good morning everyone and welcome to a
new special episode because today we've
got five mistakes every photographer
should avoid and we've been there we've
done that so we want to save you time
let's get started
alrighty guys welcome to a new episode
welcome to the set of our next Star Wars
movie with Jerome our Jokes Aside we've
been a photographer for years and we've
got some tips we want to share with you
because after all those years there's
things that we see that we make mistakes
with that we can improve but also we
hang out with like really good
photographers sometimes and we learn a
lot from that so we kind of want to pass
on that knowledge and if you don't know
us this is your home traveler traveler
photographer I've been everywhere around
the world almost he's counting the
countries it's getting there and I'm
Pierre TI Lambert travel Adventure
photographer and the creator of the
30-day Adventist great photos a
step-by-step method to taking a
photography to the next level no matter
what you gear no matter where you are
and it has worked for over 2500 students
around the world so check out the link
in the description if you want to join
the next session but Jerome are you
ready we have five mistakes plus a bonus
one so don't miss it let's start with
number five yeah and those are very
useful mistakes because we all went
through all those about one of the first
mistakes that I was doing when I was
starting is to always try to shoot at
the lowest aperture again you know we
have the tendency to tell ourselves like
we spent so much money on those lenses
and everything my lens can go to like 2.
f 2.8 or F 1.8 1.4 so I have to shoot
everything on 1.4 and don't get me wrong
like it's beautiful if you can do it but
in certain scenarios certain situations
and environments you have to
um not forget that some details are also
important in the foreground in the
background and you want to get certain
parts of the image in Focus so
especially when I'm out in nature that's
when I try to shoot as much as possible
at like f 5.6 F 7.1 or sometimes even
higher to maintain some of the details
that I need in my composition it's
something that's very common when we get
those we spend a lot of money on that
gear we kind of want to make use of it
which makes sense you know you're doing
maybe you're shooting at night then yes
you should add one four should add one
eight but over time I stopped shooting
everything at 50 millimeter F 1.2 now
I'm joking I was never doing that but a
little bit especially at the beginning
because it's so cool to see the bokeh
but then at one point you're like wait I
don't need bulking all my shots you know
like the story that I want to share and
show in my in my images is not always
about tiny tiny depth of field sometimes
you need more you sometimes you need
that background you know yeah and
sometimes you even need your subject to
be blurry you know and and the
background to be kind of in Focus so I
love that that thinking around how can I
shoot that f8 F6 you know and how can I
use those apertures yeah optimal exactly
your lens might be able to go to F 1.4
but it's not stuck at 1.4 it can go all
the way to F 22 F16 so might as well use
it to your advantage depending on the
situation yeah and it's really something
that is it's kind of photojournalistic
style also and they said we're not geode
they usually like encourage people to
shoot around f8 minimum or something
like that because then it's more
documentary looking I have a full video
for you on how to use those higher
apertures and when and in which
circumstances it will work so if you're
confused us how to shoot at F6 f8 like
how to really make the most of it you
can check out that video I think it's
very helpful but there is something else
I noticed okay which is kind of mistake
number two and it is not paying
attention to details I think being we
were at the Sony event with a lot of
profit offers and that's something I
noticed is that the attention to detail
is really high and reminded me when I
started to do portraits like all close
to 10 years ago now I'm getting old I
literally had my wife assist for me or
friend sometimes just to have someone
check the details let's say you had hair
in front of the face that I didn't
notice because I was too caught up in my
Aesthetics and I'm like oh I don't know
what I'm I'm doing you don't have to
direct people and pay attention to this
it tells it can be hard so it can be
this or you setting up the van in a way
to get a really cool shot or you're
setting up a table but then you didn't
realize that there was a stain or maybe
like a piece of pillow pointing I mean
there is like anything that can go in
your frame and you won't realize it
until later yeah and you want to avoid
Photoshop at all costs exactly so all
those details are very important because
sometimes you notice those details after
you've shot the photo and you cannot
take your eyes off that and it's almost
like the only thing that you're going to
see in the image like you're not going
to see the rest of the image but you're
only going to see like uh that bird that
flew into the frame or like there again
like you said like a piece of hair
that's like in your forehead or it just
takes away from like the whole picture
and your attention is focused on that
one little detail that you missed out
yeah and especially if you're printing
your photos which I've encourage you a
million times already if you print your
photo you see it through a different
angle and sometimes those mistakes come
up all like those details you missed and
that really hurts when you spend
hundreds on the photo and you're like
oops Yeah could be better yeah now if
you haven't noticed we're in an
absolutely epic location in Utah and
with that comes a very very big common
mistake which will be mistake number
three and it is looking in the wrong
direction John can you tell us more yeah
sometimes uh we go in a certain location
or we wake up early in the morning for
Sunrise and we tend to be focused on
that one thing that we came for for
example sunrise or if you travel to a
place and there's like a iconic landmark
or like a monument you tend to only look
at that one hero Monument or happening
like sunrise for example just because
you came there for that but we tend to
miss out on the other details
surrounding that so we had a situation
recently at Candle where one of our
friend photographer
um we all went on top of the mountain we
took the tram to get there early in the
morning for Sunrise and we're all taking
photos of the sunrise because it was
beautiful but our friend was in his
little corner with a 400 millimeter 2.8
lens and he was taking photos of the
chipmunk and I told myself how did you
see that everyone was focused on the
sunrise because we went on top of the
mountain for the sunrise and you're in
your corner taking photos of chipmunk
and your photo came out 10 times better
than the sunrise that we were there to
shoot and I was very impressed because
everyone was just focused on that but
then he just took a step back and he
focused on perhaps the other happenings
that happened during Sunrise maybe the
Chipmunks come out from their little
cave early in the morning too you said
they were flowers yeah he was literally
holding the flower like that and eating
the flour oh my God which was amazing
sometimes you need to take like one or
two step backs and look at what else is
there in your environment that you might
be missing out on because you're too
focused on your one hero subject
especially if you're trying to get
cinematic shots if you're trying to
paint a whole picture of a place you
need different angles you need different
things and yesterday at Sunrise we were
at the moonscape Overlook in Utah and
everyone's looking at the Sunrise and so
it's something what you're talking about
is something I've been practicing for
several years now and I went around and
looked and I found this Jeep Wrangler
with a couple and I was like wait the
reflection on the Jeep is really cool
can we play with something like that and
we had played with it I think at a
sunset at condo Emmett was taking some
portrait of a girl with the car and and
I was playing also with the light
reflecting and then I played with that
again at Sunrise and I talked to the
couple I had them walk and like be over
there and it just looked cool because
instead of having just the main shot now
I have small details that paint a full
picture for me and also usually those
details are like when you shoot through
a window and it's like the first the
foreground is completely blurry or your
subject is blurry but the background is
like in Focus
um I think those are super cinematic and
really really tell a nice story yeah for
sure we all have that one friend who you
tell yourself how the hell did you see
that he's like a genius of Photography
and and has like a vision that's like
two steps back from from you and that's
something that I'm also working on as
well like I'm just trying to like be
attention a little bit more to like the
other details surrounding uh the
location that I'm at yeah and it's
something that's hard but it's it takes
practice and it's possible it's
literally something that I always
mentioned it's like learning bad and
learning that Vision especially that's
what I'm talking about in the 30-day
course is that it's not about your gear
it's not about the technicalities of
shooting it's like how are you able to
like unlock that in your brain so that
you think about that so that you see it
Etc and everyone can do it it's just
literally comes through them like struck
following in some structure and practice
around it and and that then you have
like those shots where everyone's like
whoa how did you see this yeah we're all
in the same place and that's awesome I
love that but there's a caveat caveat
caveat caveat there's a caveat caviar
there's a caviar this is a caveat in
here which is actually trying to do too
much when you're shooting I think we're
guilty yeah definitely in certain
situations like sunrise for example you
tell yourself I only have like a few
minutes to capture the best light and so
you obviously want to shoot all the
angles because especially if you travel
to a certain location for Sunrise you
want to try to get as much as possible
but sometimes overdoing and trying to do
everything at the same time you end up
with 20 photos that are all just okay or
mediocre rather than you know focusing
and taking your time on maybe one or two
angles to get the perfect shot that
you're very happy with that you're going
to remember for the rest of your life
wait are you saying running around with
the 7200 the 1635 or 2470 for the for
the two minute sunrise window is not a
good idea I don't know if it's advisable
we've had so many sunrises here that
we're like a little bit deceiving
because they would start nice and then
layer of clouds so you had like three
minutes to get a shot and that's exactly
what would happen and I've noticed like
with landscape photographers are usually
or like the the like old school
landscape photographer I'll call them
sorry sorry if you like from that old
school board but
I'm saying old school because it's
almost like a film Vibe where people
really take their time before taking a
photo right it's like you want to get it
right and I've so I see my photographer
friends who are like that they will set
up the tripod have their shot ready and
when the sun comes boom they click it
versus I will be more someone who will
run around so it's something I'm trying
to practice to like slow a little bit
the good side is that I become better at
getting fast photos you know like and
like but at the same time it's like I'm
gonna run to that spot I'm like the
light is not right so let's remember
that spot and then come back to it and
so I'm gonna go a little further but
then I have to run back I mean how many
times have we been running on that trip
oh yeah every time sunset sunrise and
maybe like slowing down taking that one
Epic shot is is better yeah especially
if you're working with someone else as
well like for example you work with a
model you don't want to rush them
because that's gonna put pressure on
them and they might not get the right
angles especially if you're working with
someone else it's better to kind of like
slow down the pace to just try to focus
on the hero photos and the compositions
that you want rather than try to get
everything I'll add to that not
everyone's ready to run around like us
yeah so yes if you're working with other
people focus on on just one thing and
one thing on me so yeah that's pretty
good I like that one I like that one
okay what's our final one oh our final
advice we have a bonus one after I
forgot so the final point that you
should not make this mistake is to never
crop your photos now first of all this
sounds obvious to me but I need to
repeat it because a lot of people still
make the error is to not level Your
Horizon there's so many photos that I
see that it's just a little bit slightly
slanted and that's the only thing that
I've seen the photo
intentional unless it's intentional like
Eric garcules is a friend he's working
with angles like he goes Super Creative
on the Angles and I absolutely love when
he does but there was a product
presentation recently from Sony and I
was like I feel like your photos are a
little bit like crooked but it's not
intentional right uh I love you SUNY but
but like I don't know what photographer
was taking those shots but it was like
slightly funny yeah that's the only
thing that you see in the photo yeah
because it's I think the moment you have
doubt in your mind that it's not leveled
then it's like I don't know if you made
a mistake or if it was intentional right
but if it's like really obvious you made
it intentionally then that's that's
awesome you know I think that's like
super helpful and and you can create
something different with that yeah for
sure but going back to cropping yeah so
that was Point number one like obviously
level Your Horizon but also very
importantly remember to crop your photos
if you have too much information in your
frame that's one of the mistakes that I
was making when I started photography I
was shooting everything on super wide
angle because I was like the more the
merrier the more the better and the more
information you have the more the photo
is going to be impressive but that was a
mistake on my part to try to not crop
the photo uh because oftentimes when you
drop the photo and you get rid of some
of the information it leaves you with a
more compelling story like you have one
hero photo some surrounding elements in
your frame any composition that
complements the hero subject and that
gives information about the situation
and the story but then leaving out some
of the detail those on the outside of
the frame for example would actually
tell a better story the less information
equals more information yeah less is
more just like when you go to a
restaurant the menu with 10 pages to
choose from is so overwhelming so think
about it it's the same for your eyes
give them the one set menu that the
chefs make yeah with like three cores
and it's set and you can't choose
anything yeah I kind of like that one
like you know those restaurants that are
known for one dish yes and everyone goes
there for that one dish I feel like
photography is the same like you could
be an expert in like one specific field
or like even just put your focus even on
like momentarily moments like at Sunrise
just put your focus on that one shot
that you want and that shot is going to
be 10 times better and people are gonna
appreciate that photo better than if
you're trying to do everything but so
thank you Taco Bell is known for sushi
Haram
I'm done I'm retiring going to the bonus
round because I've got a Bonus one for
you guys it's gonna be simply shoot with
your edits in mind when you're gonna be
taking photos like really retouching how
do you want your final image to look
like all the photos that you've seen
that I've shared have been edited with
my presets and I kind of know that when
I'm gonna go in and shoot but beyond the
preset part where I'm gonna I know what
kind of Ambience I'm gonna tune in
there's also some shots where I want to
bring out the Shadows others I'm not
gonna bring them out and so I can
actually tweak that in camera right away
when we're at sunset for that epic shot
with the with the with the monolith
yesterday which you should definitely
watch the whole Adventure on that it was
crazy that was nuts um I knew I wanted
harsh Shadows on that one so I dialed in
the right settings for that and that
really really helps in my opinion save
time is the new edit but also really get
as close as possible to you you create a
vision in camera and I think that's we
should leave people yeah exactly I
personally shoot a lot of my content
just for Instagram and so my brain is
already configured to know that when I'm
going to shoot the photo I'm going to
crop it four by five dimension for
Instagram and if you ever shoot
editorial stuff with magazines they will
always tell you we need space at the top
or the left or the right to protect or
text box but quotes whatever you know
like life is beautiful or 30 days to
amazing photos big great photos but yes
but it could be amazing photos
or join now you know Link in the
description stuff like that but jokes
aside I I think it's it's important it's
easy to practice and it really makes a
difference in your work and as a
photographer maybe you want to go pro or
not but that will set you apart from a
lot of people in my opinion short stash
is good at that yes taking a photo and
then he knows that he's gonna put some
um fonts and some stuff inside his frame
all right that's cool yeah I like his
work too
ah all right I think you've got a lot to
work with here so I'll let you go
remember get out there go shoot try
something different try something new
join the next session of the 30 day
adventure to great photos Link in the
description and I'll see you in the next
one bye