Introduction to the Olympic National Forest
Welcome
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1. Shooting in the Sol Duc Valley
Introducing the Sol Duc Valley
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Defining the HIPS acronym for the shooting workflow
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Taking a serene water shot in a flowing creek
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Creating a more powerful foreground-to-background relationship
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Setting up the shot of the falls on the bridge
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Taking a shot of the falls from the center of the bridge
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Shooting the falls wide from a different perspective
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Using a long lens to try to get the look of a miniature ice village
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Isolating the mossy trees in a busy forest
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Compressing the depth of the forest to get the composition
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Getting a macro shot on the forest floor
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Wrapping up the Sol Duc Valley shoot location
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Post-processing on the water shot from the creek
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Applying a recipe to the post work on an image
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Reviewing other post-processing tips for the Sol Duc images
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2. Shooting Second Beach on the Olympic Peninsula
Shooting reflective pools with a foreground-and-background relationship in mind
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Shooting water channels in the foreground
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Working with S curves and triangles in the composition
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Using a neutral-density filter to get a silky ocean-wave image
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Shooting the sea stacks from within the water
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Blending two images to achieve the look
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Finalizing the post-process image blend
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3. Shooting in the Hoh Rain Forest
Introducing the Hoh Rain Forest location and shoot plan
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Isolating elements in the Hoh Rain Forest first shot
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Isolating a tree as a subject in the composition
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Shooting trees in the Hall of Mosses with a long lens
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Using the pathway as a leading line
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Using a long lens to isolate patterns in the moss
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Using a tilt-shift lens to correct distortion in the forest image
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Using the tilt-shift lens for a panorama
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Finding a shot of fall-foliage color in the Hoh Rain Forest
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Comparing shots with polarization
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Stitching the tilt-shift panorama
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4. Reviewing the Final Images
Final image review and selects from the shoot
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