Photography Composition & Portrait Photography Masterclass - Learn To Master Your Photography | Mark Timberlake | Skillshare

Photography Composition & Portrait Photography Masterclass - Learn To Master Your Photography

Mark Timberlake

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84 Lessons (7h 17m)
    • 1. Introduction

      0:57
    • 2. Module 01 02 Is It Art

      7:31
    • 3. Module 01 03 A Brief History Of Photography

      5:56
    • 4. Module 01 04 The Great Debate

      9:25
    • 5. Module 01 05 Activities Module 1

      1:45
    • 6. Module 02 01 Introduction Module 2

      0:25
    • 7. Module 02 02 The Ordered Universe

      8:17
    • 8. Module 02 03 Beauty Detector

      4:14
    • 9. Module 02 04 Let There Be Light

      7:12
    • 10. Module 02 05 The Photographers Playground

      10:45
    • 11. Module 02 06 Activities Module 2

      1:23
    • 12. Module 03 01 Introduction Module 3

      0:24
    • 13. Module 03 02 Seeing The Light

      5:25
    • 14. Module 03 03 Hard Light

      8:51
    • 15. Module 03 04 Soft Light

      8:35
    • 16. Module 03 05 Colour Temperature

      2:44
    • 17. Module 03 06 Activities Module 3

      1:19
    • 18. Module 04 01 Introduction Module

      0:39
    • 19. Module 04 02 Working The Scene

      1:35
    • 20. Module 04 03 Moving Your Feet

      7:42
    • 21. Module 04 04 Moving Your Subject

      7:12
    • 22. Module 04 05 Move Your Light

      7:00
    • 23. Module 04 06 Activities Module

      1:02
    • 24. Module 05 01 Introduction Module

      0:29
    • 25. Module 05 02 Your Camera

      17:36
    • 26. Module 05 03 The Three Levers

      11:24
    • 27. Module 05 04 Iso

      5:21
    • 28. Module 05 05 The Shutter

      7:17
    • 29. Module 05 06 The Aperture

      12:31
    • 30. Module 05 07 Activities Module 5

      1:05
    • 31. Module 06 01 Introduction Module 6

      0:48
    • 32. Module 06 02 The Digital Darkroom

      10:16
    • 33. Module 06 03 Lightroom Edit

      9:58
    • 34. Module 06 04 Snapseed Edit

      6:59
    • 35. Module 06 05 Activities Module 6

      0:44
    • 36. Module 07 01 Introduction Module 7

      0:43
    • 37. Module 07 02 The Language Of Composition

      1:41
    • 38. Module 07 03 The Subject

      8:02
    • 39. Module 07 04 The Environment

      6:07
    • 40. Module 07 05 Leading The Eye

      4:13
    • 41. Module 07 06 Evoking Emotion

      5:00
    • 42. Module 07 07 Symmetry

      5:54
    • 43. Module 07 08 Activities Module 7

      0:44
    • 44. Module 08 01 Introduction Module 8

      0:43
    • 45. Module 08 02 The Rule Of Thirds

      8:48
    • 46. Module 08 03 Leading Lines

      6:50
    • 47. Module 08 04 The Highest Point Of Contrast

      13:25
    • 48. Module 08 05 Activities Module 8

      1:09
    • 49. Module 09 01 Introduction Module 9

      0:33
    • 50. Module 09 02 Adventures In Color

      5:45
    • 51. Module 09 03 Hue Saturation Luminosity

      3:08
    • 52. Module 09 04 The Color Wheel

      11:47
    • 53. Module 09 05 Working With Color

      10:16
    • 54. Module 09 06 Simple Color Edit

      9:25
    • 55. Module 09 07 Activities Module 9

      0:46
    • 56. Module 10 01 Introduction Module 10

      0:35
    • 57. Module 10 02 Why Black And White

      3:52
    • 58. Module 10 03 King Luminosity

      4:19
    • 59. Module 10 04 A Zone System

      4:38
    • 60. Module 10 05 Seeing In Black And White

      6:28
    • 61. Module 10 06 A Simple Black And White Edit

      6:31
    • 62. Module 10 07 Activies Module 10

      1:12
    • 63. Module 11 01 Introduction Module 11

      0:28
    • 64. Module 11 02 In The Frame

      14:09
    • 65. Module 11 03 Isolating The Subject

      8:19
    • 66. Module 11 04 Negative Space

      5:28
    • 67. Module 11 05 Framing Your Subject

      7:17
    • 68. Module 11 06 Activities Module 11

      0:51
    • 69. Module 12 01 Introduction Module 12

      0:26
    • 70. Module 12 02 Abstract Images

      5:54
    • 71. Module 12 03 Seeing Like An Architect

      5:29
    • 72. Module 12 04 Strong Visual Elements

      9:12
    • 73. Module 12 05 Activities Module 12

      0:44
    • 74. Module 13 01 Introduction Module 13

      0:26
    • 75. Module 13 02 The In Between Moments

      4:59
    • 76. Module 13 03 The Eyes

      7:46
    • 77. Module 13 04 Body Language And Gesture

      12:03
    • 78. Module 13 05 Activities Module 13

      0:45
    • 79. Module 14 01 Introduction Module 14

      0:21
    • 80. Module 14 02 Creating An Image

      6:40
    • 81. Module 14 03 Creating A Style

      7:44
    • 82. Module 14 04 Creating A Series

      2:11
    • 83. Module 14 05 Creating A Body Of Work

      3:11
    • 84. Module 14 06 Sharing Your Work

      5:35

About This Class

Do You Have A Love For Photography?*

Do you want to learn how to take beautiful, powerful and compelling images with any camera?

Are You A Beginner Photographer?

Are you a beginner photographer that wants to master the creative side of photography?

Do You Want To Learn How To Master The Visual Language And Take Images That Impress?

Have you ever wondered why some people seem gifted at photography?

Do You Want To Learn How To Take Beautiful Portraits?

Using any light or even in a studio setting?

Do You Want to Become Gifted At Photography?

Well you can do all of this and more with this Masterclass on Creative Photography.

The Hidden Photographer

Inside each of us is a hidden photographer, that wants to express themselves, that knows what is beautiful and what isn't, but wants to get out, to reveal themselves.

In this course, we will teach you how to discover that hidden photography genius locked up inside you...

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The Course Comes In A Modular Format And Will Cover:

Creative Photography Part 1 - A Brief History Of Photography

Photography is it art or science?

Is it both?

Is it truth or fiction?

Should images be edited at all or left in their purest form possible thus begging the question are we taking an image or creating an image?

Why are some images better than others?

What does photography mean to you?

Learn What Undermines And Influences Photography

This course examines the relationship between the photography community and the art community and the concepts of objective and subjective beauty within art.  Through learning these concepts you will be able to understand how to communicate better what it is you really wish to relay through your images so that it is more readily received by your viewers.

This course touches upon the elements of photography such as:

The Appeal To The Mind

Being The Mechanic

The Appeal To The Emotions

Observation Of Time

You will learn the interesting history of photography, how photography went from something enjoyed by the elite only, to something enjoyed by the masses.  You will also learn about the great debate, how the historical different schools of thought of ‘straight photography’ and ‘pictorialism’ has influenced how we view photography even to this day.

Subjects Covered

  • Is it Art?

  • The Brief History Of Photography

  • The Great Debate

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The Art Of Seeing - Creative Photography Composition Masterclass Part 2

Did you know that Photography has it own visual language?

And that if you understand this language you will be able to create your own powerful and compelling images?

Did you also know you have an inbuilt beauty detector within you to recognise what is beautiful?

Would like like to learn how to take what is already available within you and train yourself to see and take great images?

Learn The Laws And Crack The Code

It does not have to be a mystery as to why some people are better photographers than others.  The good photographers have learned the laws of composition which dictate what is considered a poor or great image.

This course aims to identify what these laws are in an ordered universe, such as laws of light and the impact they have when creating our images.

The course also aims to inspire you to appreciate the inbuilt beauty detector within yourself that intuitively knows what makes up good composition and knows what looks nice.  By moving this from a subconscious awareness to a conscious awareness you can train yourself to recognise and create great images.  

You will learn the stages of how a viewer consumes an image:

  • The Eyes

  • The Mind

  • The Heart

  • The Hands

You will also learn the three essential elements of an image:

  • Light

  • Subject

  • Background

Lectures included:

  • The Ordered Universe

  • Beauty Detector

  • Let There Be Light

  • The Photographer's Playground

  • Activities

--------------------------------

Seeing The Light - Creative Photography Composition Masterclass Part 3

Did you know that photography is all about being able to see the light?

Do you understand the different properties of hard light and soft light?

Did you know you can use these light sources to achieve very differing effects in your image?

Did you know that various lights actually have different colour temperatures which when used correctly can affect the mood of your image?

Learn To See The Light And To Embrace It

Seeing the light is the single most important skill a photographer can learn, it is the very foundation of photography.  

All good photographers have learned to be observers of light, they have learned to be light hunters.  If the light isn’t right a good photographer won’t even raise their camera.

In this course we will explore the properties and uses of both Hard Light and Soft Light.  We will, through diagrams and examples of images, examine how the light is falling on the subject and reflecting back into the camera.  

Light colour temperature will also be explained with a helpful diagram.

Lectures included:

  • Seeing The Light

  • Hard Light

  • Soft Light

  • Colour Temperature

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Controlling The Light - Creative Photography Composition Masterclass Part 4

Did you know that as a photographer you have the ability to control the light?

That by applying some simple techniques like moving your feet, moving your subject or moving your light, you can change your images in a dramatic way?

By working the scene you have a range of effects you can create in your images which range from dramatic and powerful to intimate and gentle?

Learn To Work The Scene To Become A Master Photographer

To become a master photographer you must learn to work the scene.

In this course you will learn how to move your feet.  

As a photographer you are the eyes for the viewer.  Wherever you move you are taking your viewer with you.  Your perspective becomes their perspective.

In this course we will examine the merits of the following perspectives with illustrative examples:

  • In front

  • Behind

  • From The side

  • Below Your Subject

  • Above Your Subject

  • Birds Eye View

  • The Ant View

  • Up Close

  • Macro View

  • Far Away

The second method of control is to move your subject.  This can range from literally moving the whole subject from one location to another, to getting the subject in the case of a person to move their head subtly or express emotion.

In this course we will examine the effects the following can have when moving our subjects:

  • Move Your Subject

  • Simple Background

  • Providing Context

  • Creating Disparity

  • Cropping Backgrounds

  • Subtle Movements

  • Displaying Emotions

  • Dramatic Movements

The last option is to move the light.  You will learn about the different effects achieved by the direction of where the light is coming from.  

We will go through helpful examples of light direction in the virtual studio to illustrate this.

Lectures included:

  • Working The Scene

  • Moving Your Feet

  • Moving Your Subject

  • Move Your Light

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Capturing The Light - Creative Photography Composition Masterclass Part 5

Did you know that a camera uses three main controls to capture light?

That each of these control levers will produce a different effect on your image?

Do you find it challenging to get the correct exposure every time?

Are you losing details in the blacks or blowing out the whites?

Do you know why sometimes a camera in auto mode will expose an image incorrectly?

Learn How To Take Control Of Capturing The Light

In this course you will learn about capturing your image using the three controls in camera which affects the capture of light, these are ISO, Shutter and Aperture.  

It might be tempting to put your camera in auto mode and shoot away, however for the best results and to master your photography, it is essential to understand how these controls work manually.

This course explains how these levers relate to each other and what affects each will have when capturing your image, ranging from shallow and deep depth of the field to slow and fast capture of action and low light capture capabilities.

You will learn about setting the correct exposure including the different units of measurements used within each control.

The course will also go through the different types of cameras that you can use for photography today ranging from the smartphone to a DSLR.

Lectures included:

  • Your Camera

  • The Three Levers

  • ISO

  • The Shutter

  • The Aperture

  • Activities

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Processing The Light - Creative Photography Composition Masterclass Part 6

Did you know that editing your own images will teach you how to improve your photography skills?

It is at the processing stage that you will learn where you are making mistakes and what to correct next time in camera?

Do you want to learn how to use editing to pull and push your images to achieve different effects?

Learn How To Edit Your Images For The Best Impact

Editing your images will become an essential part of your photography workflow.  It will be from this process that you will learn to become a better photographer as you will learn how to get in right in camera next time.

This course will go through some essential editing features:

  • White Balance

  • Cropping

  • Exposure

  • Contrast

  • Filters

This course also shares a simple effective editing workflow using the above features that you can follow to get you started.  

You will learn the differences between Raw and JPeg images which are the types of images produced by cameras.   

Lectures included:

  • The Digital Darkroom

  • Lightroom Edit

  • Snapseed Edit

  • Activities

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The Core Principles Of Composition - Creative Photography Composition Masterclass Part 7

Did you know that all around us are laws that guide and influence photographic composition?

That these laws, when applied to photography will enable you to take better images?

Do you know how to compose your image even before you put your camera up to your face?

Learn The Laws Of Composition To Intentionally Create Your Images

There are certain laws within the universe, of how composition works.

They act as building blocks for us when creating our images.  

By observing the compositional laws all around us, by educating ourselves about them, we will learn how to take images that work.

In this course you will learn the 3 basic laws of composition and how to master each one.  You will learn how the image must be composed with your eyes and mind before you even lift the camera up.  

With illustrative examples you will see the necessity of taking an image with intent, by establishing your subject first and then supporting it with other compositional principles.

The compositional principles discussed in this course acts as a foundation for the next module on the Rules Of Composition.

Lectures included:

  • The Language Of Composition

  • The Subject

  • The Environment

  • Leading The Eye

  • Evoking Emotion

  • Symmetry

  • Activities

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The Basic Rules Of Composition - Creative Photography Composition Masterclass Part 8

Did you know that our eyes are naturally drawn to the highest point of contrast?

That our eyes will follow leading lines in an image?

Do you know where to place your subject in an image to attract the eye of the viewer?

Learn The Rules To Compose Your Image

In this course you will learn about three basic rules of composition:

The Rules Of Thirds

Leading Lines

The Highest Point Of Contrast

With illustrative examples you will see these rules in action in varying environments.  

You will learn how to use the Rule of Thirds as a tool to guide you to where to place your subject in an image.  The course also examines an extension of this rule with the use of Rule of Fourths and Fifths.

Leading Lines takes your viewer on a journey through your image because our eyes naturally follow where lines leads.  You will learn from the use of this rule how you can create an optical illusion of depth or a sense of movement in an image.

The Highest Point Of Contrast is the single most powerful rule of composition.  Our eyes are drawn first and foremost to where light and dark are at the highest point of contrast to each other.  Once this compositional rule is learned it becomes easy to create compelling images because you will understand how to make your subject the highest point of contrast and thus draw the viewer’s eye to it.  

Lectures included:

  • The Rule Of Thirds

  • Leading Lines

  • The Highest Point Of Contrast

  • Activities

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Color Photography - Creative Photography Composition Masterclass Part 9

Do you know how to utilize primary and secondary colors in your photography to create interesting images?

Do you understand how hue, saturation and luminosity relates to each other and how they affect your images?

Or how much you can manipulate color at the editing stage?

Learn About The Fascinating World Of Color Photography

Color in photography can often be overlooked and not given the attention it deserves.

In this course you will first learn in easy to understand language the meaning and application of:

  • Hue

  • Saturation

  • Luminosity

  • Colour Wheels (Primary, Secondary & Tertiary)

This will lay the foundation for us to explore the fascinating world of working with colors.  You will learn to appreciate how color appears in both nature and manmade constructs.  

Using colorful illustrative examples you will learn how to incorporate more color into your photography.  You will learn amongst others things why certain colours work together, how color can communicate temperature and which colors are the strongest.

This course also goes through a simple color edit to show you how to manipulate color even further to achieve interesting and impactful images.  

Lectures included:

  • Adventures In Color

  • Hue Saturation Luminosity

  • The Color Wheel

  • Working With Color

  • Simple Color Edit

  • Activities

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Black And White Photography - Creative Photography Composition Masterclass Part 10

Would you like to learn a simple system to help you create exceptional black and white images?

By learning a simple zone system your photography will improve overnight.

Learn How Captivating Black & White Photography Can Be

The love affair with black and white photography runs deep in the photographic community.

In this course we will explore why black and white is so entrenched in the photography and art world psyche and the influence this has caused on photography.

This course will show you how to see in black and white.  

Using a simple Zone System you will learn the different tones within the black to white spectrum.  Using illustrative examples you will see which combination of tones gives the best black and white images and why.

As with color photography black and white can also be manipulated further at the processing stage.  This course includes a simple black and white edit process to illustrate what powerful results can be achieved at this last stage.

Lectures included:

  • Why Black & White

  • King Luminosity

  • A Zone System

  • Seeing In Black & White

  • A Simple Black & White Edit

  • Activities

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Controlling The Frame - Creative Photography Composition Masterclass Part 11

Did you know that everything within the frame can either add or subtract from your subject?

That an image can fail to make an impact when this principle is not understood and applied?

Learn How Take Control Of What Goes Into The Frame

Everything in the frame either adds and subtracts.

In this course you will learn what elements will support an image and what elements detract.  Using illustrative examples we will see this principle in action which will aid you to set your frame correctly when capturing your image.

Your photography will change dramatically when you learn to see everything beyond the subject.  When you learn to conscientiously pay attention to every element in the frame your photography will improve dramatically..  

This course will go through the all important element of isolating your subject.  It will also explore the powerful impact of using negative space in your images to convey a whole range of different messages.

Lectures included:

  • In The Frame

  • Isolating The Subject

  • Negative Space

  • Framing Your Subject

  • Activities

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Abstract And Geometric Composition - Creative Photography Composition Masterclass Part 12

Are you ready to step beyond the traditional photographic composition rules and techniques?

To try your hand at producing abstract images and those with geometrical design?

Do you want to greatly improve your compositional skills?

Learn How To Enjoy Creating Abstract And Geometrical Images

An abstract image is one where the identity of the subject is not necessarily obvious or recognizable and the pattern, shapes and colours of the object becomes the subject instead.  

In this course you will learn advanced compositional skills.  Using various illustrative examples of abstract images you will learn how to find and take great abstract images.  

You will learn how to start seeing like an architect which will greatly help your compositional skills.  The architect has learned to see in lines, space and shapes.  

By placing our own architect glasses on we can start observing geometrical designs all around us in buildings and in nature and learn to recognise good composition.  

When you learn to see beyond the subject into it’s design elements a whole new world of understanding composition starts to open up.

This course also covers how to utilize strong visual elements such as arrows, repeating patterns, reflection and shadows plus many more to create powerful images.

Lectures included:

  • Abstract Images

  • Seeing Like An Architect

  • Strong Visual Elements

  • Activities

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Creative Portraiture - Creative Photography Composition Masterclass Part 13

Learn How To Take Creative Portraiture

The best portraiture comes from capturing people when they are natural and not posing.

In this course you will learn how to take portraits which capture powerful moments.

The biggest battle in portrait photography is getting people to act naturally, this course will show you how to circumvent that..

You will learn to how to take images that captures the in-between moments, those precious moments, that most photographers miss.

You will learn the importance of the eyes in portraiture and how to use them to create deep interest in your images.

You will also learn about gesture and emotional body language and why capturing it is so important and will help you to create really powerful images.

Lectures included:

  • The In Between Moments

  • The Eyes

  • Body Language And Gesture

  • Activities

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Finding Your Identity As A Photographer - Creative Photography Composition Masterclass Part 14

Learn How To Find Your Own Identity As A Photographer

Figuring out who you are as a photographer can be a challenge.

Creating your own style can also be difficult.

This course guides you through that with some simple insights from an experienced commercial photographer.

You will learn how to think about creating an image.

You will learn how to think about developing your own style, creating a series and creating a portfolio.

You will also learn some simple tips on how to share your photography online.

Lectures included:

  • Creating An Image

  • Creating A Style

  • Creating A Series

  • Creating A Portfolio

  • Creating A Body Of Work

  • Sharing Your Work

So join us on the other side and learn how to take beautiful creative images and also learn the art of portrait photography...

Transcripts

1. Introduction: in this section. We're gonna look at creative photography. We will start with a brief history of photography. Then we're going to explore the art of seeing. We're gonna explore how you have a natural ability already to be a good photographer. We'll explore seeing the light, controlling the light, capturing the light and processing the life. We're also gonna explore the core principles of composition, the basic rules of composition. We're gonna look at color photography, black and white photography controlling the frame. We'll also look at abstract composition, a never gonna explore creative portraiture. And we're gonna look at finding yourself as a photographer figuring out your identity as photographer, so lots to go through. Let's go have a look at the course. 2. Module 01 02 Is It Art: what is up the definition of well, according to wiki eyes a diverse range of human activities in creating visual, auditory or performing artifacts, artworks expressing the offers, imaginative or technical skill intended to be appreciated for their beauty or emotional power. But when it comes down to it, there's an objective standard of beauty. And then there's a subjective interpretation off beauty. So when we talk about, uh, we have to look at it both objectively, is it are in the broader sense and subjectively do we appreciate it as our order over? People appreciate that as art. So when we think about objective beauty, that is those things which are beautiful and obviously beautiful, and we all respond to them. But then we can have a subjective interpretation of what we think is beauty on. One person will look at one thing and think isn't beautiful, and another person will look at it and think it is beautiful and there's a subjective interpretation, so have to understand there's a difference between objective beauty and subjective interpretation of beauty on what we're going to try. Follow as much as possible in this course is the objective beauty inherent in good art are used to be defined by creating that which is beautiful. But in post modern times, the term has changed so that it now represents an interpretation of what is is very subjective. So we're gonna take the position in this course off the objectivity we mentioned earlier. But we have to be aware of this objective aspect. We have to be aware that people want to interpret our according to their own standards. But I make it very difficult then to create good photography because everyone standard is different. So what we need to do is we need to focus, as I said before on the objective standard. Now, one of the things we have to understand is that whenever we create image, we are first of all appealing to the mind of the viewer. So we're trying to create an intellectual engagement with them. This is where the language of composition comes in because people have a built in recognition of what good composition is, and yet they will not be able to articulate that subconscious awareness of what could composition is. So what we want to do is want appeal to their mind. We want to appeal today in a ability to see good composition we can get them engaged in. That image is, even if they don't understand what exactly is we're doing. They can't articulate it. But essentially, deep down, they'll be able to recognize intellectually that we've created a good composition on a beautiful image. A little note here. This course is no back crying. Perfect images, perfectly technically correct images. This course is about creating interesting, well composed images. The appeals to people. It's a bit like the difference between a mechanic look in a car and a two year old looking a car. So we're going back to this idea off. There is an inherent ability within each of us to recognize beauty to recognize good composition. You see, when the mechanic looks at the car is completely different. When the child looks a car, the child can recognize car can see car can identify car but cannot articulate car in the sense of describing what, exactly, is and how it works. Mechanically, they cannot grasp the engineering inherent in the car. Only the mechanic or the engine eq and do that. But if we take that child and teach them the mechanics of the car. The concept of car will become much deeper. A much richer, much more complex on What we're gonna do in this course is we're gonna help you unlock your in bill awareness of composition you're gonna develop from a toddler in tow. A mechanic in terms of photographic composition. We're gonna help you unlock the inbuilt knowledge you already have in you. And we're gonna help you to articulate their toe, understand that toe break that down into its logical components. So in the beginning, all you'll see his car. But by the end of it, you'll be able to see how the car is engineered. Now, one of the things we need to understand is when we create an image, we are also appealing to the emotions. This is a fundamental aspect of our of the objective standard of our If you can communicate and you can discover emotional capture that and put that in an image in a way that you can internally identify with and then communicate that for using visual language, compositional language. Then you have created an image that people will respond to. Tapping into the emotion is key when creating images that we can actually call artistic No . One of the other elements of photography is the observation of time. One of the most important things to understand about our is that our happens in time is influenced by time records. A moment in time. You are essentially freezing time for that moment on recording that moment. Think about your childhood and all the memories you have lost, and you have to concentrate on them to remember them. If you've got photo album and you look at that photo about all of sudden those memories, they're going to be triggered back. And you can actually jog other people's memories with your images because they have got something stored away tucked away the help them relate to the image that you're sharing on . When you create that image, are they gonna relate? And remember, the experience Doesn't matter. Is 10 20 years ago or yesterday. They were relate to the image because there is something in them, a memory, oftentimes that will link to the image, and now we created a connection. So photography is a time traveling device for both the photographer on the viewer 3. Module 01 03 A Brief History Of Photography: So let's have a look at the brief history of photography in 18 37. Louise Dig. Yeah, I hope I'm pronouncing that right creates the daguerreotype. The French government awards him a state pension so that he can share his discovery. So this became one of the first reliable public processing methods that the public and access This is really the birth off. Photography. Andi processing off photography. And then we skip forward till 18 61. And then James Clerk Maxwell demonstrates a color photography system that people can use now. Louis Daguerre He produced a black and white system. So in 18 61 we get this color photography system the first usable color photography system . In 18 88 the first Kodak camera is produced, and Kodak is a company that wants to take photography into the mainstream. 1900. The Kodak Brownie box camera is made available to the public, and this caused quite a reaction because before the Kodak Brownie camera, you have to be quite rich to actually get involved in photography. The equipment that chemicals that time. This wasn't something for the working class. This was something for those that have the time and the luxury to be able to go out there and create images with Kodak Brownie box camera in 1900 comes along and all of a sudden the general public have a camera they can afford, and now they can start taking photos on what that meant was all of a sudden, photography became something that was available to the masses on knows. Entrenched in the traditional view of photography. They look down on this as spoiling photography for the elite, the great unwashed masses when now getting involved in photography. In 1907 we see, the Lumiere brothers produced the first commercial color film, the Auto Chrome Plate and 1924 life markets, the first Fe five millimeter high quality camera called a Laker. And that's still going to this day. But it's a very interesting standard because of 35 millimeter is in reference to the size off the film. The Lights introduces this camera with this fact five millimeter format, which is still used today whenever someone says it's a full frame camera. If you hear that time about DSLR, I'll say it's a full frame camera. It's 35 millimeter equivalent, so It's 1924 when that standard was brought out on set on that has been pretty much carried fruit all the way to our present time. And they're still being used today in 1931 Harold Egg attend developed strobe photography at M I t. So this is flash photography where you fire a bright burst of light and it freezes motion and you can capture that with your camera. In 1936 you get the development of Kodachrome, the first color multilayered film. We've got a 49 year gap here on. Then Minolta sells the first SLR camera, which stands a single lens reflex. 1990. A dope photo shop is released. So for those of you that are lovers of photo shop, look no here. That was 1990 that that came out on that revolutionized photography and how people edited images. And in 1991 Kodak released the first digital SLR, the first single lens reflex camera that didn't need film. But it was actually a modified film camera on Nick on F free so you could see Kodak is still involved. And in 1999 the Niccum d one, the first true DSLR camera is released from a mere sum of $6000. Fortunately, the prices of cameras have come down quite significantly, as well as improving on that first camera in 2007. The first iPhone is released on January Knife, and the iPhone wasn't necessarily the first to have a camera, but then the first started marketing their cameras. Well, the 1st 1 to actually start putting out there that you have a camera in your pocket and that create the same revolution that we were talking about with the Kodak Brownie camera. And since EB photography has become the largest hobby in the world, everyone has a camera on them, whether it's an iPhone or smart phone. Nearly everybody and anybody can access photography, and you can even edit images on your phone. So we've come a long way from Digger and his chemicals and expensive equipment. Nowadays, anyone can take a picture. Everyone has access to photography, and that's that the way it should be 4. Module 01 04 The Great Debate: So let's have a look at the great debate. Is photography, art or science, truth or fiction? And just a little note for you all the images in the course of mine, unless identified as belonging to someone else. And a lot of these images come from a website called Unspool Ash, where people share their images so that others can free to use them on. We're gonna use them to illustrate the concept. I'm also going to use some of those as well as my own images, to help you to understand how to take a good image. The great debate. Is it our or science? Is it true for fiction? This is the great question and the debate that has influenced the photography community since its very inception. Is it are, or is it science? It's actually both, but the photographic community has struggled to cope of this simple truth. Instead, trend into extremes in their pursuit of overall identity for photography, where you place yourself on this spectrum is completely up to you. But in this course there's gonna be a heavy emphasis on artistic vision and creating an image rather than a forensic approach to photography. And when It's a forensic approach, I mean a scientific approach, and that will become clear as we go through the course. See, photography came from purely scientific footing. It was the capture of light across the scene, and it's early. Exponents were often scientists and inventors, which influence the early identity of photography on this persisted throughout much of the 19th century. In fact, in 18 90 Peter Henry Emerson called for straight or natural photography in his book Naturalists. Photography for Students of the Are So that basically means you taken image as is You don't do anything to it. You don't photo shop, you don't change. Photography is a capture of a moment, and you shouldn't interfere in what is seen. And that is the argument of straight photography. But in 18 69 a book was released on Argued for Pictorial is, um, this is the art of communicating an emotional message for an image that manipulation off the image. To get an end result was just a part of the artistic process. Henry Peach Robinson was basically contending for photography to be recognized, as are against some of the photographic society's desire for its remains. pure straight photography and in 18 90 to various groups seceded from the Orthodox groups that were assistant on straight photography on the secessionist movement was born. We had these two really strong groups of use the photography, the straight photography on pictorial ism. Straight photography. You capture what you see. Pretoria. Liz Um, you create you allow your mental image be projected onto the camera and into the editing. Now he was famous for creating images by compositing them from two or free different images . A process carried through into photo shop today on one of his most famous images is fading away from 18 58 and it's a somber, emotive image of a young woman passing away. But it's actually built up off at least free, different images. And if you look at the light, you will see that this image doesn't quite work in terms of the light, the light on the patient's face and the light on the lady on the left. There's too much difference that is, to Brighton Lady on the left. It's very soft on the lady on the right, says a hard light, soft in a soft light source been used So this is one of the first compositions, and Henry PH. Robinson took this image and basically was a major influence in this movement. And then we come to modernism. In 1932 we see the rise of the X 64 group in New York, which were, in all intents and purposes, a group of straight photographers, which included Edward Weston, Ansel Adams, Imogen Cunningham, John Paul Edwards, Sonia Nice Caveat, Henry Swift of William Van Dyke. Their focus was on pre visualization and recording the scene as accurately as possible, although they all edited tones in the dark room, which is very interesting because there is no image out there that hasn't had some editing done to it. Because how you expose how you chemicals and these images will define how dark and light they are. So there's a little bit of hypocrisy in the fact that you taken image and you have to process it. There is a process, so you do change it in its essence, and it's the same for cameras. When you take modern day cameras. When you taken image on, do you take it? J. Peg. That camera's already a pride. Certain editing sense. Saturation levels are sharpness levels to the images. Part process image for you says no such thing as true straight photography in the strictest sense on what I find are running because this is then referred to is modernism, when in fact it actually harkens back to straight photography, which was the oldest form. It was pictorial ism that was more modern, that came after straight photography. And then, from there we can see influences of the major art movements on photography for at the rest of the 20th century. But these movements, straight photography, tore realism. We're very specific to photography, and that's what we mentioned them here. We're not gonna talk about Cubism on deck on all these other artistic influences are happening for at the late 19 for Fruit of 20th Century because they were outside of photography. What we're focusing on here is the movement within, so all these over movements outside had an impact on photography. But these are the two movements that people still fight about today. It's very interesting, and that means that when we see arguments being made, we can understand that's coming from straight photography. The principle of taking an image as it is, and pictorial ISMs, which is creating an image. And that's really the difference is taking an image versus creating an image that photography has always been considered the poor cousin of painting or over traditional forms of art. Maybe it's the time investment. Maybe it's a mechanical nature, but it's often been ignored as a genuine form of art by the art community. When Kodak releases Brownie Camera to the general public, the masses, like we said earlier, suddenly have access to a camera. The professionals didn't like it. Untrained, an average of Tofas were running around taking pictures of all sorts of random stuff. We're very poor compositional skills, and we can see that the portrait painters of the late 19th century what practically put out of work by the professional photo studios. As the price of portraiture came down, it was much cheaper to take a picture, a photograph and develop it, and for someone to sit there, actually paint a portrait. This made it even harder to separate the artistic merits of photography from casual photography and get it recognizes an art form because basically artists are saying this is rubbish. This isn't our There's no time taking you just snapping a picture. And we see this throughout the history of photography, as we see technological advancements allowed photography to come into the hands of the general public. There's always this resistance from the art community, whether it's outside of toffee or within photography, to recognize that people of simple iPhone, for instance, can take and create artistic images. There's always been a bit of snobbery in terms of photography being identified as Ah, so here's the question. Do we make an image or create an image? Oh, he's straight photographers or pictorial lists. Now both approaches to photography are gonna teach you something very different about photography. And you have to, in essence, master than both. You have toe master that ability to taken image to see an image in taking capture it on the technical ability needed to do that. You have to master being able to see an end result that's not necessary in front of you. You can see where you're gonna taken image. So should you be a straight photographer, should you be a pictorial ist is completely up to you. And that's the beauty of photography. You get to decide 5. Module 01 05 Activities Module 1: So here's some activities. Now, Activity number one, you're gonna want to create a course journal. You can use a Pinterest board Google dark, old fashioned piece of paper, whatever. But what we want to be able to do is record everything as we go through this course. And there's gonna be activities that we're gonna ask you to take, which you can record in your journal. And also, there's some questions you're gonna have to answer, which we would ask you record in your journal. So whether you do it the old fashioned way with pen and paper or whether you do it in some cloud based system, strongly recommend right now creating the journal and carrying these activities out on the reason being, you will get so much more from this course if you carry the activities out. If you actually process the activities actually do the activities you're learning will be much, much deeper. Activity number two find an image, engages your mind and make some notes on why you found it. Mentally stimulating activity number free. Find an image that engages you emotionally. Make notes on why you found it emotionally engaging Activity number four Explain what pictorial ism is on what straight photography is in two paragraphs of paragraph each in your photography journal 6. Module 02 01 Introduction Module 2: in this modern gonna look at the art of seeing We're gonna look at the ordered universe, the built in beauty detector that everybody has in them. We're gonna look at the importance of light. I'm also gonna discuss photographers Playground. So let's go and have a look. 7. Module 02 02 The Ordered Universe: a visual language made up of laws of light geometry and beauty runs is an undercurrent, fruity universe, understanding that learning that language helps us to not only see the world around us in a new light. It helps us to create visually powerful and compelling images by looking at creation by understanding the way, light and composition fundamentally work at the level of transcendent law. At the level of objective standards, we can discover a richness and beauty that we might have missed before. It's like waking up from a dream where ideas and force and emotions are all jumbled up together. And that's how we see the world. That's how we view photography, the one they realizing that all these bits of information is actually part of a world of order, a universe of order, a universe with meaning, a universe that can be comprehended. The university can capture what is going on in a meaningful, on logical way. Because of your awareness of these laws, there are laws that govern lie external to us. They're transcendent, they transcend our subjectivity. There are laws are not just functional, but also beautiful. When we start seeing those laws in operation with such see form and shape, light and contrast external to us. We start to see the built in beauty and order of the universe. We awaken to the beauty of creation and the essential truth of light as a source on reveal er of that beauty at an intellectual level. Knowing these laws are there helps us to rationalize and understand the universe the same way we would understand maths or physics. The foundation of our photography, the very essence of what we stand on, is part of the very nature of the beauty of creation that surrounds us by understanding, light and laws of light, photography becomes a journey into one of the most beautiful studies. That man can engage in the observation and recording of light as it interacts with matter around us. The external laws are there, but they have to be observed. They have to be seen subjectively so understanding how we consume the visual language around us. Is it paramount if we want to communicate that same visual language effectively? So the first part of the engagement process with any image is the eyes, the eyes of the century of the individual. They guard the mind and heart and filter everything in and out to create something that the eyes can respond to. It has to be of a standard that when he seen by someone who is not filtered out, think about Social Media Stream. You'll scan fruit images in that social media stream, and you'll saw the images very quickly into images that you like and images that you don't like at this stage. In the consumption of those images, your mind is making some very fast, subconscious decisions about what you like and don't like. It is deciding what is compositionally pleasing your eyes, your primary filter. They are on guard duty, and they saw images fast, and we're bombarded with images every day, constantly online. And everywhere we go, the eyes, in conjunction with the subconscious will sift through that noise on will select a very small amount of information to let fruit, so that gives us often times just a fraction of a second to communicate the appeal of our image when we share online. If the image gets past the century, the guard it will now move into the mind. You'll start to consider it at an analytical level, you will start to engage of it intellectually. This is where most interesting images sit. The viewer will see the image, make a mental judgment about it and decide they like it. Intellectually is a pleasant curiosity, a pleasing image. You have mentally take the approval in your conscious mind. You see, the previous phase of the eyes was subconscious face, but now you're moving into a conscious decision. Now you have mental awareness, and you have mentally assented that this is an interesting image, and the next stage in the consumption of an image is a point where our awareness of it gets a response from the heart. So for an image to move to the heart for an image to elicit an emotional response, it has to contain emotional value. That has to be emotion conveyed in the image that you respond to. When you viewed image. It might be evocative of an experience in your past. It might create an emotional picture of something you aspire to or desire, and if it contains this emotional element, it moves from being an interesting image to a pleasing image in the viewer's perception off the image. So We're capturing the emotion by communicating shared emotion, experience or shared emotional values you can reach right into the viewers. Hard on elicit an emotional response that is communicated in the image. Emotional connection is exceptionally powerful and lies at the heart off good images of frat image to be received and to be really appreciated. Creating emotional connection is fundamentally important, and this is the final stage. The hands when the viewer takes ownership of your image when they touch your image. This is the highest level of engagement, so this touch can take many forms, but usually it is encapsulated in the viewer taking action. They go from being passive to your image to being active in engaging with your image. This could be a comment about your photo or maybe a re share on social media to be a comment on your block on email. It could be the order of a print if you're selling your photographs online or a booking of a photo shoot if you're a commercial photographer, whenever there is an engagement, whenever we've course someone to take action and use their hands after seeing our image, that image has achieved its ultimate objective to illicit a positive response to someone else. It's been approved by the eyes past the century of the mind accepted into the heart on that of you has taken action with their hands. It's gone. Eyes, mind, heart, hands. That image is now elevated to great in the viewer's mind. They want to interact with it to put their prove on it. And it is action that Externalizing oven internal reaction that moves an image from an image image that could be art. You see, we don't get to decide whether art is good or not. The viewer ultimately decides by explicitly stating their appreciation. The art world has formula rises and people make a living by being an art critic. What we have to understand is the art critic is anyone that consumes that content. Our viewers are all art critics on. They decide whether your image is acceptable as art 8. Module 02 03 Beauty Detector: you already have the ability to see and respond to beauty built into your mind and heart. This is a subconscious. Awareness of good composition has been built in, but it's not yet been trained. Is not been brought to the fore is not been brought out of the shadows into the light. Have you ever wondered why we can all recognize a beautiful face? Beautiful features in an individual? Why a sunset will elicit a response from anyone that takes the time to pause and look while baby animals look cute. This is your intrinsic awareness of beauty and operation, your ability to see and when you begin to understand that you already have this inherent ability to see and appreciate beauty, that by training your awareness of that by bringing that all, you can transfer that into producing beautiful imagery of your photography by learning the language of composition that resides deep inside you. But helping it come from the subconscious to the conscious. You will learn to be intelligent about the language of composition, to be intelligent about your observation of light by training your consciousness to comprehend what your subconscious already sees but articulate in the laws of composition, of light, of beauty, the language of composition. You will tap into that deep reservoir of knowledge that you have locked away inside you on . Discover your own natural aptitude and ability for photography. Importance of exercise. Once we know those laws are there, once we start to see them and understand them, comprehend them. Once you bring them into the conscious from the subconscious, we don't only have to know them, but we have to exercise them. And I think this is why some people seem to be born with the ability to be artistic whenever they're presented with are your CDs. People like practice say exercise that everybody has the same capacity to build muscle, But some people have spent a time and some people haven't. So we're like an athlete. We have to train our mind the way an athlete trained their body. Until we have composition memory much like muscle memory, we will become so familiar with the laws by practicing them that they will become a fundamental part of how we consciously view the compositions that are all around us all the time. We will see natural compositions. We will be able to see beautiful images because we have trained ourselves to do so now. One of the fundamental blocks that we have is that we actually see in video. When we look at scene, we are seeing it in video. We're seeing many frames of information. Photography is a single frame, so that means we have to adapt. How we see we have to pause. We have to slow down and actually savor the moment, its ability to slow down and take the time to look and to see that separates the great photographers from the average photographers have to frame the moment. We have to concentrate in the moment on isolate the single scene were trying to capture. We have to learn to switch off the video camera in our mind and switch on the stills camera . One of the other things we have to overcome is selective focus. We have an innate ability to see the whole scene. Yet Mr Details in the periphery, then when we have a look at the image, the element we were trying to capture, that we're trying to communicate that drew our attention is all of a sudden crowded out. We have to learn to see all the elements in the frame, how they relate one another, how they impact one another on. We have to switch a selective focus off so that we can see beyond their, which initially got our attention. 9. Module 02 04 Let There Be Light: everything we will discuss in this course is fundamentally about light. In the Abrahamic traditions. The account of the creation of the at the very first command uttered was, Let there be light. Think about that for a moment. Think about the logic of that. Nothing can be done. Nothing could be initiated in less light is first present. If you want to create anything you need light, and that is fundamental to photography, the photography assed clarion call should be. Give me light without light. Photography is impossible on. An image essentially consists of free elements, the light of subject on the background, and I include foreground here for ease of concept. Those of the core elements light subject background. And when you break an image down into those components, it helps you toe analyze each of those individually. It helps you to understand the structure and each individual element as its own unique function in the image on. One of the things to understand is you're not taking a picture off the subject. You are taking a picture of the light falling on the subject. You don't actually see the subject. What you see is the light bouncing back off off the subject, hitting your eyes. Different materials and elements bounce light at different hues and different brightness and different situations. Black does not bounce like absorbed like hence black is a mere absence of light on. This might hurt the brain a bit, but we have to see that there is magic happening with light all around us. And if we can learn to spot the magic, we can create. Magical image is the most fundamental scale of photography, and learn is seeing like and how it falls on the subject. This is the foundation of all creative photography and composition is the foundation off photographic skill. So your background is your stage is where your actors will make their presence known. Every image has a background, a stage, a place for the subject to express themselves against a context for the image. A background could be a simple color background or a complex background. Oftentimes, a simple background is the better subject will stand down. We'll talk much more about that later on. A background should always compliment the subject. You should always be secondary to the subject and should have the correct weight in the scene in relation to the subject on overly dominant background. What caused the subject to disappear, but a background that has the right weight. The right balance will make the subject stand out. Each image has a specific subject. Where is the attention drawn to? What do you want the viewer to see? The image should be focused on communicating that core subject. The light should be used to illustrate that subject. To draw the item that's of it. Highlights subject. And when your view is lead to a clear subject, they will be able to exp LORD subject. So it seems a simple question. Well, why is your subject? Your subject might be a person, a texture, a patent shapes on observation of light itself. But the key thing to understand is the photographer is that you need to ask yourself this question. Whenever you're taking an image, what is my subject? What am I taking a picture off here? Is your subject dominant? It is important that your subject is dominant so that it can be found in the image. It's important that the eyes drawn to the subject there are many ways we can achieve that on once we understand the visual language of photography, that will become much clearer. But the key thing to make sure of is that your subject dominates the image visually and emotionally. So when we start pulling it all together, we need to observe the light we need to see have a light falls under subject, and we're going to go into all of this in much more depth. As we go through the course, we need to choose our background. We need to be making a choice about the background, were using or controlling the background using technical skills. And we need to select a subject we need to choose are subject to make sure that we understand what subject in the images. And I really must emphasize this that a lot of times people taken image because they've seen a subject, but they're not being conscious of what that subject is. Something in the image attracted them that took the image, but they're not conscious or what is it Just noticed something there that they like. We have to learn to be very conscious about what subject is because that changes how we treat everything in the image he is free examples off positioning. We talked about the light falling on the subject. We talk about background on. We talked about the subject itself. So this image, the subject, is the Children seen some lovely light. I've got a quite neutral plane background, and now my subject is on the stage. My subject is well, I want them to be on, have taken the image. And this is at the essence of street Photography is about setting the stage and letting your subjects enter. And then we've got another image in the same place Now have cropped the figure on the right a little bit. You'll see later. What? Its image isn't quite correct, but wanted you to see how sat in one place and taking these images. You can see it's the same treat the same light. But something else is happening. I'm setting my stage, got my background. I've got my life on my subject, enters in and then eventually a subject comes along is really pleasing to me. And now I have an image where all my planning comes together or my observation. All of my awareness of the composition of balance starts toe work. We've got some nice rim light on the dog. We've got some nice gesture in our subject who's obviously thrown something for the dog. We've got that nice light. We've got a simple background. The image works. It's simple. It's not complicated. All because we've applied the free principles, subject light background. These are the free elements were looking toe have in every image. We have to subject very clear what the subject is. It's a man throwing something for the dog. That's the subject. The dog and the man of the subject were very clear about that. We have the light. We have the right light so that they can be seen on. We have a simple background to give it context to show where this is happening. And that is how we pull those free principles together, that we're going to explore in this in much greater depth as we go through the course. But this is just gonna help you understand those free elements. If you aware of them, subject background light. That's the essence of every good image 10. Module 02 05 The Photographers Playground: So let's talk about the photographers playground that street photography is where good photographers develop themselves. The key to becoming a good photographer is to practice your photography in the wild to get out there and take pictures on. We all have this massive playground where we can go and take images and practice what we've learned. And it's called street photography. Don't way until you finished the course. This court should be gone over several times before everything really starts to sink in. You want to start taking photos today? Start being inspired today. Get out there and take photos. Don't get bogged down with the equipment gear lost his way. You just lust after the equipment. You spend most of your time on your photographic hobby, looking at cameras on the Internet and equipment on the Internet that you can spend money on if you're spending more time looking equipment on the Internet, that actually taken images and I understand you need to invest every now and again. But if you're just looking and what we call lusting after equipment, you're missing the point a bit. You should give yourself a little telling off so that you can just step away from that and actually focus all you need. But good photography is a simple camera. The smaller is a more discreet It is. The easier is when you first I'll a simple smartphone or an iPhone will do. You're learning to see, observe and capture. Better tools will improve your ability to do there. But don't let that slow you down or stop you from Stein. Your photographic journey. There are times when you won't even have a camera on you. You might be sitting at work bored, but you can practice your photography look around, see images, practice taking photographs, practice seeing. Remember the core skill your learning is learning to see on. All you need to learn to see is your eyes and your brain. And this is why smartphones are so good. I've got very expensive equipment, but I've also got an iPhone, and whenever I'm out, I've got that phone with me. I can take a picture any time on people so usedto iPhone pictures being taken. Long time. Let's assume you're taking a selfie. So when you're getting used to going out there and you're starting toe, take pictures of people and it's starting to take pictures of situation that feeling a little bit uncomfortable. If you feel like that, just start off with a simple iPhone or smart phone and get used to being out there being in the environment. But like I said, you always have opportunity to practice your photography is your brain and your highs of the best piece of equipment that you've got. So let's talk about permissions whenever you're out and about in a public place you want to check. The laws for your country in the UK were legally allowed to shoot pretty much anything as long as we're on public property. But we have to be careful in their sensitive sites where there's risk of terrorism. And if you're there is often a good idea just to explain what you're doing politely. Two policemen so they know what's going on going introduce yourself. So I am just taking the pictures of these buildings. Check us. Okay, you guys, if it's not, I'll move on and just see how they respond in what they say so well that the laws on your side you don't be gay around argue with policemen. So basically in the UK on the U. S. But check your country and don't just take my word for it. You are responsible for how you actually take images. If you're on public land, you can take pictures of anything that you can see from public land. Now there are certain rights to privacy, so it's not a good idea to be poking and through the window taken some a picture of someone who are in that private house. But you can pretty much if you're on public land. You can take pictures of most sinks. When it comes to private land, you can take pictures, but if they ask you to stop, you have to stop. But you have an implied permission up until that point. Now, one of the things we have to understand even know we in public. We can take pictures, anybody. We can take pictures of people of Children, but when we do that, we have to use discretion. Although the laws on outside when we're shooting images of people, if they get offended or upset, we just want to withdraw quietly. We want to be careful that were not seen to be subversive, so don't sneak around own the public space taken image. Make sure that people can see that you're open about what you're doing now. They don't have a right to delete your images in the UK in the U. S. I don't have a right toe touch your camera equipment. But if we're sensitive and if someone says, Oh, what you do is our Sorry if you're not happy opposite this, I'm not breaking the law. But if you're not happy, I just delete that image. Would you like a copy of the image? What you do and I just took a nice image of you. Would you like a copy of the image? Give me your email address. I send your copy of the image is really nice and just trying. Engage with people, but always practice discretion. And when it comes to model releases, when we're taking pictures off someone, we want to sell that in some way, shape or form. As an image we have toe have. Their release is called a model release, and it's the same with the building. You can take a picture of any building in the UK and us if you're on public blend. If you want to sell that image. You have to be very careful. Check out the permissions for model releases in your particular country. Being comfortable with street photography. The simplest tip is its own. The location. If you're the 1st 1 that and you are standing there taking pictures and it's clear, take these on. Someone walks into the area. Then, psychologically, they are invading your space. But if you're sneaking around and trying to creep up on them in their space, that's when it's going to create tension. But when you're in that space, own that space, be comfortable in that space. I never Little thing is, if you're uncomfortable and you just want some help relaxing, there's the 20 degree trick was where you focus on something that's not the subject but the same distance. Focus on there and then slowly just plant fruit a shot. Take your image, carry on polling through. Don't just leave your camera stuck on the subject for 10 minutes on. Everything you can do is absolutely taking pictures of things around you so that they can see that you're taking pictures of objects and things like that. And then when you take a picture of them than not as aware. Now we're not trying to be sneaky. We want to catch a people in their natural states and natural poses and natural emotions, and people seize up when they see a camera. One of the things I will often don't know all the time. Sometimes I shoot my iPhone is I will use a longer lens, a lot of street photographers. I know you need to get up close. I actually like a longer lens and we'll talk about choosing your focal length later on in the course by actually like a long lens. One of the reasons I like it is I can actually take images of people just behaving naturally, and that's when I get my best images so long. Lens can really help if you're uncomfortable. If you've got a deer Salah, there's lots of different ways to get out there and take images under street and be comfortable. But the most important thing is when someone sees you taking a picture, just smile, make eye contact, just be friendly, initiate friendliness and people were often just respond in a friendly manner. But don't be frightened. Don't be frightened of being exposed or being challenged. Orbit spoken. To be confident, understand the laws for your specific country. Shoot in public spaces. Be careful when you're on private property. Act with discretion. If you're going to sell the product unit, gonna need to get model releases and make sure that you're comfortable in the environment. You're shooting it, and once you've done that, you're gonna have some fun. Now one of the things we have to understand what street photography is, something called the decisive moment by a guy called Henri Cartier Bresil. Now we can't use his images because of copyright. But what it essentially is is the moment when everything comes together. It's the moment when they think happens in your frame that you're waiting to happen. So it is very similar to what we showed you earlier, where you're waiting for something to happen. You picture stage and now someone comes in. So here we are. I've seen this person sitting on the bench. I love the way to see is really close, like the breaker, like how all reacts and I'm now taking images now at the corner amount, I can see this lady approaching from the left, so she approached, await away in a way. And then I take that picture at that moment. That is really important. To understand is that when we taking images on the street a lot of time, we're taking a position. We're holding that position. And then when something happens in that, what something happens in our space were taken the image because I'm taking the image and I'm controlling what's in the frame. I can then identify the key moment. And with this image you'll see was that precise, that even the shadow itself, from the woman on the left is not touching. The woman on the bench is not lost in the bench in any way, shape or form. It can still be seen, so one other things to learn to do is tow. Practice the decisive moment. Find a spot where the light is Good way. You've got a good background on wait for your subject to come in, especially if you're neuter street photography. This is one of the most fundamental core skills and of course it comes back to that principle. Your they're comfortable in that space. People are entering your friend. People are entering your space on that puts you in control. Now one of the most powerful things you can capture is the emotional moment, the emotional connection between people with the emotional value in a situation. One of the basics of photography is we want to see those emotional moments. We want to see activity for interactions between people, interactions between people and animals, interactions between animals. These are the moments that make great images, and these are the moments of people respond to. Remember if we could get a heart response with our images, that is the moment. So when we're taking images and portrait, we're not looking for a staged shot where, you know the person is perfectly posed the way we want them looking for genuine emotion in that moment. Genuine connection. And that's what creates powerful images, move away from posed images and find the emotional moments, which is really a subset of the decisive moment. Those moments that tell a story 11. Module 02 06 Activities Module 2: So here's some activities. Activity number one. Take a picture of someone like you observe coming for a window or from an artificial light source. So what I mean by that is we want to see the light says that light comes in. Just take a picture of the light itself activity number to find a subject, animals or inanimate, and take a picture of light falling on that subject. So we wanna just find a coffee cup. Stick it on a table where there's a nice window like taken image as we go fruit. Of course, we're gonna explore this in much more depth, but let's start. Let's just get out there. Let's just get taking pictures. Start practicing activity number free, find a background and take a picture of that background with no one in it. And then I would recommend you take another image of someone in that background as they walk into that background activity. Number four. Name the free elements the old pictures contain and make and no off those free elements in your photography journal 12. Module 03 01 Introduction Module 3: in this module. We're gonna look at the concept of seeing the light the most fundamental skill a photographer has. We're going to look at the different hard, light and soft light and learn how to identify between two. We're also going to explore color temperature. 13. Module 03 02 Seeing The Light: seeing the light is the single most important skill a photographer can learn. It is the very foundation off photography. All good photographers learned to be observers of light to be light hunters, so to speak. If the light isn't right, a good photographer won't even raise that camera. So when we taken image, we're taking an image of the lights falling on the subject, and this is a really important concept to understand. So in this image, the subject is the Wardrop. But what we're actually seeing in this image is a light reflecting off of that Wardrop. So when we take a picture off this, we're actually taking a picture of the light falling on the water drop reflecting back into the camera. In this image, we've got quite a bit going on. But that place, our eyes were probably drawn to the bridge. Is the light falling on the bridge is going to draw? I we can see that we've got a light source in the actual image. You've got the light on the lighthouse and we've got some light on the waves. But I would argue in this instance that the subject is actually the bridge because that is where the contrast is between light and dog is what the photographer has emphasized as the main subject. In this image of some strawberries, we can see the light falling on the subject. We've got a light source on the left side of the image on that is sweeping across, and it is the light that draws out the texture in the strawberries. It's the light that creates the highlights, and it's the absence of light or the lower levels of light on the right hand side that create the shadow. So it's the light falling on the subject that creates the interest in this image. And this is one of the things we have to learn. We have to learn to see and identify and be intelligent about the light falling on the subject. We're not so much worried about the subject, but we're more worried about the pattern and type of light. There's being shown in the image in this image. We've got a little splash of light that goes across the road, and that's where the photographer is trying to draw attention to is trying to draw attention to that little bit of like going across the road. It's the light falling on the road that creates our interest. Now we do have some bright trees in the background, and they're also a secondary element in the image. But really, where the photographers trying to place arises on that road. Now, if you're not conscious and looking for that, you're deceiving, which fingers good. But when you actually look at it in terms of analyzing the image to see where the light is , we start to realize that the photographer's intention is for us to be focused on that road . And again, what we have here is we have an artificial light source at night. It's a very, very clever image by the photographer, because when we look at it, we could see a lot of color weeks, a lot of richness, and we can see a lot of light. But when you actually start to look at it, it's the light falling on the people on the subject, illuminating the car. It's a light as it interacts with the objects actually creates the image. So now what we have is we have a really nice light on the customer's faces and in this instance that light sources actually being included in the image, which makes it such a clever image. But it's the interactions of the people around the car waiting for some food. There is revealed through the light falling on them, and that's what good photographers can do. They can see on image if its image didn't have the light. If the image was in daytime, this image won't be strong, but because the night because the light is there because it's falling and touching on all the subjects and illuminating them. And now they stand out in the image we can begin toe, enjoy and appreciate the image, and it's the light falling on the subject. What we've got is actually quite a hardline sense of the direction of the light falling on the subject and then behind the subject. We've got deep shadows, so it creates quite a strong contrast on a lot of interest. So I really, really like this image. But again, it's not a picture of a food truck. This is a picture of the light fully on the subject. Now this one is interesting because this is a photograph of tour aeroplanes on the light isn't falling on the subject. But what the photographers done is use a light in the background and is used the absence of light to illustrate the subject matter. So although this isn't like falling on the subject, it is the absence of light but creates the image and do some light in the image of some little glows and highlights here and there. But it's the observation of light that's made the images, the background, the sky that colors the richness. So what the photographer has seen here is light, really good light. And then he see also seen the absence of light on the aircraft, and that is what has created a stunning image. 14. Module 03 03 Hard Light: So let's have a look at hard light. Ah, hard lights. Orth is a small light source that creates a hard shadow. Now this often froze people. The sun in the midday sky, if it's in this guy by itself, is a small lights off relative to you. Now the sun is huge, but it is actually a small light source in the sky when it comes to taking an image, and it's often fools people. But that small light source will create a hard shadow, which is why it is cold. Hard light on a lot for talkers will shy away from hard light, but it's one of my favorite types of light when we want to identify hard light. Well, we have to look for is hard shadows, and it is really as simple as that. That is how you see hard light. So let's go into the studio and have a look at some hard light. So here we are in a virtual studio on. What we want to see here is we want to see that we've got a small light source so we can see we've got. If we look at the light here, you've got very small light source here. So the light yourself is very small in size shining on our subject. So we just got one light source very small, shining on subjects that What does that actually look like? So let's have a look. So this is the image. This is how that, like in a studio setting, would fall on the subject. So what we've got, we could see we've got very bright light here. But what we're looking for is the shadow, the hardness of shadow. You see, when we see a small light source falling on the subject, we're going to get a very, very hard shadow in this image. It's so hard that all we've got a large area of shadow on this side. So the light is falling. It's very directional on, then it cannot get past the notes. So the light travels in a straight line, hits a subject and can't get past the nose. So that is what hard light would look like if used in a studio. And you'll see the same lighting when you're out with sun with artificial light sources. If it's a small light source, it's a hard light source is gonna create dark, hard shadows. So let's have a look at some hard light examples. So in this image, we've got some paper. But it's the hard light that creates a hard shadows around the edge off the paper and also reveals the texture in the paper itself. If you have a light shining directly onto this from above, from where we're looking now, so from our perspective those shadows would disappear. But because of light has come across from the side, so it's coming from the top left. We can see those hard shadows, and it's that which brings out the texture and the shape of the items. The hard light creates hard shadows, which creates the definition in the image and brings out the detail in this image. We've got the sun coming from the top right across the sand, and that is how we can see the texture. We can see the light on the shadow. We can see bright, light, deep shadows on. That's what you'll often see in a hard light situation. And that's what brings out the texture, which is pleasing to us. If we didn't have that hard light, this image would just look very flat on un interesting. But the shadow and the texture in the sand is revealed because of the hard light source, and in this case, it would have been son. Now, here we have a landscape that I've taken and you can see here that is hard, like a lot of people shy away from hard like. But what I want to point out here is the texture in the baskets. So if you can see the rope in the lobster baskets, you can see that texture is there. There's a lot of texture. There's a lot of detail and also in the buildings in the back. If you look at the church tower, for instance, it really stands out because of a highlight and shadow. We could see the direction off the light. We could see the direction off the sun, and it's a sane. All throughout the image is the highlights on the hard shadows that enable us to create visual interest in this image. Now this might well have worked with some flight, but because I wanted to emphasize the texture in the lobster baskets, hard light is much more suitable for this type. of image. So in this image, we've got this cheeky starling. He wasn't frightened of me in any way, shape or form. But what hard light will do with bird photography is it will bring out the detail in the feathers. So whenever you're taking pictures of birds, you want to see the favors. You want to see the detail, you want to see the texture. And again we have a hard light source here, enabling us to see these really, really important details. And this is why I say to people, Don't be afraid of hard light. Don't run away. A lot of photographers say we've got photographed your and golden hour where it's a soft gold like That's incorrect. Yes, that's a great time to take images. But if you start to learn and understand hardline how to use him, what is good for you can go out in the midday sun and take great images on its learning to see that hard, like learning to step beyond a very narrow view of what light is. Their neighbors also start creating some really interesting images other people will miss. This is a hard like portrait. Technically, it's blown out on the hat. Technically, we've lost the detail in the white, but I like the hard shadows. I like the almost abstract nature of this image, and the reason I'm showing you it is to show that portray its ideally are taken in soft light. But hard light will give you something completely different. Hard light allows you to create some really, really interesting portrays. So in this image were drawn to the lips and the chin. There's a sense of mystery of wantedto be able to see the rest of the face. But you can't because as a photographer, I've made the choice to show. I've shown so experiment with hard light where people wouldn't even use hard like now, one of the most important things to understand is that silhouettes work best when there's a hard light source and this is a seaside shut on. We've got a very strong sun high in the sky, and you can see it's very high because of the shadows under the pony. Andi, the woman who's holding the pony If you look on the floor, the shadows are very close to the subject. I'm not stretched out. That means the sun is very high above them, but there has enabled us to take a really, really powerful black and white image. And this is one thing to understand. If you put the sudden behind your subject and it's a hard light source, that's when you start creating some really compelling, an interesting silhouette. Shots says something to guy on practice. Make sure wherever your subject is that there between you on the hard light source and you are going to start getting some interesting silhouette. So that's a classic use off hard light. Now crush lighting is the process of having the light skim across the surface. So in this instance, the light is coming across the image, and it's creating the really hard shadows, which you can see in the brick. But most importantly, you can see around the lock on its because we're lighting it across the subject that we get this really hard shadows when you're out and about. Look for light that skims a subject. There's nearly in line with a subject, but slightly off and create is really strong shadow. So once you start learning to see hard light and sit falling on the subject, you could start to use it in your photography and have some really interesting adventure. And like I said, I love hard light. It just brings out things that soft light does not bring out. So when I see hard, like I get really happy grabbed my camera and I'm out there on encourage you to do the same . 15. Module 03 04 Soft Light: so soft line is like that is diffused or is bounced around said they hits the subject from all sides. So soft light comes from a large light source, in other words, so let's look at the cloud in the image above. The sun is a hard light source, but the cloud in front of the sun scatters the rays and soften that light source and turns it into a large light source on. The reason I'm using the sun on the cloud to illustrate these points is because whenever we go into the studio, we're trying to replicate this cloudy day of soft light or a bright day with hardly so now we have eight this cloud. As a large light source. We can see what it starts to do to the shadows, the shadows they're going to soften. So if you remember in the last image, it was very hard. But in this image, the very soft shadow from the tree. And that's because the light is wrapping around the tree and getting behind the tree almost and softening. The shadow now softly, is particularly good for portraiture, especially female portraiture, as it removes lines and texture and Smoothes the skin out waiting photographers, for instance. You have to work very fast. They tend to prefer cloudy days because the light is soft and even not having to fight against hard light and moving the subject so much so saw flight is much more forgiving, much easier to work with, especially when it comes to taking images of people. So here we see an example of diffused light, which was a term we use before. So diffuse light is a light source that is shining through something else that softens it. So in this instance, we've got soft, diffuse, panel of way material that the light is shining through and in this instance now to diffuse it is larger, then the subjects. And now we have a large light source because it's bigger than the actual subject itself. And now we're gonna get soft, even wrap around the subject, so that's diffused the light. That's when the light is diffused through something else and falls on our subject. Now reflected light is different because reflected light is light that hits something and then bounces off of that and lights are subject. In this instance, we use a reflect and we can see the reflector is larger than the subjects that light is going to wrap around. The subject is going to soften, and you can see what the arrows The light is bouncing in all directions. And that's how we get, like going around much more with hard light sources. It's just very direct and very hard, and you don't get that light bouncing around the edges because the light source is smaller than the subject. We've got the sun bouncing off the panel, reflecting onto the subject so you can see this in images where the light is bouncing off a wall, the sunlight bouncing off a wall, and you can use that as a light source. And this is often a technique that commercial photographers, professional photographers were used to understand how to use reflected light. When they're in a hard light situation, they will move someone into an area where the sun is not directly an image but it shining on a wall. And we used the wall as that light source to soften the image. So let's go have a look at this in the virtual studio. So here we are in the studio in the virtual studio, and we can see we've got a light source that is much larger than the subject. So now we're going to get a lot of wrapping around on this subject. We're goingto have a soft light, so let's have a look at what that image actually looks like once has been taken. So now we have this soft light source. It's a diffused light because the light is coming through some material in the studio Strobe, and we can see straightaway that it's a lot softer. We could see some tonality here. It's not as bright as a hard light example we gave earlier. We're seeing a nice soft shadow on the nose, on the cheek and on the neck. So now what we've got is a soft light source, and this is going to be much more pleasing as a shop for female subject. Now, if I was gonna take an image of a male subject, I would use hardly and draw out the lines and the grittiness of the male subject. But the ladies like toe have soft light. Soft light will take five years off of any subject. That's what soft light will look like on the subject. We can see if we look at it carefully. Learn to observe the light. We know we've got a big light source. That's the biggest clue. But then we can also see the softness in the shadow and the way it gently moves from lit too dark. It is a nice, soft, blurred edge to the shadow around here, so that's a soft light example. So in this image it's a landscape, and we've got a really soft light on the subject. The ridges are very soft and flat, so landscape photography, although hardly often brings out much more interesting detail. You can also use soft light as a way of creating interesting landscape. So this is a candid portrait. So this is just a portrait were out and about, and there's a very soft light in the sky, and you can see because there's not much shadow. There's not much hard shadow on the face, and this is just using natural light. This is just using the light in the sky. So it just goes to show that if you learn to take images in natural light, hard and soft, that actually teaches you how to do studio photography Because all you're trying to do is actually replicate what you would do outside. So this image was taken in hard like conditions. So we moved the subject under a tree into some shadow where the light was much softer and we got this really nice soft portray. So it just goes to show that when you're out in hard, like conditions by moving your subjects and we're gonna talk about this much more later on by moving your subject into a more suitable location where the light has actually changed, we can take interesting images, and in this instance, we can see how the soft light is removed, texture from skin and now have a nice off porcelain effect to the skin. And this is what the ladies like. So here's a studio shoot, and we've got some stuff like soft like and helpers to communicate innocence. It can help us to communicate softness and gentleness. And again, we've got that softness. We got that porcelain feel in the image I just wanted you to see. It wasn't that much different between this show on the previous shot in terms of softness in the skin. Here is a image with soft light. This is a restaurant, and there's some light coming through a window. Now whenever you're taking an image indoors, if you've got a nice large window that the sun is shining through, you can create really nice soft light. But I think the notes is this. When you're looking at the window that the light is coming through, the sun cannot be in the window itself, because if the sun is shining fruit, you've just turned that life source into a small light source. You have tohave the light coming through the window without the sun visible, and if you do that, you'll have a large light source and then you'll get this beautiful soft light. And here is just a candid portrait in our home, and you can see we've just used a soft light. We've moved a subject back a bit from the soft lights that are coming into shadow a little bit more to control the amount of shadow on the face. But we've just used the patio delight from the patio to come in to create this nice, interesting image of this young boy. When you start being able to see the light and seeing how light is falling on the subject. Seeing soft, light, hard light You're starting out to move the subject toe where you want them to be, and that is when your photography really starts to change. 16. Module 03 05 Colour Temperature: So let's have a look at color temperature. What color temperature is basically light has certain wave limbs and temperatures, and those temperatures change as we go down and change the appearance of the light. So a 1000 Calvin, which is a measurement we're going to have a very hot light candlelight type of light. But 1500 Calvin, we're gonna have tungsten light. And then we're going to see 2500 Kelvin early sunrise and we moved to household bowls noon daylight. Cloudy day. They turn shaped twilight, so at night it gets very blue and it's very cold, and it's important to be able to see the temperature of light because it affects the mood of your image. So when we look at white balance, white balance refers to what color's your whites are. If the light shining on your weights are not 5500 k they will pick up a color cast. So to prevent that coming through, we can match our cameras color temperature to the wives, especially if you're shooting in J. Peg, which smart phones and iPhones will shoot it, and now you can adjust your white balance in your camera to match the color temperature you're actually using. If that's what you're trying to achieve now, DSLR cameras will shoot in something called raw format, so that's an image that is completely neutral in terms of white balance. So you can actually adjust the white balance later, and you can adjust same post processing. So that's why a lot of professional photographers will shoot in raw, because then they don't have to worry so much about white balance. They can fix that later. If you're shooting in J. Peg and you want a certain look, then white balance is something you need to be aware of. But to build us today, the software editing programs, even on smartphones, even apse of really good at working with white balance. I don't need to worry about this, but it's all powerful learning to see the light of understanding what type of light you have. And then, if you want a certain mood, you want softness romance. You're going to be going for candle at times of the early sunrise, and then, if you want sort cold and gritty, you're gonna want daytime and twilight, and if you want really neutral and you're gonna want, like, noon day low in this sometime. The sky and the light is actually white, so be aware of color temperature learned to see what color of light is out there, but don't get bogged down with it. It's not incredibly important when it comes to creative photography, but it does help to understand that in and enable you to set the mood. And to be honest, you'll learn a lot about color temperature. When you're editing your images, all of sudden you go, Yeah, this should have been a bit warm or that should have been a bit cool. I would have liked it to be like this that elected to have this sort of tone of light, this white balance on that's when it was really start coming through. 17. Module 03 06 Activities Module 3: activities, and I encourage you to keep doing the activities. Guys, it's really gonna help. I'm teaching. Go in and you will learn much faster if you carry out these activities. Activity number one Taken image using a hard light source activity number to take an image using a soft light source. So that's something that's larger than your subject. Provident. Smaller, as in the case of hard light activity number free. Take a J peg image of the same scene with two different color temperatures. Now you're gonna have to be able to go into your camera and adjust the white balance to see the difference. And even smartphones with right app will allow you to adjust color temperature. If you don't have that functionality in your camera, all you need to do is taken image and then take into some software that allows you to adjust the color temperature on. Watch the changes as you move the color temperature up and down the scale. Activity number four right down in your journal what white balance is and how it affects your images 18. Module 04 01 Introduction Module: the second fundamental off photography of learning photography is learning to control the light on the way we do. That is by working the scene, we can move our feet waken move a subject we can move the light itself knows that a free core principles we have to understand when it comes to learning to control the line. So in this module we're gonna look at that and grasped that so that we can become a much better photographers. Let's go have a look at these in depth. 19. Module 04 02 Working The Scene: So that's something. Look at working the scene. They're free ways that we can essentially work the scene One, Move your feet to move your subject and free Move your light. These are the free elements we can have control over on by breaking it down into this simple system of feet subject light, we can control any lighting situation. Often we can only control one of these elements, but being able to recognize that and they was us to get the finished image much faster. So, for instance, I might be doing some street photography. I can't control the light. I can't control where the sun is. Maybe I'm taking an image of my subject and they don't know that I'm taking an image of him , so I have no control over them. Then what I can do then is I can move my feet on. That will change the scene and allow me to control the light on whether lights falling. So that's how it works. When you in the studio, you control all of these elements. The further you go away from a controlled situation, the less control you have over each of these. But you're typically always at least how one of these to adjust. And this is how you work the scene. You move your feet, you move your subject or you move the light. And once you've learned to see a light, this is the next step in learning to become a master photographer. And this is one of the most exciting part off photography learning how toe work the scene. 20. Module 04 03 Moving Your Feet: not a one thing we can always control is moving our feet, changing where we are in terms of the light on the subject. Weaken change, a position we can change our perspective. A simple way to practice this is to shoot were fixed focal limp. So that means a lens that doesn't zoo. So it's something like an iPhone or a smartphone or prime lends on a DSLR camera is by moving our feet, we see things and opportunities that we might not have seen before. When you change your perspective in the image, you are changing the viewer's perspective of how they relate to your image. You see, you are the viewer for them, and you take them on your journey with you. So when you choose to be where you choose to place, your camera is the deciding factor on how the viewer will consume your image. They will see what you want them to see, so if you move your feet, they're going to see something different. You give them the opportunity to see something they might have never considered from that particular angle or location, and you can create additional interest in your images so getting in front of the subject is probably the most understate. An obvious angle is the position of conversation, and it can be overlooked by photographers looking for an interesting shot. By engaging fully by looking into the eye, we get connection if we're photographing a person or an animal. Now this is accepted in terms off portrait photography. This is a standard, but we can take that and we can apply that to street photography. We can apply that to any type of photography. Get in front of your subject and this is the most challenging for us because now they can see us looking at them. But we did talk about some techniques you can use when was talking about street photography earlier in the master class, so you can take an image from behind your subject. You can create really interesting storytelling image as it often communicates movement with what is in front of the subject, often becoming the subject. So by moving around the subject, moving into a different place, we get a different element of storytelling. By moving to the side of your subject, we can create observational image as now we're interested in the task where the activity the subject is involved in. This is another great way to produce storytelling in an image. By dropping below your subject by shooting upwards, you can create a sense of power, a sense of authority in the subject. You can create dynamic portrait and your notes in this image. We haven't gone really, really below the subject. We're just going slightly below the subject so that the subject's eyes are looking down as a sense of power. We've brought in this skyline behind the background, and we're communicating here strength and dynamism. And that's one of things we can do when we go below the subject. But we don't have to be sitting underneath, looking at the subjects nostrils to create this effect. We can create it with a very subtle movement, and as a contrast here, you can see we're slightly above your subject on now machine is lifted up. This is very flattering in portrait photography when you lift the chin up because it stretches the skin on the face and it will draw the skin much tighter and is very flattering. And if you're in an environment where there's something interesting in the background like this. You can see the streets behind. You start to create context, and you can create even more drama and add more power to the image by including these interesting elements. But again, no, it's It's only a slight elevation. We're not shooting the top of his head. It's a very slight elevation, these air commercial images. So this would be a job. What we have to go in, taken image very quickly and get out because he's very busy people. And these are some of the things we can do really quickly in those situations to get really interesting and compelling images. So now we've got the bird's eye view, and when we shoot straight down, we can create a sense of scale of how small things are, how big the world is. The bird's eye view can also be used in portraiture product photography, and it's pleasing because it is not the normal view that people see. So you give them a perspective and an experience that unfamiliar with. So if you're scared of heights, you would never see this perspective unless you took advantage of this photographer doing this for you, and then we can take the an interview. This is where we look at the world is and then we can see things that people don't often see by looking straight up as Children, laying down and looking up a disguise. A part of our creative playing is part of growing up. And what child hasn't lain down on their back and looked up at the stars at night, order clouds during the day and start to feel that they were falling off the earth? This is why we must learn to change a position to change our perspective, to look up. We'll discover things that other people miss. So when you're out and about, just port, look up and see what you see seem. Most leftovers never look up, and they miss some wonderful opportunities. By getting up close, we create a sense of intimacy. Sometimes intrusion, depending on how to subject, reacts if it's a portrait, for instance. But it's here. We can see the pleasing details off resonate with us as we view those things around us. We have a natural tendency to zoom in when we see something we like on that appeals was and to our viewers when we do that for them through an image. So sometimes you need to get close to stuff. Now. Macro photography is an extension of that. That is where you get really close up on often involve special lenders that can focus at close distance. Many lenses need at least a meter before they focus. He can't do macro photography with every lens. But iPhones, for instance, have a macro function, learning to see the microscopic around us learning to really look at the tiny details can create some powerful images. Like I said, if you've got an iPhone, it's a great tool to practice as it does, allow you to get quite close and focus on your subjects. Shooting from a distance. This is great for creating a sense of scale for creating a soap opera of a scene. You'll often need a long focal length for this type of perspective, especially if you don't want a lot foreground in your image. But if you got that type of equipment is a beautiful storytelling technique very good for landscapes where you want to communicate scale, so shooting from far away, seeing what's in the distance, learning to look into the distance and see what's there is that very important skill when you're learning to move your feet when you're learning to adjust and change a position as you're taking your images. 21. Module 04 04 Moving Your Subject: now moving your subject is extremely important for portraiture. This obviously assumes of level of control over your subject. But what you can also do is wait for your subject to move into the right place. If you do street photography on what you essentially doing when you do, this is your choosing, what background they're gonna operate in, as well as how you want them to look in the image. One of the most basic skills a commercial photographer it develops is to move the subject into a simple background, an area where they remove all distractions, whether in a studio or on site. This image was taken in office by moving the subject in front of a plain, simple wall. We control the image, not the other way round, so it's important to understand this is just in an office. This is an environmental portrait where we've seen a simple background and we've moved the subject in front that background to enable us toe, isolate the image and create a simple corporate portrait. This is the basis of product photography of, well, simple backgrounds are moving the subject, as in the case of this Victorian mourning dress, so When I say morning, I don't mean early in the morning. I mean morning, as in terms of funeral. That's what this dress would have been. Four. After the partner passed away, they were dressed in these black dresses for a period of time. But we can see this is a straight on shot. But now if we add the next image, we start to create a different look, a little bit more interest. We can see the gap through the arms with shape of the waste. And as we move around, we can see the side we can see. Now we're accentuate in the trail of the dress. Just by turning a subject slightly, we start to create some really interesting images, and now we're going to see the back of the dress. We're gonna start to see something that we wouldn't normally consider. And finally we have a full shot of the back and we can see the sweep of the dress as it falls down. So as we go through a simple exercise of just turning the subject, we create interesting, compelling and different images toe what we would normally see. So if you're practicing portraiture with a friend. Get them to stand in front here and then just get them to turn just a little bit and take a Siris of images as they turned and see how each different angle looks. So sometimes you want to provide context. Sometimes you move your subject so that contacts is communicated in this instance is clear in this image that this is London we wanted to communicate. It's a corporate portrait. We wanted to communicate their location that they're in the heart of London. And to do that we have to communicate to an international audience, the red telephone box and also the underground side. So by moving a subject into an area where there's additional information that can help communicate something by providing context, we can make the image much more communicative and help our viewers understand what it is they're looking at. And now we create disparity, or what's known is just position in this image. We've moved our subjects in front of a background is not quite right. It's unsuitable for the image. We're pushing an extreme, and we're gonna talk about juxtaposition much more later on in the course we want to create that disk parity between the subject and the background, and by moving a subject into that location, we create something interesting. So by cropping our backgrounds when we take out images, we can create a different sense of perspective and intimacy. By bringing a subject closer, we make it more intimate and vice a versa. We can move a subject just by cropping in tighter. We can bring them closer or we can move them away. We can crop out background by zooming or by moving our feet. And we can create a sense that we've actually moved the subject when actually, what we've really done is moved ourselves. Subtle movements, often times in photography. People concentrate on really dynamic large movements. But if we create the tiniest movement, weaken dramatically, change an image in this, portray with just create a little bit more warmth on the right, a little bit more interest with a subtle till it ahead, a slight turn of the head on a tiny bit more of emotional warmth. All of a sudden, you've got very different images. So when it comes to take images of people and you're controlling subject subtle movement, tiny movements and getting people to move in tiny movements is really difficult on the technique I often uses mirror. So I look at them and I'll say, Do what I do And then I move my head a tiny bit and tilt it tiny bit and they'll copy that have followed up but subtle movements when we're moving our subject concretely. Eight Incredibly dynamic differences between two images Calling for emotional change in your subject is a powerful way to get them to move, to get them to change position in this image, were drawing up the happiness that have of a newborn on the way that really changes their faces and their body language. Now, sometimes when we're trying to move people, if we ask them to express an emotion or we start talking to them about how they feel their whole body language changes on, we can create some compelling portrait situations, so engaging them in emotion, asking them how they feel to express their feelings is a great way of getting people to move on, relax into an image, but crane dramatic movements. We can bring out the best in young subjects and animals. By moving the subject quickly. We can create a really sense of action in our images. So getting us subjects to relax in front of the camera is often achieved by letting them expend some physical energy, which in and of itself creates dynamic images. So with Children, getting them to release some of their energy helps him to calm down. But also the very act of asking for that drama creates some interesting and compelling images. Now, obviously, when we're freezing action, we're gonna want high shutter speed most of time. We're going to talk about that a little bit more later on. But one of the things we have to appreciate is that changes in movement, getting a subject to move is really going to improve our images on. We want to get them to move in natural ways. We want to get them to relax and be natural, and that's one of the biggest challenges. So these techniques that we've shared with you here, there the standard ways of helping people to relax into an image and create much more compelling image just by moving a subject 22. Module 04 05 Move Your Light: so one of the things we can do is move our light. Now. This tends to happen when we move into very conscious semi professional photography. We were buying lights, but we can do this just by switching lights on and off. If you're in a house and there's a number of lights, you can change the mood of a portrait, for instance, just by trying all the different lights in the room. So one of the things that core skills I commercial Tuggle learned is moving the light. Even if you decide that you're just gonna be an enthusiastic amateur, moving light is a skill you need to have an understanding off. Now, one of the things we need to understand is that light travels in a straight line, is a journey that light take. Now Light will travel in a straight line until it hits something that deflects it. We need to understand this because this is a key concept with learning to control life, because then it becomes about angle and diffusion. It's like playing snooker with light. You learn toe, hit the ball onto the cushion. What angle it will come off seeing what light is doing, and how is entering the scene on bouncing off for defusing is the key to learning to see the light, and we touched earlier on soft light on, we looked at diffusion on reflection and how that changes and spread like out and create a soft light source. And how a small light source, Ah, hard light source create strong shadow. But what we want to do now is we want to go into the studio on, learn to see and understand direction of light. So what we're going to start with here is back. Little like this is light that is behind the subject, as you can see shining on the back of our subject, and that's going to create some interesting rim light. So let's have a look at what type of image this is going to produce when we have a light source behind the subject. Now, as we can see, what we've got here is what's called rim light. It's a classic rim light. We've got glow of light just around the edges, so the direction of light is coming from behind. And in all these examples were going to be using hard light because that helps us to see and understand direction of light so we can see here that light is coming from behind that you might think, Well, that's obvious mouth. But we have to understand the importance of direction of light and how that affects the subject is gonna help us to start thinking about what light is coming from when we're seeing a subject in a lighting situation that we're not in control off or where we are controlling it on the different light effects were going to get. That is a backlit subject. So in this image it's behind and to the side so we can see where the light is. So let me zoom in because we could see we've got a grid on there to keep it really focused on narrow to help the illustration, and we can see where it's coming from. That's coming from behind and to decide, and just the way you try and anticipate before I show you what that might look like in the final image. Just take a moment, trying to think what that's actually gonna look like, what you expect to see that's gonna have a look see if he was right. So here's the images. You can see it. Shining fruit is a small amount of light touching on the agent on the cheek and on the hair . Tiny bit of rim. Very directional, very focused. And we can begin to see that as we move, the light around was starting to light up the face on the skin. Let's have a look at the next one. So now we've moved the light to decide the direction of lights coming directly from the side. Unless see what image that producers now you can see is we're coming around. We're starting to get a lot more light on the face. Now is a little bit hot here. We could probably turn the light down a little bit for the purpose of the illustration. This is fine, and this is typically what was called split lighting. But we can see we've got light coming round. It's creating 1/2 shadow right for the middle because it's directly on the side and it's important toe. Learn to see the subtle variations and sometimes not so subtle variations. So when we're out and about, we can move a light or we could remove ourselves in relation to the lights that we come around a bit and get different angle on the subject. But the courting here's to see the change. This makes. So let's have a look at the next one. And now it's a much stronger angle, and we could see the lights Stein to fall on the subject's face. Sometimes you can't see the light source, but you can see a shadow on the wall and that will tell you the direction of light. So now we're starting to get some interesting light falling on the subject. Now we're getting into the range where we start thinking about taking some compelling poor traits. There is a hard shadow because we are using a hard light source, but we can see now that the light is starting to fill the face up. Remove the light around the subject. Let's have a look at the next example. So here we have moved behind the camera behind the photographer, and it's coming directly over the shoulder of the photographer, so to speak, and it's shining directly into our subject's face. So now we can see the direction of light, so let's see how that looks. So now we're seeing a very even shadow under the chin over here so we can see where the lights coming from. We've got this shadow behind as well from the head. So the direction of life directly in front is very, very obvious. Some look at the next one. So now we've got a light underneath, shining up into the subject's face. So this is, Ah, light. It comes from underneath and shines up as we can see. Let's see what that does is we change the direction of light for this rather interesting angle. And now we've got quite a spooky effect. This is a typical effect that she used in horror movies or anything where you wanna communicate center danger. And this is quite in a natural lighting parent. We used to seeing a light come from above. This is why it disturbs light from underneath doesn't make that much sense because typically light when we see is the sun in the sky. It's lights in a room that you usually nearly always above us. So that's what we used to see it. So this creates a little bit of disconnect, a little bit of tensions he can create some interesting images by using a direction of light like this. So in a final example, we have a light above the subject directly above when we concede it's going to do something quite interesting. So let's have a look what this does when we change the direction of light so that the light source is above the subject. So, as you can see, the light is lined up the hair and the nose and part of the shoulders on the chest area. So what we've actually got here's the direction of light that comes down. So learning to see direction of light, learning to see intelligently and understanding as a photographer will enable us to use it and to control it. And by moving like around a subject, we can create some really interesting, creative and compelling images. 23. Module 04 06 Activities Module: activities. Activity number one. Take an image of a single subject from free. Different perspectives. Activity number two. Taken image of a subject where you place the subject where you want it to be in the background. Activity number free. Take free images of an item with a torch As a light source, you might have to get someone to hold it for you. One from behind one from the side on one from the front. Write down in your journal for activity number four. The free elements of controlling the light A. Write a paragraph about each element explaining the core concepts. 24. Module 05 01 Introduction Module: in this module, We're gonna look at capturing the light. So as a photographer to certain skills, we need to learn a technical. So we're gonna look a camera. We're going to look at the free levers that control any camera we're gonna look at I s o shutter speed and aperture and get an understanding of those levers on how we can use them in our photography. 25. Module 05 02 Your Camera: So when it comes to your camera, the best camera is the one you have with you. Most people, when they start photography, they start at capturing the light. And if you remembers, we've gone from this master class. You've gone through the process of seeing the light, controlling the light, capturing the light on. Then we'll move on to processing the light. As of October, as we learned, most people jumped to stage free. They never learned to see the light and control the light before they worry about capturing the late. So if you're in this module and you haven't seen the other modules, it is better you go back and start module one a. Work your way up to this. But now we're ready to start exploring capturing light and understanding how cameras work. So when we look camera choices, they pretty much follow this order. In terms of what we can invest in. We can start the basics with an iPhone or a smartphone. It's a great first camera is accessible, you always have it with you. And then we can look at the point and shoot these 10 toe work well in good light. But they have a small sensor, often have a zoom function, and when buying one look for a camera that has an optical zoom and not an electrical zoom. These air usually cameras. You just throw in your pocket and take with you. And if you lose air more, they get damaged is not the end of the world. And then after that, there's something called a bridge camera, and this is good for practicing manual mode on a budget they tend to come with. The lens is attached to the camera. Already, they look a little bit like a DSLR. You can't change the lenses, and they don't tend to be as good quality in terms of build or the images that taken that you will find in a DSLR. And then we've got micro 4/3 cameras. These have a smaller sensor than a DSLR, a smaller form factor, but they often come with interchangeable lenses, and you can even use lens adapters. So sometimes you can you can nickel ended on Liza's well and there, step up from a bridge camera. Recently, what we've been seeing is a lot of muralist cameras, so these are cameras that have replaced a lot of the mechanical operations within a DSLR with electronic technology. Now, in my opinion, is still being developed and not quite there yet. They tend to have a low battery life, but that's not too much of an issue by a couple more batteries and make sure the charge and you've got among you. But they still fail to compete with deer saliva in terms off controlling autofocus. There's some advantages to them, but I still think personally that DSLR are on the top of the hill when it comes to what's available out there on when we buy a DSLR camera. We wanted by when we have good lynch choices and a good center. And a lot of people don't realize this is that a lot of new bodies air coming onto the market price camera bodies. They've got this and they've got that. But when you actually look at the availability of lenses, there's not much choice available. So when you buy a disallow, make sure there's plenty off lenses, and then we come to the film camera, which is really a throwback. Now. Most people work in digital, but they can be fun. But In my opinion, if you're learning photography, avoid them. Better learn with a digital camera, which isn't gonna cost you lots of money when you make a mistake. So with a film camera, you're by a lot of films and your process them and it will get very expensive very fast. With a digital camera. You don't have that issue. So recommend when you're learning, learn with some type of Elektronik camera and for the sake of discourse, nearly all the principals in this course can actually be practiced with an iPhone or a smartphone. So if that's what you have got used that So what am I shooting with at the moment? This is actually going to really help you to understand this course, because these are the cameras aren't currently using. I'm very practical about my camera choices. So let's have a look at each of these in depth, and I'll explain why I've got them on where and when I use them. So the first camera for me is my iPhone success. Plus, I've got a success. Plus because it's gonna image stabilization on the camera. The success doesn't know. No, we've moved away from 6.7. And you might even be watching this training course. One. IPhone 10. When you buy your iPhone, try and pick something that has a good camera or a smartphone. If you're gonna buy a phone, you got a great opportunity to actually get yourself quiet. Decent little camera thrown in with a bargain. Got this with me all the time. I use this all the time to take images. It's always there. It's not my favorite camera, but it is one of always got with me. So therefore, it really the most versatile. So this is my little food. UX 10. This is a little camera. This isn't actually sold anymore. You can actually buy. This is no longer made affect up to Expert E. But what was unique about this little camera is it had a really, really decent little sensor in there. My memory is that 2/3 inch sensor, so it's not massive center, but it's a definite step up from the iPhone. Now, this is my street photography camera. This is the one I carry around. It's very discreet. I can take anywhere. It's not huge. It doesn't scare people. Well, I really love about this camera is, it's got a good range. It goes from 28 millimeter, which is quite wide, up to 112 millimeter equivalent. So when I'm out and about on the street, this gives me a pretty much everything I need to take an image, and it's got this amazing little mode called xar mode on it when you stick in that and it pretty much figured that your exposure for us, it's very much a point and shoot. And I love this camera for the ease and discretion. I can take this absolutely anywhere, and people don't really give me a second glance and not looking at me thinking, Here comes a professional photographer is going to take my pictures like that Guy's got sweet your camera. What's that about? And the styling is old. So what? This is really this is It's a very high end point and shoot camera. I think a regional paid about £500 to this when it first came out. They still fetch very good money on the second hand market because they're so popular. There's lots of little cameras out on our point and shoes. If you're going to take a step up from an iPhone. This is where it encourage you to start. I wouldn't worry too much about moving to a dear Salah too quick. Something like this for creative photography is absolutely fine. It takes good quality images. The I s own is good, and some of the newer cameras that are replacing this get amazing results. A lot of them up notice they only have a focal length of 24 to 70. When you were appointed Shoot. I don't think that's quite long enough. So if you can pick up something that's 28 to 1 20 I think Cannon do a point and shoot was 28 1 20 Something like that. Something relatively small. Stick on a strap. You carry it around all day. Perfectly fine. Great little camera. If you're gonna get into street photography, you haven't got a huge budget. Don't go to DS Alaska like expensive real quick. You got 500 maybe 6 £700 budget. You'd be amazed what you can get some amazing or cameras out there. They're going to give amazing image quality. You get a nice depth of field when use them in the right way. Know what's good in the DSLR? Obviously, but the great or cameras. But this is my favorite camera. And thats could be really interesting because I got a big gun at the end of the show. You in a bit you can see the kind of five d mark free. But when it comes to street photography, which is what I love to do the most this is a camera I often reach for somebody. Next time I'm gonna show you is my seven Deny This is an older camera. Now it's a good seven years old, but it's still a decent camera. Some of the modern cameras that we're gonna give you the same sort of image quality even better than this is gonna be the Canon 80 D. Why do I buy Canon? Broadway causes that lens range. You've got so much Len drink. So this doesn't take the best images in the world. Doesn't take that most technically best images, but it's got faster. Oh, focus is still a good camera, But what I've got on this is the 18 to 200. Now, this is my serious street photography camera. Now, you can imagine that when I'm out and about to start pointing at this of people, you know, it's pretty obvious that I'm taking pictures. It's not as discreet as a Fuji X 10 but it gives me an 18 millimeter at the Loren angle of view upto 200 millimeter. So this is what's often called a super zoom. Now, lot photographers Well, look at this lens and no scream of horror and now said it's not the best quality is not the sharpest lens. It's an all thing. It's an everyman. And that's exactly why I like it, because when I go out with this, it's a step up in terms of quality from the X 10. But I don't need to change lenses, and I love the way this with a simple shoulder strap. So take away because these can be quite heavy these day s laws, and I can take that to shoot with that all day long on its 18 to 200 Lacker said, the lens isn't the best lens in the world is not cheap land. There's not the best lens in the world. The body is no longer the best body in the world. But you know what? It gets the job done on. I'm more interested when I'm using this equipment. I'm trying to create creative images. I'm not trying to make sure that my camera is the absolute best technically in the world. And I'm not overspending. I can take this out and I can use this and get images. Good images, consistently all the time. Now I've said I'm a commercial photographer so we can talk about lights and everything. But most people, if you're going to get a light for a camera, this is something I recommend. Little old young, you know, join his flesh will set you back £80 for one of their decent ones on that Absolutely brilliant. I've got a number of these. I can use them in different ways. If you're looking for a flash against save you money, don't go overboard when it comes to equipment. These are absolutely brilliant and a great first street talk that a great for shooting indoors. And I just want to show you a little black, foamy thing on the front. This camera is a piece of foam on a couple of hair bands on the back basically what I can do this. I can put this on my camera, face up to the subject. I can bounce light up into the ceiling. Andi, list little I in the room. You need a close sailing like a bounce off a wall on what happens is you think about direction of light. It's gonna go onto the wall, can make the wall a large light source, and that's gonna show into my subject. So this on top of my camera enabled me to use hard, light, small light source for bouncing into a large light source and that creates a soft light source. So when you get there, salon, you get to that stage, something like this is perfectly fine. I think Cameron, Nick on products are way overpriced. I do think the Chinese, in this instance for creating these items because they do the job of you 16 years have never let me down. Very, very good flashes. So that's a young you know. This one is a young neo y en 565 he actually buying on Amazon and IV a great little flashes and think about flash. Recommend that that's all I need in my bag in my camera and my flash on that is what I use from most of my commercial work. When I'm doing 100 Portrait's and I have to be on site, I just take this and that, that's what Like after sealing off a wall and I'm good to get most of the shots, you're going to see what I say. Its commercial portrait in this course is using justice on my main camera body. So that brings me to my main camera. This is my top in professional grade five D Mark free. Now the five d mark forward just come out for me. That's overpriced at the moment. It doesn't really do anything for me beyond what this already does. No point in what grading whatsoever. This is a phenomenal camera. I think we're the best cameras that's ever been made itself strongly. I regard the five d mark free on on this. I've got a big 72 202.8 lens. That's a very fast throughout the rage, but as you can see, this is big and bulky. Do take this out and I do do some street for totally with it on when I do, the images are absolutely exquisite. Don't get me wrong. This compared with 70 in the 18 200 millimeter lens. No comparison Image quality on this is absolutely phenomenal compared to the iPhone and food. The extent this is gonna leave them standing Good lens on that. You know, it's about the city of Sigma 7200. I haven't got the camera again. This lens is a good £1000 cheaper if not mawr than the cannon equivalent. Maybe Sigma Sigma make great lenses, is slightly less sharp at the bottom end, but for at the range is nearly identical for £1000 less. And I use this commercially great lens. Now my kitbag consists off. I usedto have loads and loads of lens tilt ships and things. And then I actually started to think about it. What I actually realized, what I ended up using two lenses all the time because even when you're out shooting, swapping to lenders over is a paint. So I've got this one. My trusty old 24 70 Canon Mark one. There's a mark two out now, but again, they're overpriced. Great little lens between these two. I'm going from 24 wide to 200 on a full frame camera. That's my kids. When I'm out doing corporate candid portraiture, this is it, and everything is that gives me a gonna need some 24 wide to 200. That's pretty much when I looked all over lenses, I ended up selling them to finance other projects. I wasn't actually using them. I just be these two. But this lens is my absolute favorite. So here's a tip for you. If you're on a budget and you want a good portrait lens you don't have to buy. This is quite expensive, but any lens that that goes 55 to 200 or 55 to 50 around those ranges. When you go out to 200 move your feet back and take a portrait. You will be amazed that sort even at F eight and again we're gonna talk about it. You'll be amazed where you can get out of a camera, lends a long, focal lens. Compressed background will show you some examples. There. You can get some really, really amazing shots. So as you can see consistently in all of those choices, it's really about simplicity. The camera, for me is secondary to the creative process. I could give a beginner a canon five D mark freeze. Put the 7200 on on that body for him. When I bought that camera, that was a £3000 body. I When I bought the lens, it was like a £1500 lens that dropped in price. Now a little bit, so I can give them what cost me 4.5 £1000 on. They go out and take images. I take my little food. You extend. Leave my iPhone on, I guarantee. At the end of it, we have a look at our images, my image. It will be better because I understand the visual language on that's the important thing to understand. When it comes to camera choices, camera is a tool. Some of them are better than others, some of more convenient than others. But the end of the day for talking happens here in the mind. On were just sticking summit in front to record that when we go through the camera choices I've made, I've got the iPhone. It's always with me is a great little camera I can get shots with that. I've got the food. You're extend, which I love to take out when I'm being very purposeful about my photography, but don't want to carry a big heavy camera around when I want to go out. I've got the Karen 70 in the 18 200 millimeter lens. That's my utility equipment. That is gives me incredible range in terms of the types of images I can actually capture. But then, when I really, really want high quality, I could bring out the Big Gun, which is the five d mark free. But again, I'm keeping my range selection down. I'm not getting caught up in what's called Gear last. Well, we're just going out, and we're lusting after GM with spending all that time looking at gears we mentioned earlier in the course. I'm not doing that. It's very practical, simple flash on my camera, which I showed you, which is not an expensive one. Very practical, very simple, because I want to take created images on I encourage you to do the same. Don't get bogged down and equipment. The most important thing you can learn is the language of composition. How to see light. How to control that have to capture light, how to process light. When you do that, you'll be able to get amazing results with practically any camera that's fit for purpose. 26. Module 05 03 The Three Levers: now manual mode is important to learn. Your camera went set to auto mode has a small chip that is trying to replace your own brain when it comes to control in the camera. Now there are times when auto mode is absolutely fine, but you understand when you're using it, why you're using. So I was talking about my food. TX 10. I can walk around, see a shot grab it is auto, but the auto function on it. It's phenomenal. It's really good, even sometimes that I find it's not right enough. Switched to what's called program mode on the foodie extent, and I'll switch it up. And now I'm going to control my exposure, and this is essentially what we're doing. We're going to control our exposure using manual mode or using assisted modes on understanding how the camera works and how it affects our creativity. And the types of image we can get is fundamental. So with manual mode, there is a mechanical learning process we have to go through so that we can learn the principles of taking a well composed and well exposed image quickly. It's like learning a martial art or learning to drive. You have to practice until your body learns how toe operate automatically, and that's a key thing. To understand these air physical skills and you get used to a camera, you'll find it very hard to move off that camera because you can instinctively just go to the right controls on operate the levers. We're going to teach you and create really compelling images, and it becomes second nature. When you first learn to drive. Everything is conscious, but after a while become subconscious and you just do it instinctively. That's what learning to control the camera is like. You learn how to use it and you learn how to use it well, so let's have a look at the free levers. You have free levers that you can push and pull up and down, and that is going to increase the amount of lie a decrease, the amount of lie your camera is capturing, and those free levers are called I S O Shutter Speed and Aperture. Now, one of the hardest things when it comes to photography is understanding and learning these levers and how to use them. But we are going to go through that and explain that to you, so try not to get too bogged down in these terms. It might be that you take this section going, do some photography, come back and re watch it, and then it will start to make a bit more sent. But let's have a look at these terms and start to understand the free leaders. So the first thing we have to understand is something called stops of light. In this image, we have I s o shutter speed and aperture. No, I s o your base. I so low size. So will probably be 100. But let's just say you got a camera has got 50 I s So I will explain why all these are later to move up to allow more light in. We moved to ice I 100. We move up again. We moved toe. I say 200 each one of these stop of light. Now what confuses people is that they use different measurement types on This is where it gets complicated for people. But if we look, I so 50 I so is our lowest 102,400 is our highest. And then we've got shutter speed. Each one of these goes up the stop. This is confusing because you start a 1 8/1000 of a second and you go toe 1 4000 and then you keep going up and eventually get toe one second, two seconds, four seconds, eight seconds. But each of these measurements each of these is a stop. So there's free levers. So the shutter speed, although it uses different language, each one of those is a stop of light. And that's your standard measurement. And it's the same of aperture. We start F 45 we can go all the way to F one, and each one of these is a stop of light. They all was 1/50 of 100 everything will use the same language. Then it would be much easier to learn. And this is where most photographers get stuck when it comes to learning photography, because this just doesn't seem to make much sense if you break it down. It's just a stop of light on these measurements of measurements that someone has come up with. Like I eso is based on the chemical exposure values that it will allow you to increase from film days, shutter speed again, going back to old film days and aptitude is the size of the lens. And we are going to talk about his in depth lack of what he said. But just understand that everything increases by one stop of light so we can increase the amount of light coming into a camera any time. By moving one of these levers up one stop and we can decrease the amount of light coming into a camera anytime. By moving one of these levers down. It really is a simple of that. We are just moving amount of light that's coming into our camera up or down in measurements . Court stops stops of life now dynamic range. I don't want to get too bogged down at this point. This is something you're gonna struggles. Grass. Don't worry. Come back to it later when you practice a bit more photography. But I'm just gonna explain this concept for you because it is a concept you're going to come across the term you're gonna come across in photography. So dynamic range is the tonal value that can be captured so the human eye can capture all of the dynamic range from light to dark in the tones. So when we talk about tones, we're gonna talk about them much more detail later on. But she when we get to the black and white section, we're going to see the importance there. But when we see the value of white to black and all the grazing between the human eye has a large dynamic range, the camera sensor and it's starting to get better and better now and within a few years or do anything is gonna be an issue. The camera sensor cannot capture the same range. It can only capture a fixed amount off the dynamic range if we go higher with still only getting the same amount of dynamic range. We're not capturing everything, so that means that we can lose detail. So what happens is when you don't have that element in the image, you're gonna lose detail in the image. So in this instance, you wouldn't be able to see all the detail from the blacks to the dark grey that's outside of that range in the camera center. So when we look at an exposure is about balancing as much as we can within the camera's dynamic range, the white and the black. So when when pulling those levers were trying to get correct, exposure on a correct exposure will mean details of maintaining the blacks and waves. But if we under exposed if our images to dark what happened is like a seesaw, it will fall over on. We will lose detail in the blacks, and now all of a sudden, shadow areas would just be a big lump of black rather than a dark, greater black with some detail in him. And if we overexpose, if we make it too bright when we set our exposure in the camera, we're gonna lose details in the whites on the seesaw is going to be tipped the other way. So we'll have big blobs of white in our image rather than whites. And like grace on most of this has caused because we ever make the camera record the scene to break or too dark, and add that to the problem with dynamic range that most cameras have. We can lose lots of details in the shadows and in the highlight. So when it comes to setting an exposure and that's an old term from camera days is how long you expose your film toe light for in The longer you expose, the more light is gonna be recorded. So how long you set it is going to decide how bright or dark your images. So on the back of a camera, we're gonna have a deer salo or any camera. You probably won't see this on an iPhone, cause an iPhone is an automatic camera, although you can manually control with the right APS. But what we've got here is stops of light. So you can see on the back of your camera you're gonna have a light meter, and it's saying to you, zero plus one plus two plus free minus one minus two minus free. And each one of those is one stop. So if we want to set an exposure, we turn one of our dial's return one of our levers, we increase it by stuff of light. What's gonna happen is the amount of light that comes into the camera increases so we can tell the camera. You've looked at the scene. You said it's this bright, but I think it needs to be here I need to make it a little bit brighter, but its image toe work, and then I can also then go to the other end of the situation. We can move and take it down. I might decide it's way too bright and bring the image down to where I want it to look. And that's how we use the camera meter built into most cameras on the back. The camera is going to say This is where I think the images correct, and we're going to say no, we know Paul one of those levers and move that up and down. So we're going to control the amount of light that's coming into the camera by pulling the levers and checking those changes with our light meter on the back of our camera. So here's the question we have to ask ourselves, Why does the camera get it wrong? Why doesn't the camera just get it right all the time? The reason it doesn't get it right is because the way camera looks a scene, it looks everything and says Mid grey, I'm gonna measure the whole scene and I'm going to set the brightness according to a middle gray, a middle ground between white and black. Now, if you've got equal amounts of white and black, then as in this illustration in mid grade, your camera is gonna be pre correct in its exposure. But if we're in a dark grey situation, maybe it's late in the evening. There's much more black than there is white. Our camera will compensate for that and change the image, and it's the same if it's a very bright sky. We've got a lot of brightness in the image a camera is going to compensate on decide where the exposure is. But now it's just going to create a mid grey that isn't actually correct on. That's where we have to come in, and we have to tell the camera you've got it wrong. Onion increases by stop of light. I'm gonna decrease this by stop of light, and we simply do that by looking at remission, thinking that's too bright. I want to turn it down. A stop is too dark. I want to take it up a stop, but this is the problem. This is my cameras. Get it wrong because it measures everything by mid grey. It assumes that in their image is going an equal amount of white equal amount of black and therefore in terms of tones, even if its color, its store measures in tones and therefore getting it wrong. 27. Module 05 04 Iso: So let's have a look at higher. So the center I s O, comes from the film days and was used to describe the sensitivity toe light of the film in modern digital cameras. I eso is the lever that operates the sensor, so you pull the I so lever and the sensor will either increase or decrease the amount of electronic amplification of light that it will use. And that's important to understand is not allowing more light in. It's just boosting the signal electronically. So why not just bump the I so up whenever you need more light because you introduce Elektronik noise, The more Elektronik noise you introduce, the less clear the image becomes. So in this image, when we zoom in, we can see that there's like these little dots and specks of like gray like crunchiness on that is noise. So we just increase their eyes. So but now we lose image quality because we get in a lot of noise. Now, the more expensive cameras cope with this better, and that's why people buy DSLR. It's because they want to control the amount of noise or they want to be able to shoot at my canon five d mark free. I can shoot a 12,800 eyesight, which is ridiculously high. It practically sees in the dark on the noise in It is there, but it's bearable. And if I come down to 6400 I so if I dropped down to that again, I've got a better image. So the I s o on a really good camera allows me another stop of light. So when I'm shooting in the dark, incredible images, because that lever just reaches much fervid and it doesn't ever cameras. And that's why people will spend a lot of money on the death of that body because of that fact, because of its low light performance on that is directly related to the center and what that also means as well as you can buy slightly cheaper lenses because lenders were big apertures, which we're gonna explain later arm or expensive. But if you could buy a lens, that's one stop less efficient, but you have a camera that goes two stops more efficient. You actually gain something, so the more you pay for the camera that better the higher so the better the low light performance. I s O then could be used creatively to give you nighttime shots where it's dark and the subject is frozen in time. I s I will enable you to take images in the dark you wouldn't normally be able to take if your camera does not perform well so it will boost the signal coming into the camera and make it brighter for you. And the thing to understand is that places change at night when you're out at night and you're taken images of place at night, it's completely different, Like a magical land that appears that you don't see during the day on that. I s o that good. I so is gonna allow you to go out and appreciate those types of places. Create those types of interesting images. Now, you don't always use at night time. We've got some deep shadow in the dark places at a dynamic range of the cameras. Quite good here. It does actually pick it up on the five d mark. Free is not a bad camera when it comes to dynamic range, but we might use the I S o justo lift the image up a little bit Andi reduce some of the pressure on the shutter speed or the aperture so we can pull the levers and get different effects. So in this instance, a little bit extra, I So on all of a sudden I can shoot this image and I can shoot with a relatively deep aperture. I can have quite a lot of stuff in focus. We don't have to have a really wide aperture, very shallow depth of field. So the ISA allows me to be creative and allows me to bring a little bit more depth into this shot that I would normally have. And again. Here's another instance where some cameras would struggle in this type of light that struggle with the quite dark light on the lady's face, and it's quite toned down. A lot's got a hard, like coming in off the top. A lot of subject is actually in shadows of using eso in the camera to increase the exposure in the image, and I don't then have to rely on the other levers what we mentioned earlier and then we could start creating some different images because nighttime images there's not a lot of light coming in is very difficult to capture an image where the images actually frozen. That's why people use tripods because they've taken a long exposure. But if something's moving in the dark or you wanna freeze a moment, it could be very difficult. This was handheld, just sort of. Lights really loved the way this was in the darkness sort of lights. Andi. I could hold this as a handheld shot and take it because of the eye. So performance with my camera. Unless a camera would have struggled, I would have had to slow the shift to speed down on. We wouldn't have had a sharp image. So that's I. So it boosts the light and allows you to shoot in darker situations. It allows you to boost. The signal is coming in on the better The camera is, the better I. So it has 28. Module 05 05 The Shutter: now we come to the shutter on the shutter is actually a physical device that moves across the camera's sensor so it moves across. It's a gate. It's literally a lever now. A lot of modern Miral is. Cameras have Elektronik shutters, so it's moving to the Elektronik. But in this instance, we're talking about understanding the process. So it literally is a door that opens and shuts in front of a sensor and lets light in for a certain amount of time on what it does. He controls the length of time that the sense that can receive light so slow shutter speed might be open 15 seconds. What's the fast shift of speed may open and close in 1 8/1000 of a second if you're using a top end camera, so that's the amount of time it opens and