.me.
| | 00:40 | And this was a picture that I took for him.
| | 00:42 | So I'm very inspired by people.
| | 00:45 | I knew I was going to do a shoot with him.
| | 00:46 | So I kind of pulled upon his
professionalism, things around his house.
| | 00:51 | With the little bit I knew about him
before I met him, and we were able to come
| | 00:54 | up with this picture pretty much on the fly.
| | 00:56 | So, yeah, I'm very inspired
by characters, personalities.
| | 00:59 | I like to pull like one little aspect
of someone and kind of build upon that.
| | 01:02 | I used to play a lot of dress up and
make believe as a child that I feel that
| | 01:08 | much of my work is maybe still
influenced by that, using fantasy and fairytales
| | 01:13 | or even sometimes weird quirky scenarios
that I just know would make a very good visual.
| | 01:19 | So much of my photography that I shoot
for myself and for work takes time, takes
| | 01:24 | preparation, a lot of planning and
thought goes into each photo, whether it's
| | 01:29 | planning with a model, whether it's
coordinating location, setting up lights.
| | 01:33 | I don't really have the professional--
| | 01:36 | I only have the on-the-go lifestyle
kind of portraitures shooting though, but
| | 01:41 | that's where the iPhone comes in a lot for me.
| | 01:44 | I do use mobile photography a bit
differently, but a lot of times I'm using
| | 01:48 | it at the same time.
| | 01:49 | Maybe I'm shooting with my digital
camera, my film camera, but everywhere I go,
| | 01:53 | I have my phone on me.
| | 01:54 | So it kind of tends to be my quick go-
to for something that like, that decisive
| | 02:00 | moment that you see.
| | 02:01 | It's shoot, grab it out,
pull it, shoot it, you're good.
| | 02:03 | I've always documented my friends and
my adventures and my travels though.
| | 02:10 | And I was always getting asked
where people could see these images.
| | 02:13 | They wanted to put it on their MySpace profile.
| | 02:15 | They wanted to use it for their Facebook.
| | 02:17 | So I started putting it on Flickr or at
my blog, so they could just grab them.
| | 02:21 | And it was through this that I kind of
began to realize the power of sharing
| | 02:26 | these photos, because quickly
something I shot of one person could be then
| | 02:30 | spread through a whole circle or a
network that I'm not involved in.
| | 02:34 | So all of sudden the power of the Internet
and these quick visuals being able to be shared,
| | 02:39 | it's amazing how quickly you
can get just one image out there.
| | 02:44 | So I love making photos and creating an image.
| | 02:47 | I do like documenting the process as well.
| | 02:50 | These are some images that I
posted to my blog on Tumblr.
| | 02:54 | During our process, this is a
collaboration that I did with two fellow Los
| | 02:59 | Angeles artists, Mary Costa and
Jessica Kucinskas, and we kind of had this
| | 03:04 | weekend-long project that we were doing.
| | 03:07 | So I was shooting with my phone,
letting people in on our weekend of work.
| | 03:15 | So when I shared this image which was
still just one image out of a larger
| | 03:19 | flipbook that we made, a
lot of people could then see,
| | 03:22 | "Oh, I remember them making
the paper, the paper boat.
| | 03:25 | I was wondering what they were
doing with all those blue sheets."
| | 03:28 | So I used my mobile photography to kind
of let people in and watch our process.
| | 03:34 | This was a picture that I posted to my
blog right as I was getting in the car to
| | 03:38 | go to Phoot Camp in 2010.
| | 03:40 | This is my packing list, which includes
things like streamers, red cups, a Waldo
| | 03:47 | outfit, a lot of photo equipment.
| | 03:49 | For people who maybe didn't know what
Phoot Camp was, I'm sure they looked at
| | 03:52 | this list and were very intrigued
of where I was going for the weekend.
| | 03:56 | If they did know what Phoot Camp was,
then I'm sure they knew these were
| | 03:59 | props, things that I was going to use
for the photos, so they were probably
| | 04:02 | looking forward to see what I
was going to do with these things.
| | 04:05 | Phoot Camp 2010, I did a collaboration
with Ryan Schude and this is the first
| | 04:10 | part of that image, which I was
then able to share after we got back.
| | 04:14 | People could then maybe find Waldo, they
could find the red cups, they could see
| | 04:19 | these things that they maybe have
seen the weeks before on the list.
| | 04:22 | Basically, once again,
lets people in on my process.
| | 04:24 | They could maybe feel like they
were in on the brainstorming session.
| | 04:28 | It's kind of like the behind-the-
scenes of the photo shoot without actually
| | 04:32 | having to sit there and shoot
while I'm making this photo.
| | 04:36 | Before Phoot Camp actually we-- before
we made that pool photo, we had gone out
| | 04:42 | and this is an image that I shot with my
cell phone that Ryan and I used to kind
| | 04:48 | of plan out where we're going to put 28 people.
| | 04:50 | Once all the content was live on
phootcamp.com, I shared this image on my blog
| | 04:55 | to then say, hey, go check out the
final image that this turned into.
| | 04:59 | This was our organization, our
thought process, like a glimpse of our
| | 05:04 | creative brainstorming.
| | 05:06 | And so then they can kind of look at
this and compare it to this image and kind
| | 05:11 | of see how we worked that way.
| | 05:15 | So this is the second part of that
collaboration with Ryan Schude, also using
| | 05:19 | a lot of the creatives and photographers
that go to Phoot Camp who are still here today.
| | 05:24 | Once again, using the same props that
they saw on the list, a lot of the same
| | 05:28 | empty beer bottles and
things from the previous picture.
| | 05:32 | I like to say that it takes people,
or they say it takes people three times
| | 05:36 | before they retain or remember something.
| | 05:38 | That's what you were told in high
school while you were studying, so I figure
| | 05:42 | why not apply the same to photography
or your blog, except maybe being a little
| | 05:47 | bit more creative instead of just
blasting the same image three times.
| | 05:51 | Show different ways to share it.
| | 05:52 | So maybe someone missed my post of
the scout photo with the drawings on it.
| | 05:57 | Maybe they even missed when I
posted the final image that linked
| | 06:00 | to phootcamp.com.
| | 06:01 | But these are some pictures that I
posted to my Instagram, when we were making
| | 06:05 | prints, the work-up in a gallery show,
then when it was printed in a magazine.
| | 06:11 | I like to put "look at my blog" as
like an ongoing timeline of my work, which
| | 06:17 | using Instagram photos or mobile photos,
filling in the gaps between posting
| | 06:21 | the final work.
| | 06:23 | These things were informative to get
people to maybe raise their interest to go
| | 06:26 | actually look at my website, to see
what photos I was talking about that got
| | 06:30 | printed and published.
| | 06:31 | So these are pictures that I posted
during installation of a photo show.
| | 06:37 | I used these photos as my way of
promoting the date, the time, the location.
| | 06:42 | Posted them to Instagram, posted to my
blog, posted them to Facebook, kind of
| | 06:45 | just spreading the word using these pictures.
| | 06:48 | This is the image that I had in that
show which you saw hanging on the wall.
| | 06:52 | And sure enough, that night someone
came up to me and they said, "Hey, I read
| | 06:56 | about the show on your blog, I
was happy to come out and meet you."
| | 07:00 | Now, me and that person are Facebook
friends, and I pretty much invite them to
| | 07:03 | any and every event.
| | 07:04 | So, thanks to mobile photography
and getting the information out there,
| | 07:08 | this person was able to come,
and we've kind of been able to meet
| | 07:12 | in-person and become friends.
| | 07:15 | I'm not trying to say to only limit
your mobile photography enjoyment to just
| | 07:20 | work-related things if you're a photographer.
| | 07:22 | It's important to show the personal
and let people in on your personal life,
| | 07:26 | because people want to know other people.
| | 07:27 | That's the wonderful thing about these
social networking sites, is getting to
| | 07:31 | know other people that you wouldn't
have known maybe otherwise through these
| | 07:35 | visual images that we're sharing.
| | 07:38 | As a photographer, I feel like I could
look at Instagram kind of like actors or
| | 07:44 | comedians would use Twitter.
| | 07:46 | People don't necessarily follow these
celebrities just because they like their
| | 07:50 | movies, but because it gives
them a chance to know these people.
| | 07:54 | And this way like when I'm posting
images of traveling, I love getting tips from
| | 07:58 | people when I'm in their hometown, of
letting me know what restaurants to go to.
| | 08:02 | It kind of gives them a way to
interact with me, which I definitely
| | 08:06 | wouldn't have otherwise.
| | 08:07 | And people are going to pay more
attention to someone they know, versus someone
| | 08:13 | that they just see pretty images of.
| | 08:15 | If I'm just constantly sharing my
portfolio work, people are going to
| | 08:18 | be interested in that.
| | 08:19 | But if they know me and want to know
what work I'm continually making, they're
| | 08:23 | going to kind of follow through that way.
| | 08:25 | So this is a picture I used using the
Pano app and the Cross Process app, while
| | 08:31 | I was in Bulgaria this last summer.
| | 08:34 | I was explaining that I was there for
a conference called Photo Vacation, to
| | 08:39 | give a little workshop, have
a seminar, host an exhibition.
| | 08:43 | But people knew that I was out of my
comfort zone, in a place where people
| | 08:46 | spoke little English.
| | 08:48 | But they also-- I was letting to
know that I was there to make a photo.
| | 08:51 | Also with Ryan Schude, we were there
and we made-- during our workshop, we made
| | 08:57 | a big photo using volunteers and people there.
| | 09:01 | So I posted this little sneak peek of
our print, because I figured a girl in a
| | 09:05 | sexy red dress didn't peek people's interest,
| | 09:07 | I don't really know what would.
| | 09:12 | And this is the final image
that we shared once we returned.
| | 09:16 | So, those who follow my blog or maybe
follow me, those who know me through
| | 09:21 | these social networks, already
kind of new the background story.
| | 09:24 | So I didn't necessarily have to fill
people in, if I just wanted to share the
| | 09:27 | image without having a
big long blog post with it.
| | 09:29 | These were all-- this was shot in
Bulgaria, these were all people that came
| | 09:32 | up to our workshop.
| | 09:33 | These were people that we
needed a translator to talk to.
| | 09:36 | So maybe it gave people a little bit
more of appreciation for what they saw the
| | 09:42 | final image versus just coming home
from a trip and posting something without
| | 09:47 | any context behind it, of
what else we were doing there.
| | 09:52 | So I use mobile photography as a
way to kind of give little hints and
| | 09:56 | inklings of things to come.
| | 09:58 | What someone-- this is a picture
that I posted and I said, "I just got
| | 10:03 | a shipment from eBay."
| | 10:04 | And people know I'm a photographer,
they know I'm buying random things all the
| | 10:07 | time for props, and maybe they start
coming up with an idea of what they think
| | 10:10 | I'm going to do with this.
| | 10:12 | Maybe they wonder what I'm going to do
with hundreds of bananas, gallons of paint.
| | 10:17 | But at least then they're engaged in your work.
| | 10:19 | They're thinking about what you're
going to do, what you created and if they're
| | 10:23 | totally wrong, then it still got them involved.
| | 10:29 | This was an image that I made this last
summer also at King College which is on
| | 10:35 | the border of Tennessee and Virginia.
| | 10:38 | And a lot of these are students and a
lot of them know my work through Instagram.
| | 10:41 | They know my work through
my blog and through Flickr.
| | 10:45 | So they were excited to see me come
and watch my actual photo-making process.
| | 10:49 | Many of these people were shooting
photos while they were waiting for me to
| | 10:54 | set up and everything.
| | 10:55 | I totally encouraged that as long as I
wasn't actually trying to shoot an image.
| | 10:59 | But these people were then
interacting and they're sharing images from my
| | 11:05 | shoot, and maybe someone hadn't heard
of me, but then knowing these people who
| | 11:08 | are at this photo, they'll go look. It's
kind of like an ongoing thing that I figured.
| | 11:12 | The more people sharing, the more
people talking about your work, the more
| | 11:16 | people interacting, the better.
| | 11:18 | This was another picture that I posted after
installation in a group show in Los Angeles.
| | 11:26 | This is a collaboration between
Collins Schude, Ryan Schude, and myself.
| | 11:31 | And also at this show, someone came up
and met for the first time that they had
| | 11:37 | seen my work online and recognized my
images through mobile photography and
| | 11:42 | stuff like that and they were
excited to come put a face to the images.
| | 11:46 | So, basically even if just one person
comes out, then that one person maybe
| | 11:51 | they'll shoot a cell phone photo,
hopefully they'll tag a location, and then one
| | 11:54 | of their friends will come out.
| | 11:56 | It's kind of this big wonderful web of
up-to-date, constant visual information.
| | 12:01 | We are all very visual people.
| | 12:04 | We do like seeing things and maybe
not reading a bunch of information.
| | 12:07 | But if something catches your eye
enough, then maybe you'll read the caption,
| | 12:11 | which is where information about
upcoming events and stuff can kind of come in.
| | 12:18 | So that's basically what I love about
mobile photography and Instagram and this
| | 12:25 | kind of constant way of sharing,
because it puts a camera in everyone's hands.
| | 12:30 | It's now, everyone is looking,
everyone is seeing, everyone is getting better
| | 12:34 | composition, looking at light differently.
| | 12:38 | The cell phone and mobile photography
has made this like fast-paced world.
| | 12:41 | Maybe it's made everyone to slow down to
stop and shoot their feed on the street or to
| | 12:46 | stop and enjoy their
coffee before they drink it.
| | 12:51 | If anything, it just kind of lets
everyone a moment to enjoy the pretty things.
| | 12:56 | So if people are always looking,
then they're always learning.
| | 13:00 | And I don't think anyone would complain
about a higher influence of the arts and
| | 13:05 | visual in anyone's life.
| | 13:07 | So thanks to mobile photography, now
everyone is kind of in that without being
| | 13:13 | forced to learn about the arts or whatever.
| | 13:16 | Richard Koci Hernandez> Well,
thank you so much, Lauren!
| | 13:18 | This is awesome!
| | 13:19 | Lauren Randolph > Thank you!
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