Absolute Beginners Photography | Mathieu Decodts | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (1h 1m)
    • 1. Absolute Beginners Introduction and Story

    • 2. Drawing Circles to Learn Photography?

    • 3. PASM

    • 4. Shutter

    • 5. ISO Part 1

    • 6. ISO Part 2

    • 7. Aperture

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About This Class

Hi, I am Mathieu from Mathieu Decodts Photography. I am a professional portrait photographer and Photography Teacher. From no clue about photography to shooting in manual in one class.  This class assumes no prior knowledge of photography, I will take you from having no idea about anything photography related to understanding the exposure triangle and how shutter, aperture and ISO change the photos you take.  We will also look at common causes of problems and hints and tips on how to overcome them.

By the end of the class, you should be confident in using your camera, making mistakes, recognising them, correcting them and having fun!

Meet Your Teacher

Teacher Profile Image

Mathieu Decodts

Teaching Photography as an Art


Mathieu Decodts is a full-time professional photographer who lives outside Lisburn in the Northern Irish countryside. He has been an artist all his life, working with pencil, paint and clay. He now expresses his artistic ideas using light as his media, capturing it with his camera.


Mathieu has photographed everything from artistic conceptual shoots to full wedding spreads. He now specialises in portraits that convey the exact look, personality, image or brand you want to put across in your photos.


He is known for his hands-on teaching style and though his classes are challenging they are fun above all else.


20+ years creating art with photography,


Qualified Makeup artist


Visual Arts ... See full profile

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1. Absolute Beginners Introduction and Story: I folks, this is Matt. You hear from Machu? Two cops photography on This is absolute beginners class for photography. And when I say absolutely beginners. I have taught this class in person for a number of years, and I have had people turned up to the class and say, Hey, is this a good camera? And I say, Well, I don't know. You tell me and they said, Well, I don't know, I just bought it. I just bought this camera on the way to the class. I wanted to get into photography. I've never owned a camera. I bought it at the shop and I drove to your class. So first thing they say is well, we better get it on the charger because you won't be able to use it. And so we do that. It does not matter how you knew your if you're an absolute beginner, you have never studied photography before. You have never used a camera, for this is a class for you. I always have people come to my class and say, Oh, no, I think I'm in the wrong class. I don't think I'm good enough for this class, and I always tell him this is a beginner's photography class. This is for beginners. This is an intermediate. This isn't. I've been doing it a while and struggling. This is I have no clue what I'm doing. So if you have nuclear what you're doing and you want to get to the point where you can shoot in manual by the end of this class and understand a lot of the key concepts and photography and know how to work pretty much any camera, this is a class for you. If you are an intermediate person, you might have learned incorrectly in the beginning, you might have missed a bunch of core concepts of photography. So this class may be useful for you to specifically my class on aperture and in depth the fabled, but also on shoulder to on to some extent as well on I So so the whole exposure triangle, those air very relevant for you. And if those are things you've never quite understood, the class will be a really great way of getting at further and deeper knowledge of those things on being batter at your photography because you understand back. So I hope you enjoy the class. Thanks very much. 2. Drawing Circles to Learn Photography?: Hi, folks. It's patchy here from match com photography. And today it's very first lesson of the beginners photography class I for this lesson. I don't actually need a camera. This is something that I teach all of my classes. And it's actually far more important, really than nothing at all whatsoever. You can learn with your camera. So I need you to get a piece of paper on a pencil. Any pencil tall. Honestly, any pencil tall? I just want you to draw a circle. Yeah, right you need in the middle. That's it. So would you like to circle? Um, your knee And I want you how we think about your circle. Think. OK, is it? A good circle Could act on the better circle. Hyman circles that dunk. I'm when I'm doing this class. When I'm teaching it in person, I get people put their name in the middle so it helps me remember their names. But the mean part of the exercise is actually the circle. Andi people fall into two camps which are they have horrible petito circles where they have quite decent circles. The variety of circles is quite create. There are some that are very, very good, and there's some that are terrible on. I ask the people who have terrible circles. Do they want to borrow Pander Pencil from someone is a good circle, and everybody sort of looks at me and says, Well, no. Why would it make any difference what pencil used or what Pan used on? I bring in a bunch of cheetah bull pencils on ask. People use their own pens and pencils. I don't want them to the uniform. I want all the pens and pencils. Three Different on. The purpose of the exercise is to teach people that it doesn't really matter what pencils they use. When you're drawing a circle, The difference in the circles is there difference in skills and experience and drawing circles on? Guess what? Yes, this is a photography lesson because this is your camera. It is just a two for taking pictures. This is just a two for me marks on a peach, your ability to meet marks on a page. And if I draw a sphere like this, and if I do this and if I do a little bit of this all of sunny, it starts to gin like three D properties. And that's because I know that whenever you're drawing, if you do sheeting in light and dark in the way that you would with real things, they look more realistic. So that's just something I've learned from experience on. Photography is exactly the scene. The key part of this lesson is your camera doesn't really matter if you if you suck at drawing circles. Unfortunately, that's because you suck at drawing circles. It's not cause your pencil. It's not cause your paper. It's because you haven't got skills experienced in circles. I was very lucky to have an art teacher that can amedo studies group exercises and nearly as a punishment to draw lots of circles on. It wasn't actually a punishment. It was actually something that helped you get better and better. Your like your pan manship, your ability to hold and particularly use your wrist to make Carl's and stuff like that. So it's actually quite useful exercise. It's a lot like I, Mr Miyagi and teaches Donald's on how to do karate and have you sought an example before from the Karate Kid. He thinks he's washing cars and he thinks he's painting fences. But he's actually learning that kind of muscle memory and function off chronic. And this is kind of why I teach photography. So the first lesson is all about your brilliance. You have to try and let go. Your camera is good enough. If your camera is 5 10 years old, it's still good enough to learn photography. You can learn with a phone if you are able to change the settings on the phone on. The most important skills, you know, is basically practicing on being willing to learn. It doesn't actually matter what gear you have a tall whatsoever. So that's busy it for today. It seems like not on important lesson. But I have students who have come back to me after three or four years and said, You know, that first thing you told us has stuck with May, and I always pushes me to keep Tran and keep working. So that's everything for today. We're gonna do more lessons as we go. I'm gonna break up photography into little bits and will do practical exercises like this every time, and that will help you learn at your own. PS also learned just yourself by making mistakes and by practicing that's high. I teach. That's what I have kind of reputation for hounds on approach. It's because I get everybody to take pictures in my classes. I get them to make mistakes and I get them. Teoh practice lots and lots rather than just Do you know a lot of talking a picture this and shudder that. So if this is the kind of thing you like to try yourself, follow along on and share this with your friends as well if they're interested. Photography. This is an absolute beginners class. You need Aubrey in the will to learn on a camera pretty much of any description whatsoever . And you will be able to follow along the class. And that's kind of it. So to see in the next one. Thanks again. Bye. 3. PASM: I folks, it's matching here from Machuka Cuts Photography on This is lesson to in the beginners on Lange photography class. So today we're gonna talk about what sort of camera you need to be able to learn and photography on. It's not what you think. You don't need a new camera, you don't need an expensive camera, and it's actually mawr about control. So you need to look for this on your camera. This little thing that I'm 12 it is called sometimes a P A s, and we'll or a mode selection well on the latter stand for different things on a good indication of whether your camera is good enough to learn is have you used your camera in the past on set things Wrong on took bad pictures if you took terrible pictures with your camera and don't know what you've done, For example, you took really black picture like taking a really, really dark picture or you've taken a really, really bright picture of accident, Um, or basically just things that have worked out really badly in the past because you've selected something that means that it's actually really good camera. Learn with It's the cameras that have just got a shutter button and thes air called point and shoot cameras. And it's those buttons that just press a button, takes a picture. You can't mass up those with cameras that aren't good and for learning to do photography because I'm gonna teach you by picking each of different modes. And we're gonna learn about exposure triangle by making mistakes on learning how to prevent those mistakes or limit lose mistakes and future. So if she have a point and shoot camera that you press a button and it does everything for you, you can't actually really learn photography, asshole. It makes mistakes. Sometimes it gets it right most of time. But there's no way for you to learn the difference between the two. So we need some sort of camera that has a P A S M. Well, it doesn't have to be PSM Dustan for a program aperture, shutter and manual. It can be a phone that allows you to change it to manual and to change a shudder on to change an aperture and the change and I So those are the mean things we need to evil changes The shutter, the aperture in the eye. So on some cameras, it's M A s pay or P, s, a. M or all sorts of things that got with counting cameras. They take the S and replace it with a T and a small V. You basically are looking for a dial that allows you to change things. The other type of camera that you may have is a range finder style camera on that is were There is like a dial on the top, and it goes from, like one tan 510,200 like in big, big, big increments. That is the shutter control wheel on a range finder, and that's basically that's good. It means you can mess up, and it means you can learn. So if you've Annie, it's a toll or whatsoever about whether your camera is suitable. Give me a shape and I will let you know. But in the vast majority of cases, it will be fine. I have cameras here in my collection that are like tan, 15 20 years old, that are totally, totally fine to learn on. It is not about the each of the camera. Please don't go out and buy a new camera, learn with what you have. And if you discover that you've fallen in love with her photography, then maybe you can treat yourself with a new camera at the end. But you do not need a new camera, so use what you have in your host on. Get ready for the first lesson. We're gonna talk about shudder in the the first proper lesson. And so that's what we're gonna do next. So thanks for watching I catch you sing by. 4. Shutter: Hi, folks. It's much of here for much of the cost photography on today. For class three, we're going to start looking at the exposure tranquil. So exposure triangle. It is something that has talked about a lot of photography. You don't need to worry about it too much. By the end of this class, you will have a good idea what it is, even if you don't actually remember what it's called or what the things are. What you got to remember is it's three things you can change in your camera that allow you to take a proper exposure. Now I say proper like this because your camera will try and get like an average decent exposure. If you're comers on auto mode, it will get a pretty decent exposure. But you made a noticed that it gets things wrong. Sometimes, if you're taken pictures off, say, a black dog or a black path or you're taking pictures of a bride in a white dress at a wedding on, we're not gonna get into that ni. But when you learn how to work this stuff yourself, you will be able to fix those mistakes rather than letting your camera make those mistakes . So that's to do with the exposure triangle. But what you've got to remember for the very first lesson is that you can change these things. Thes points on the triangle. You can change different things on the other points of the triangle will change to compensate. So you don't need to worry too much about them yet. We're gonna break it up on do them one of the time. And today we're gonna do shutter, so you need to set your camera to shutter. Priority move. We talked about this before this P A S M. Well, if it is your phone on your able to change the shutter speed, it will be expressed as, like, a fraction like 1/51 over 201 over four thighs. And that one over thing is always pretty much the shelter space. So if you're able to change those things, you go to that mode on. We're going to basically take the time to make mistakes with this. So the first exercises, whatever camera or phone or thing you're using is if you're on shutter mood, I want you to find the part of your camera that you basically twist or change to change the shutter speed. And I want you to take a picture at the very, very one end bottom and let's say off your shutter speed and I want you to take one at the very top end night the top made before thighs and maybe eat flies and maybe 2000. And the bottom, maybe weird things like five or be. And but I want you to just have a go out those. Andi, I needed to go do that noise. So pause a video. Go do that. And I and then we'll talk about the results. And you have to do these exercises because I can teach you how to work camera on, tell you what works for my camera with me. But you need to learn with your camera. So you need to do the exercises. Otherwise you won't learn night. Go do those exercises and then come back. Okay, so hopefully opposed it. Come on, you're gonna There's no way. Learn this literally. These classes, you have to do stuff to get better. I can't just magically information in your head, so hopefully you got a really dark picture on may be a really bright picture, and you're like, Well, what is this teaching me? Well, this is teaching me that and your camera. You control the amount of light going into your camera by changing the shutter speed. That's what the exposure triangles all about. It's all to do with like a camera is a recorder for like photo graph. E literally means writing with light, so your camera is the pencil is the tool, but it's actually like that is like the medium you're using and for doing photography. So you will have a dark picture because you have made your camera go too quickly for the light in the room and you will have a bright picture because you've made your comical to slope. So what does that mean? Well, if I say you're shudder, goes quick or slow, the shutter is like an actual sugar, like the blinds on your window, and it opens to let light in and it closes again. So when it is going slowly, it opens and stays open for maybe, let's say two seconds and then closes. When it was going quickly, it opens and closes superfast. If it's one over 200. That means it opens and closes in 1 2/100 of a second if it's one of the four thighs and so quick that basically can't perceive it all with the and naked eye. So the shutter speed is a literal fraction off a second that it takes the shutter to open and close. So if it's 1/2 you should hear it. It will go click, click like that. If it's one over 400 it will go so fast it will just hear one click. If it's five seconds, it will go click. 12345 Click close again so you'll hear the shutter. You can actually hear it and see it. And if it's slow enough, when it gets so fast, did you can perceive that you won't you'll just hear one. So that's how the shutter works on. You're basically working it the kind of limitation Simply camera. You might have got okay and pictures, but a bit darker on a bet, braider or you may have got completely weight and completely black. That's pushing the limitations off your camera with the late in the room. So the next exercise is. I want you to try and take a picture off something that is moving night. Normally, if this is an in person class, I would have people point there comers at the windows of cars. But for the sick of this exercise, we will Rollerball and take pictures of it on. Guy will be able to show you can do this yourself at home, anything that can roll it all whatsoever. It does not matter if you have something that is moving consistently in your home like the and the bleeds of a fine is a really good example. And but if you rule something, you will get some very, very good interesting pictures. So what we're gonna do is we're going to set the cover speed. Teoh won over 200 we're gonna rule something in front of the camera and take a picture of it when it passes in front of the camera. So when you do this, you will get these kinds of results. It looks if you look at the photo, so go do this. You have to do these things. Remember, you got to do them. You're not gonna get better if you don't. This is how you understand on work learned toe work your camera. It's also how you spend time holding your camera and getting used to how you cover works where the buttons are, where the dude eyes that changes the stuff, how to turn on and off all that stuff. The more you use it, the better you'll get. So if you took your picture at one over 200 of second, your thing that you ruled will probably be very, very static and shot like this. So what does that mean? That means that in 1 2/100 of a second, it didn't move enough to be noticeable. If you ruled it slowly in one to hundreds of a second, it only moved maybe 10th of a millimeter, so you can't see that on the picture. So what can we do? And to try and understand shoulder better? So what about you rule the thing at the same speed? But this time I want you to take a picture at one over Tan's. That's 1/10 of a second Ni. When you look at the picture, what do you got on again? You got to go do this you're gonna learn and I should do so. Set up their 10th roll something in front of the camera. Take a picture. What have you got? Okay, so what did I get here? It is here. So at 1/10 of a second, it looks like it's a blurry mass. Oh, dear. I must have messed up my focusing. Well, actually, no. That's not messing up your foot. Busy? The object I am taking pictures off is traveling faster down the shutter can cook with. So the shutter count open and close quick enough to freeze it in 1/10 of a second. It has moved across the frame so it becomes a streak or the blur on. That's because it's moving faster than the shutter can phrase. This is something. This is what shutter is all about it. The longer the shutter is open, the more light comes in. If you think about it like a top or a faucet, and you turn that on the water comes site. If you turn it for half a second and close it again, you will get a little dribble of water in your cup if you turn it for five seconds. and close it again. You will fill up your cup, and that's the way the shutter works. The same the longer it's open, the more light comes in, but also the longer it's open, the more time is in your photo. So this is very hard for people to understand. But if you rule the bowl, if you roll a ball in front of the camera and it takes three seconds to go from this side to this side, if you set your camera to three seconds and take a picture on Rollerball, it will appear to be a ghostly image all the way across the frame, because it's captured all that motion. The three seconds Heilong it ticks. So the motion of the thing you're taking pictures off on the speed at which you set your camera with shutter speed. Those two things you can mess around with night, Why do you need to know us? Well, yes, that helps you get light into your camera, so if you're in a dark area, you can reduce your shutter speed, which means it opens and closes slower, and that will let more laden work in a bright area could increase it on that let last Laden , and I'm basically that is the light function of it, but also the time function of it. So you can take a picture of this little ball and you can rule it. And you can set your shutter speed to slow, which will make it look like it's moving super fast. So what's what want to do? You know, I want you to roll it really slowly across the frame. I don't want you to take a picture of it at, say, 345 seconds and see what you get, and it will look in the picture if you do it. The picture. If you look out at the ball or thing you're ruling looks amazingly fast, it's just whizzed by. You can do the opposite to you can take a car that's driving. You can take a bowl. You can take a bird. You can freeze things in the air, free things, emotions so you can rode the bull night. I'm trying to get a picture at, say, one over 400 of a second on. It will be perfectly, perfectly still like we did at the start of exercise, and you have this creative choice. You can freeze things, or you can include some motion in your photography on. People say, Well, Oh, no, no. Why would you do that? Well, have you ever seen an advert for a car in a magazine? If you have, they all show the carnation sharp. But in a blurry background on motion and maybe the wheels spinning, they want you to see the car. But they want that to look like it's emotion. So the carbonation sharps. You see it properly, but the background, maybe all blurry, and that's a technique. It's called panning, but that's a technique you can do with your shutter, and we'll talk about it another time. But basically the shutter gives you creative control over what's going on in front of your camera. You can make it look like it's going quicker. You can make it look like it's going slower. It's totally up ta. So this is the first lesson, and in the exposure triangle on this is basically shutter speed. You might want to watch the video again. If you didn't do the exercises first time around. That's OK, but go watch it again and do the exercises you will not learn unless you do stuff. You have to do stuff with your camera to learn. So go back. Maybe watch it twice. But do some of the exercise mass around? If something's not working the way expect have a look and and say maybe you're doing something wrong. If not, you can always give me a shaped. So have a go. Please have a go before you go on to the next lesson. Because all of the lessons are like this. The next thing we're going to talk about is I s O on. We're gonna mess around with that as well. And and it's something that you need to understand. I mess around with to do with the explosion. Strangle too. But basically, you know, it's the CME. Just get into the habit of doing the things Italian because every one of these videos is gonna have lots of exercises. And you will only learn as you do this stuff. You can take your time with a video. You can watch it, pause it for a while, Michael, bite for half an hour. If you want to come back the video track one day, give up. Try again another day. But you got to do this stuff. You cannot get better unless you do things. So thanks for watching. I'll catch it in the next video. 5. ISO Part 1: Hi, folks. It's much a here from march across. Photography on today is lesson for in the beginners online photography class. Today we're gonna talk. Bite I s O or S O don't panic. But what's called you could call it A s. A. And if you were kind of old skill, but we'll get into that anyway. So this is another part off this exposure triangle we were talking about before on the explosion triangle, if you remember, is a way of controlling and manipulating the light that was into your camera. Because photography is basically a bite writing with light by drawing with light. So you are controlling the light which controls your exposure or your picture, the brightness or darkness of your picture. Andi, that's basically what this is all about. So shudder opens and closes. That's more last light in pretty easy to understand. Slicker shoulder on a window. That's why I used as an example I s o a little bit more abstract. I So I s o doesn't matter what you called. It is basically begin or the volume on your camera. So when you turn your eyes so up very, very high, you're a so sorry folks going to say either or it doesn't matter what you call it and you increase the brightness of your exposure or your picture. You are not changing the mind of light coming into Newcomer. You're changing your camera's sensitivity. The light the way I like to explain to my classes is if you're listening to the radio or CD or an MP three or whatever, and you listen to music and you turn the volume time low. The song is still there. It's the same song. It's just you're listening, Teoh at a different level. When you turn it way up, it gets lighter and lighter and lighter. Andi, it's exactly the same song still, but you're listening to it at a lot. Allow, Like I s O. When you turn your volume up way too high, it starts to break up, and this is what we're gonna talk about today. So why is I so really important? And why is it very irrelevant? Well, the shutter on your camera that's in light, but it also gives you the ability to control the amount of time in your photos. So the amount of time in your photos is a creative choice. You can decide if you wanted to be two seconds, 1 5/100 of a second or whatever with I s. So there's not so much creative choice. You're just changing the amount of late night we can get into green on high green, affect your pictures and things like that. But generally that's a negative thing that people that are starting to fall file off. So look at this example. If you look at a picture taken at a very low y eso I look at a picture taken at a higher so you'll see they look pretty much the same toe I s o has changed. I'm basically compensated for the other changes in the picture. So at one shutter speed the eyes so sets itself auto eso someone to talk to I so sets itself on. Then whenever each into shutter which reduces amount of light coming in. Then it changes again. The compensates, the take pictures look very, very similar, high ever. This is what we have to talk about today because this is very important for being able to say the effective I. So we need to talk about high your camera is sort of filling your lanky. So your camera screen resolution on the back is no Besim as the resolution of pictures. It ticks. So for my example, I have Sony a seven. Or it takes 36 million megapixel pictures on simple terms. That means there are 36 million little tiny dots in your pictures. Okay, so it wants to have her to guess on the back of the screen High Manny. Tiny dots are on the back of the screen, since good sense. Good common sense would say, There's 36 million dots on the picture you take, so we will see that properly. That should be 36 million dots on the screen on the back. Mm. Unfortunately, even though it was can a £2000 professional camera sensor technology and the screen technology are not the scene. The sensor technology is 36 million megapixels. The back of screen is take your gases. I know you're probably all wrong. It's about one million MCA pixels. So what does that mean? That means when you take a picture and you look at it on the back of your screen, you're only seeing 1 36 and my kids off picture you're seeing an average an approximation. You're seeing its best attempt to show you because you can't see all the pixels. Why is this important? Well, if you have never taken about picture, don't worry. You can skip this, but if you have taken a picture on it looked OK on the back of the screen. And then when you got home or when you're trying to printed, it looked terrible. That's because the screen is not an accurate representation off your picture. You need to learn her resume in a night off your screen. So there's a little button on most commerce or a rocker in some cases, and it is normally denuded by a magnifying class with a plus on a another one with a minus nearby. Basically, that is to zoom in to your pictures on to zoom right of your pictures. Ni the picture Michelle before was the high and low wire, so look pretty similar. But if we look out at nine, oy on, we zoom in so organisms including, and when we zoom in, you can see well, it looks okay. Well, this is the low I assume picture. So let's look at the higher so picture. 00 wow. Look at this. So this section of the picture is all about colors and you can see that it's nice and clean on low I so on on high. So it is very different. The colors are changed. There is grown colors inside the color chart. The little color chart. There is mixed colors and sort of machinists and things like that on. Basically, as the I so gets more and more and more sensitive, it becomes less and less color accurate. It also removes a lot of detail in your photos as well. So look at that. So if we look at this feast here, you'll see at the low I s O. It's very kind of sharp and crisp. You can see the eyes and the mice and stuff. Then the high s so called son gets it. It's me. She So what I mean to me, she just you know, smooshy smeary. There looks doesn't look as good. It's not a sharp you're losing detail. So what about the dark? So we'll have a look at the dark part of the photo, And if you look at the dark part of what you'll see again, there's a lot of detail missing. You can Seymour in Hawaii, so then you can hire so so Oh, dear. Okay, right. Everybody understands so higher. So is behind Lo y eso is good. So Okay, that CPC Then let's just our eyes so super low all the time and forget about it. I know we come to God because exposure triangle is about the mind of light in your camera community coming and you can't always control the late the ambient light, the natural late, the sunlight. You can't control that, so sometimes you have to increase your eyes. So to be able, Teoh get a brighter picture. So this example will show this is like very little Why so old seem opportune shoulder settings on the eso and seemed light in the room and the isa was going up and down and you can see that the picture gets much brighter or much darker, depending on where the ice. So it's on. That is basically the function of the eye, so you may not have enough late in your room. You might be taking pictures at a concert Kids performance at Nativity Play on They have all the lights down low You can't say Hey, guys, can you all stop the play on? Basically, put the meat music often do a lot and let me concentrate and turn the lights up. So I want you to, like, basically, stop everything. Turn the lights up and let me take picture. You will ruin the ambiance of your saying you will ruin the performance or everybody else so you can't control the light and a lot of circumstances when you're doing anything in a church. Churches they're notoriously dark. It's just the way they're let. And so you have to conference it with your camera so you can't always use the lowest eso setting on. You have to work it what you're see if tolerances for I. So So that's what this lesson is really all about. To tell you what what it is, what it does, which we've done. So it just the sensitivity light and it's a science scything beast off a s. A. The old film speed. It's pretty much the same. It doubles so 100. The next stop is 200. The next is 400 nexus here 200. In the good old days, you could get, you know, Kodak 200 film. Andi, that was kind of what everybody got. That was 200 s. A That was the speed I s o off the film. Nine days. You don't need to change film. You can just change something on the back your screen. So this little on the Sony cameras, this little rocker thing, You just give this a twist and you press the button fry. So and then you twist this on. A lot of my students don't realize that that's not only goes left right up down like a deep heart, and it also twist so you twist not to change your eyes. So as you change your eyes so the GI goes up and down on their mind off noise and problems and mass happens. Camera manufacturers have been lying about cameras capability since they were invented. Your top I so on your camera is almost always universally terrible. This camera goes upto like ridiculous numbers on as you can see, it's diabolical. It's basically it was kind of ah, like arms released the common man factors have Will my come ghost I So 1200 of my common goes to 24th eyes on my govern goes to 50,000. Actually, it's just a function of mathematics. They're taking the data that comes out of the sensor on their kind of doubling that in effect, so any of them could just keep changing it and keep changing it to whatever they like. You can actually take a photo taking out a certain I so and you can boost it in post processing on a computer. So that's something you can do to but my arms. And this is because just, basically, camera manufactured have been land about the capability cameras because it can go to a certain level. Don't assume it is good. It might be terrible. 6. ISO Part 2: Okay, so we're gonna set something on the commerce so we can find out what are see if I as always . So I want you to set the camera to the ass for shutter mood that we used last time on. I want you to go into the eyes of settings and set the air so to auto. So this is different on different cameras, but generally and it's in a man, you or there's a button on the back of the common that says I s O on is a skill 102 104 108 100. And then the word auto, usually or a for auto. And what you said it, though that. And if you go to take a picture and I will show you and I so value and then if you change the shutter, you're reducing on increasing. They might have liked coming in on. That s so if it's set, the auto will compensate it. So I want you to set your shutter so the I So is that the lowest setting and take a picture and then I want you to go up in doubles. So 102 104 108 116 103 size and 200 so on and so on and so on. And I want you to look at those pictures this will take away while So I need you to take the CME picture of the CME. Subjects who don't leave your camera took a picture of something that's some detail in it, some color in it, because you're going to be looking at the detail and color off on your subject afterwards. So a person's fees and something static in the room that has text on it, that kind of thing, anything at all like that. But not just don't take pictures of playing wall or anything like that and something with some details, so you'll be able to tell what's going on. So take these pictures, do this exercise. You've got to do the exercises. This is your personal. See if eso or tolerance of I s o not mine. Mine is a certain level. It doesn't matter what mine is. I don't you know, do your pictures. You do your pictures. You need to work out what you're tolerance for. Aiso is so I want you to take those pictures. I don't want you look at them on the back of the screen. Oh, okay. So maybe they look very, very similar. They probably Do you remember what I just told you? Your camera is lying to you. The pictures of the T X are not the same as what it shows you on the back of the camera. So you need to zoom. You need to use your little zoom buttons for this little magnifying glass with the plus. You need to zoom in with it. So click, click, click, click, push, push, push. Sometimes it's a rocker. You rocket to t for tally to zoom in on W for white. A zoo might. But whatever we use human tonight you zoom, zoom, Zoom in until he comes. Zoom in anymore. No. I want you to look at something. So pick something in your picture that has some detailers and color. And look at the picture. The lowest eyes. So it might be 50. It might be 100 maybe 64. Maybe 200. It doesn't matter what it is at the lowest setting. It should look fine. I want you to work your way up the pictures until you find one. That looks terrible. So let's say, for example, I worked my way up to I So sex sizing 400 When I get the eyes with six eyes and 400 the thing I'm looking at I don't like get me personally. I don't like it. Okay, So 6400 is too high for me. So what is my see if I s So what is my tolerance? So my tolerance will be the one below that. So if it's sex sizing 400 my tolerance will be 3200. So if I look at the 3201 0 it looks okay. I'm happy enough for that. So all you got to do with this is you just remember that I shouldn't use I so I so I shouldn't use it. About 3200 Don't pick 3200. Your camera is different than mine. You are different than may your I sank to your vision. Everything is different. Everything about you, your personality, old lot. It's all different to me at your preference. It your tolerance for I So some cameras, like my camera, have quite nice green. And if it's something you know that I'm planning for I quite like the green and some of my food. So I will have a different tolerance than you for my private home. You know, pictures of my kids. My tolerance for I s O is different than when I'm doing professional work for professional work, for print magazines for and a website. Those have two different tolerances as well. So this is something you for your own personal use. You work that out, and then maybe when you start doing more things, you work out what it is for that too. So this is something you need to do. Go through half a look, See the pictures, look at different areas of the pictures. But zoom in you Masoum in night, this will work out your see if tolerance of I s o but also zooming in and out of pictures That actually helps. Dag knows an awful lot of problems with pictures. So if you have taken pictures in the past there blurry and you got home and discovered they were all blurry or you went away on holiday somewhere I have a student who went to the Grand Canyon on was really sad. When he got home, all the pictures were wrong because he had done something wrong with his camera. And he looked at the back of the screen while I was there, and I will look good. And when he got home, discovered there were terrible. And that was just because he was trusting his camera screen to represent his pictures properly. They don't do this comes Just don't do this, okay? I'm really sorry. It doesn't matter how much you spanned. There are comers at that. Are the 50,000 pines that number of maga pixel in the picture on the number of megapixels? Back screen don't match. Camera sensor technology has gone through the roof. Camera screen technology has no to give you an idea at tan ADP screen. What? You're probably watching the song. That's two million megapixels. That's camera technology from the nineties. And that's what we watch on TV. So you know it's fine. Try to understand the difference between the pictures you take on the back of the screen. So anyway, this is zooming in this rooming Incan diagnose blurry pictures out of focus pictures, all sorts. So if you're taking pictures on you really, really, really want good results, get in the habit of zooming in and double check and take a picture. Double check doesn't look okay. Does the feast of the person you're taking a picture of doesn't look okay? Whatever is important in that picture. Check that on C. Is it okay? It's a really good habit to get into. And not if you're just taken snaps. Don't worry too much, but if you're taken something really important, you're at a christening. Your out of wedding. You've got a one off chance to see. Cool picture. Take the picture. Double check. Wider. There. Don't leave. Double check. Whether there something's wrong, change it. That's basically all I ever teaches that you can change your shutter. You can change your eye so you can change your apertura. All these things you can change, they might make things worse. That might make things better. But if you don't have the ability to check on the back of the camera and then basically you won't know how you're affecting your photos on, you won't be able to learn. So I So it is the sensitivity of your camera to light. It is not increasing the amount of light coming into your camera. It is changing a camera sensitivity to light. It creates noise. Andi reduces detail on ruins, colors higher up it goes. So it is not really a good thing, unless that is what you want in your pictures, which is very rare. So it is something you have to tolerate it. Why can't you just set up the low setting? Because you can't always be in control of the mind of light in the room or in the police that you're taken photos, so it is a necessary evil. We haven't talked about order. Why so yet? So auto I eso is a safety net if you are changing the parts of the exposure triangle like the shutter on the aperture. If you're set to auto I. So the camera will see the increase or decrease in light, and it will adjust the eso basically to compensate, which is why those pictures of the start of the lesson look very similar on the back of the screen. They were equally bright because the camera had adjusted up are dying, so it's a safety net, which allow you to experiment. It also allies you to kind of see the impact off shutter or aperture. So I recommend using order wire. So when you're doing these lessons, So when you were doing the shoulder lesson last week, some of you may have been on all the way so and you won't have got very dark or very bright pictures. That's because the camera was fighting really hard to try and compensate for you pushing it too hard with the shutter. Next week, we're gonna talk about aperture, and we want to focus on just the impact of the aperture. We don't want to see the pictures getting really dark, which so we're gonna set it the other way. So so think about it like a safety net. But he also need to be aware of what your tolerance of it is. Some cameras, I set the maximum so you can say the camera goes to 64,000. But I only tolerate it. I s 0 800 some commerce that I use at a high level for your ice. So so you can go into Cameron said it the 800 then forget about it. It will vary between 108 100 automatically and it will never go above 800. So that's something you should look into. Two. It's different for different cameras. My cameras air really fancy. They don't do that stupid thing. Just one of those things. Some cameras allow you to set it. Some don't. So that's something to be aware of. So this is That s a lesson. Remember that you tolerated it. It doesn't really have a lot of creative control. Andi. No, you can't set a lost all the time, so you need to be aware of it. You need to understand and what's good about it, for you or bottle. Better for you, Andi. You need to be aware that it's not actually that important. If he had the choice off taking a picture out of christening of a newborn grandchild or child being christened or someone doing a Nativity play at Christmas. If you had a choice of taking that picture at the correct like see, if I so so say years is 800 you take the picture idiot 100 on. It's completely black. If you've the choice of that versus Taking a picture at 120th Eyes in, which is absolutely terrible on my camera. What would you do for me personally? The subject is Mawr important. So if you have only got a one off chance on, I know my CIF eso is 6400 I knew I have to go way above that and I knew it's going to be smooshy. At the end of the day, I'm capturing a special moment in time. I would much rather have it. They're not. So there's a whole you know, subjective emotions in this as well. So there's the technical aspect of having it. See if I saw. And then there's the emotional capturing a moment and all a lot on, if it is something very important, all that technical stuff goes out the window. I'll teach this constantly, and it's that your moments in time and what you point your camera arm or important in the technical aspect of photography. Unfortunately, you have to learn all the technical stuff just to be able get started, and then you can start to think about your own personal preferences. So we have learned about a so we have learned about what it does. It's part of the explosion triangle. It's something usually have to tolerate it, but it's also a flexible safety net and a lot of photography. So that's this lesson. I hope to join your next lesson, which is far more exciting. It's something I love to teach, which is aperture. It's also very abstract, and it's also very technical, and it's also very misunderstood in the photographic community. So I have some very clever ways of teaching it on. I hope you chain in for that Thanks. 7. Aperture: Hi, folks. It's much you hear from magic arts. Photography on this is less than five in beginners photography class. So we've talked about it. Shutter talk to fight. So what's next on explode? Strangle you remember it is aperture? Yes. So aperture. What is aperture? Oh, dear. So complicated. That's an absolute nightmare As an ex statistician. Yeah, I know. Miles boffin, hard core Miles Hoffman. Anyone else in the room love minds here. One in 100 of us. Anyway, I knew all this governs a boat and aperture. It's a lot of stuff to do with, you know, areas of circles and things like that. You don't need to know about any of that. All you got to do is remember that as the same as the rest exploded triangle. It is a way of controlling the mind of light that comes into your camera like the shutter which opens and closes. This is a physical thing that opens and closes so it gets bigger and smaller and it opens and closes on it. Let's inm or or last light. So, like the top that we used for the shutter. If you turn a top on and off that's like open, including the shutter. But you can vary the amount of flow in a tap, so if the top trickles, it lets in very little light. It's very little water if the top blast in full par. It is lots of water. It is lots of light, and that's pretty much the way the aperture works. It is, Ah, holding in the lands of your camera that you change the size off. So this is where it gets hard. It is expressed in F stops, and there's mathematical four million things like that to explain it, which you don't need to know. What you need to know is that when you change the f stops, you change the size of the hole. So the bigger the whole more like comes in great. That's pretty straightforward. Big hole, lots of light, little hole, very little light. That's kind of easy to understand. The problem is, it's named really stupidly, so it was named after the physics and miles that explains it on the AF stops. Unfortunately, the big holding, the big aperture has the small number. So in case the camera amusing right and I, the largest aperture setting. The biggest aperture setting is F one point it one point it means big and then the on the other end the scale Best lands goes to F sexting, so F sixteen's a bigger number surely gets bigger now F 16 as a tiny little hole so the numbers are back to for the good. News is, you don't need to remember that for your camera. You do need to remember that when you change it, it changes. They might of light that is captured by your camera. So the little hole let's in very let, like the big hole lets in lots. And that's basically you don't need to remember the F stops. It's great if you want to learn them. That's okay, but it's a loft. That's an awful lot to understand, I learned. You just need to know that you can change them up and down. It's like the shutter speed. You can go up like you can go F 1.84 f e it F 16 like that were dying the way so you can more like that more light end or that last night, and that's what we're gonna do. So we're going, Teoh, take a picture off something. We're gonna set our a sotto auto. We're going to set herself to a for aperture mood and will be a secret. Gonna point the camera at a subject and we're going to take a picture at the smallest number. So in this case, it would be one point Did free. It might be 3.5 and then work our way up the biggest number for me, it's F 16 for you might be F 36 at 42. So you go between those two numbers and take a picture each time you change the aperture. And then I want you to zoom in on the back of camera and have a look Nice. If the auto I so is doing its job, the picture she'll look about the same brightness. You might get a great picture at the bottom and the small numbers or a dark picture at the top. And that's because you're pushing your camera past the amount of available late in the air urine. So at the top ended at 42 you make it completely black picture and at the bottom, and you make it's lady bright picture, but other now, won't you look at the pictures? When you look at the pictures, you'll see they're pretty much the same. But you may notice something between the lowest pictures and eyes pictures that there might have stuff in your picture that is in focus changes. So this is the thing that's the hardest understand? Pretty much in all photography, Which is why hi state A tape measure to teach this yes common or garden tape measure. So aperture controls the might of light coming into the camera like the top and the bigger the smaller it is, the more last light comes in but also increases or decreases the depth off failed nine. This isn't like a faded, faded green Fila cars and tractors. This is, ah, reared abstract concept about the mind of focus that is in front of your camera. Depth of failed with this tape measure will show you. So if I focus on a particular point at this tape measure, you will see by looking closely out the tape measure that part of it is in focus. You can see the little notches for millimeters and inches and centimeters. You can see a lot at a specific point, but if you look at the rest of the picture, you'll see that they're soft and blurry. That is what's in focus. But is your depth of faded? If I look at this and it's two centimeters worth, that means I have two centimeters off that fulfilled. So if I change my aperture, so if I'm at one point yet and I change it to 5.6, there might adapt. The failed will change, so it will go What up or dying? Oh, the bigger number does not make the whole smaller, so it's probably last. That's what most of May students and classes, and I'm like a sign. Sensible? Yeah, that sounds pretty Senate. No, no, it's no opportunity. All sensible apertures ridiculous. So as the number gets bigger, the depth of failure gets bigger. So that is, the whole gets smaller. The might of adaptive Fay gets bigger, but the mind of light gets less. That's why this is so hard to understand. Don't worry about remembering this. Remember that if you change it and it gets worse changing the other way, you don't need to remember which F stops are But you don't need to remember what does mawr or last after feeding. You just need to remember that if you don't like what you're gotten, you can change the aperture and get something different. If it gets worse, you're doing it wrong. Do it the other way. You can only get it wrong once That's way I teach my students. If you're changing things on the aperture stabbing, you're changing the aperture opened. Are you making it bigger and smaller? You're making a depth of field greeter or shallower, and if you do it wrong, just change. Go the other way. If you're going to the left, go to the right. It's that simple. Don't need to remember all the other stuff. You can learn a lot and master that in the future. But to begin with, you just need to know that if something's wrong, change it. So this depth of failed you can very clearly see when I change the aperture. When I put it up, it made the hole in the front or kind of smaller made the depth of Phoebe creator, and you can see it on the tape measure. So instead of two men centimeters of focus. I have a lots more when I have lots more and focus or depth of failed. So, for example, if I was taking a picture off a family on, there were people in the back row on people in front row, if I had only got one row and focus, that's actually not a focusing problem. That's depth of field. The depth of field was too shallow to get both. Lots of people say I needed, like four or five feet. It's too shallow to get those people in focus so I could change my aperture. Make the number Beggar Goto Effie it from a 5.6 that will increase my death of faith and get more people in focus. So that's aperture ni. This is work. It's even mawr complicated. So Okay, I want to take pictures off things on. I want more depth of field. Yes, she can change your aperture. Hi. Ever when you change your aperture, you're doing what you are. Increase your aperture and you reduce the light So you're always in this balance off like Oh, I want more focus to get my family and focus. But then I'm going to reduce you might like coming into the camera and then my eye so or my shudder are going to change. Oh, no. What? Kennedy? Well, there's other ways of increasing focus in your picture. The way cameras work is if I focus at the top end of the tape measure with my aperture and everything in the camera staff Exactly the same. So the folks at the top end and I get, like, you know, a specific I mind to focus. You can see here a man if I focus. So I'm gonna change my focus. Point nine and my keys I have a manual lands which I twist and that moved the focus up on dine. So if I twisted, you can see the focus move up the t it manager. So we're out like two centimeters will go on up. You see the way it moves up, you can see the bit that sharp is moving up the tape measure on I when I'm further up. Team manager, where I was focusing originally is old blurry. You can't see anything there, but you can see stuff further up when I get up there. So when I was near the front. So when I was focused very close or it's focused out my minimum focus distance each camera on lands has a closest amount of focus. When I'm focused on that minimum point, I get, say, two centimeters of focus. But when I focus up further away, say I focus half a meter a meter away, should I get the same right to full? Chris seems sensible. Yes, so I should get two centimeters. No, no. Lots of boring physics and light properties of light type stuff on. In short, when you focus further away, you get more depth for feed. So the quick tip for this is if you want to take pictures and you need more depth of fade, you can move your subject further away. Or you could move yourself so you can step backwards. If you step backwards, you will increase your depth of failed. So if you're six feet away from a family and you can only get the front row win focus. If you take two or three steps back and take the picture, you'll get more depth of faith. That distance that you are from your subject on were you focus in terms of, if you're focused at your minimum versus right more towards the end, like further away, that has a much greater impact on your depth of fading Don the aperture. So I want you to try and remember that because a lot of people fall into this trap of buying things they don't need because they don't get a shallow enough depth of fig. Professional photos are seeing very shallow depth of field hand. Basically, you have the ability to get out your checkbook and spend lots of money or walk mawr closely to whatever it is that you're taking a picture of and that will reduce the depth of field that gives you that next blurry backgrounds. So aperture is complicated. It is something that you probably shouldn't try to remember. F stops. You can remember if you if you want just that, it changes the might of light coming into your camera, and it changes your depth of fainting. Andi, you can't get a Rome, and then you can change the settings on. It will either get worse or it will get better once you get used to it. You just know. So I know that a certain after field is good. And for certain things, Andi, that's something. Takes a lot of time to build up. In the meantime, you should just take pictures if you like what you got. Remember to zoom in on the back, cucumber to check. She like what you got? Great. If you didn't change something, so that is a picture. This is something We're gonna come back to you because it is very complicated. But I just wanted you to start off with this basically knowledge that it increases or decreases the light coming into the camera. So as you change the numbers that gets bigger or smaller on it also changes your deaths of fainting. And I'm not essentially the functions of aperture.