Lessons
Bootcamp Introduction
06:35 2Storytelling with Stills and Motion Overview
14:35 3Elements of a Well-told Story
22:12 4Storytelling in Motion
34:19 5Choosing the Best Gear for Your Outdoor Project
16:24 6Gear for Drones
02:53 7Gear for Motion
05:23 8Inside Ian's Gear Bag
20:07General Advice for Preparation
14:19 10Virtual Scouting
03:54 11Weather
10:17 12Permits and Permission
03:09 13Model and Property Releases
04:43 14Health and Fitness
03:04 15Checklist
03:20 16Location Scouting Overview
15:18 17Location Scouting in the North Cascades
15:24 18Drone Introduction
14:59 19Drone Safety
03:26 20What Kind of Drone Should I Buy?
02:58 21FAA Part 107 Test: How to Prepare
06:18 22Telling a Story With a Drone
06:15 23Drone Camera, Lenses and Movements
04:34 24Selling Drone Footage
02:39 25Why Does a Photographer Need Motion?
10:59 26Establish the End User
06:35 27Identify Your Audience
03:12 28Build a Production Plan
05:28 29Create the Story Structure
04:26 30The Shooting Script
07:08 31Production Quality
08:37 32Composition for Stills
08:04 33Composition for Stills: Landscape
08:15 34Composition for Stills: Telephoto Lens
14:48 35Composition for Stills: Macro Lens
07:50 36Techniques for Capturing Motion in the Field
25:15 37Lenses and Filters for Outdoor Photography
26:20 38Capturing Landscapes - Part 1
28:12 39Capturing Landscapes - Part 2
23:36 40Capturing Movement in Stills
32:17 41Shooting Water, Sky and Panorama
29:40 42Understanding Stock
20:45 43Editorial vs Commerical
03:57 44Pricing Stock
05:40 45Producing Stock
14:49 46Shooting for Social Media vs Stock
11:37 47Choosing an Agency
08:58 48Assignments and Capturing Stock
13:49 49Stock Photography Market
05:28 50Create A Style Guide
05:30 51Stock Shoot Analysis
21:29 52Workflow for Selecting Final Stills
27:43 53Initial Editing in Adobe Bridge
21:02 54Reviewing and Selecting Motion Footage
11:02 55Keeping Track of Your Story Ideas
22:40 56Script and Story Structure Evolution
04:34 57Editing to the Content
05:00 58Music as a Character
05:41 59Business Diversification
07:07 60Business Strategy
04:57 61Pillars of Revenue
17:09 62Branding
06:36 63Partnerships and Brand Strategy
05:12 64Galleries and Fine Art
03:11 65Budgeting
05:21 66The Future of Photography
26:12 67Q&A And Critique
1:09:39Lesson Info
Gear for Motion
year includes things that mentioned like sleeping bags, diving if you're doing underwater lenses, rain jackets, the therm, arrests, filters, snow shoes, all that kind of fun stuff. One thing I want to mention, you know, an assignment versus personal work is the difference between risk and no, really, not a whole lot of risk. I don't care if I mess up. I'm on assignment. I'm being paid to go in. There is my reputation. They're expecting me to come back with something. You have to be as diligent and as methodical as possible. And I will say not gonna would. To this day, I have never come back without an assignment. I've always had 100% success rate, and my clients know that I always come back with a bank. I've never lost our footage and I'm superstitious, as you can tell. But you know, it's very important to do that. This is what the gear system sort of looks like. This is my pre planning phase. I'm a big advocate of laying everything out. You can see it all. You know what? You have ever...
y little wire. I'll lay out individually. The wires go through my checklist in my hand and make sure that I have all the pieces for motion. I've got this giant case I get all my tripods and light stands in. This is my underwater gear of maestros in my housing, you know? And the other thing is, always use the same cases for everything and everything has its place when it has its place. If something's missing, you know exactly what it is. If something is not in this hole here, I know that that's that stroke. If something's in, this backpack is not in the top left corner. I know exactly what lens it's gonna bay. Everything has a place, and that's because you have Eventually you may have so much stuff, you might even have that much. But if you need to figure out like, oh, do I have anything to do? A quick mental check If there is one of the, uh, spots empty, you know you've left something behind, so it's a good it's a good habit to have for sure. Um, and it's it's helped me pretty much for many years in the field. So, like I know this is audio. I know this is drone to I know that this is my, ah, my red camera and all the other peripheral elements for it. But here on the floor and making sure I have everything testing it, looking at the lenses. This is my field red case. So this is the big one when I bring, like, the kitchen sink. This is when I have very limited room and I'm going someplace. And you see the batteries, reflectors, etcetera. This is not part of it just keeps you cool. You have other cases and things everywhere. Not all of them going to the field with me. This is a pretty typical field set up for me. You'll notice else of a scale in there. And that's how I weigh my gear to figure out costs. Make sure my cases aren't going over certain amounts. And then, of course, for remote projects. A lot of times, the little they'll need to know your final weight before long before you ever set sail for the trip. So, uh, usually, how I did. Of course. I just hold the case, stand on it, and then subtract my weight. This is what I bring Typically camera, body sort of lenses My motion lens set is exclusively Zeiss. I've is ice compact primes. See twos have a 15 mil 25 and 85 1 35 It's a beautiful set of cinema lenses, honestly shoot huge difference. I've noticed I've been very, very happy with those lots of lithium ion batteries. Like I said, I can fill this whole bag pretty much with, Um, with exception of my hard drives. I should actually point out I have another case just like this. I do have a hard drive that goes in a large pelican as well, but that's like the 72 Terabyte Raid Array. And I'll bring one or two of those on a project if we're shooting motion because you might go through 150 terabytes 120 terabytes on a project, Um, fluid heads a glide rail. All that stuff audio stands for shock on all that will go in here for a field shoot. I might have an led light panel on reflectors. It really just depends on the situation. Matt box flags, rain cover, etcetera and on and, of course, mentioned the audio. So that's just a quick list of what I've got gear for motion. Ah, this is I'm not gonna get into this because this is a whole nother thing. But I just want to give you a little taste of sort of set up. This is our editor, Ian Malin. AC. Um, he's clearly not thrilled with me walking on the office taking photos. You'll see. I've got more cases over here. More stuff. It's all in this list that I showed you, but essentially, we've got, ah, client monitor so that we can get a sense of water. Stuff looks large because when you're shooting four K and six k, these smile smaller monitors are not great indications of sharpness, grain and other things that you might be looking for us to have a client monitor or a large review monitor. We have a box. It's a 40 core PC. 40 cores thing is a beast. This is basically almost the same system that's used to fly unmanned drone missions for the military. 40 cores liquid cooled. It's built using reinforced steel casings. Military grade 256 gigabytes of RAM with doing video M GP use, and then we have one more in video I think I am 5000 GPU, which is just for powering or two monitors in the TV large wakame, which isn't in the shot. These Air Duel four K's Bose audio system, which is really just for a view. We do all of our audio at a house right now at a mixed house and then lots of other various software, mostly working on Abbott. And you probably need the editor to depending, especially if you're working with this kind of stuff, so were able to process and edit in riel four K Ah, and higher with this system, that's important to us for quality and sharpness, especially when things are gonna get blown up gigantic. You don't need this, but I just wanted to get a sense of sort of what the situation looks like in general.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
monica4
Ian was an amazing instructor.; very fun, enthusiastic, encouraging, and comprehensive. I hope to be able to return as an audience member for another of his classes. It is a privilege and a gift to have access via Creative Live to such a wealth of expertise. Thank you!
Cindee Still
Ian Shive is a dynamic speaker with a wealth of knowledge he is willing to share. He has had a magical path that led to his success. He touches on so many aspects of making, selling and creating images as well as how to market them and make an income from your work. It is so much fun to be part of the studio audience. The Creative Live staff are always so warm and friendly and they feed you like your on a cruise ship! Wonderful experience.
Cindy
What a great class this has been. Thank you Ian Shive and Creative Live! Recently retired, I have set out to learn everything I can about photography and pursue this passion to capture the beauty in the outdoors. Creative Live has served as an amazing educational platform to help me learn everything from how to use my camera, the fundamental technicals, and learn about software and tools. This class brought it all together. At the end of this class my approach to photography and my images are different. Ian shares so much valuable knowledge that will change the way you go about taking a picture; from scouting a location, to thinking through the story and adding elements to an image to evoke an emotional response. My personal growth has been significant and I have changed to the way I approach creating an image from an Outdoor Landscape to an Outdoor Experience. Loved every minute of it, sad the class is over.