Stop Using Scene Modes: Use Your Camera Like A Pro | Paul R. Giunta | Skillshare

Stop Using Scene Modes: Use Your Camera Like A Pro

Paul R. Giunta, Live Music & Portrait Photographer

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
5 Lessons (16m)
    • 1. Trailer

      0:45
    • 2. Gear

      4:17
    • 3. Camera basics and setup

      4:13
    • 4. File Types : RAW vs. JPG/TIF

      2:59
    • 5. Composition and technique

      4:10

About This Class

While using the scene modes in your camera is an easy way to collect a snapshot on the fly it does little to tap into the power of your camera and generally it creates flat images with little pop or wow effect. In this class you will learn how to manually control the settings in your camera so you can start creating photographs that will make your friends think a professional photographer made them for you!

This class is for anyone with a camera that has manual settings and is looking to take their image capturing to the next level. I have been fortunate enough to build a career out of shooting live music and portraits that have been featured in Rolling Stone, The New York Times, TIME, and several other publications, and I constatntly use basic manual photography techniques that I hope to pass on to you with this class.

What You'll Learn

  • Gear: Differences in the types of camera bodies and lenses available. Learn the key differences between full frame and crop sensor cameras as well as the differences and benefits of zoom vs. prime lenses
  • Camera basics and setup: Description of ISO, shutter speed, and aperture and how to adjust them to get proper exposure and composition.
  • RAW vs. JPG/TIF: Did you know your camera can collect photographs in several ways/files types? This class will go over which one is right for you and why.
  • Composition and techniques: Manipulate the camera settings to achieve desired depth of field as well as other compositional techiques to make amazing photographs.

What You'll Do

Your project for this class will be to create 5 photographs that exemplify the techniques and compositions described in the lessons. Throughout the class you will be able to share your progress and final drafts with the rest of the students for feedback and high fives.

Transcripts

2. Gear: - in our first, - you know, - we're gonna talk about equipment we're gonna go through, - look at different types of cameras as well as the lances that could be used. - The most common side of camera that most people have points your cameras. - Last year's I kind of Canada's well as a few other manufacturers have released cameras that - allow you to shoot full manual. - And this is really weird desire to learn, - you know, - as a function of the sports, - supposed to just losing the on scene modes landscape. - Nighttime fortune come loaded with cameras. - So if you have all those cameras that were looking at a low level, - this is probably really start president general with lower on their very, - very powerful. - It's small music take along with slight drawback. - Those sensor inside of cameras not as powerful as you could get much higher end cameras, - so the image quality will still be very good isn't quite as good in low light. - Sensitivity is generally where cameras for the money. - It's a great place to start to learn how to use the manual settings in a camera. - The second camera we're talking about is a muralist. - Camera form factors very similar with point shoot camera that I just showed you. - But the sensor inside is a lot bigger. - A lot more powerful image quality that you get from a camera like this is much nicer than - Miralles. - Cameras also give you the option of having fixed lenses or interchangeable lenses as well. - So it's kind of a nice between. - Between point shoot camera and a big, - powerful DSLR are but their type of camera. - We're gonna talk about DSLR DSLR cameras or more professional stop cameras because they - have a lot more of the options and functions at your fingertips. - Walking up to a DSLR could be a little intimidated by the number of buttons, - and switches are on it that this really gives everything at your fingertips to control - every aspect of the benefit of these cameras again is having that access to all those - different settings at your fingertips as well as the censors. - The censor. - These cameras are the best that you can get quality image, - quality resolution. - There's nothing really stands opposed to these. - The disadvantage of the SLR is that size. - It could be quite daunting to carry around all day, - compared to appoint shoot camera or murals. - So now we talked about the different kinds of cameras you can choose. - Let's talk a little bit about different types of glasses. - If you've gone with muralist camera out of DSLR camera around, - you have the option of interchangeable lenses. - Different types of lenses can do different things on the body. - Right now, - I have ultra wide angle. - Let's This lunch is great if you're out of your field of interest is a very, - very large, - very, - very wide area. - Landscape photographers are very commonly used lines like this because they wouldn't make - sure everything they see in their peripheral vision. - A friend. - The most common zoom lens to standards this one's in particular, - has a range of 24 to 70 millimeters is practical for everyday shoes. - The telephoto lens goes a little bit far. - This one in particular, - goes between 70 and 100 millimeters. - Telephoto lens like this is very useful in photographing nature as well as your kid's - sports. - Now we're taking a look at the zoom lenses. - Let's take a look at what prime lenses prime lenses don't zoom zoom lenses. - They have a fixed focal length. - So in this case, - this leads only will shoot 50 millimeters. - The big advantage of prime lenses are their speed, - something that you're not really familiar with. - Now. - We'll talk about later unit, - another type of prime lenses, - a macro. - Let's micro lenders are a lot of fun to use because these lenses allowed you to get very, - very close to the subject to get incredibly detailed shocks. - So anyone who's interested in flower photography and close up photography this. - So now you have an idea of the different types of cameras that you can choose, - as well as the lenses that go. 3. Camera basics and setup: - now looking equipment you use. - Let's learn a little bit more about how to use that equipment to get a problem for proper - exposure. - Turns like aperture, - shutter speed and I. - So things were right now to get the idea how you balance these three things together to get - off. - So let's take a look at Apertura is like a throttle that allows us to control how much - light comes inside of the lens that is a sensor inside camera. - The amateurs you can see in this case is wide open, - so you see nothing but glass inside the ring. - As we start controlling the amateur, - closing those blaze down, - you can see that that's hole is getting smaller. - That's less lights. - Being controlling the amateur controls the amount of light that the lines leads into the - camp. - This is extremely important when trying to balance this with Sugar Street Nice. - So get a proper setting amateur as a very profound impact on the way the final photographs - , - when you shoot with what's would call wide open where the aperture is all the way open. - The model life that's being put through the camera lens is a lot, - so the shutter speed does not need to be open nearly as long. - The result of this is you get your subject of interest Nice sharpened. - Focus on the areas behind or around. - Some gonna keep alert out for more. - Open the amateur. - The higher really learned this blur asshole boat. - If I go the other direction I opened that I stop all the way down. - I'm now gonna have a very deep depth of field, - which means everything that I was going to be a frame is gonna be a focus. - This is a lot more important when you're doing things like landscape photography or looking - at architectural. - For example, - the second piece of the grazing look out when being properly understood. - But we put the shutter speed is like the time that the shutter is open, - allowing light that comes through the lens to hit the sensor. - The third piece of the equation to get proper exposures. - The way I think about so is the sensitivity of the sensor of the camera. - When it's right outside, - I have the eyes of set very low because I don't need the sensor of the camera dialed up - very high in order to clinch a proper exposure, - a proper image. - When should your concert available? - Lights very limited. - So I need to crank that I s O camera much higher in order to turn that sensitivity the - sensor higher, - so it's easier for clapping. - But one thing to keep in mind when I just in your eyes so is higher. - You said dry so more towards We're gonna reduce your foot. - If you look at this example here, - picks around the left has taken a low eyes. - You can see how clean and sharp images the picture on the right was taken over much higher - . - So you can see when you look very closely at that photograph photograph. - It was very grainy and rough. - Not as quite a sharp is. - It was. - It was. - It's not your familiar with aperture shutter speed nine. - So you may be asking yourself where the Western well, - when I approach a job, - whether it's shooting a portrait or the Judy Band, - the first thing that I always said camera is the aperture. - So what I do is I'll set the aperture of my camera first, - depending on what that subject is based on how much available that I have the second - component that I will say it will be the I. - So I'm at the beach photographing a family that I have said it was gonna be nice, - But if I'm in a small, - dark club, - Dionysus sitting could be considered higher because I need a sensitivity that sensor to be - turned up in order to capture as much available light. - It's possible. - Once I said my avatar, - my So I will just the shutter to what I believe is gonna give you a proper exposure. - Based on that shot will either adjust the shutter speed over down anyone. - How much more light, - less light and shoot evolves. - Albatross s so pretty much say the same for justice. 4. File Types : RAW vs. JPG/TIF: - So now that we know how to control, - the aperture must be nice, - so properly exposed. - Photograph. - Let's talk about what happens when that light gets inside the camera in his sensor. - It's not a little bit about the marriage is gonna be created in the file type associated - with the most common type of files. - J was collected by most points you cameras as well as your camera phones. - This file is a condensed version of everything The camera sees a few adjustments made - inside of Camp J bothers you. - Collect takes in consideration settings that you're having cameras far how saturation - contrast as well brightness will be affected in the output file Coming out of camera. - A tiff file is very similar to this, - but it's just a UN compressed format, - so the file is gonna be a lot larger. - No data's compressed lost as a function of collecting before interesting collecting in the - image unadulterated by anything that happens on the camera. - The raw setting is the setting for you. - This is setting that I Here's the best way for me to describe the difference between - genetic raw files with technology. - Think of a J pic file as you remind us to buy a suit off the rack where raw files that - having a suit custom tailored to meet your exact specifications When you get a J pic file - in a raw file on your computer, - Jay Peak files ready to cut up his last Mahler's. - Any alterations you could make an editing are gonna be limited Because, - my dear, - a Roth on it was like having that fresh piece of Bagram. - You have every bit of fabric, - every bit of data to make any alteration and change one of the AL profiles exactly in this - photograph you can see side by side what J peg out of camera looks like. - Supposed J Big file again has a contrast in it. - A little bit saturation. - It is a little more of a finished product compared with right, - right on the right is a rock, - a little wash, - now flat. - It doesn't have the anything done. - It was done to the J. - Again. - This is all done in the camp, - so my recommendation is played with the city's inside the camp. - See if those are enough for you. - If the amount of saturation color of contracts that sharpness is your good collecting a - file with cameras? - Good for you. - You're in good shape, - so I recommend playing around. - If you're like me, - it's not exactly where you want. - My advice is definitely to be doing a little more. - How did they after the fact? - But it's well worth it. - Result that you get my advice is to play around, - see if you achieve a look at you go. - It's all you need about how much time you want to stand out in the photographs. - In the resource is got a computer with Dobie Apple products, - you have the opportunity to make a lot. 5. Composition and technique: - So now we're going through all the mechanical aspects of how to get a proper exposure and - control things. - Let's talk a little bit about composition technique. - We already touched on depth of field. - Earlier, - we discussed what the aperture settings were. - Halley Image will go back to this picture of the couple again. - This is a picture of now. - We're showing a shallow depth of field where the couple is very nicely focused, - but the background is blurred out to give a nice pop a couple of draw a lot of attention. - The next photograph we're gonna look a deep. - In this case, - everything in the foreground as well as everything background photograph, - are all in focus. - So this is used with much larger aperture setting in order to get that deep down the field - from start to finish in front. - Don't tell me that you could employ when making a photograph is the idea of using beating - lives on the idea of using a leading line, - something that you're gonna put in the competition photograph that's gonna draw the eye of - the viewer from one point photograph to another. - In this photograph, - you see all the lines from a copper wire around the crystal ball lead you from one side of - the photograph to the other. - This is very useful when trying to dry interest in trying to draw the viewer. - From what point of the photograph? - Another thing to consider when taking a photograph was Frank. - How often do you look a foot around with? - The subject is front center of the frame, - you think Wow, - it's very interesting. - Generally we like to offset subject to give it a little bit more depth in tow. - In this photograph, - we utilize the idea of the rule of thirds. - So it's basically breaking down the frame to different areas different thirds of France. - So we're looking at the glass years not left third of the frame, - leaving a little bit of space to the right so that you guys drawn from left to right in the - situation, - not being front and center kind of has a little more interest to a very common other - compositional. - Take me to use something called negative space and that pretty much exactly what it sounds - like. - There's a lot of space in the frame that's unused or little interest in this photograph. - We have another example of how the subject actually takes up a very small percentage of the - frame that majority the frame is encompassed in negative space. - By having the subject in so much space, - it draws much more attention. - Much more interesting. - Subject. - The last competition taken to go talk about this plane with respect for me, - this is a lot of gives you the opportunity to take an ordinary subject to make it look a - little bit more interesting by playing with the angle that photograph this tape, - this example. - I was lying flat on my back, - my dog sitting on my chest. - Now, - to me, - this seems a little more interesting than the candid. - Take a picture of my dogs were in front of me. - I adding a little bit of dimensionality to a little bit of perspective, - showing a different view or a different way of looking very common, - very ordinary. - So all of these different compositional techniques that we talked about could be used - together or used independently to really create a little more interest in the photographs. - As you get a chance to play with these different techniques, - hopefully you'll notice that your going away from taking traditional snap size to taking a - little more composed and bought out. - For now that you have some comfort familiar collecting a well exposed, - probably close photograph take the opportunity to experiment with these different - compositional techniques that we talked about. - Your project for this course is to submit five photographs that show that you know how to - use all of these key ideas together. - Of course, - we expect everything to be properly exposed, - but show me that you know how to control that. - The field. - Give me a photograph that demonstrates your knowledge of leading lines. - Let's see a photograph utilizing negative space and let's see a photograph utilizing the - idea of changing perspective to draw a little bit more interesting subject. - Now that you have familiarity and some exposure to different times in compositional - techniques, - play around a little bit using together. - Use a minute. - What you're going to see is that where you start playing with these more composed, - more finished, - your photographs are gonna look, - compare this actually that you take before