You Need This Photo Secret | Wendy Klein Reveals How to Capture Stunning Landscapes

I am so excited to introduce to you live and in studio in Vancouver, Wendy Klein from Brisbane, Australia. Wendy, it is so amazing to have you here. And you have become an international award-winning photographer. You're traveling all around the world. You're hosting workshops everywhere. And now we have you in the studio where we are going to be able to learn your secrets and get some gold nuggets from you. >> Yeah. Thank you, Tim. It's wonderful to be here and um hopefully I can share some of my secrets of how I do my long exposures and using my filters and also my forep system that you actually have taught. >> Well, let's start by just showing a couple of photos that you have taken. And what you specialize in is streaking the clouds and long exposure. So, taking water that's maybe got a rippled surface on it and smoothing it out with a long exposure like this one. If you look at the water, it's just absolutely dead calm. And then also streaking the clouds. If you look at this photo on my screen, you can see that you've got the clouds that are moving from the distant horizon towards the camera, which creates those leading lines that viewers just love. And finally, this third one of Aurora Borealis, which of course takes a long exposure. So the first question I have for you is regarding sunsets because it seems like all your sunsets are just like 10 out of 10 and whenever people go out looking for a sunset often we get clouds. So the first question is how do you know when you're going to be able to get a sunset on any given day? How do you know that okay this is the day I need to go to the photo location because there's going to be a sunset. >> Yeah. Well, I follow the cloud throughout the day and often sometimes, you know, it just disappears. But I then go to my apps and I have several apps that I check and um do you want me to name what? >> Yes. Yes, absolutely. >> I actually go to one called Y and that's worldwide and that will give you hour by hour and it'll also give you the percentage of the clouds. So, that's one I use. I use Windy as well. It also shows you where the cloud is and the area that you want to go to. So, that's another good app. And I also use Clear Outside and I use Acue. They're my main ones. And oh, there is another one called Alpen Glow, but it's not always accurate. It'll tell you whether it's going to be a good, fair, poor sunset or sunrise. >> So, what are you looking for in terms of the height of the cloud that would indicate whether or not there will be a sunset? >> So, I'm looking always for medium cloud and high cloud. So, and and roughly percentages sort of from 30 to 80% in that range. And if you know you're going to get that, you're going to get really good cloud and you're going to be guaranteed of a good lovely vivid sunset. >> So, if the apps are telling you that it's going to be low cloud that evening, is that an indication that there is most likely not going to be a sunset? >> Correct. Because the sun's blocked with the low cloud. >> Sun is blocked on the horizon. >> So, I just stay home. >> Yeah. And sometimes that's wise. Although there are those, you know, those times where >> there is those times. And often I will say I'm going for a sunrise in the morning because it's looking good and I'll get up a couple of times during the night and I'll check my apps and oh, it's changed. So stay in bed. So, if there is going to be a sunset, you've u let's say this photo that's on my screen here, this isn't necessarily a sunset photo, but we do have streaking clouds. >> So, can you tell us what is basically your method for streaking the clouds? How do you do it? I using ND filters and um so then you know I use a grad filter to start with and then I calculate from the grad filter whatever my shutter speed is showing me and then I know how long to set um the ND filter but then depending on the type of cloud that I get is whether I choose a six stop or a 10 stop. >> Right. So let's just hold right there. So we're talking about ND filters which is an abbreviation for a neutral density filter. Correct. And it's really just a dark piece of glass that goes over the lens of the camera. >> And you're kind of tricking the camera into thinking that it's darker than it actually is. Kind of like putting on sunglasses. >> Yes. Yes. That's right. >> And so when you trick the camera into thinking that it's darker than it really is, that means that you can have a very long shutter speed. >> Yes. >> So really the whole key to this is a long shutter speed. How how long of a shutter speed do you do you extend out to? >> My average is 3 minutes. Um, I sometimes do 5 minutes, but on an average it's 3 minutes. >> And so with 3 minutes, even if you with the naked eye, you're not really seeing that the clouds are moving, but in that time distance of 3 minutes, they're actually moving quite a bit. >> Yes. Yeah. And I will get to a location and I will just stare at the clouds. I'll put my hands up like this and just stare and just see. And people will say, "The clouds aren't moving." And they'll say, "What are you doing?" I said, "Yes, they are. they're moving. So, you know, and then I gauge by that. So, whether I have to go longer to actually capture the long exposure to get the streaky look, >> right? And there are times where it um the clouds are coming directly towards the camera. Yeah. >> And is that the look that you're often going for? >> That's the look I'm going for, but you don't always get it, of course. But, um I've been very lucky that a lot of times I do get that. But there's also two types of cloud that I look for and that's the cirrus cloud which is the light um sort of they're they're not fluffy that's the other ones that's the cumulus clouds but >> the um cirrus ones are sort of how can you explain they're light and they're thin whis that's the word I'm looking for whispy yeah yeah whereas the other cumulus clouds they they look more they're sort of like cotton wool sort of effect and They sort of look like a cauliflower. So, they're quite good, too. >> Right. So, this photo that's on my screen here is a great example of that. You have the perfect direction of the clouds. It's almost like those streaking clouds are pointing towards the location of the sunset and the tree, which is really the main subject in this photo. And is that something that just happened by chance or did you position yourself so that the clouds would be coming towards you? >> I position positioned myself. I can get right around that tree um to shoot from any direction that I like. But um it was because of the way the clouds were was why I positioned myself that way. >> So when you're in a place, you're in a location and let's just say the sun is setting just like in this photo we see on my screen right now. The sun is setting, the clouds are streaking, the you've got the color in the sky, there's no one else around. How does that make you feel? >> Oh, it makes me feel on cloud nine. Yeah, >> I think I've said this to you before. I do a little dance and I'm really happy and um I know I'm going to get the effect that I'm after. >> Does it do something for your for your soul? >> Oh, it does. It makes me want to get out there and just keep doing photos like that. But um yeah, >> so you got into photography late in life and you retired after a 46y year career in nursing. I have a photo on my screen here that I found. >> Oh my goodness. Where did you get that from? That's so Oh, that's so funny. >> Yeah, that was on your Facebook feed. >> Oh, you're full of surprises, Jim. So that must be you when you started your nursing career. >> Yeah. Me and my mom >> and your mom. >> My mom is the main picture. >> Okay. >> Yeah. >> And so you're on the left. >> On the left. >> And And when did you start your nursing career? >> Uh when I was 16, 17. >> When you're 16, 17. And you worked >> my age. >> So you worked as a nurse for 46 years. And it was right near the end of your nursing career that you picked up a camera for the first time. >> Correct. So, you haven't been doing this for your entire life? >> No. Since 2016 when I bought my first camera. >> 2016. You bought your first camera. And since then, you've gone on to win so many international awards for your landscape photos. You're hosting workshops all around the world. You're traveling practically more than full-time. How did you learn landscape photography so well and so fast? I guess um I started off with um having lessons with other professional photographers and um and then just got out there and practiced the whole time. Yeah. Challenged myself each time and yeah, I couldn't wait to get home from a nursing shift, dash into town and do a night shot. And even if I went back to the same location, it was just okay, what can I do better from the last one? What can I learn from the other one? What mistakes did I make? And um so I just put myself out there to practice as much as I could. >> Yeah. >> Okay. So here at Photography Academy, we teach a four-step system. And step one of that system is the research and the planning that goes into just taking one single photo. So how important is research and planning for you? >> Very important. Especially when I travel, um I need to research and find the best spots. I don't like going to a location and going in blindly, especially if I'm going for a sunrise. I like to sus out the area before I get there if that's possible. I know on this last trip just a few weeks ago, it wasn't possible, but um yes, I went in blindly, but normally I like to go and have a look at all the different locations and see exactly what I like and where I'm going to stand. >> Right. So you mentioned neutral density filters and that's the dark piece of glass that goes over the lens of the camera that gives you long exposure. And generally there are kind of two big categories of these filters. You can get them as square pieces of glass or round that screw on or or clasp onto the end with a magnet. Which type do you use? >> I've got both. Um I do prefer the square ones. Um, I just find the magnetic ones give a bit of big netting more so than my square ones, which don't seem to do that. Um, I guess it's probably because I've always started and we're creatures of habit. It's what you get used to. Um, the other thing with magnetic ones is that they don't come with a grad filter. And I know that's very debatable. You can do it in in post, but I'm very much get it right in camera and it saves a lot of work in post. Um, but now I have since Nissy Filters have now put out an adapter where you can put a grad filter on top of your magnetic filters. >> Nice. >> But the only disadvantage to that is you've already got the magnetic ones on. So you can't get your correct calculation because normally you put the grade on with the square filters and do your calculation from that so you know how long to expose for with your neutral density whereas with the magnetic ones it's a bit of guess work >> right so this is the one area you mentioned calculations and no one really wants to do any calculations they just like you know we all just want to be told what the answer is and what we should do but there is this one aspect of long exposure photography where You have to know how long should that shutter speed be to get a correctly exposed photo. And if there was one simple way to discover how long that shutter speed should be, where would be the what's the easiest tool to calculate? >> Okay, because I'm using Nissy filters, I use the Nissy filter app. So, it tells you, you just put in whatever your shutter speed is once you've put your grad filter on, and then that will tell you whether it's a 60-second, 120 second, or 180 second, however long. And then that's what you go by. You can just push the button or you can just set it in camera. Like my camera with the Z72 or the Zed8, I can go 30 seconds. I don't need remotes anymore because I can go 30 seconds, 60 seconds, 90 seconds, right up to 15 minutes in camera. >> Nice. >> 2C delay, no remotes anymore. So, um, that works perfectly for me. >> Nice. No remotes anymore. No. >> So, one less little piece of gear that you need to have. >> Yeah. >> Yeah. That's nice. So, what you're saying is you use the Nissi filters app, of which there are many different apps, but you use the Nissi filters app. You input the the level of darkness of your neutral density filter. So, like is it a six stop or is it a 10 stop? And then you input your aperture value. Yes. >> And then your ISO. >> No, you don't have to put your aperture. And you don't have to put your ISO. It's just based on your shutter speed. >> Just based on the shutter speed. So you tell it what you want and then it tells you what >> if I've correctly exposed and it's saying something like one/10enth of a second. I then put that into the Nissi app where it says shutter speed 1/10enth and it'll tell you exactly how long with a 10 stop or you choose whichever stop you're using and it'll tell you exactly how long you're going to go for. >> Okay. So you said something there that was really important. You said when I correctly expose. So in other words, you set up the camera so that without the filter, >> it will be a correctly exposed photo. >> To start with. >> Yes. >> And then it tells you what your >> what my Yeah. It'll tell me what my exposure is speed. Yep. And then I put the grad on and then I have to redo the calculations to get it spot on again. And then it's from when I put the grad on is what I calculate for when I put the six stop in or whether I put the 10 stop ND in. Right. So, you just came back from a trip in the Rockies. Yes. >> And after the Rockies, you were in Alaska, >> correct? >> Uh you are about to hop on a plane, I think, tomorrow. >> Tomorrow >> to go to Japan? >> Yeah. >> Yeah. So, um it was there kind of a point when you realized, hey, this could be a full-time career in my retirement after nursing. >> Yes. Well, I was doing um workshops before I retired, just on my days off, like short ones, three days, and um yeah, so then it just got busier and busier and I thought this is what I want to do. So, um I have never really missed nursing because it's just got so busy. My calendar for next year is completely full and I've also got bookings in now for 27. >> Amazing. Amazing. You've been a member of Photography Academy since the beginning, I think since 2018, 2019. Yeah. >> Now by teaching workshops and traveling all around the world and winning international photo contests. >> No, I never ever thought of that at all. I thought, you know, it's just something that I'm interested in and it just sort of snowballed and um yeah, and I love traveling and you know, photography is my life. It's my passion and that's what I want to do. So, making the most of it while I can. What would be your advice to someone who is kind of just starting out and they're just struggling and they're not happy with their photos? They all their photos just look amateur. They look like tourist snapshots and they look at your photos and they say, "Wow, I want to be able to take photos like that." What's your advice to that person? >> Um, it's just practice. Get out there and practice. And yeah, that's yeah, like I met up with a Vancouver photographer this morning and she said, "I just want to be like you when I retire." She says, "What can I do to do that?" You know, >> and what did you say? >> I said, "It's practice. Get out there and practice and challenge yourself each time." And you know, practice makes perfect. And so that's what you just got to do. >> Okay. Okay, so we have a question from Taran and he is asking, "Hi Wendy, I have a Nissi filter set with rectangular glass filters and a holder that fits my wide angle lens, which is a Sigma 14 to 24. Is there an adapter to then get the I just lost my scroll. Um, my my screen is not wide enough. I I >> adapted to then get the same set to fit on my Sony 24 to 240 lens, >> right? >> Or do I have to buy a new set, which is so expensive? I've looked online but can't quite figure out what I'm looking at the right thing. Yes, he can get an adapter to fit that lens. So, he's a 72 mm, so he would need to get a 72 mm adapter. >> Yeah. And the nice thing is that those adapters are very inexpensive. just just the adapters so that you can you can put the same glass on a different lens typically. >> And uh yes, Taran, so that should be um something you can do. And >> I don't know whether I should tell a secret, Taran, but Taran has booked a one-on-one with me in the Pharaoh Islands next year in August. So >> awesome. That's fantastic. >> Really looking forward to that. So >> yeah, looking forward to seeing his photos and and yours from that trip. The Pharaoh Islands are absolutely amazing. >> Yeah. I've never been there, but um anyway, it's quite >> a really nice comment that just came in here from Kathleen. Hi Wendy, we learned so much from you in Brisbane from Kathleen and Darcy and they must be joining us from their home in Alberta and I'm just looking to see. Yeah. Okay. So, Randy is asking if we can demonstrate this on camera. So, we won't be doing a live demonstration today, but in Photography Academy Prime, Chris Colocott and myself did extensive demonstrations on everything to do with neutral density filters, including just the the opaque ones and also the graduated neutral density filters and uh we went down to the water and smoothed out the water. So, take a look inside the classroom inside Photography Academy Prime and you will see all of of that content. Just on that note, Tim, there was also the master class we did together that's um got everything on me live doing and demonstrating how as well. So, that's an option for people. >> Absolutely. So, I'm going to ask uh Darren in the chat if you could drop in a link to Wendy's course. So, Wendy and I made a course on how to streak the clouds and it's Wendy Klein's I'm trying to remember the name of it master class on on cloud streaking. So Wendy has a master class and it's available on Photography Academy Prime's website. So Darren will drop a link to that course inside the chat. So this photo that's on my screen right now, we've got a boat in the water and I really like photos like this because they are just so still and calming and there's one clear main subject. The viewer never has to guess what they're supposed to look at. >> And tell us about this photo. Where is this? Uh this is on the Sunshine Coast about an hour and a half from my place and I had done um just down the road there was a dead tree and then I saw the color and I thought no I want to change location so I quickly went to this spot cuz I like to just don't stand in the one spot when I'm shooting. I like to get as many compositions as I can. Um so then you've got a variety of photos to be able to publish and um edit. So this one I saw this boat and I thought ah and the clouds were looking great. It's in the water and it's really a challenge to do a long exposure with a boat on the water. >> Absolutely. Cuz the boat gets blurry. >> The boat gets blurry and if you look really closely the boat is not quite tech sharp, but um for anyone just looking at it, it's it's okay. I have sold this and it hangs in a main entrance in an apartment building. Um, yeah. So, I went out to the water and stuck my tripod really hard into the sand so it doesn't move. And, um, yeah, so I waited for the water to settle and I'm thinking, hurry up and settle. The clouds are there. I want to capture the color. And, uh, so that was the end result. Yeah. >> Nice. Really beautiful. You know, you've been traveling non-stop and you're still going more and more and more. How do you have the energy? >> This is a question everyone says. They call me the Energizer Bunny. Um, yeah. I don't know. I I guess probably from my nursing years, it probably stems back from that, you know, night shift and then, you know, a few hours sleep and then you're back on an afternoon shift. And so, I just I guess I function on just a minimal amount of sleep. But, um, >> okay. Well, that that's a gift. I wish I had that gift. Um, I have another one I want to ask you about is this row of camels that are on a beach. Where is this? And obviously this is not a photo where you could have used long exposure because you have moving subjects that would have been streaking. >> Yeah, correct. This is in the state of New South Wales, which is the state below where I live in a place called Barubi Beach. And there's behind that is another place where there's a hole in the sandunes. They call it tin city, which is a fabulous place to go to as well. Um, they do came chem rides at sunset. So, I went down onto the beach and watched them. So, I sort of got myself into position and I was using a 24 to 120 lens to get this and I had to actually run ahead of them to try and get this shot and I could see the color in the sky. So, and this was the outcome which I was quite happy with. Um, >> yeah, it's a beautiful photo. Absolutely beautiful. And I wouldn't have known that this is Australia. You know, it has such an African look to it because of the camels. >> There is a place in Western Australia where they have the camel rides which is well known up near the Kimble in Broom. >> Right. >> Not is it Broom? I think it's Broom. And um yeah, so everyone sort of thinks it's from over there, but it's not. It's in New South Wales. >> Right. Now, this one here has a very Mediterranean look. It is also not the Mediterranean because we talked about this photo before. Tell us about this one and how you took it because look how smooth and non-extured the ocean water is. >> Yeah, this is in New South Wales in Sydney, one of the beaches in Sydney, Kuji Beach. And um it was a little bit overcast, but at sunrise a little bit, as you can see in the middle of the photo on the horizon, the sun come through. So I took the gamble to do a long exposure and that was the result of it. And there were no people that >> Well, there was, but um as one got out cuz there was people swimming, I um was lucky enough that no one else got in. >> Well, if you were doing a really long exposure like 2 minutes, it it almost doesn't even matter if someone walked through the frame. >> No. Exactly. Yeah. And that's what a lot of people get mixed up with. They say, "Ah, that person's walking." I said, "It doesn't matter. They're not going to show if they keep walking. They're not going to show in your long exposure." >> That's right. Unless they're holding a bright light in their hand. >> Yes. Correct. Then you'll get the bright red light all through the photo. >> Yeah. >> Yeah. >> Um here's another really beautiful one where we have very calm water with leading lines that are the reflections from these dead trees in the water and then we've got the streaking clouds, beautiful sunset colors. Where's this? >> This is um not far from my place. sits at a dam called Mugra Dam and it's full of dead trees and um yeah and I was just lucky enough to be there at sunset when um the clouds were looking good. I had planned it that way of course and um yeah and it just yeah that's the end result. So >> right so Diana is asking how do you get the foreground the right exposure and the sky is not blown out so the sky is not overexposed. So, do are you using graduated neutral density filters quite a lot? >> Yes, I am. Yeah, I always use a graduated whether it's a medium or a soft. If it's really really bright, I'll use the medium. >> Right. And for people who don't know what a graduated neutral density filter is, it is another piece of glass that goes over the lens of your camera where the bottom part of that piece of glass is basically clear. >> Correct. >> And then graduating up into getting darker and darker. So what the effect that has is that the ground or the foreground will not be darkened, but the sky will be darkened. >> Yes. Yes. Because you're bringing down the exposure on the bright sky. >> Yeah. >> Yeah. And that's why I like to use a grad filter. And you know, as I said before, a lot of people like to just do it in post and not use it, but I I'm one that's still a bit old school that likes to get it right in camera. >> Right. And uh Steph is asking, "Do you use a circular polarizing filter with your uh neutral density filters?" >> Uh this the answer to that is no because um you only use a polarizer really to cut the glare on water. And like for example, I was shooting with one of the Vancouver photographers last night and he said, "Should I take this off my camera?" I says, "What are you referring to?" He said, "My polarizer." I said, "You're using a polarizer and it's nighttime." And he said, "Yes." I said, "Let me ask you a question. Why haven't you got sunglasses on right now?" He says, "Oh, I get your point." >> Yeah. So no, my question is you don't need a circ Well, it's debatable. I don't use it because I'm using a neutral density and I'm using a grad filter. So I don't need a polarizer. And the thing is I find if you're using a polarizer, if you don't have that set correctly, then you put your neutral density and your grad filters on, you can't see anymore what your polarizer is doing. So then when you get your photos and you look at them on the computer, oh, you've got a big blue spot there because of your polarizer. That's so hard to fix. Nearly impossible to fix in post. So I don't use um when I'm shooting with a neutral density or a grad filter. I will use a polarizer on a waterfall. >> Yeah. To cut the glare, >> right? >> Yeah. But not when I'm taking my long exposure shots. You don't need it. >> Okay. Dave McCrady is asking, "Can you describe your editing process? What so basically what are the big broadstroke steps that you do? >> Uh I used to use Lightroom but now I'm using Photoshop and I use luminosity masks. So that works on your lights, your mediums, and your darks. So that's I'm a big fan of that now. And >> so you process the brightest part of the image separately than the darkest part of the image. >> Yes. and you're not getting the pixels or sometimes if you've got a really dark area by using luminosity masks that's getting rid of all that. It does it naturally. So I find it's just so much better. And um actually if you go onto my website and you go onto my blogs, you will actually see a section there on luminosity masks, you'll see a photo that I took in Japan a couple of years ago and it'll show the raw. And then before I really knew much about editing, um before I went into Photoshop, I then edited it and then I was told by another professional, take that photo down. It's absolutely horrible and I was a bit devastated because I thought, oh wow, I love this photo. But now when I look back, I can understand why. And then um since I've learned luminosity masks, I re-edited that using luminosity masks. and and go and have a look because you'll be blown away with what luminosity masks did from the raw that you see to the one that I've used the luminosity masks with. Um yeah, so that's what I use and then I just use um color balance and selective color. So I'm working on that all the time. And then the good thing with luminosity masks is that I can just sort of choose whichever area use Yeah. and go around and work on that particular area. I get asked to edit people's photos and they'll send me photos to CC privately. Um, and then when I use it, they said, "How did you get the shadows to look like there's no shadows and dark spots?" That's because I use the luminosity masks. But, um, for most people in Prime, it's probably a little bit advanced, but maybe down the track, you know, there might be a session on luminosity masks. Um, I'm sure maybe you use it. >> Sounds like a great session coming up with Tim Shields and Chris Colott. >> I think so. And um yeah, it's something that you it's not easy to learn. It took me a little while and then one day I just just dedicated myself. My husband was away for the day. Stayed in my PJs all day and think I'm going to master this. And um so I spent all day just practicing and going over and over until I mastered it and and it's been the best thing for my editing. But you know, everybody's different. Everyone edits differently. It's your own artwork. So >> yes, exactly. What is your website? My website's Wendy Klein_photography. No, Wendy's. Uh, that's Instagram. Sorry. Wendy Klein Photography. >> Wendy Klein Photography. Oh, dot photography. >> It's dot photography. >> Okay. I'm just typing that in right now. We'll see if I can type and uh talk at the same time. There we are. Wendy Klein.ph. And this is Wendy's website. It looks beautiful. So, if people want to get in touch with you, they can contact. >> My email address is on there, >> right? Okay. And yeah, I'm just seeing some absolutely beautiful photos that you've also written some blog posts here as well. >> If you scroll down, Tim, you'll see that one on Luminosity Mask. You might just like to briefly show them that one. >> And that's uh lowered down >> under the blogs. >> Oh, under the blogs. Okay. >> Yeah. >> Yeah. We've got such a beautiful photo. I have more that I want to talk to you about here, but um yeah, so people now know where to take a look and and we will find it there. But I want to keep going with some of these photos that we have selected already. This one here is just a beautiful one with where the streaking clouds absolutely make the photo. I'm not so sure that that tree on its own would be a really beautiful photo subject on its own without that amazing sunset and the streaking clouds. >> Yeah. Yeah. That's out west probably about 5 hours west of my place. It was on private property. Um I was teaching a it was really an astro workshop that I was teaching down the road from this property. Driving past I saw this we call it a bottle tree. Um bit similar to a boab tree but this is a bottle tree. And um so I went and asked the local owner on this property if I could come in and do a sunset and also we did astro above it. So she led us in to do that. And um I've been there a couple of times now and I've done workshops and um that was the sky we got at sunset. The only thing I wish that it was matching color on the left hand side there um where the blue sky is but it was still >> nothing you can do about that. >> There's nothing you can do about it and um yeah I was quite happy with that. >> Yeah. And I I love I love all these ones with the streaking clouds. Here's another one where it looks like these are deciduous trees in the winter time. So it looks like there are no leaves on them anymore. So on their own, I would never think that this is a beautiful photo subject. But with this sky, which isn't even really a sunset, and the streaking clouds all creating these leading lines that are basically pointing right down towards the tree line, it's incredible. >> Yeah. Well, this was taken on um Kangaroo Island, which is a fabulous island if you ever come to a uh Australia, Tim. Um, and Kangaroo Island got hit with huge fires caused by lightning and it nearly burnt out the whole island and they were the dead trees um from the fires. That's why they were black. They're not deciduous. And driving along and I saw the clouds and they were really nice and I saw these burnt trees and I thought, "Ah, stop the car. We have to get out. We have to take this photo." Not I very rarely do I do daytime shots, but this one just was waiting to to be taken and that was the end result. And um I think I posted it actually on Prime this morning as just a photo, but um yeah, that was about a 90 with a 16 stop. I used a 10 and a six stop to get that photo. >> What has photography done for your life personally? Would you have traveled as much as you do if it were not for landscape photography? Uh my husband and I had done a fair bit of traveling before I started into photography, but um of course now that's just escalated um big time and I'm traveling nearly all the time. Um it's really changed my life. It's just sort of photography is is my passion. It's my life. It's Yeah. So >> has it helped you find purpose in your life? Has it helped you stay fit? Uh well, I can't say fit anymore because since I've had my two knee replacements and one a couple of months back. Um I've put a fair bit of weight on. So before that, yes, I was quite fit and I used to hike a lot to get photos, but now that's not so easy to do. Um yeah, so I tend to find easier spots and and the thing is um even on my workshops, the clients are sort of my age or a bit older cuz they're retired people and they've got the money to pay for to go on workshops. And a lot of my clients just like to get out of the car, walk a little bit and shoot. They don't like to hike. >> And you offer one-on-one workshops? >> I offer one-on-one and then when I do group ones, it's usually to no more than three. >> Wow. Nice. Tell us about this one. This is uh a beach with some old dock peers coming up out of the sand. So simple. Such a nice minimalist photo. Yeah, this is in South Australia. Another great spot in Australia to photograph so many different spots there. This is at Mona Beach. And they're not actually um sticks. They're actually posts to stop vehicles. Any vehicle, doesn't matter whether it's four-wheel drive or all-wheel drive, whatever. Frontwheel drive, I think. Is that what you call it? um you can drive on this beach and they put these posts here so you can't go any further. So then when I saw these I thought ah this would make a great spot for a photo. >> Yes. >> So um simple but it worked. >> Yeah. Really beautiful. >> Yeah. >> Um there's another couple that I want to ask you about. So you've got one here in the Canadian Rocky Mountains and this is Lake. >> Yep. Really beautiful spot. Easy to get to. like a 2minut walk from the parking lot >> and you were there during the winter time to get this and you have a beautiful sunset >> sunrise >> sunrise >> sunrise >> which is even better because it usually means that there will be very few photographers >> exactly >> getting in the way. Only problem was when I was there that morning, there was a lot of skiers and um there was ski marks all over the ground and it took me a long time to get rid of them. But that was before AI came in. But now AI would do it very very quickly. Um so I just felt it needed cleaning up. So that's why I removed all the footprints. Yeah. But it ended up being a nice sunrise. I briefly called there just a couple of weeks ago, but it was during the day and there was seven or eight of us and a lot of the group, main group didn't particularly like Bow Lake. It was admittedly it was setting and snowy and gray and overcast and windy so they didn't see it. >> I find that Bo Lake is an underrated lake for landscape photography where everyone is gravitating towards morine and Lake Louise. Uh this lake gets forgotten a fair bit and if you just go down the lakeside of 3 400 meters from this little bridge. Yeah. There's a beautiful view of that mountain and you can get some amazing reflections. >> It is. Yeah. And one of our members on Prime, Taran, he got a beautiful photo there if I think he's posted it on Prime. So, uh look that up. And um he got a beautiful sunrise there and the mountain looks fabulous. >> Nice. Uh there's another one I want to ask you about and this it's this lake. Now this is in Australia and I think you have photographed this lake many many many many times. It's almost your flagship location. What is this lake called? >> This is called Yalong Dam. >> Okay. So it's a like a man-made lake because there's a dam. >> Yes. >> That must have killed some natural trees that were there and now these trees are under the water and they just look so interesting. >> Yeah. There's so many of them and it's beautiful of a morning and especially in the winter time you get the fog and the mist and everything coming up. Yeah. >> Yeah. Just a really beautiful spot. Now, this is one in the Canadian Rockies and it's that classic train shot, but you took it one step further than what everyone else does and you created a long exposure out of this this train photo which I think is absolutely brilliant. >> Yeah, it's one that I'm can't wait to put on my wall really. I've been saying it for a while. Um, we were there at sunrise. I've been to Mor um, Morance Curve now probably four or five times and each time I've been lucky enough to get the train. I got it a couple of weeks ago. We went twice and got the train both times and didn't get the sky like I got on this one, but um, yeah. No, it was really nice. And because I got the double decker on this with the color and that's what made the photo, it made it pop because of the green trees and >> Yeah. blended in so >> photo and it's just like you have photo after photo that we've scraped from your website and from your Facebook feed that are just such stunners, including these these rocks, these boulders that look like turtle eggs. >> Yeah, it's another favorite that I want to get printed. >> Yeah, it's it's really a beautiful one. Is this New Zealand? >> This is New Zealand, South Island. It's called Moroi Boulders and it's uh just north of Deneden and um it's a main place that most photographers go to when they go to New Zealand. >> Yeah, just a a beautiful one. And then now we've got the the classic American Southwest and it's Horseshoe Bend in Paige, Arizona. This is one of my favorite locations even though I've shot it so many times, but I just love going back there. It's just every time you go, you get something different. Yes. Yeah. Yeah. And I actually positioned myself. There was a lot of people there as you know. It's a very popular spot. And I made a dive for the corner when someone moved and different ones asked me, "Oh, can you move?" I said, "No, I'm sorry, but I'm here from Australia and I'm here after a particular shot and I just want the whole shot balanced." Another friend of mine, she went further up, but she didn't get the balance like I got. And >> it's gorgeous. And that's what makes this composition just so incredible. The balance and symmetry of this is just >> the color was only there for a short time. I did take a big gamble in doing a long exposure to get this because once I finished it, the color was gone. >> So, um, >> and that's something that people don't really uh consider when you're taking a long exposure or you're doing panorama photography. It's the amount of time that it takes to take the picture as the sun is setting in those final minutes. So, you've got to make sure that you're you're doing everything right. >> Yes. And I cannot afford to have noise reduction on my camera because if I'm doing a 3minut or a 5 minute exposure, I then got to wait another 3 or 5 minutes for the noise reduction. And people say, "Oh, but you have to have it." I said, "Well, it's never made much difference to my photo." And um and you know, I can lose the best shot of the day >> while you're waiting for the camera to process the photo process. And now there's so many things you can do in editing with noise reduction and that sort of thing that it doesn't really matter anyway. Yeah, exactly true. Uh, this photo that's on my screen now, you did not use long exposure for it. And, uh, I kind of enjoy seeing the texture of the water. Actually, it looks like it's maybe in the half second range. >> It is half a second shot. >> Yeah. And so, we see that texture that where the water is falling off the rocks there. It Do you have a favorite go-to uh, shutter speed when you're taking pictures of fastm moving water like this? >> It is a half second. >> Half second is your go-to. >> Yeah. And a lot of the photographers will go for the longer, the 10-second, the 30-second. I just find that the water ends up looking mushy. >> I did do a long exposure there, but I did prefer the half a second. Yeah. >> To get that sense of >> it made it look more natural than the long exposure. Um, and because I didn't have really cloud in the sky, that's why I chose to go the half second. >> Right. >> Yeah. Uh we've got another one now from Iceland. So this is an amazing photo. You've got the color in the sky. You've got streaking clouds. You've got that incredible set of mountains there. So tell us about this shot. >> This is Vestra Horn and it's probably one of my favorite places to shoot in Iceland. Um their little black sandjune. So I was actually standing on a higher sandune when I shot that photo and um could watch the sky. So, I sort of moved around a bit and um that was my end result and I took the gamble to do the long exposure to and it just sort of the whole photo just seemed to be in balance and um yeah, it's another favorite of mine. >> Yeah, really really beautiful. Uh I think we're just coming to the end here. I want to get to this one photo also from Iceland. And this is the black church. And you made the black church just so much more special because of these streaking clouds. And really, yeah, as I said in my intro today, you are known as the cloud whisperer. >> Well, actually, that was someone from Prime cuz I'm always known as the long exposure queen, but then I think it was Alicia that said, "Oh, you're the cloud whisperer." So, that's how that came about. Thanks, Alicia. >> Yeah, just a beautiful photo. I love the simplicity of this where there's one main subject. There's no clutter. There are no distractions in the background. We know what we're supposed to look at. It's clean. And you've really kind of brought order to the chaos with this composition. Just gorgeous. >> Yeah, it's nice. >> And here's another one. We are no longer in Iceland here. We're back to New Zealand. >> Yes. The Church of the Good Shepherd. Um you see many photos of this and I was looking for something different, which I try to do instead of copying other people. Um, so I just saw these clumps of grass and they seem silky and with a couple of rocks there. So I thought, oh, I'd get down low and I'd shoot the church looking up towards the church with these clumps of grass in the foreground. >> Beautiful. Absolutely beautiful. And we're back to New Zealand. And uh, this is uh, really a photographers's magnet, this location. It seems like anyone who is visiting New Zealand is going to go to this lake. And there was a rumor that the tree had been cut down, but it you're telling me it's not cut down? >> No, it was just the branch on the right. They completely which used to be the hero of that tree, the main subject. But um yeah, he was just sick of all the people coming. So he got a chainsaw and cut the branch off. But um yeah, this was only last year or maybe the year before now when I took that at sunrise and um I was standing out in the water a little bit. Um yeah, it was just a beautiful morning and yeah, it's the Wanukica tree which everyone goes to when they visit New Zealand. >> Yeah, gorgeous. >> But be prepared if you go that um you either wear gum boots because there's hundreds of people that turn up. >> You know, it it really occurs to me that landscape photography, not only has it become such a big part of your life, but it it has changed your life. For people who are not real enthusiasts of landscape photography, would you have any advice for them? like why should someone take on landscape photography? >> Oh, well, it just makes a big difference to your life, you know, and just being out in nature and enjoying it and living the moment. And then you've got the memories that you capture to look back onto. Like I had my um orthopedic surgeon say to me just recently, he said, "Wendy, what are you going to do with AI? It's getting better and better. You know, you're not going to have a business anymore." I said, "I'll always have a business because AI cannot replace what I take when I'm there in the moment." >> Yeah. >> Yeah. Well said. I like that. Um I'm looking at a marina shot and uh so many cities have marinas in them either on a lake or on a river or on the ocean in protected waters, which means that you get a minimum of waves, which also means that you get reflections. This photo here is made so special by these streaking clouds. And it's just like again and again I just see these photos that make me say, "Wow, these these are absolutely incredible because of the streaking clouds." >> Yep. Just gorgeous. >> That's that's only 20 minutes from my place and it's my last minute go-to if I get up and I look at my app and I look outside and oh, there's lots of clouds. I'll check the app, get in the car, grab my gear, go down. It's only 20 minutes. And um it was such a still morning that morning, so the boats weren't moving. The tide was high, so it was just >> beautiful. Now, this is our last photo. Uh looks like we're in Norway here. Uh Lefotan, and this is a lowresolution photo, and I apologize about some of your pictures being quite low resolution. We we did scrape them off your website, but this one is a stunner. How did you get these northern lights? >> Oh, we had a brilliant night that night. And um yeah, it was just last year and um the lights were just brilliant. Um yeah, so it wasn't that long. Um my northern lights, I think it was only about a 15-second, maybe 20 seconds. It wasn't long. Um yeah, and it was just brilliant. Just lit up the sky, reflecting in the water. Yeah. >> Okay. Uh, so we're getting one last request from Jim to repeat the names of the apps that you use to determine whether or not the clouds are going to be high and wispy or if they're going to be low and and dreadful. >> Yeah. Okay. One is a site called Y. The next one is clear outside. Other one is Acue weather and the other one is called Alpen Glow and Windy. Windy will show you the wind, the cloud and it's live as well. But um to look at the percentages for low, medium, and high, you will need to go to Y R or you can go to clear outside. They're not always 100% accurate, but it's a good indication. And anything from 30% to to up to 80% medium and high cloud is great. >> So we have a motto a slogan that we live by in photography academy and it is explore create inspire. And what it means is that when you take the time to go explore and then when you get there after your exploration you create your own fine art landscape photos you will inspire yourself and you will inspire others. And Wendy, I can tell you from the bottom of my heart, you inspire all of us to get out there and explore more and create more. And you are really the person that we all want to become. Someone who is passionate about landscape photography, who is creating jaw-dropping, breathtaking fine art landscape photos, and who is living the life that you've always wanted to live. >> Yes. Thank you. >> Freedom in every way. So, where can people find you if they want to get in touch and maybe talk about uh a workshop? >> Yes. Um you can contact me by email. Um I haven't got any um I think there's only Japan for next year left up there. Um but that's me doing it with someone else, but um I will be um working on my new ones for 27. Um which I'll be doing on my own. I now doing workshops on my own without doing someone else. And um yeah, or you can contact me through Facebook. I've got a Wendy Klein Photography Facebook page or Wendy Klein just my everyday >> your website Wendy Klein.phy is my website or Wendy Klein Photography on Facebook. I usually put my edited photos and I sometimes put some wildlife photos on there and then I'm also on Instagram. Wendy Klein.phography. >> Okay. Thank you so much for joining us inside Photography Academy Prime. >> Thanks Tim. It's been a privilege to be here. >> Bye-bye everybody.