Lessons
Overview of Fine Art Landscape and Travel Photography
08:44 2Our Passion For Photography
07:38 3Looking For The Next Great Photo
19:05 4Peter and Tony's Photography
18:35 5What is a Landscape?
15:48 6Considering Color: What is Real?
13:16 7Shooting Travel Photography: Exotic Locations
13:33 8Preparing for a Travel Shoot: Research
16:35Who Should You Travel With?
12:13 10Photographing People
04:25 11Choosing Gear for Travel
21:26 12Overview of Aerial Photography
09:03 13Flying Machines: Planes, Helicopters, Balloons and Drones
18:05 14Shutter Speed in Aerial Shooting
12:48 15Manual vs Auto Focus
14:28 16Lenses for Aerials
13:14 17What to Shoot When You're in the Air
17:52 18Using Emotion to Capture Your Images
14:28 19What Stories Do You Want to Tell?
08:44 20Who Are You as a Photographer?
14:41 21Finding Your Creative Process
14:20 22Getting Your Vision Across
26:56 23Quick Image Enhancements Using Lightroom and Capture One
06:21 24Light, Color and White Balance in Lightroom
19:55 25Histogram, Hue and Contrast in Lightroom
09:16 26Masking in Lightroom
11:50 27Cropping and Aspect Ratios in Lightroom
13:19 28Image Adjustments With Capture One
13:38 29Further Adjustments With Capture One
13:44 30Advanced Editing Concepts With Photoshop
07:38 31Peter Eastway Enhances Landscape Details
13:08 32Tony Hewitt Uses Multiple Images to Build Texture
13:04 33Peter Eastway Aerial Edit
09:33 34Tony Hewitt Aerial Edit
15:40 35Part 1
10:31 36Part 2
08:18 37Part 3
09:31 38Part 4
07:08 39Part 5
05:50 40Part 6
24:19 41Sharing Your Vision: Exhibitions
11:54 42The Artist's Statement
10:17 43Preparing Print Files
03:39 44Framing Options
05:50 45Exhibition Space
06:43 46Once the Exhibition Is Up
13:11 47Making a Photo Book
18:49 48The Art of the Print
16:51Lesson Info
Part 4
The Bay Bridge. Liberty That'd have to be, was it San Francisco Bay? Yeah, so this is just my perspective on vacation in San Francisco. It was sunset and it was starting to rain, so I just took it and was, like, boom. No editing, really. What is it about this picture that you would like people to sort of notice, first and foremost? I just like how I focused on, like, put the depth of the field in between the Bay Bridge and all the background, kind of thing, I think. That's what I think. It looks really cool. Yeah. Is that the bridge in the distance? Yeah. Behind the island there? Is that Monte Cristo? Yeah. So, that's one of the things I hadn't noticed until I started looking at that leading line. And you've lined that up really well. So we can actually see off behind Monte Cristo, and what I do like, as well, is that the background being out of focus means I don't stay there. It's a hint. It's a little bit of a here's a hint of what's off in the background, but...
you're telling me it's about where you're standing, not about where you're looking. So where are we looking subconsciously? So when we're looking at the photograph up the normal way, our brain is saying, "Ah, this is a plaque, it's some words, "and there's a background." When we look at it upside down we're just saying, "This is some light tones and some dark tones," and where do we want the eye to go? And I'm sort of thinking that you want the eye to look into here and understand that there is something there. Is that a reasonable assumption? Yeah. Okay, so maybe what we can just do is look at the shadows and lighten them up a little bit, so that we've got that detail in there, and then we've got the highlights in the background, maybe we need to just darken those down, and now I can see all of that beautiful softness that you've got with the blur. So it's a softer rendition, but I think we've got it all. What about cropping, Tony? Well, before we even get to cropping, you know what I'm starting to notice and like is the colors in that rock. And I'm looking at it and I'm starting to understand this is some sort of maybe monument, is it? Or something like that? Yeah, it is. Okay, so I'd love to see the pinks and the blues in this sort of marbling underneath this or where the sign is brought out, because that will hold my attention in the foreground more, and I'd almost do it selectively so it didn't put any cast over. Okay, let's do that. I'd pick yellows and pinks maybe, or we can select, if you go in and pick them, at the moment I don't mind the background, although I can see that we might put a little layer and darken down that top corner. I don't mind it if we can use another way to pull the attention to the foreground. And the other thing that will help hold our attention to this foreground is just, again, a little bit of contrast is gonna pull us in there. But if we go to color editor, and then maybe even zoom in so we can pick out those reds would be better. And then just maybe pick a couple of these colors which are hidden in there. It reminds me of a shot on a workshop last week where we went walking on the way down from a great view and it was just a piece of granite. And it looked just dull and gray. And I said to one of the students, "Let's just both take a picture "and when you get back I want you to open it up "in Capture One and go and have a look what's in there." And it's amazing the amount of color. And it just adds another level of interest. So you can, yeah, and there's blues in there and there's yellows and so on, so you could even handpick if you had to. Just do that and then turn the hue wheel around and you'll pick the colors you want. What do you want? We grab the hue and just rotate it. Here, grab the middle one. So, sometimes I would just grab that and go around and see what colors start to pop up and find the ones that I like. Okay, so. So, that's just giving me a bit more of a feeling about what's under my feet. What do we do with the background, Pete? Well. If anything. I still want to crop it, I'm sorry. I want to crop it. Can I crop it, Liberty, is that all right? Yeah, no problem. Yeah. Just a little bit. Does that help or hinder for you? Would you like all the foreground? I'm looking at your face trying to read what you're thinking. I mean, I don't want too much space there, but I don't want too little space. I agree. Have I gone too far? You can say yes. No, no. No? It's all right? I just think there's possibly a little bit too much of nothing happening there. Yeah. And I've got to walk a long way before I can get to the information. Yeah. And, also, if I look at the distance that we've got here, I've got more distance down there and sort of less distance happening up here. I think you're right. I think bring that up. I would just bring that up. And then, maybe, or, see, I'd be more critical, I suppose, if you bring it up to the top part of the line here where you're headed. It's not too bad. Is that a bit too squished? A bit too much coming off? So you can see that we can agonize over those decisions, and I know you'll agonize over them. The other thing I like the idea of, Peter, is in this sort of the engraving we could actually just poach the blacks a little and just give it a little bit more with the curve and just pull that up but I'd do it in a layer because I wouldn't want it to crunch up the background. See how it's doing that there? But I'd do it in a layer and just do it on the marble. But I'm not seeing arch, so there is crunching up a little bit in the middle ground there. In the middle and I don't want to do that. So we add in another adjustment layer. And brush over the top. Down to the bottom. You want the whole lot, as well? Yeah, because otherwise it will look inconsistent. It won't look natural. And we wouldn't want that, Tony. I wouldn't want that, Peter. (laughs) Okay, and you could soften that up a little. Oh, I was gonna harden it up. Oh that works. You actually can feel the-- Yeah. You like that? Mm-hmm, I like it. It gets thumbs up. She was like, yeah. (laughs) And I just want one other little thing. It's just a little bit on that corner. Yeah, that corner, that corner. Definitely. I'm just going to darken that down a little bit. What's the difference between bringing it down with exposure and bringing it down with brightness? Well, not much different. Brightness protects your highlights. See, that goes a little bit dull. Yeah. On the original file you won't have that problem. This is because we're starting with a jpeg, and I can't darken it without making it-- I like the brightness, because if you bring down the brightness I think it's actually protecting that little banded cloud, and as you bring it down, we're actually seeing the cloud, and the cloud is more central. Okay, I agree with that. I agree with that. And it's bringing back the balance.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Esther Beaton
Two Aussie blokes just having fun. Peter and Tone did us proud by representing the spirit of Australia, which is: don’t take anything too seriously. They hit off each other well, in fact, they are the best twosome I’ve ever seen on Creative Live, each giving the other respectful space yet not being shy about taking the micky out of the other guy when appropriate. The whole dialogue was spirited, informative, casual and fun. They also perfectly proved the symbiotic relationship between red wine and beautiful photography.
Swapnil Nevgi
Loved the positive energy of this class. Just finished watching it and I would definitely recommend it to someone who wants to take their landscape photography to the next level. This course is not about learning camera or software skills, but learning how to develop conceptualizing and composing skills. How an award winning creatives mind works is a lot more important than how to use camera. This is exactly what I was looking for and very happy with my purchase. Also it was good to see some of their raw vs post processed files to learn how far the professionals like Tony and Peter go with post processing (Something I have always been concerned about). Knowledge about exhibiting was also priceless. Thank you, I have learnt a lot in this class and I am sure it will reflect in my work in future.
Debra
This class is fabulous! One of the best on Creative Live. Peter and Tony share so much of themselves and their great art that you can't help but want to pick up your camera and get out to shoot. It was like watching two close friends. Thanks very much for a very enjoyable 2 days of learning and viewing.