Wilderness Photography: Jumpstart into a Wild Art | Paul Hassell | Skillshare

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Wilderness Photography: Jumpstart into a Wild Art

teacher avatar Paul Hassell, Pro Wilderness Photographer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

44 Lessons (2h 16m)
    • 1. Trailer

    • 2. Welome to Jumpstart - What's the Point?

    • 3. Preview of Camera Class (morning session)

    • 4. Demo of the f/22 Principle

    • 5. What is it? Eye, Mind, and Heart

    • 6. Aperture

    • 7. Shutter Speed

    • 8. Exposure

    • 9. Demo of Exposure

    • 10. Modes (Aperture Priority)

    • 11. Depth of Field (1 of 3)

    • 12. Depth of Field (2 of 3)

    • 13. Depth of Field (3 of 3)

    • 14. Exposure Compensation

    • 15. ISO (1 of 2)

    • 16. ISO (2 of 2)

    • 17. WB (1 of 3)

    • 18. WB (2 of 3)

    • 19. WB (3 of 3)

    • 20. Bonus: JPEG vs RAW

    • 21. GET OUTSIDE (assignment 1 of 4) - Shoot in Aperture Priority Mode

    • 22. LIGHT - Intro (afternoon session)

    • 23. LIGHT - Quality

    • 24. LIGHT - Direction

    • 25. LIGHT - Color

    • 26. Subtraction

    • 27. Composition (1 of 3) - Thirds

    • 28. Composition (2 of 3) - Tangent about Aperture

    • 29. Composition (3 of 3) - Lines / Movement

    • 30. GET OUTSIDE (assignment 2 of 4) - Incorporate Principles of Composition

    • 31. Image Vibration

    • 32. Indoor Light

    • 33. Sunny Days - Making the Most of It!

    • 34. Sunny Days - Shoot in the Shade

    • 35. Sunny Days - Fill Flash

    • 36. Sunny Days - Reflected Light

    • 37. Sunsets

    • 38. Flash

    • 39. Explore - Window Light

    • 40. Explore - Macro

    • 41. Explore - Telephoto

    • 42. GET OUTSIDE (assignment 3 of 4) - Reveiw Your Work, then Re-shoot!

    • 43. Review and Conclusion

    • 44. BEHIND THE SCREEN (assignment 4 of 4) - Edit down to 10!

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About This Class

Paul’s motivational JUMPSTART into the world of outdoor photography is a unique blend of practical hands-on lecture, ideas for creative inspiration, and Q and A from a live audience who asks the questions you want to know. Count on having a lot of fun learning from Paul's vibrant teaching style, and then get outside on your next adventure taking great photos!

New illustrations and assignments will be added to this course as it becomes available or as needed for explanation. If you have something you want to see, please don't hesitate to let me know. I am here to launch you as far as I can into this wonderful world of wilderness photography!

For those of you who don’t have 6-weeks to sit in a boring classroom, we’ll do it all in ONE DAY!


This course is for beginners who are serious about learning it right and in a tangible way the first time. This is not for casual shooters who just want to take a better snapshot of their family. This is for those who want to really be artists with their camera.

You will need to have your camera out in front of you. Be prepared to practice, practice, practice as the course progresses.

I deliver this time-tested Jumpstart course in three sections; CAMERA CLASS, PHOTOGRAPHY, and PROBLEM SOLVING.

- CAMERA CLASS: You have to learn this gadget before you can create those artistic masterpieces of this wild planet. Look forward to getting off of that pesky green Auto setting forever after this morning session.

- PHOTOGRAPHY: It's all about the Light, baby!

- PROBLEM SOLVING: After this section, “When you’re photographing on your own, and there’s no one to look over your shoulder and critique, you can basically teach yourself.”

This is a one-day intensive course. Although, you can break it into two days to allow more time for everything to digest. Either way, most importantly, TRY everything we cover on YOUR OWN CAMERA as you progress through the course. Don’t take tons of notes… JUST TRY IT!

Join Paul in this LIVELY ongoing classroom experience. The flame of passion you currently have for photography will be fanned into a blazing inferno.

Meet Your Teacher

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Paul Hassell

Pro Wilderness Photographer


Paul has been published in National Parks Magazine, Time-Life, and Nature's Best. He has shot wilderness photography professionally for more than 15 years. For nearly a decade, he has instructed beginner and intermediate photographers on-location in Patagonia, Alaska, Africa and beyond, leading them quickly through the fundamentals of outdoor photography and launching them into the exploration of their own creative vision.

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2. Welome to Jumpstart - What's the Point?: greetings from the southern Appalachians. You'll be learning in a classroom with 11 other students, but the point is to get you outside into the wilderness. 3. Preview of Camera Class (morning session): - This is what we're gonna be going through. - This is the morning session right here. - All right, - Now, - I promise, - when we get into the photography portion talking about light, - it's a little more exciting. - But this stuff is essential. - And it is. - It is pretty fascinating how it all works. - But this is the curriculum. - This is where we're gonna go, - and we're gonna start with aperture. - Go to shutter speed. - Talk about those different modes, - right? - You saw those on the top. - The little spinning wheel. - You had a or a V. - You had you had, - ah, - P program. - You had the green auto. - You have the what else is on their shutter? - Priority the s right. - Or TV for cannons. - See all those little this little, - uh, - representations. - And then you have the one that looks like a starry night sky you have of the running man - you have. - What else is on their flower face? - Yeah, - Okay, - a little toddler. - Now, - now, - no offense to the camera manufacturers, - but those air sales gimmicks, - okay, - Those don't do anything different than the other three settings. - All right, - so we're not going to bother to talk about the sales gimmicks. - But you thought you got more right? - Well, - they got a toddler setting and they got old person setting, - you know? - So it's only gonna have to do. - It's only gonna have to do with these main topics. - So we will talk about modes. - We'll talk about exposure. - Compensation. - Super cool. - All right, - You ever wondered when you take a photograph and it's just a little dark? - I wish I could make it lighter. - Click, - Click, - Click takes less than a second, - and you're gonna have it all fixed. - It's a little too bright and you're going. - It's It's brighter and camera that it was out there. - Quickly click to the other direction. - It's darker. - Click and you nailed it and you don't have to go into photo shop and do all this editing - stuff. - It's right the first time, - so we'll get into that. - I s o. - Anybody ever even heard of that are seeing that on their camera? - All right, - we'll talk about what that is, - why it matters. - And WB represents white balance. - You've seen that on your camera somewhere, - sometimes on the back, - on some of your cannons, - and Nikon, - sometimes up on the top is Well, - have you seen that W B white balance that has to do with color temperatures as a lot to do - with the mood and the emotion in your photographs? - But before we move any further, - let me come back again to the really cool stuff. - This is the big idea behind photography. 4. Demo of the f/22 Principle: - This is one of the neatest things that I'd like to show you about. - Aperture, - are you ready for this? - Okay, - make an aperture ring with your fingers. - All right. - Nice big opening. - Put it right up to your eyeball. - You close the other eye. - Now, - what you're gonna do is we're gonna look at me and look through your hands. - All right? - Look through your hands. - You'll notice that your I can only focus on me. - Right? - And your fingers are blurry. - Give me a yes, - if that's true. - All right. - Now focus on your fingers and not me. - Your fingers are sharp, - but in my sharp No, - your mind, - you can You can pull your hands down. - It always looks like it's some some kind of colt. - It's funny. - I do this out on Market Square and everyone's you know, - people like what is going on. - So So you're looking through your fingers or at your fingers. - You are focusing on one or the other. - But what do we learn a minute ago? - You can, - with a smaller aperture diaphragm, - focus on both the range or the depth of what's sharp increases. - Remember how I told you we built the camera after we were created. - Frank's trying it already make the smallest, - tiniest hole you can. - Now it's It's hard to dio if your fingers allow. - Make the tiniest little hole you can tow where all you can see is my head. - Okay, - can you get that small of a whole? - Now pull your hand out in front of you. - Pull your hand out in front of you tiny little hole. - What's starting to happen with Focus. - Wow, - Charlotte goes. - That is weird. - This is not a magic trick. - These air natural walls. - When light goes through a tiny hole, - diaphragm everything becomes in focus isn't any. - So when you forget this outside, - you're having a landscape moment, - and everything's great, - but it's really shallow depth of field. - The mountains were in focus in the flowers. - Not you can't remember what's what the small hole was. - The one that makes it do that is any so. - Those are the kinds of things I want you to kind of embrace as this thing doesn't have to - rule your life. - You can understand what's going on in there. - Do you remember if you ever did stuff in the dark room? - with maybe a pinhole camera. - Anybody do that? - You see it already? - When I'm about to say so with a pinhole camera, - you always kind of wondered There's no lens. - How's it gonna work? - It's the same principle with a tiny enough whole lights gonna come through and it doesn't - matter where it hits. - It's gonna be sharp. - So you never had to focus? - Is that me? - That's how all that works. - It's an aperture concept, - okay? 5. What is it? Eye, Mind, and Heart: - ready for this. - Brace yourselves. - Get any three assistance? - How about can I just take the 1st 3 of you right there? - All right. - If you stand up, - please come up to the front. - All right. - You were going to represent the camera lens. - All right, - so let's must draw you Linz here. - This is gonna be interesting. - All right. - Look like a wins. - Wonderful. - Okay. - Yep. - Cannon. - All right, - beautiful. - Okay, - So you're the lens, - which you just stand on the far side. - Other ladies, - please. - Come on over. - Okay, - this is a little rough. - Okay, - so we've got okay. - All right, - you are Camera body stand next to her, - please. - Rebecca, - come on over. - And you will be the digital sensor. - Okay, - so you are just right here, - okay? - Oh, - please. - All right. - Now I need one more volunteer. - Mary, - you'll be light. - That's a big honor. - All right. - I need you to start on this far side over here. - All right? - All right. - Come on over. - Come on over. - All right, - hold the bright yellow light. - Okay. - And I want you to travel this direction and come on through the camera. - All right? - Come on Through. - What does she pass through first? - The lens. - OK, - what does she passed through next camera. - OK, - next. - The black canvases painted. - All right, - come on through. - Excellent. - Thank you. - Very well done. - Very well. - Don't Now what this actually is? - If I can take it for just a moment. - This is the I of the camera. - All right, - Nice. - This is the eye of the camera. - Okay, - So what would this be if this is where all the technical components are, - where all the thinking goes on. - What is this? - The brain? - This is the mind of the camera. - All right. - All right. - So we got Yeah, - this right? - Yeah. - How is that? - All right. - That's the mind of the camera. - You like that? - Well, - exactly. - Thank you. - Need more time. - I need more time. - All right. - Now, - what is this, - then? - The digital sensor. - What is it? - This is where the lasting impression is made. - This could be described as the heart of the camera. - All right. - See how this all makes sense. - This was designed after mankind, - Believe it or not, - not the other way around. - So when this thing starts to dominate your life and you start to think. - Not that it will after today. - But you start to think me and this thing is so much smarter than me. - Let's put it on auto. - What you're doing is you're taking the fact that mankind was given eyes a brain and a heart - first. - Then we made this afterwards, - and you're taking it and saying it's probably better at all. - Those? - Not really. - So when you go on a trip, - you take that vacation and you take that photo. - And it didn't see it the way you did. - What? - We got to reverse that. - So that you teach it to see the world the way you do. - You see how that works. - Thank you very much. - A round of applause for assistance. - Thank you. - Heart, - brain, - eyes. - Excellent. - All right, - Now we're gonna get right into it. - You guys ready? - Everybody Good. - Okay, - here we go. 6. Aperture: - aperture is really fun. - This is a fascinating concept. - Who's ever heard of that before? - All right. - Have you ever heard it called F Stop? - Anybody heard it called that f stop. - All right. - Remember that the F numbers. - Same thing, - exact same thing. - So it has to do with the size of the Lins opening. - And when we talk about aperture will be talking about how much light is coming in to the - camera. - How much light is coming in? - Let me show this to you. - Okay? - We get up close and show you this. - Now, - this is an old lens. - Is my grandpas Lindsay, - right? - Like all the ones I started with. - And what this has the ability to do is it has actually an aperture diaphragm. - Okay? - And you could actually turn it. - See those numbers? - What Those numbers read. - Say those out loud. - 28 11 16 22. - Okay, - those are the kinds of numbers you're gonna hear. - You see those? - So that physically moves. - Now, - let me show you what it actually does. - Okay? - So if I have it over on the 2.8 or f four side or even 3.5 which is what I haven't set to - right now. - And I click this little button. - See this? - That's what moves when this is attached to the camera. - When it's set on this side the F 3.5 side, - it's wide open. - All that means is there is an aperture. - Die a friend there, - but it's not actually stopping down or closing in any way whatsoever. - So the light that comes through remember when Mary walked through the lens? - She is unfiltered or un condensed or unconsolidated. - What's ever see? - She has free passage. - She does so very quickly. - However. - What happens, - Sally, - when we turn it over to ah F 22 side. - All right, - Uh, - can we see that? - See that there can see it from way back there. - See, - it stopped down to a tiny little hole and that. - Interesting. - See that those little blades come in that still happens in your fancy newfangled cameras. - However, - when you take the lens off and try to make this happen, - you can't do it. - So I bring the old school in just to show you that that is what's happening in here. - When you mash down that shutter, - it's one of the things you hear happened that makes sense. - OK, - so they're just random numbers. - Some people ask me So what do they mean? - You don't want to know? - Okay, - where we're going to stick with what do they do and why does it matter? - So size of lens opening, - whether it's wide open or stopped down as a language of here has to do with how much light - is coming in is a little bit of light coming in. - Maybe for a long period of time. - There is a lot of light coming in for maybe a short period time. - Okay, - so reading it, - you're gonna have numbers like 3.55 point six f 8 11 16 22 Once again, - I would have made it 123456 and ends at 10. - You know, - there's nice decimal system. - Maybe, - but But no, - it's these numbers. - So that's just something we got to get used to talking about when we deal with aperture or - f. - Stop. - All right, - everybody with me so far. - So the other thing I want to get to and there's a lot more to talk about on aperture, - but we want to understand the balance of the correlation between these two is shutter speed 7. Shutter Speed: - speed deals with time. - So you're gonna be you're gonna be talking about how long light does what it does deals - with time, - right? - If I go from point A to point B, - you're gonna ask me how long it took me to get there, - That shutter speed. - It deals with motion that making making sense. - Okay, - reading it. - Well, - we talk about time as as seconds or fractions of seconds. - Right. - So we've got numbers like this 1 8/1000 of a second, - right to 50th 30th. - If it just says one on your camera, - what does that mean? - Yeah, - one second. - And if it says 15 or 30 it means 15 seconds or 30 seconds. - Rebecca, - a moment ago, - when you click the shutter. - How long did it sound like it was staying open forever, - Right? - Maybe 10 seconds. - Well, - it Woz and we're going to talk about why, - in this fairly dark room relative to an outside day, - even a dreary, - cloudy day why it took so long. - Shutter speed to Teoh. - Make the make the proper exposure. - Okay. - What? - This area right here represents this represents the little portion right here at the top. - This LCD display. - You see that? - What I'm gonna show you is on one side, - you see an F number, - something like 5.6. - Okay, - that's tiny, - but it so it is. - It is also on your camera. - All right, - So look in and see if you don't see a number right there and then some sort of other number - over here, - it might say something like 1/30 of a second. - Some of your cameras will represent it as a fraction 1/30. - Okay, - start to see if you can see those numbers. - You might have other numbers over here, - like 297 or something. - Well, - that's just talking about how many shots you either have left or have taken, - But this F number generally on this side, - and then you've got your shutter speed here. - All right, - so we've got the shutter speed, - and then we've got your aperture represented here. - You see that? - Go ahead and have. - Make sure your cameras on and take a peek at and see if you can't see those numbers there. - Yeah, - You see that there, - don't you? - All right, - Dean, - It okay? - Okay. - Hit the shutter halfway down. - See that Now that's a full second is how much light isn't here right now. - Not that it's not a lot of light, - right, - cause it's having to be a very long shutter speed. - But if you pointed up at the lights, - watch the numbers change point. - It were right about the lights. - Let's see your lens caps on. - All right, - all right. - Five seconds. - Pointing a light bulb. - There's something wrong. - Lens cap. - All right, - so that's how much light was coming through the lens cap. - That's impressive. - All right, - you're seeing that. - Okay. - All right. - So you started to get a handle on what's what. - And why is it there, - Right? - Hopefully exactly. - Because in general, - it might assume on a meaning aperture priority on the Nikon or a V with the cannons. - It's going to assume that even if it's at a second, - it's not gonna override. - Put a flash up. - It assumes you're on a tripod, - and you're fine with it being a second. - And as the course of time moves and I'm moving around like this, - you wanted me to be blurry like that. - So the green auto it is going to give you a a documentation as we're talking about, - it's not going to give you art. - It's going to make sure that you've got a bright white ghosted child in the frame that's - not blurry. - Generally speaking, - but again, - you can't necessarily focus on exactly want what you want. - The meter is going to be, - you know, - set ahead of time. - It was not enough light. - It's gonna add Flash. - And it's not a great scene. - All right, - so we're trying our best to get off of that green setting. - The green auto shutter speed. - Somebody tell me just faster. - Slow, - faster. - Slope again. - Numbers have to do with fractions of a second. - Now, - this is fast. - 1 8/1000 of a second, - Right. - This is slow. - 30th or 30 seconds. - Excuse me. - Right. - Very slow. - Well, - somewhere here, - even the 30th of a second. - That's fairly slow. - So So, - what are we doing with that? - Faster. - Slow on the shutter speed. - Excellent. - Was more confident. - Response. - All right, - now, - what about this one here? - How do you know? - They were both fast. - I didn't have to be slow just cause the other one was fast. - All right, - So you see the water moving? - Don't you. - And this has to do with what you want again. - Now you have control. - You're gonna be able to set this how you want it. - All right? - Don't jump ahead and say, - Well, - what shutter priority And why are you having so navy? - I'll tell you in the same. - Now you see the water moving over a period of time. - These air, - air bubbles in the water. - You call it foam rapids, - whatever you wanna call it crashing surf. - And as they travel across the frame, - their entire path is documented. - In this case, - this is just about a one second exposure. - So it shows you that motion in that environment of those crashing waves. - Big, - big, - powerful swells versus the bear photo. - Where had I don't One second. - What would I have had art, - right? - Yeah, - I just have blurry bears. - It would just be this sort of brown montage with sort of white blue streaks in the - foreground. - Not that need. - So this is a 4/1000 of a second. - That's fast. - And this is somewhere between one and four seconds. - All right, - so much slower. - You see the difference in those Okay, - would you get absolutely Yeah, - we'll get more, - much more into that. - But had I not use a tripod, - then not only is the subject moving, - but who else is moving? - Yeah, - exactly what very well said that rocks would then also be moving. - And then we've got a really blurry scene. - So this shot faster. - Slow. - Okay, - this one here. - Faster, - slow. - Actually, - there's a trick question. - It's another bear. - So you're thinking, - Well, - bears, - Paul says Fast. - No, - not necessarily. - I wanted to show that this guy it's missing an eyeball, - by the way, - uh, - sits and fishes in the same spot. - All dead gum, - your lung. - He sits right there, - and they all have their different techniques, - and it won't be often a rabbit trail too much, - but But some of them do the splash scare techniques, - so they they jump, - they jump, - they jump in a circle and all the same and gather into a pool. - And then they just kind of go grab one. - It's pretty neat, - but this guy, - he does the bubble up technique, - he said. - He sits at the bottom of the waterfall, - right where the updraft, - if you can call it that of the current is coming up in the fish, - get disoriented and he waits toe. - One hits him in the chest. - He does, - and then he goes. - That's why it's safe to photograph bears because they're eating about 30 of these a day. 8. Exposure: - exposure. - You've heard that term right? - It's a great exposure. - Or it's an improper exposure or it zey it's a proper exposure. - All that means is that this and this were in sync. - Your aperture and your shutter speed were at a balanced point. - All right, - so everybody with me so far on that. - So aperture deals to review with how much light is coming in. - Where is the aperture ring? - Where is it located? - Not the number. - We know where to access the number. - But where is the aperture ring? - Exactly? - Yeah, - it's in the lens, - right? - The aperture ring is in the lens, - so that's the eye of the camera. - So the first thing you need to decide as light travels through into the camera lens, - Right? - Where are we there? - As light travels into the camera lens, - you need to decide first and foremost what aperture you want. - All right. - I will definitely elaborate on this. - Now, - the next thing you need to decide in your great mind in the body where the shutter is - located You hear that sound? - When you click it. - Somebody click the shutter. - Go ahead. - Go ahead. - Everybody, - click the shutter. - Come on. - Now you hear that sound Now? - One of the things you hear that goes is the shutter. - The shutter is in the body. - It is a curtain. - And what it is doing inside the body or the mind of the camera, - is it is opening and receiving light and then shutting. - Just it's a curtain just like it sounds that make sense. - So again we will do it. - In this order. - You decide what you see first and how you want it to be seen. - So light comes through the lens. - There we go. - Light comes through the lens of the camera and you decide what aperture. - The next thing you will decide when shooting and fully manual mode in a moment is what - shutter speed matches it. - Everybody with me so far, - okay. - And the end result is a beautiful exposure. - Is that making sense in the heart of the camera? - All right. - So forevermore you have a properly exposed that's that same word exposure image based on - aperture and shutter speed, - being in sync in the proper way. - So making little more sense de mystifying a little bit. - What this little black boxes doing some of those numbers are the right. - So which is faster now you're getting confused. - You said aperture dealt with time and speed in the word fast deals with speed and time. - I'm intentionally crossing the two so we can talk about the relationship. - So the opening size F 3.5, - he f 3.5. - Let's draw that. - Go ahead and pick up your camera. - Look at it in. - Locate F 3.5 at 4561 of those lower numbers. - Okay, - everybody see that If you don't raise your hand, - I'll come show you. - OK, - Bruce. - Okay. - It is this toggle wheel. - And if you're if you're asking the same question, - look at him over here. - See that toggle wheel? - You'll be able to rotate it just like this. - And for now again, - What a setting I want you to have is a V Yeah, - a V or a on a Nikon. - So if it's a number like 3.5, - is that a big opening or small opening? - All right, - so we're gonna say it's a big opening, - right? - So a lot of light is coming in. - Okay. - Now F 22 toggle over to 22 on your camera, - and it may go further. - Anybody's go further than 20 to a higher number than 22 F 36 crazy. - So the teeny tiny hole. - So what that means. - All right. - Once again, - we could we could say, - Why did he make it other way around? - What's the other number? - Not that I Don't confuse yourself now. - All right, - just know that the deep end, - all right? - The deep in the big numbers down here with a small hole. - Our numbers like F 22. - Okay, - so I'm gonna keep going. - But what I want to talk about is is the speed that deals the shutter speed that will - correlate to these opening sizes. - You're going? - Wait a minute. - He's really throwing me off here. - Well, - let's see this in action. - Does that sound like a plan? - Let's see this in action. - I'm gonna give you a really interesting demo. 9. Demo of Exposure: - once again. - Don't you get overwhelmed. - This is the This is the core of everything we do today. - Is these two issues this opportunity? - Shutter speed. - And so once you really have a good handle on these, - you're gonna be good to go. - All right. - Thank you. - Thank you, - Thank you. - All right. - These air, - This is one digital sensor. - Doesn't it look like a digital sensor of the heart of the camera? - And here's another digital sensor right next to it. - So what this essentially is This is two cameras placed right next to each other. - That's what we're replicating. - We're replicating two cameras right next to each other. - Is that makes sense? - Where is that? - When you're Nikon. - There we go. - So there they are. - Both cameras, - digital sensors. - Hearts are ready to receive light. - What's going to represent light in this case, - not milk. - Come on. - What made you think Milk? - It's a milk jug. - We're gonna put water in these. - Okay? - What we've done, - please hold. - All right. - Tell me if you compare and make sure that there's the exact same amount of water in both of - those, - you got to take their word for it. - All right. - That feel feel right? - Have you felt in both at the same time? - Excellent. - There's the same amount of light in both of these right now. - If that amount of light gets here, - not MAWR, - not less than we have a proper exposure. - Stay with me now. - If that amount of light gets here, - not more, - not less. - We have a proper exposure. - Does that make sense? - If it doesn't all get there, - it's under exposed. - There wasn't enough light. - If not all of that light gets here, - it's under exposed and vice versa is where it gets real fun. - This one, - We're represent our F 22. - Okay, - this is our F 22. - What would this would be? - All right, - We'll give a 3.5. - That sounds great. - Thank you. - Assistance? - You guys are doing great so far. - Now, - take a look in there, - please. - Bigger. - Smaller than that. - Okay, - take a look. - See that? - There. - So which one's bigger? - Opening the one on this side of this side. - This side, - right? - It's a bigger opening, - right? - You start to see what's gonna happen. - So what we're trying to understand is when we affect aperture the F number on our cameras. - Sally pointed out that the shutter speeds changing, - too. - It should be for cameras not broken. - It should be. - So here's what I need to do is I need you. - Well, - see, - that's going upside down now. - That's excellent. - OK, - there's still going to 22. - Um, - I'm gonna have you hold 22 police and Susan, - I'm gonna have you hold the 3.5. - Okay, - Go ahead and hold that right over this location. - And I'll tell you what, - actually think for simplicity's you guys parked to the side as much as you can. - I'm gonna grab the light from you. - We should have Mary be the light lady. - That's that's her role. - What I'm going to do, - though, - is I'm gonna pour the exact same amount of light into both of these funnels. - And what you're going to see is that one of them is able to go considerably faster than the - other one. - So which one took longer, - But thank you very much. - Please put your hands together for assistance. - All right, - but there's the same amount of light in the end, - right? - So both of these examples, - both cameras were properly exposed, - but we use different apertures to get the exact same exposure. - So you're going, - Paul. - That's not only confusing, - but what's the point? - All right. - Does that make sense, - though, - how this one is gonna take a little bit longer because it's a smaller hole? - So let's go to now. - Now that we have a concept of the speed at which water or light will travel through various - average your diaphragm sizes and we have an understanding of that, - let's talk about how those to relate to one another. 10. Modes (Aperture Priority): - before we go into modes in depth. - What I want you to do is make sure with that you are on a V if you're a cannon or a if - you're a Nikon, - Um, - and what we're wanting to make sure and again, - this doesn't have to do with auto focus or manual A for em is having to have the modes on - the top of the camera. - All right, - I'm going to be very, - very big fan of aperture priority. - And the reason is light Does what First, - when it comes in through the system, - what does it hit first? - Yeah, - it hits the lens first. - And that's the eye, - right? - So that's the biggest decision you have to make is what the aperture is. - And let's talk a little bit more about that after we dissect each of these settings. - So in the bulb setting, - right, - we talked about that. - I got a gas back here. - Awesome over there. - All right, - so if you wanted to photograph stars for several minutes, - you might notice that your camera only goes to 30 seconds and then what? - We can put it on the be that bold. - You can click that shutter open as long as your fingers on it or a cable is triggering it, - then it will expose what's out there. - So all of a sudden you could see the Milky Way galaxy with bulb setting, - so these are pretty cool settings right now. - Let's go into why. - Aperture priority? - Who's heard of this term before? - Depth of field? - Raise your hand. - If you haven't heard that term before, - don't be ashamed. - That's fine. - Great. - It's actually helpful if you haven't cause I hopefully here it fresh. - Those of you have had other courses before and you heard about depth of field. - Sometimes it throws me off you go, - man, - What is that again? - So the reason we're gonna jump straight into depth of field for a moment is because it will - convince you why, - prior to shooting fully manual, - though you will do that by the end of the day. - I want you to start with a V or aperture Priority A. - On your camera. - It's not automatic by any means. - That's not what the A stands for. - This is not the green auto. - We're off of that SIA Nora. - See you later. - OK, - but what we want to do is explain depth of field 11. Depth of Field (1 of 3): - this has to do with the range of what is sharp. - Alright, - what am I talking about there. - So here's our camera. - Um and we're looking this way. - And out here in the distance are these great giant Grand Teton Peaks. - But in here, - in the foreground is this flower and and you say Ok, - well, - which do I focus on? - Well, - I ask you, - which one matters, - You're the one there. - Which one? - Which one mattered to you more just hypothetically, - the flower mattered to you more so with your auto focus, - this has nothing do with mode. - That's just focusing what you're focusing on. - You chose to focus on this flower, - right? - Well, - if you did that and you're set at an aperture like I always recommend of something like 3.5 - , - then everything behind that flower is going to be out of focus. - It's gonna be blurry. - Great. - What mattered was the flower right? - That's great. - So the depth of field was very shallow, - is the word will use depth of field was shallow when isolating to just that flower. - Now don't be confused. - What if you were talking to me and you said which one mattered. - The mountains. - Definitely the mountains. - And so I say, - All right, - great. - I'm gonna go right past this flower, - and I'm gonna focus on the mountains. - Okay. - Meeting that auto single point focus went You heard it. - And it clicked on the mountain and you mashed down the shutter, - the mountains and perfect sharp focus. - The problem is, - the flower is blurry. - It's out of focus. - That's great. - That's a great technique for Portrait's. - It's a great technique for wildlife, - for anything where you want the subject to be isolated from its environment. - That makes us now where it gets pretty fun is if I get a number like 22 there's no way you - can see that, - right? - Okay, - well, - the number 22 is right here. - Just take my word for it. - And if I focus maybe somewhere in between these two, - let's say right here there's this magical thing that happens about the show it to you. - It's in your body. - We just tried to design the camera after our body. - I'll show you So this magical thing happens where all of a sudden, - what is in focus or the range of what sharp rather than blurry expands. - What happens is all of a sudden this flower can be sharp, - not blurry. - And the mountains can be sharp, - not blurry at the same time. - That is the power that is the magnitude awesomeness, - etcetera of the F 22 aperture. - All right, - for the most part, - to just keep this really simple. - You will stay on the 3.55 point six end for the most part. - So don't let this totally throw you off. - However, - a lot of you mentioned outdoor landscape, - scenery, - some, - some some environmental photography. - If you're wanting to show a grand a scene, - oftentimes you want everything to be sharp through and through. - Right, - so that b F 22. - But as a general rule, - we want to leave it set on that 3.5. - Guess what the green auto setting does always leaves it on. - This always leaves it on this. - Now why? - And I don't want to confuse you. - But why would the green auto setting always leave it on this aperture? - Remember this illustration? - Did the water come through faster, - slow in comparison fast. - If they're light comes through fast, - that means that's a faster shutter speed. - It's starting to click Unintended. - OK, - thank you. - Thank you very much. - You keep keep me going. - So if it's a faster shutter speed, - then you're going to have a non blurry photo. - Most of the time, - it's not going to have image vibration. - And Jim asked, - and I don't want to go jump ahead of ourselves will get there. - But Jim asked you what shutter speed doesn't need to be on to make sure it's not gonna be - blurry. - Another way of saying that is what aperture Should I set it on to make sure I have the - fastest shutter speed this one again, - coming back to simplifying this. - This is what it's already gonna be on. - You go home later. - It's already gonna be on this, - so you don't always overthink it and go, - What aperture? - What white balance. - I s so a lot of this stuff you're gonna have pre set. - And what you're learning today is win to change it off of that. - That makes sense. - If you have the green auto, - it has a mind of its own. - You have no control. - But if you see the flour and Grand Teton, - you want both and focus Now you're gonna be able to do that. - So let's see an example 12. Depth of Field (2 of 3): - this owl. - If you look closely, - you can see the photographer in the eye of owl. - Yours truly. - However, - if you look close at the back of the head, - is it sharp or not? - Not sharp, - blurry, - even. - Right? - You could say it's out of focus, - or it's out of the depth of field of what is sharp. - Does that make sense? - So what kind of aperture was I utilising? - Yeah, - very low number, - right? - Somewhere in the 3.5 range. - Now, - if you pay the big bucks for these lenses, - which you absolutely don't need to, - But the more you learn about, - the more you'll want to is. - You can have lenses that air F 1.4 1.8. - In other words, - not not just less than 3.5 less than two and what that means the closer toe one they become - , - the less light is lost as it comes through the lens. - Remember when Mary traveled through the lens, - the less light would be lost. - So this this lens opening is actually an F 2.8 lenses, - a 2.8 telephoto lens. - So as a result of foot focusing on the I meaning auto focus on the I I held my breath. - What? - I hold my breath. - Yeah. - If I move forward or backward, - guess what would have happened if I moved forward? - His I all of a sudden is out of focus, - and I'd be focusing on the back of its head. - You see how that depth would kind of move. - So it's very critical when you're at those 3.5 areas that you isolate to exactly what you - want and focus, - especially if you have the fixed 50. - Lin's like you have one of those who else has a fixed 50 millimeter lands and one of you - one other person came with one of those. - Okay, - well, - what they do is yeah, - here's one right here. - So what they would do this has see how it says 1.4 really wide open aperture. - And what that allows for is very shallow depth of field. - So this is a real big hit, - not just in sports and in action and wildlife. - But the wedding photographers love this stuff, - right? - No photograph, - you know, - just right on the eye. - And then the entire background is just big circular, - blurry shapes It's really pretty, - right? - It's a nice technique, - however. - What about this shot here? - Somebody Pipin What? - Opportune. - You think I was using their okay? - Higher F 22. - How do you know that? - Just by looking at it? - Yeah, - this is three inches from the lens. - This is almost touching the lens, - so it's actually not sharp, - right? - It's not magic, - Not everything. - But as a general rule about three inches from the lens had the camera up in the spruce tree - . - All the way to the distant mountains is sharp. - That is a very deep or long or wide depth of field of 22 where we great question somewhere - in between the distant mountains and the branches up close to me. - All right, - it's something we just have to play with trial and error. - I won't give you equations and hyper focal formulas, - right? - You're welcome. - Toe. - Ask me for that later if you want, - but I'm definitely not gonna get into that right now. - It's not that fun. - Anyway, - as a trial and error sort of thing, - you'll notice if you focused on the thing closest to the front element of the lens. - The distant mountains might not quite be sharp, - and vice versa focused on the distant mountains. - It may not pull all the way back if that sort of makes sense, - the depth of what's in focus or the depth of what's sharp all the way back to the viewer. - So you want to kind of pick somewhere in between. - Okay, - that's a That's a problem. - What about my auto focus? - How the heck am I gonna get somewhere in between? - Because it's gonna be oh, - right, - everybody. - Everybody's had that happen before. - You're focused focusing maybe in the fog. - Or there's a nice big cloud. - You want to take a picture of the cameras with Zoom. - What do we do about that? - Say it a little bit louder. - You had it. - Take it off. - Auto focus. - Yeah, - and that was on the list is the first thing we did. - Remember that. - Put it on em and just mainly focus it. - You'll get it. - We'll get into spot metering. - That's a great question. - It's a great question that has to do with light and exposure, - not necessarily to do with focus. - That makes sense. - So we're dealing with one has to do with the lens, - the eye of the camera and the media ring. - The meeting has to do more with the mind of the camera. - The decisions that are made is that makes sense. - Okay, - so all right, - well, - it's a bear, - Remember, - that's that's usually shallot up the field. - Is it the case here to question? - It's the same thing. - This is still F four F 3.5. - It's that big open aperture. - How can you tell? - Because the other photographers completely out of focus, - right? - We didn't have a huge telephoto lens. - In this case, - we had a mid range Linz. - However, - I wanted that to be the main subject, - and it just to be implied that there's a photographer that's entirely too close right now. - Not really. - He's doing okay is about 100 yards that Zettel work. - But there's this compression factor that happens, - and we could go more into that. - When you're using telephoto lenses, - it makes things look closer together. - So it's a sort of a virtual trick. - You can play 13. Depth of Field (3 of 3): - Okay, - What about here? - Don't overthink it. - What does it look like? - It's stuff blurry everywhere but the eyeballs air blurry. - Right? - Right. - So same thing had he pick ups or sneezed or dived in for a fish again and changed role in - relation to me, - his depth, - he would've been out of focus, - very shallow depth of field. - And I was gonna ask Ask you if you knew how that perspective is attained. - But I just I just chipped and showed you what was next. - You know that term chipping, - right? - So you're you're at an overlook in the Smoky Mountains, - and we've got 10 photographers. - And then all of a sudden, - some great lights started starts happening, - and people start going Who? - You know what the world? - Well, - you've done it. - Who? - And then the next person goes, - Ooh hoo! - And pretty soon, - everybody's looking at their sensors. - It's a digital phenomenon is called chipping. - All right. - So I showed you the next one that give you a sense of the perspective. - I had to get off the tripod and get down low. - And what that did is it provided a sense of showing you the depth in that image showing you - how much was in front and behind that bear. - Very different from if we just shot from above and just went and isolated him from his - environment. - You can use that shallow depth of field to your advantage. - That makes sense. - The out of focus material ends up being valuable. - Yeah, - the angle. - Had I had I gotten down that low with the tripod, - I would have been Oh, - I don't know. - A minute or two worth of time going herbal in the leg over. - Pull this leg over Earth and pull in this leg of a lot faster to go click, - pull it off and get down really low. - Absolutely. - Yeah, - because those are pretty heavy. - 50 yards. - Yeah, - that's the minimum distance. - You don't get closer than that, - but like I said, - these guys were full and happy on salmon. - 30 a day. - Sockeye salmon. - You went down the fresh market. - You tried to get a sockeye saying, - What's it gonna cost you? - A lot, - right? - These guys are eating prime sushi all day long. - So much so that they actually get to a point where their bellies air so bloated and full, - they just they just pull the skin off the back. - Now what you need to fish is beautiful. - Sushi just goes floating down the stream, - like on guys. - I want the fish. - I'm science. - So what about this one? - It's a scenic or landscape photograph. - So you'd say to me Well, - Paul said F 22 right? - No, - unnecessarily. - What is it? - What are we doing? - Aperture. - What are we shooting in aperture there? - Yeah, - 3.5. - I was using this 50 millimeter land. - So it's a 1.4 very shallow depth of field and I selected with that center point focus. - Remember the auto focus point where you select exactly what you wanted. - Focus. - I didn't What? - This and focus in the dead center. - So I went moved my lens manually, - just with my hands over to here. - Put this in the center, - clicked it halfway down. - Remember that, - and then repositioned or recomposed toe where this was not dead center. - Because that provides a much more visually interesting photograph. - So this one I wanted the flowers and the mountains. - So what did I do when you Yeah, - 22. - So again, - you do landscape junkies and you outdoors, - people. - You're gonna use this a lot, - but guess what else you're gonna have to use a lot Dry pod. - Know why? - Let's come back to it one more time. - Why would I have to use a tripod? - Guys, - we're killing it. - Yeah, - takes longer, - So slower shutter speeds. - A lot of you earlier when we first turned on the cameras in this relatively dark room - compared to the outdoors environment, - you are complaining that your camera was taking forever or you would click the shot. - It would go open, - open, - open. - Why would that be? - Think about it when you flipped it over to a V. - Your aperture priority or a Nikon is you had it on F 22 by by preset. - That's just where you happen to have it. - Some of you did. - And as a result, - it took a very long time in a dark environment to get all that water properly exposing on - the digital sense of the heart of the camera. - Does that make sense? - So as a general a V, - we're gonna toggle it over to the 3.5 side, - leave it alone until you have a reason to be otherwise. 14. Exposure Compensation: - exposure. - Compensation is an incredibly powerful tool. - I call it the magnificent plus minus button. - All right, - grab your cameras and locate on your camera where there is a plus minus button. - Some of you up some of your cannons. - It's gonna be on the top of the camera body. - Some of you, - it's it could be on the back. - Yep, - There it is. - That's plus money, - says a V Plus minus. - And some of your cannons. - It's the five d two. - It's actually on the back. - You gotta turn it all the way on. - Believe it or not, - that matters. - So look on the top here at that little dial that's rotating. - OK, - do you see that? - What? - That's called, - his exposure compensating. - It's going to look like this. - There's going to be a a few little tick marks and there's gonna be a plus side in the minus - side. - Okay, - And there's these little tick marks in between what this is, - is these air dealing with stops of light, - so it's dealing with amounts of light. - Okay, - so let's say we're at F 3.5. - All right, - so we're indicated at 3.5 here. - You're gonna look for a little picker. - That's right in the center. - And if it's not in the center, - you can make it to the left or the right by that little wheel. - Is that making a little bit of sense? - All right, - so that's what we're looking for visually. - And you can see through the lens. - You can be a but you could hopefully be able to see that. - I'm gonna come around, - make sure you're seeing it on your various cameras, - that wheel and see. - Do you see something moving? - Perfect. - It's either going to the plus side or the minus side yet Pulled that down and hold it while - Yep. - Hold it. - And then rotate this wheel here. - Yep. - You see it moving to the minus or the plus side. - Tell me if you see that on there. - All right. - All right. - Okay. - So 1st 1 make sure. - Totally fully turned on yet. - Did you start? - You see anything on there with a V? - That'll work. - Can I peek through the viewfinder real quick? - Because it may not. - Let me just make sure. - Okay. - Um, - yeah, - it's the same. - It's the same display. - Yeah, - it's hard. - It is it is hard to see. - There's little green information on the bottom. - Yeah, - look in there. - Look in there and you'll see at the very bottom. - You see some green info and sometimes a lot of times with glasses. - It is hard to kind of see those little the fields inside below Yet on the black and I'm - down at the very bottom, - below the frame. - So what does all that mean? - What does this mean? - And why does it matter? - So let's say I'm photographing this flower. - Anybody ever photographed something? - You do you really love that? - It was a really great picture. - But if you remember, - if it looked anything like this, - the flower became wildly bright in a bad way. - Does that make sense? - You ever had that happen? - It was so bright and he thought, - Oh, - rats. - That's not how it looks. - That happens a lot in digital photography. - So what you would need to do right after taking the photo. - Now back in the days with film, - we teach you how to interpret this ahead of time, - all this sort of understanding of exposure that frankly isn't necessary. - Now, - trial and error is the name of the game. - What you're gonna do is take the photo. - Look at it. - If it's too bright Now you know how to go. - Click, - click, - click to the less side the under exposed side. - And what that's gonna do is going to expose it properly. - You are now compensating for your cameras. - Limited limitations that make sense exactly. - Do that study and take it again. - And remember, - at the beginning, - I said, - I want you to make sure you learn how to practice. - Well, - this is in that category. - So you see the scene with your eye. - You say to yourself the flowers, - What matters? - This beautiful Columbine. - Not the darker background, - however. - So you still like toe F 3.5? - Let's say all right, - and in the mind of the camera, - you have that 3.5 already set. - Then you take the shot, - and it renders on the heart of the camera. - On the digital sensor on the back, - the black canvas as being way too bright. - You go back to the mind and make a correction, - But again, - it's your mind. - You now understand. - You don't have to make the camera do it for you. - You say less light, - please, - by going with exposure, - compensation wheel to the left or right according to which company camera you're using. - So so what's actually happening is because it's aperture priority, - you said. - What matters most to me is the depth of field, - the range of what sharp so it will leave it alone for you. - What it's doing with apurate with exposure compensation is it's actually changing the - shutter speed. - So some of you are going. - Wouldn't it be easier? - Just shoot fully manual on Do both of those yourself? - Yes, - but what what I want you to do is spend at least today. - It's fine if you spend a year using just a V motor a mode in the night. - Cons. - What what I'm wanting you to do is to learn to think when you see that scene, - make a decision about the range of what's in focus. - Take the photo and then if something's wrong, - meaning it's too bright or too dark. - Compensate what you'll start to see, - like Sally commented on earlier is you'll start watching those other numbers so you'll - you'll photograph at 3.5, - but you'll notice that other number that's over here to the left, - that shutter speed numbers changing. - You'll start to see and think about how the two are correlating right? 15. ISO (1 of 2): - I s O has to do with the heart. - It has to do with the sensitivity of the heart. - This is pretty cool. - All right, - so I eso you've heard it. - You've seen it. - Did any of you ever either yourself or send your kids on the school bus for the school trip - to Ah, - the lost sea cave or something? - What box camera did you pick out from Walmart? - Do you remember what the number waas high numbers? - It was like 800. - It said 800 speed film is for caves, - you know, - 800 speed. - It's for dark stuff. - Remember that? - Well, - this is the same thing. - So and then it said OK for the beach. - Remember what box camera you bought? - 100. - You remembering, - right? - So? - So just to kind of bring you up to speed in the digital era. - It's not. - It's not different. - They've used the same number system. - So your numbers for I S O is 102 104 108 116 132 100. - You see how they double now? - A lot of times we have third stops in between. - But these air full stops of light and light could be measured their proportions of light. - But each of these is a stop. - And some of your cameras Have you noticed they could go up to 6400? - It was that or 128,000 or something 100 would be 12 4800 Very, - very sensitive Back in the day does anybody remember grain and film? - So grain mattered digitally. - We call a grain noise. - So it's noise. - Thankfully due Toa wild, - awesome technology drain or noises mattering less and less So we used to give a whole - segment on you know why it so crucial to use 100 or 200 all the time Now granted, - Ideo I'm of the old school and their reasons to do this It is slightly better quality then - the 3200. - However, - as a general rule, - we don't have to shy away from the eight hundreds in the 16 hundreds for quality purposes, - as much as we used to used to, - it was gonna lock it down to 100 all the time, - right? - And if you shot up in here and you said you had that box camera with 800 be really grainy - and noisy and not not a nice image. - Right? - So what is it and kind of why does Why does this? - I s o matter. - All right, - so it's dark. - I mean, - it was darker than this rainy day we have today. - Dark, - dark, - dark outside. - All right. - And that bear was gonna shake. - I wanted that bear to be razor sharp, - and I wanted every droplet to stop in action. - I've got a problem. - Why don't have a problem? - Well, - you see, - I saw the light was coming through the eye of the camera. - I selected F four, - a 3.5 right wide open, - shallow depth of field is what I wanted. - I didn't care about the background. - You can see the flowers or out of focus, - the water in the foreground. - Out of focus. - Everything's great. - But when I went to take that photograph as many of you have in here, - it looked right on the screen. - But it was blurry. - You have to make a decision. - Is it blurry because it's out of focus? - Meaning I focused up here or I focused back here. - Is it blurry? - As in focus auras Their image vibration, - right? - That's the questions you have to ask. - And then as a result, - in the heart of the camera, - you can make a decision. - You can take that I s O and bump it up to a higher number. - And what that is, - it's changing film. - Now. - What do you have to do? - Just change the number and all a sudden makes the digital sensor that much more sensitive? - Is that pretty cool or what? - So how do we do that? - That's what we always come back to look for the the I S o indication on your camera, - and I'm going to circulate if you find it and you're sitting next to a companion that has - the same type of camera, - please show them where that I s o button is. - And what we're gonna do is we're going to take you off of auto eso, - all right? - It's ah well, - the the way I want you to think of it as a problem solving technique, - So leave it on 100 or leave it on 200. - But if all of a sudden you're noticing blurry photos because the shutters open for so long - , - like could junk right, - You've got it wide open. - If 3.5, - you can't get any more light in there. - You're only other thing. - You can do the problems Office. - Make this make the film or sensitive. - So it's a problem solving technique more than it is an extra thing to have to think about. - Does that make sense? - The difference? - This is not something you think about every time you take a photo. - It's more of ah, - assessment of things. - What city? - 100 or 200? - Um, - just pick a middle of the road to hundreds of perfectly fine place to keep it. - And then what? - You're going to click on it? - It's on the auto setting. - We want to turn that. - See Otto off. - Okay, - so you had it on extremely high eso higher than 3200. - So, - as a general rule, - you want to be in this range 200 for keep it on there, - But again, - you're gonna find that the shutter speeds you have compared to what you're used to a much - slower. - Okay, - because it's less sensitive 16. ISO (2 of 2): - So you're photographing a stream. - People love that. - Right? - The flowing stream and you've got the blurry water. - But the sharp rocks. - Remember that. - What can I eso Would we leave it on? - Leave it on. - Remember, - Leave it on. - 100 or 200. - So that was your your clue There. - No reason. - T jump it up because you're on a tripod. - Everything solid and stable. - But you wanna have blurry water. - So you want longer shutter speeds. - So with aperture priority. - Remember the example with the funnels? - What's the way to get the slowest shutter speed, - shutter speed, - But with aperture priority. - What do we do? - What do I put it on? - It's one of two things you ask. - Do I ever use anything in between? - Not for today. - We using the 3.5 or 22? - So, - which would I choose? - Have a really slow shutter speed. - All right. - 22. - Exactly. - So I want a teeny little hole. - Remember all this 17. WB (1 of 3): - white balance is the last thing we have in our little camera class. - Are you ready for this? - This is This is revolutionary stuff. - This is really, - really need. - So white balance has to do with the color temperature. - You ever notice those photos you take in? - It's kind of yellowy and really looks fake and artificial and weird when you're indoors. - That's because these lights or yellow your mind tells you otherwise. - We've learned to auto white balance in our brains. - But what's really powerful about understanding how your camera works is that you can start - to see the way things actually are rather than the way we think they are. - It's interested now, - so if you just for a moment kind of squint and look outside and tell you why the squint - kind of helps you zero in on on the colors outside. - It's a very gray day, - but it's much bluer than the yellow iness of the light and hear these air tungsten life. - Can you see the difference? - No, - sir. - Color temperatures. - So what are we talking about? - We're talking about ranges from cool blues right blues or cool or colder to warm reds and - oranges. - and yellows, - all right, - and then, - in terms of reading it, - it's a temperature. - So 5000 Kelvin for one reason or another 5000 Kelvin is normal. - How about it? - Just like a 50 millimeter lenses? - A normal perspective and smaller numbers like 18 millimeters is a wider perspective, - right? - And then 100 millimeters or 200 or 300 is a telephoto lens. - So So there's there's just these numbers, - and and the white balance World 5000 is considered a normal temperature any time we go - towards the 2500 end. - So if it's 4000 let's say it's gonna be cooler and bluer. - If we go towards 10,000 it's going to be warmer and more red and yellow and orange you with - me. - So far, - it's going to start making sense when you play with it, - actually in your camera. - And in fact, - let's do that first and then I will. - I will come up here. - You're looking for WB. - It will probably say auto WB if you've never seen it before, - and what we're looking to do is take it from from Auto WB to the sunshine setting that says - 5200 Kelvin on some of your cameras, - you're looking to take it to the sunshine setting. - See that they're the sunshine setting has basically a normal day light temperature. - And I'm gonna ask you to put it on that and leave it on that for right now. - Eso in some of your night cons, - you can have the selection of selecting the kelvin temperature on your canon. - Five d mark two over there. - Rebecca, - you can select the temperature itself, - and then with that wheel, - you can pick exactly what temperature you want. - All right, - you see it there? - Wonderful. - So that is what I use on my camera all the time. - I don't use auto, - but also don't use the sunshine setting per se. - I choose it to be at 5200 kelvin and then very quickly, - without much thought. - If I need to change the white balance indoors and the lights real funny, - I can automatically adjust it by talking it over to the cooler side. - And then all the sudden have balanced out my lights, - take a few shots and play around with that color temperature a little bit. - You're going to see very different colors what you want to do for the sake of example. - First of all, - don't delete any photos today. - All of these are very helpful tools later. - So these air these. - It's a form of note taking. - Um, - so take a shot without even moving your composition. - Change the white balance to something else. - I don't care whether it's above or below 5000. 18. WB (2 of 3): - we're gonna keep playing with this. - I don't think I'm rushing you Me to show you some examples. - Guess what my camera would have done if it was on auto white balance. - It would have turned gray or white, - right? - These air sand dunes and white White Sands National Monument. - It's the largest white gypsum sand dunes in the world and the light well before sunrise. - In other words, - I've got my trusty headlamp out right. - This is that blue time of day, - long before the light rises. - But you can see just fine because the sand dunes are so bright white Well, - guess what color like they're reflecting the blueness of the night sky, - so I'm getting to see what's actually there. - Auto white balance. - This would have turned to white, - and it would have been boring. - Is congee because the truth is there isn't drastic, - emotional, - exciting lighting. - There's just a beautiful color out there, - and so was able to document the color that was there. - And the composition. - We have a nice image. - 5200 daylight. - See, - that's where it gets you want overcomplicate it you want, - so it's bluish. - Leave it alone. - This is sort of like a V. - Leave it alone on 3.5 all the time. - It's always the right answer. - Unless you know you want something else out of it. - You want to spread what's in focus, - then toggle it towards F 22 Portrait's to your kids at 3.5 alone. - Similarly, - leave it on daylight. - 5200 Kelvin If that's all you've got as an option, - if you have an option to set the Kelvin temperature warm, - it may be a little sometimes that's real nice. - 545,500. - That kind of control is really fun. - You can warm it just enough in the film days. - You just had the piece of film. - No white balance options, - right? - So what would we have to do? - You'd put a filter on the front of the lens that would warm it. - That would correct the white bounce. - There's very complex. - Now you just leave it alone. - So by leaving it alone, - let's see. - The next example were able to see the gorgeous sunset light reflected off of the freshwater - stream that's flowing into the Pacific Ocean. - Wow, - But on auto white balance, - what would it have done. - It would have taken these reds and oranges and turned him towards white. - It would have balanced the whites anybody ever had. - Sunrise issues, - sunset issues, - more nods on sunset. - Sunrise is very early, - But sunsets, - you take the picture and the color just ain't right. - So we say it in East Tennessee. - It ain't right because you're on auto white balance 99% of the time. - That was your problem. - So once again, - 5000 is normal. - The 2500 is the cool zone. - So you ask Paul, - Do I ever take it off of daylight? - Well, - yes. - When you're shooting indoors, - it matters. - So if I am outdoors and I have those blue hours of the day when only the wild nut - photographers like you guys keep shooting right, - most people have gone to bed already. - You have these beautiful scenes out there that only your I can see. - If you're trained by using a camera most of time, - you go. - That's dark. - You don't see that beautiful blue that's out there, - but your camera does so don't teach you to see that kind of light again. - Beautiful, - warm tones. - They would have been lost altogether. - How did not been on 5200 Kelvin manually or the daylight setting? - That just leaves it there for you, - etcetera go and actually said it stationary and you know So set it on the table somewhere - and take a photo. - It doesn't have to be a pretty photo. - This is about the color content. - Take one at the daylight setting or 5200 Kelvin and then toggle Year white balance over to - auto white balance and take another shot. - And now with the play button, - the little triangular play button. - Review those two pictures and see the difference between the two. - No, - Well, - very big difference. - In this case, - you're wanting to fire me because you said the auto one looks better. - It does. - That's the one time again for the example for the sake of being incredibly simplified, - the one time to shoot auto white bounces under these terrible tungsten lights and that sort - of thing, - sometimes that can really help you out. - Now you say. - Well, - what about a cloudy day? - What? - I put it on the cloudy setting. - Sales gimmick. - Well, - but what about Ah, - Shady wouldn't have put it on the shady setting sales gimmick. - The more you learn what it actually does, - the more you realize you can manually control it Or put it on auto. - If you have really confusing lightings and you don't have to think about it, - um, - but if later you get into the computer and this is where it matters a lot, - you get into the computer and you say That's definitely not like it. - Really? - Waas, - Guess what? - You've got a little slider in every sort of editing program you've ever used. - That can change the white balance later. - All right, - so it's not something toe really stress over, - however we talked about earlier. - If you get it right the first time and you're shooting in a JPEG file, - you could just upload that thing to the Internet of the Web or wherever you're gonna send - it to an email without having to go through all the editing. - So we'd like to get it right ahead of time. - But if for some reason I shot at the daylight setting and this was just overly warm, - um, - we'll probably it's because it was overly warm. - So your get your learning to see as light actually is But if just out of preference, - you want to cool it down and make it wider, - you know more towards the white balanced side. - You still can later. - This is just a way to understand. - Being able to see light is the goal here. 19. WB (3 of 3): - great question. - We toggle back for you. - So warm. - If if the image itself is warm like these lights, - what you actually want to do is cool it down. - So you want to set the tungsten settings or manually and kelvin temperatures put it on 3000 - or something and that will cool it down towards towards white. - See how how we're doing that. - That scene itself is that sort of a 7000 well, - said it the other way and pull it back towards that 5000 point again. - Don't overcomplicate it is to get it back around 5000. - The notion is, - my first goal for for everyone here is to be able to see the color that the light actually - is because the auto camera world has taught you to assume whatever it saw was right. - And if it wasn't, - you blame it on your camera. - You go. - I just didn't right, - and we've all been there, - right, - But this what this does, - the daylight setting shows you the color. - It really was without changing it one way or the other. - You can indoors in particular, - correct if it needs to be corrected. - Auto, - however, - corrects everything, - whether it needs it or not. - All right, 20. Bonus: JPEG vs RAW: - so his question has to do with file formats. - Oh, - boy. - Right. - You're almost there, - Almost there. - You've almost made it out of camera class and we're about to throw you for a loop. - So the format that you have it in, - you have a few options in your camera, - and one of them is this JPEG you've dealt with J. - Peg photos before, - right? - Somebody emailed you a J peg photograph. - This is a compression format versus what? - You've probably heard off. - And maybe you're scared off raw. - All right, - I shoot in the wrong myself. - So So now here's the deal. - What's the difference and why does it matter? - Well, - this makes you act really professional, - and this doesn't know that's not actually a thorough explanation. - What this is is the entirety of the information that you just recorded un compressed. - This is the entirety of the information in a compressed format, - meaning the file size later will be smaller. - Easier to work with will be less likely to crash your computer. - Right. - If you're working with an older computer with a brand new camera, - this is going to give you trouble. - For the sake of today, - I'm going to say this is good stuff, - J pegs. - Great. - Um, - you can pull it up, - email it right away, - send it to Facebook. - Whatever you're gonna do with your pictures without a problem whatsoever. - Um, - now, - camera class two point. - Oh, - we would talk about raw files and the advantages there in if you already have unedited - platform that you like, - like light room. - Or you may be working Photoshopped for just selective images or you work in aperture is - another piece of software, - and what you would be doing is you'd be pulling in raw files and you then have greater - latitude for fixing or correcting or manipulating. - However, - you want that image because it's un compressed versus the J peg format that has saturation - boosted. - Has the contrast lifted a little. - So you might actually like your J peg pictures better than your all pictures. - Now, - if you want to learn more about that, - please come see me personally. - But for the rest of you, - please put your hands together. - You made it through camera? - Yes. - It would be on J peg. - Unless you've touched it. - No. - Yeah. - There you go. - So you'll go into Ah, - you go into menu and locate your different format options. - Yeah, - and then icons that will reference it as an image size. - And looks like you just toggle to the right on the left. - There you go. - Keep doing for yeah. - Don't Don't actually format your card. 21. GET OUTSIDE (assignment 1 of 4) - Shoot in Aperture Priority Mode: your first assignment. ISS. Create images of your backyard landscape, an aperture priority mode. After this first unit, you are fully equipped to begin creating artistic images from your backyard. You are to shoot several images of the exact same scene while changing your perspective and toggle ing your aperture. That's the F stop number from F four to F 22 noticing the difference. So to put it another way, find a scene that you like. Set the camera down with several objects one near one mid range. One far said it to F four and take a photo before moving the camera. Said it the F 22 take another photo. Do that process in multiple locations, at least 10 locations. An important note. Make sure you are using a tripod or anchoring it down against a rock. A table, something because F. Four. You're gonna have no problem, however, to not move the camera and then toggled F 22 then take another photo. What's gonna happen? Slow shutter speed. Therefore image vibration. Those examples won't work very well later, So again, note. Use a tripod 22. LIGHT - Intro (afternoon session): - Welcome back, - Shutter people clicking away. - You're not scared of this camera anymore, - are you? - Good? - Some of them I wasn't ever scared. - Yes, - you were because I said all that stuff about shutter speed. - Abbott, - your eyes so white bouncing you went? - Oh, - no, - I'm from the wrong place. - Well, - hopefully this is all making sense now. - And this afternoon we will be headed outside. - A lot will head out to different times. - The reason for that is one time will be out and will disperse. - Will work on. - A lot of different stuff will come back. - Anybody has brought a laptop plugged into that laptop and we'll do some peer critique - because you really can't learn any better way than critiquing from one another's pictures. - Right? - And the chocolates air going around. - Hopefully, - Teoh, - make sure nobody stays awake. - Excellent. - And the rest of these? - Let's see, - we got a couple extra chocolates. - Those will actually be awards if you get some right answers. - Now let's get started into photography. - What's photography about? - With a little more gusto, - exactly. - There's the old preacher story where there's the Children's sermon thing down front and and - the preacher was talking about this fuzzy creature that climbs trees and eats nuts and, - as you know, - has a big bushy tail. - And he says, - What is it? - Kids? - And they go, - Jesus, - you know, - a squirrel, - a squirrel. - So the answer today is light. - No matter what I say, - that's the right answer here. - All right, - so let us move into some really fun stuff. 23. LIGHT - Quality: - we'll be discussing quality of light, - the direction of light and color of light. - All right. - Starting with the quality of light. - What are we talking about? - We're talking about two major types of light. - One would be considered hard light. - The other would be considered soft light. - Okay, - so on a very sterile level. - If I flash you with this thing right here, - what kind of lights? - That gonna be harsh, - right? - You've seen it before. - The pop up, - flash on the camera, - Take a picture, - your kid or something. - And again, - they look like a ghost. - Just a white as a sheet. - That's a hard light. - Understanding what that means is really important. - It's coming from a small source. - That's what makes it a hard light. - So let's just take that outside. - Is sunshine I hard light by itself? - Yes. - It's a very small source relative to us Now, - Granted, - we know the sun is this massive ball of fire. - Okay, - but if you got outside and you squinted so not toe damage your retina And you looked up at - the sun relative even to maybe one of these can lights up here. - It's time. - See? - Right. - So all that power and that punch of light is coming from a very small source. - Therefore, - it's harsh. - Okay, - so what about when I take this thing? - Remember you saw this earlier were talking about just some of the toys that come along with - photography. - So I put this thing over the flash, - right? - And then I flash you, - right? - You can't see No, - sorry, - but oh, - but But now, - Yeah, - I see lots of harsh lights, - so Right. - Well, - I did too. - Sorry. - That was so impacting. - Now, - just another technique. - The chocolates and the flash keeps you awake. - Um, - post lunch, - slide shows or classic for the you know, - that whole deal. - Um What What we did here, - though, - is we took the light as coming from a very small source. - And then it came from a very large source, - relatively speaking. - So the light quality on the subject there in becomes softer, - much more natural looking like Okay, - outside. - Let's let's let's say outside what would be a soft light? - What would produce a soft light outside any other thoughts? - Cloudy day? - What shade is an option? - Absolutely. - So as a general rule, - what I want you to think about is, - here's the sterile studio example. - The outside example is small light sources. - The sun itself diffused light source is a cloud in front of the sun, - so that's your difference between hard light and in soft light. - So what kind of light is hitting right down here in the bottom of the canyon? - Hard light, - however, - what's on the walls is quite beautiful, - isn't it? - It's a softer light. - Well, - you said, - Well, - it's not really diffused. - Well, - it's reflected, - though, - and so on this day, - different from the harsh light that's very direct. - On this day, - we had diffused light, - beautiful, - right, - especially if you have nice colors. - And the reason for that is the water droplets. - It was raining, - right, - so very cloudy day. - However, - don't let that deter you. - Get an umbrella, - get out there and have fun, - and you have a much easier time making correct exposures versus harsh sunlight. - Heavy shadows is everyone accounted that before your camera meter kind of jumps around and - picks the shadow or picks the the bright area. - These air much easier days to shoot 24. LIGHT - Direction: - direction of light matters quite a lot. - Just a few options. - Real basic. - You have sidelight, - front, - light, - rear light and reflected. - Like so let's look at a couple of these examples. - All right, - this photo, - it's kind of hard to tell to you Look closely, - so I'd like you to look closely. - Look at the shadows. - Do you see that? - Look at the way the shadows cast across the mouth of the bear that tells you the direction - of the light. - This is just this is all about seeing this is about when you look through Ah, - Nature photo magazine or ah, - fashion catalog I want you to be able to see was the hard, - light, - soft light in which direction is the light coming from what that does. - It doesn't really benefit you understanding that magazine in that catalogue, - whatever has to be it benefits you is just learning how to see and understanding where - lights coming from, - and that will affect you as a photographer more than anything. - So this is a side light. - It's at about a 45. - Probably if I was shooting these bears. - It's at about a 45 degree angle of my left shoulder. - Then we have even more of a side like this is a direct directly from the right side is - coming from about three directly at the direction of the end of the the animals walking. - Does that make sense? - Okay, - What provides this really this really pretty touch? - Well, - this is rear light, - more or less, - right. - You've got this nice, - nice golden atmosphere because the sun is right back here in lighting up these grasses from - behind. - So that's a rear light. - Okay, - This is where it gets really fun. - So what's actually happening here? - In other words, - where's the light coming from? - Is the first question above. - Okay, - so maybe it's high noon or something. - No, - don't be scared to guess. - So the light is coming from directly behind. - Yeah, - it's coming right at me, - and you can tell by the halos right in here. - And this is a wonderful technique to use. - And portraiture will practice that as well, - because when the light comes in from behind somebody you know, - they've got their little squiggly hair kind of come out to the side. - It could give them almost a halo. - And the only thing that people generally miss about that relighting technique is putting - some light back in because otherwise they're just silhouetted. - Well, - that's what we had here. - The light was coming from behind. - But guess what? - The light hit right here. - Okay, - I'm standing here photographing the trees. - The light hit a huge sequoia tree. - Whole bank of them. - There were two or three giant sequoias that I am standing in between shooting that way. - So what does that mean? - If the light is traveling from the rear towards the viewer and it hits those giant sequoias - , - it's harsh, - Terrible light. - It's not defused. - It's not soft, - but it reflects off of the red bark of those trees and lights up these trees that's - starting to click. - Those are the kinds of things you'll start seeing where normally you would have gone out, - said Yeah, - the sun has risen, - and it's been about an hour. - There's really harsh light all through the forest, - maybe some other time. - But if you look the opposite direction, - you would think you should look, - you know that old adage of how to have the sun directly over your shoulder and face the - family. - Take the picture and they all end up looking like this and they're crying cause they can't - see right. - It's not a flattering light. - This is very much the opposite. - You're facing the opposite direction, - but you're relying heavily on reflected life. - See, - that's how big the trees are. - I wasn't lying big, - old, - big, - old, - big old trees, - cause we don't normally think about that right. - We just go click, - like we think, - in terms of subject matter, - not in terms of light. - We think there is so and so and I am taking a picture of them and we don't think there's - where the lights coming from. - It's bouncing off of here and going over here and that sort of thing, - and what you need to do is think in terms of light, - and they put your subject that you care about in the best light. - Thanks. - A good photograph 25. LIGHT - Color: - so color of light way alluded to this earlier. - But there are warm colors, - cool colors. - And I think you've gotten the point by now when photographing a sunset. - Please don't use auto white balance and then send me an email and ask me why the sunset - doesn't look right. - Beautiful, - warm, - warm colors, - right. - However, - the mountains Aaron complete shade. - So incomplete shade rear lit. - They have, - ah, - cold quality to them. - Okay. - And then? - Yeah. - What about here? - Another another case. - Very cold, - right? - We're talking in the 0 F range, - but you have nice, - warm sunset, - like so you have a mix of those two, - and that's really important to pay attention to. - And your photographs? - Anytime you see a mix of the two types of colors of light got a really powerful image. - What about their What's going on there? - I'm just accentuating how beautiful that blue waas that evening. - This is Alaska. - So in the summer time, - we've got really long days, - so it's probably one in the morning or something, - and there's enough light out there to see for sure, - but it's about to have that three hour window when it's nighttime and Then the sun rises - again. - And so what I wanted to do rather than try to just show the landscape, - I wanted to say the colors. - What matters? - So you think in terms of subtraction? - Have I talked about that yet? - The subtraction principle, - Okay? 26. Subtraction: - the photography is about less, - not more. - If you add a lot of stuff to make a composition, - you haven't done your job well. - So if you see a scene or you see a subject, - you actually take away so many things as you possibly can until you down with the core. - The essence of what you see that makes a great photograph. - We'll talk more about that outside as well. - But it's about subtractions about seeing a giant scene. - So in this case, - it's this huge, - expansive area, - this beautiful blue light and then saying What matters here. - Usually there's a location. - There's a spot in the scene that matters most, - and you can take a telephoto lens like we talked about and zoom in just on that one spot - that matters and not not get all the other stuff. - It's in. - This case to me, - was just the color. - So I had the shutter speed down slow. - How did I get it down? - Slow F 22 so aperture of F 22 slower shutter speed and I went click and moved to the side - click and moved to the side until always left with was a wash of color moving across the - frame. - And to me, - that was what I wanted to communicate about that evening, 27. Composition (1 of 3) - Thirds: - I noticed, - too, - that you shot one photograph. - A 18 millimeters, - right shot. - Another 1 55 millimeters all. - That's just a different way of composing. - And there's a whole language they were about to explore in brief. - So who has heard of this thing called The Rule of Thirds. - Right. - Let me shoot to see a full show of hands. - Okay? - Almost everybody. - What you think about it? - You don't have to say anything bad about it. - You like it was helpful other than hand. - Okay, - Cutting in half is no good. - So rule of thirds made sense to you. - Good. - OK, - so we're gonna explore that we're gonna explore lines and an image, - and we'll explore movement, - which is basically the combination of those parts. - So, - first and foremost, - is this a photo shop trick? - No. - So this is once again. - Do you really? - All right. - So she said I have that one hang him office. - It better not be a photo shop trick. - It is not. - What we're doing is shooting from the shade right at the shade that reflects into the - direct sunlight. - So we have blue. - Remember those blue cool tones of the shade that with auto white balance would be fixed, - which is not good. - We don't want to do that. - We want the interaction of that cool blue that's also reflecting the blue sky as well as - the shade. - It's a lot of angles going on and we want the warm reflection from the autumn tree. - So we have all that and then we can spice it up with a little leaf and superglue, - right? - No, - not superglue. - But people always have to ask. - So why is this image successful? - Why does it work? - Ah, - so we have. - If we draw lines making three parts vertically in three parts horizontally, - What we have is these nodal points. - You could call them this point. - Here, - here, - here, - here are power play positions. - That's where if you have your subject, - you can have wonderful movement in the scene. - So what does the eye do? - You see that first, - don't you? - You see it and you go. - Wow! - Why do you see it first? - Ideas. - Color is a great answer, - and it starts where the line moves. - You see that line on the rock? - So we're working with lines in this case and it's in 1/3 of the frame, - and we have more or less an arrow that could point the eye of the viewer down into the - frame. - So as opposed to a target practice photo, - which is what a lot of wildlife photography has to be because the things moving like crazy - and you're going bang, - bang, - bang, - bang, - bang and just trying to get the animal in the scene. - All right. - A lot of portrait photography is just target practice. - That's okay. - But your artsy stuff, - your landscape stuff in this sort of thing needs to have some movement in it. - So So what do you think about that? - Doesn't work. - Yeah, - this bird has a lot of empty space to seeing into. - Right, - So had we having mass The image off here. - You know, - if if you go to the scrapbooking conventions, - they would say this was worthless space, - they would crop it off, - and then it would fit in the book easier. - Right? - But but the thing is that dead space really matters for the image that makes it work. - You can see the environment of the little critter. - So similar concept. - Here's the different bird, - right? - So we have a flamingo in a lot of dead space once again. - But the Flamingo is looking into that dead space. - What we think about all this. - What's going on? - What is that, - Mary? - You wanna give it a shot? - Background, - okay. - Or foreground. - So what I'm doing is shooting through a bush, - right? - So I'm shooting through a bush. - In all this foreground is about three feet from my telephoto lens. - I have a big lands and there's all this foreground stuff that's in the way. - I wanted to use it to my advantage. - Tohave content in the scene that doesn't distract from the main subject. - That's a good 50 yards away. - You know, - that works once again. - You could have had the subject as the center, - you know, - right there. - Not only would you miss out on the sky, - but the arms were having a direction toe look into There's empty space for them to travel - into. - And so a lot of your landscapes stuff that works. - That's well done. - You have once again those thirds one 2/3 of the image is the foreground, - and only one little third is the mountains in the sky. - That's not normally how we think when we grab a camera right away, - what would we normally do with that scene? - Any thoughts? - Yeah. - We put the rock in the dead center and then we'd have equal sky and mountains as we would - foreground. - Right it. - Be nice and balanced. - Send that man a chocolate, - please. - 16 to 35 millimeter lens and I was at 16 millimeters. - So very wide. - You know this image? - Very different telephoto lens. - I was using almost 200 millimeters. - So in very tight, - both are scenery, - both or landscapes. - But in this case, - everything in the scene was very important to me, - including the river Rio de los wealth, - us in the background that need to be shown all this nice texture needed to be shown. - But in this image, - we need to cut out all the other stuff. - There were thousands and thousands and thousands of miles of glaciers, - and I just wanted this one blue section with the mountains. - If you look really closely, - do you see how there's almost a triangle here in a triangle here and then the rest of the - content kind of creates triangle is almost three shapes in that scene. - do you see that? - It's another type of thirds. - There's third block elements going on until you're I could travel from that 1/3 and it sort - of gets unsettled standing there, - so it moves to the next third. - It's sort of unsettled there that moves the next. - We had 1/2 and half with information right in the middle. - Yeah, - I just would. - Bull's eye right in the dead center doesn't move around, - but we can't stay in one spot in this third thing, - and that's how this rule of thirds works. 28. Composition (2 of 3) - Tangent about Aperture: - These trees are actually nice and sharp, - though, - right? - And then the edge. - You could talk about EJ definition right here. - The edges here of ah, - half dome are nice and sharp edges of El Cap are nice and sharp, - so it's hard to say exactly from looking at it. - Unless we had, - Let's say, - a little flower in the foreground. - We don't, - so you can't really guarantee what exactly it was, - but it wasn't 3.5, - you know. - It wasn't F two point. - It wasn't a very wide aperture because these trees that are miles from those mountains - would be out of focus of the mountains. - Word focus and vice versa. - So it's somewhere closer to the F 22. - It is a landscape, - and that's typical and landscapes. - Maybe I was in between. - You gotta get it right. - It's crazy, - right? - She asked. - What happens when you go past F 22? - Sometimes your camera will let you go towards F 30 to write F 32 F 36. - We could get into the technical end off why it's actually better not to be that far. - It won't look. - It won't look any different, - really, - from the F 22 you have. - Ah, - if you recall our example, - you have a much smaller amount of light coming in and the center areas somewhere, - and they're F eight F 11 end up producing higher quality image, - then do generally wide open and the small F 32 F 22. - But that is sort of two point over class, - all right? 29. Composition (3 of 3) - Lines / Movement: - in this case, - we've got nothing going on, - right, - But it still works, - and it works because there's this line and then the moment we get onto where the viewer is - can move up and left and you faintly see a couple of folks and then you kind of drift into - the nothingness. - And that tells a story about walking through nothingness, - right? - For hours on end. - And here we got some some interesting stuff. - Where does the I start? - If you think of the I as a visual journey through a photo, - take a guess. - Okay, - Left right at the right, - the edge of the rope. - Right. - And then your eye goes down into the frame, - follows up the rope and there's your subject. - Which way is my subject facing to the right so we can keep going into the image. - Now, - I know I didn't pose him, - but I did have several other images. - Identity pick. - This is the one that work because he happened to be starting to go up into the right. - And that's what I was looking for. - Was the rope Did it just happen to be there? - Absolutely not. - Through it, - up and over my shoulder while taking the photo so you can arrange your scene such that you - can create lines in the image. - I remember doing that in order to get that movement into the scene. - So that's a really classic one. - And once again, - we're talking about sort of an S curve. - This works. - Your eye goes on a journey, - doesn't it? - It's fun. - You very clearly start with whatever's brightest and boldest and closest to you in the - foreground, - and then your eye travels on through, - and it just has to follow. - The line has to find out what's next. - So whether you have a literal rope, - a literal path or not, - you're I has to follow the strong lines in the seed. - Yeah, - I always wondered what's next what Everything was pretty black and white anyway. - Uh, - would be the short answer. - There wasn't a lot of blue, - beautiful glaciers in this point. - It was very snowy, - and the sky didn't even have a nice blue to it. - So I wanted to not have any distractions would be the shortest answer. - Black and whites good at no distractions. - The thing is good at is if it's not a good photo. - It's a terrible photo because there's no color to help it out, - right? - So the elements are strong and they stand alone. - Black and whites beautiful without that could be hurting. - So let's give you one last example. - Any thirds going on. - Trick question? - Not really. - In a sense, - you could lie and say, - Yeah, - there's 1/3 nothingness here and third enough. - No, - it's dead center animal, - but guess what? - It works because it's interesting enough. - It's interesting enough, - and it's so shocking that Oh, - gosh, - it's looking at me, - Right? - So the point of this last one is to say, - break the rules, - learn the rules, - understand this sort of compositional, - artsy stuff, - but then break up when you need to. 30. GET OUTSIDE (assignment 2 of 4) - Incorporate Principles of Composition: Congratulations. You have officially completed the photography section of this jumpstart course. Aren't you excited? You actually know some of the really cool stuff, not just the techie. How to use your camera stuff. So here's your assignment. By the way, did you do your last assignment? It's important, just like in school, that you actually do your homework. Well, here's your current assignment for the photography section. Incorporate the principles of composition that you just learned. Keep in mind things like lines, thirds movement within the frame. If all that is a little too abstract, still think very specifically about unnecessary objects about that concept. I just spoke about called subtraction. Is there anything in the scene that could be removed from the scene? If so, take it out now. I don't necessarily mean you don't like that dead flower. That piece of grass. No, don't go plucking up the landscape. Rather, move in closer or take your lands and zoom in. If you have a zoom lense subtraction, here is your main focus. Take out stuff. That's the goal of this section, and that's your assignment. By the way, if you think taking 10 images is completing this assignment and you're wrong. I need you to take at least 200 images. 200 images? Yes, 200 images at least. If you take 2000 that's even better. The point is, it's free. It's digital. Why not take 2000? 31. Image Vibration: - Are you ready for this? - Okay, - this is problem solving. - This is probably the most important thing that we'll talk about today. - So image, - vibration. - Anybody ever had that issue? - Yes. - And we had some questions about it. - Jim. - All right, - so image vibrations when I want to do first and do take a couple of notes on this, - this is the kind of thing where you'll come back to it later and go Ah, - that's it. - Because again, - this problem solving section is so that when you're photographing on your own and there's - no one to look over his shoulder and critique, - you can basically teach yourself. - So there is a formula. - Don't let this hang you up. - But if you're interested in formulas that you like this, - it's very interesting. - As a general rule one over the focal length and faster will have no vibration due to year - handhold or your hand shaking. - Okay, - so the example uses, - Let's say, - have a 50 millimeter lens. - Here I am unlock solid right here. - I'm not doing the this thing like it's an iPhone, - and so I'm pretty stable. - That means I can shoot at 1/60 of a second or faster, - right? - So they're just doesn't happen to be 1/50 of a second. - It doesn't exist. - But as a theory, - when 50th or faster Is that making sense? - Yeah. - So 1/60 and work to 50th works you see in the pattern here 2000 for work. - But what will not What will not work exactly. - 1/15 is not gonna work half a second definitely won't work. - So when you start to put it on your aperture priority, - you're indoors. - Let's say, - because that's the most classic time the image vibrations going to happen Sunny days and - outdoors are generally not gonna be a problem. - You take your photo and the shutter sounds something like this. - That was a long one. - You've heard that before and said, - Oh, - it's blurry. - Well, - that's your image vibration. - And what do you going to do if you have your apertures wide open? - So you've got the widest aperture you can right? - Already. - It's already set that way. - What's the next thing we're gonna dio? - Yeah, - we got we got to increase the I S O because we maybe go ahead and take a shot and hear it - and see it it's 1/2 a second. - Not gonna work. - Bumped. - I s away up there until you see noise that actually bothers you That grain from how high I - eso is, - Keep shooting on a t three i that my wife has. - We shoot it 6400 indoors all the time, - all the time. - Because how big is the photo gonna be? - Right? - However big your screen is for Facebook. - Just being really practical practical about it. - Don't just do the right thing. - Do what actually works for you. - If it's not gonna be a billboard photograph printed in a museum in 6400 on most modern - cameras, - there is gonna be perfectly fine. - And you don't have to go get a tripod. - Nor do you have to incorporate Flash. - You've got a great image stabilized photograph 32. Indoor Light: - any time indoors, - you can use natural lighting. - Definitely do it. - So play with it is the first thing I would say with indoor lighting. - Play with it. - What did we say earlier with regards the white bounce that that I recommend going on doing - indoors? - Just put it back on auto, - Give yourself a little break there. - All right, - so let's let's look at a couple examples. - This is inside of ah of a home oven. - Elderly gentleman from a local church here. - We had a terrible, - terrible lighting. - We had this, - ah, - super warm lamplight. - But it was mixed with window light coming in as well. - So what do you do? - Well, - you put it on auto white balance and hope for the best. - And the truth is there was a very strange mixture of nice natural lighting in the very - yellowy lighting. - And so in this case, - in post production, - you know, - afterwards, - editing wise, - I was able to take the areas that were incredibly warm and make the match a little bit - towards the natural lighting. - But that's just that's a problem that was a challenging in this case, - we had the really yellowy lighting in the background, - and I didn't care because I knew the viewer would not really look back here. - These folks that hosted the Ethiopian student in their home. - We needed to be part of the scene. - They were there on purpose. - But it was really about tests. - It was about him, - or that was about them. - So what kind of opportunity? - I have it on 3.5. - Give that man a chocolate right there. - All right, - so we had it on three by five, - cause it's always something by five. - Unless we have a reason not to. - You catching on to this, - trying to simplify here. - So I knew that would work. - And I knew the window light. - The natural lighting would work. - Great. - So what kind of what kind of white bounce didn't have it on? - They, - like, - just normal daylight setting 5200 Kelvin, - because we have natural lighting isn't daylight. - That's hitting him. - So I didn't mess with anything, - really was not that complicated, - But it was a problem solving worthy photo because it was about putting the subject in the - right location so that we didn't have a problem because we had terrible indoor lighting So - in this case, - we have no indoor lighting, - had them turn all the lights off, - hadn't turned all the lights off and were able to tell the story with just the natural - lighting coming in through the window up there. - And you have all that emotion and all that excitement. - And the only thing I did added just a little bit of light from my flash. - So we exposed everything. - I did it manually as well do here. - Towards the end of the day, - we tell tell the whole story and all the excitement and energy. - You see Mom's hands moving really rapidly. - They create a little bit of a blur. - So we're really pushing the envelope on shutter speed. - Meaning I was probably around 15th of a second or so, - but I wasn't with with a fairly normal lens, - but 50 millimeters and 50 millimeters okay. - And then sometimes your light just doesn't even exist, - is basically a dungeon. - Um and so I brought light with me and you can see one light back here coming from the back - left, - you can see that hitting her face. - And we had another like there was a softer light coming from the right and you can see the - shadows hitting on these ladies from behind there. - So we have sort of a sandwiching of lights, - but the flash of not coming from the photographer from the camera and that's why it works - it can be viewed without going right once again in this gymnasium. - I don't know if I've seen worse light, - all sorts of funky colors really dim. - And I was trying just bumping the eso up. - Just fired away shots, - and I was going Man, - this is not going to tell the story of the donation from people toe make this gym reality. - So I thought we need to bring in some light. - So once again, - 11 real strong light back here that flooded the entire room and then another light over - here from the right. 33. Sunny Days - Making the Most of It!: - So one thing you do you can do on a perfectly sunny day is get up early enough to where the - fog is around. - And you've got some really nice pretty light in the fog, - you can shoot subjects in the fog. - Deer in the fog, - people in the fog. - That could be really nice, - even if it's not going to be an overcast day, - which is your best for photography. - Sometimes the sun can work to your advantage so you can actually have the sunshine in your - shot. - Has anybody tried that before? - On purpose? - All right, - that sometimes it creeps in there. - And how do we create this? - It's called a son star. - How do we create that? - Any ideas? - All right, - everybody do this for me a second, - right here. - Okay. - And then this. - Right here. - Remember, - that's the F 22 is the F 22 colt I've created. - All right. - And what happens is if you if you shoot it f 22 the sun is in the frame and the light comes - through that small hole, - it spreads. - And so all of a sudden, - your son could be a compositional element in the scene. - Just on idea 34. Sunny Days - Shoot in the Shade: - you can shoot in this shade and add maybe a little fill flash in the foreground to, - but there's a very sunny day, - and we were able to show them by exposing for them leaning into the vehicle, - as opposed to exposing for the bright sunshine outside. - So as we move fully into manual mode, - anybody scared? - No. - Excellent. - As we fully move into manual mode now, - you're gonna have complete control so you can see a scene like this said it. - Meaning you set your aperture where it already is. - 3.5 maybe. - And then you match your shutter speed to it using the dial. - We're gonna flip it over to manual in a minute, - and we're gonna balance it out. - What that does for you is when you have really confusing lighting like this really - confusing lighting like this, - you can preset it. - No matter where those people move, - your meter doesn't hop around because one of you is talking about that earlier took three - shots and Rome, - they're all different. - That's your meter kind of guessing and having to struggle a little bit manual gives you - full control over that. - So remember this one? - This is a good example of shooting in the shade but towards some really good stuff. - So we did that outside as well, - right? - Remember when we had were at the French market and we had people facing the big white walls - , - The column of light coming towards them and you shot one image where you were in the sun, - shooting towards the shade with a collective life. - Try to follow that. - It didn't work really well. - You got in the shade, - though, - shooting towards the person in the shade with the reflected light, - and it worked. - So this is that exact scenario in nature. - There's beautiful reflected light with nights color coming into the foreground, - you see in the connections a little bit. 35. Sunny Days - Fill Flash: - So fill Flash. - You ever heard of that terminology? - You've heard of it? - Who's tried it? - Okay. - How did it work? - Sometimes it works. - Maybe sometimes not. - Right. - Okay, - so another thing that will be really nice about shooting in the manual mode and I will - teach you how to expose such that Your image is perfect. - Just like you like it, - but just needs a little light. - And then when you pop the flash up mad just a little bit of light, - it's right on every time. - So that's gonna help you a lot. - As opposed to maybe auto and then just sort of firing towards the scene that we need some - flash and hoping for the best. - You have complete control. - So here's an example. - There's the sun. - So that means he's a total silhouette at sunrise. - But thinking ahead about where we would be at sunrise going up. - Mountaineer, - I brought with me. - Ah, - Flash. - And what did I put on the flash? - What's that thing? - Yeah, - it's It's sort of a reflector of sorts. - So I had the light going up, - hitting up against a gold reflector. - Why would I do that? - Why? - A gold reflector think about it. - Yeah, - It matches the natural lights. - The natural light is a gorgeous gold. - I didn't want to put a bluish light up against my subject. - So I love the lens up a mountain. - And then I was able to hold it out to the side like this, - and we had nice shape to the light. - Let me show you another example. - We're gonna get in real close on this one. - You see the photographer yet? - There you go. - And so there I am holding the flash off camera. - We have a really beautiful shape to that light. - And we have a much more interesting image than if we didn't have any fill flash at all, - All right? 36. Sunny Days - Reflected Light: - the's canyon walls. - We're like the French market down the street. - Awesome. - So there, - 200 feet high. - So from about 11 a.m. to 1 p.m. When the shafts of light comes down into the canyon, - they hit the red walls and there's glowing red light all over everything. - Awesome, - even though it was bright, - sunny day. - What about this Reflected light, - right? - We saw one image like this earlier. - That was real. - Bluish exact. - Same scene. - But here the sky, - the pink and the skies reflecting off of the white sands. - See that? 37. Sunsets: - before we finish up the problem solving, - I'm gonna show you a couple more to have to do with sunsets. - And in just a couple notes, - you go out to take that sunset photograph, - and you're not quite sure what's going on, - but it's not looking like you want it to. - Well, - first of all, - hopefully you're on a tripod, - right? - And if not, - what would happen if you're not on a tripod, - you know? - What do you think? - Yeah, - I'd be blurry. - Why? - Because there's not a lot of light out there, - right? - It's all you need. - You don't need to crank the I s o up. - You just need a tripod That way. - It can be a slow shutter speed. - It's nice and solid. - Another thing you need to not do is what with white balance, - not auto white balance, - please. - Because it will. - It will rob you of some of the great color that's there, - and you'll never really understand later what they were really like. - I've done this on accident before, - of shot indoors for a while, - doing something and then outdoors. - I'm shooting a sunset and I come back later. - Man, - that doesn't look right well, - that was wise left in auto. - So pay attention that with your sunsets. - Have you ever been told this during a sunset to turn around? - Oh, - it's fascinating. - You're looking at the setting sun, - and the moment that the ball of sun hits the horizon, - everyone packs up and heads home. - Well, - action hasn't even started yet. - The actions about to start the moment the ball hits the horizon or sunrise long before it - comes up the horizon. - You've got out bungalow on peaks. - You've got all sorts of amazing, - like that happens. - So turn around, - look in the opposite direction and see what the lights doing and stay to the bitter end. - You'll see the show and everybody else at the Overlook packed up and went home. - Didn't see you think. - Well, - they thought they did. - They saw the ball of Ah son hit the horizon. - They missed the action. - So that's the case here. - The ball of sun is just hit. - The horizon has just gone down, - and all the sudden we're starting to get the really nice glowing colors. - So in this case, - exposure compensation. - Remember that in this case I'm just shooting on a V just like you. - But all this dark area right in here. - Remember the when I was crouched by the little creek? - Remember, - we had all that dark area. - What happened to the subject that was bright? - Remember the bright subject washed out, - right? - Exact same thing happened here until under exposed. - This is about two stops under exposed. - So make sure you make a note of that because when you shoot your sunsets, - you inevitably will mark my words, - see it on the screen and go. - It's all washed out. - All you had to do was under expose and you're basically training your camera to see the way - your eyes seeing it. - And sometimes you don't shoot the light itself. - It all you shoot the reflections. - And in this case, - look at the details of the little water droplets on this guy that made the shot. - There's a silhouette of the subject and you're just using the color of light wrapped all - around him. - Well, - in this case, - we had 30,000 snow geese taking to the sky. - We needed to consider something different in all these other landscapes. - What do I decide? - First the light comes through the lens which is the eye of the camera, - right? - So light comes through the eye of the camera, - the lens, - and I make what decision about aperture. - I decided to 3.5 or 22 I always do 3.5 unless I know I need to make it otherwise. - So landscape basically here. - Right? - Problem is, - I have flying birds, - so I can't have a slow shutter speed. - That was the reason this isn't a problem category. - Is the problem solving? - So what am I gonna do? - I need the birds to be frozen in time, - but there's not much light out there. - What do I do? - Yes, - Yes. - You won't want passing around. - Please. - Yeah. - Bring the chocolates down. - She said, - bump up the I s So it's exactly right. - It's a very high I S O photograph so that the birds were not just this blurry motion. - I didn't want to show their motion. - I want to show that they were birds too much, - most in and they would have almost disappeared. - Okay, - Not necessarily. - It's a great question. - That's a great question. - Now, - I had some depth of field in the image. - I wanted these guys to be sharp. - I wanted at least a sense of where the mountains were one of the birds to be nice and sharp - . - So not necessarily 3.5. - But I didn't have to be f 22. - I didn't have anything close in the foreground, - right? - So it was somewhere between f A f 11 and in a very high I s O so that I could have a fast - enough shutter speed that all starting to come together Full circle. - Okay, - so in this case, - we had image vibration like crazy because we had winds that were gusting down the - mountainside. - So I'm on a tripod. - You think we're good? - You're on a tripod. - Know the tripods blowing over. - So what do you do? - Well, - in this case, - you got really creative. - We tied a piece of webbing around the center column of the tripod, - put the webbing around my knee, - and then I put my whole body weight on that webbing and pulled the tripod down to the - ground. - Say it's problem solving, - and all of a sudden image vibration that was from the tripod blowing all around was rock - solid. - And you just got to get creative in order to have a sharp image, - even when they're very high winds that are going to knock everything over. 38. Flash: - flash. - Anybody ever had a hard time with flash? - Okay, - so some of you have had a challenging time with Flash. - Have you ever tried Flash Sally? - How did it go? - Really blown out? - Well, - part of that would be because it came from this source right on top of the camera. - Let me explain something about this. - This is trying to replicate the way we see right? - Well, - when I'm looking at you, - Bruce, - I'm not looking at you with a solid beam of light coming from my eyeballs right to you? - No. - There's light coming from over here and over here, - and that gives you a three dimensional shape. - Now, - if the room was totally dark and I had a shaft of light blasted, - it brews from right where I am, - he would look kind of like most of our subjects from pop up flashes look right. - That's exactly what's happening. - Because the camera lens is the eye of the camera, - and all it has is it's looking right at Bruce and there's a pop of light right in his face - , - and so he has no shape. - So what we're gonna try to do then is diffused the light by using something. - Now, - can I see somebody's pop up? - Flash can use this one here. - Now. - One thing that's really interesting to try out. - Yeah, - that'll work. - Just press that halfway down. - Okay, - Is you could actually put a napkin in front of this. - You know, - just good old white napkin. - I've used that a lot. - Put some duct tape around it, - a hair band or something. - And all of a sudden you're shooting instead of from this tiny source you're shooting - through some diffusion, - which is excellent. - Definitely something we're trying. - Bouncing. - Have you ever tried bouncing a flash? - Anybody ever tried that? - Okay, - so let's say I want to shoot Bruce from right here. - What could I have done and shit instead of just aiming a flash right at him? - Any ideas? - Yeah. - You see, - I'm trying to trying to allude to it. - I could bounce it off of this wall right here and then if it's a fairly white wall, - which, - in this case, - thanks to our our paper on the wall, - it's a nice white white white wall. - Close your eyes here, - please. - Ok. - And I'm going toe came this way. - But pop the flash in the light actually comes off of the wall right to the side of his face - , - and it's a much better life because it gives him shape and it's defused off of the wall. - Now your ceiling isn't 90 feet up in the air. - In this case, - it has all sorts of stuff on it. - But if you had a nice white ceiling, - we could pop it straight up. - I'm looking at him, - but I pop the flash up and it becomes a huge surface of light that is coming down on him. - Does that make sense? - It's like a cloud compared to and uncovered sunshine. - Bolt. - See the difference. - So all stuff to play with. - If you have one of these flashes on, - and if you don't you just have the pop up. - Give that a try through some sort of the fusion. - Put something in front of it, - play around with it. - It's just like you can push it around and play with it like it's paint and your painting. - Black canvas. - Remember, - that's all we're trying to do is paying the black canvas. - You can pop it up right there on the side. - Yep, - you can tell it what you wanted to do? - Yeah, - yeah, - it's not. - It's no longer auto. - You are off green auto forever and that exciting here, - having withdrawals, - she said. - She's having withdrawal was twitching a little bit. - I understand. - So so tone it down by putting a napkin in front. - Just do something. - But whatever you do, - unless you just have to document the scene. - If you're trying to make art or a pretty photo, - don't just aim it right, - Adam. - Whether it's a nice flash or one of the pop ups, - try something, - try something, - you'll get creative and you'll get something that works for you and for your camera and for - your situations that most often arise. - And I really think it's gonna help you out in a pretty big way. 39. Explore - Window Light: - the window. - It's hard to tell exactly, - but this is a direct sunlight coming through a window and a sheet. - A big white sheet is in front of the window that becomes a massive diffusion, - like a cloud, - like a really high, - overcast cloud. - And so all of a sudden you've got really beautiful light in what acts like a studio isn't - any. - So you can put a sheer some sort of white curtain in front of some of your windows. - And on a bright, - sunny day you've got this beautiful light coming into the room. - And that's the name of the game portrait's and any sort of light. - Any sort of photographs is just having a quality, - like so here. - What am I doing? - There's Window, - but it's interesting. - I'm actually focused on the subjects in the foreground, - not the light hitting them. - So what? - What's going on here? - The ideas. - I flip it over into fully manual mode. - I could have used aperture priority and just bumped up the exposure compensation a lot - because the camera wants the meter for all this brightness, - right? - And I say No, - I want the subjects that otherwise would be total silhouettes and the result is a very - boring scene. - I mean, - it's just a school where they're painting railings. - Very boring. - Scene becomes very artistic because all the extra extraneous elements in stairs and wall - and windows and become washed out and white and it almost create a studio out of out of - nothing. 40. Explore - Macro: - you get in close and look at these tiny little details in the world. - Exciting, - exciting stuff. - There's macro, - but it's wide angle. - You ever thought of that? - So instead of thinking of macro as you could actually use your ultra wide angle lens? - Right. - But instead of thinking of wide angle lens as a landscape tool, - you could bring the lens. - Here's your subject right in next to your subject. - Something like this, - right? - And then we aimed it, - and we shot and we had a really interesting composition where your up close to the flowers - . - But you also show the environment showed the dogwood in the stream in the background. 41. Explore - Telephoto: - so play with a telephoto. - If if there's one lens, - you could get this just incredibly fun. - If you've got the basic kit lens, - get a telephoto lenses, - start getting in tight on stuff and just playing and exploring with all kinds of kinds of - neat, - neat details in the world. - It doesn't have to be wildlife, - nor does it have to be sports or action. - You might want to shoot a landscape that's Mount McKinley, - a 20,000 foot mountain in the background, - but it's just a canoe in the foreground. - And there's a compression between the two between the foreground element and the subject in - the background. - Mount McKinley is dozens of miles away, - but it's as if he's right in front of the mountain, - thanks to a telephoto lens. - Telephoto will also do really neat things in the landscape because you can go from wide to - okay. - What actually matters in this scene, - and I think it's these ridges right in here matter most. - So use a telephoto lens to get in tight just in that area, - and frankly, - it takes away some of the distractions in the prior image 42. GET OUTSIDE (assignment 3 of 4) - Reveiw Your Work, then Re-shoot!: Congratulations. You have just completed the problem solving segment of this course. You're almost a graduate of light finds universities jumpstart course, but not yet. Here's your homework assignment. There are two parts. Part one is this Review your work that you have shot in the prior segments through the lens pun intended of this segment problem solving really Study your images. Figure out what your problems are based on these lessons that you just took then. And don't rush this. Go back into the backyard and retake those images. Take a full week to do this. Maybe a month. Two months would be a little too long. The idea is, if you've taken too long, you've probably started to lose the things you've learned. So really devote some time to this, and I think you'll see some dramatic results and, uh, have fun 43. Review and Conclusion: - let this be a really simplified review. - You ready for this air? - A V, - then utilize exposure, - compensation, - then toggle over to manual when you're ready for it. - And if it gets overwhelming, - come back to exposure. - Compensation with average party. - So that's one thing not complicated, - right? - Use the minimum aperture of F 3.5 unless you have a reason to make it. - Otherwise, - most of time you won't right Focus on the eyes. - So make sure that focus point is selected very carefully on the eye of the subject. - Or at least on exactly the subject you want. - Not just the house plant in front of the cat would photograph on the cat, - right. - The shutter speed needs to be faster than 1/60 of a second as a general rule. - Remember that formula if you would like to. - But as a general rule fits a 38th or 1/10 of a second, - you take a shot and goes chunk, - uh, - junk. - Then it's gonna be blurry, - and you'll know why. - Remember window lighting when you're indoors, - and you don't really have good flash knowledge quite yet. - That's maybe a 300 level course, - and we can go into that mawr, - but we touched on it. - If you'd like to play with light a little bit, - and then what's the final piece of advice? - Take lots of pictures. - Take Boo Koos of photos. - All right, - Any other final questions as we as we wrap it up here, - just a general pictures You have to take like one of your great trump. - How many figures that glacier shot? - I took 350 ish. - Exactly. - Another thing, - too, - is is even when you master the exposure and you master exactly what it is you want. - Light is constantly changing. - Who noticed that today? - You just get it right. - You're all excited. - I got it right. - It's on manual. - Oh, - cloud right. - Well, - that's the name of the game. - That's where it gets really fun. - It's interactive. - That's great. - You mastered the camera, - but light is swirling around you at thes rapid pace. - Pace is, - or more accurately, - were swirling around the light, - which is a whole other way of thinking. - But that's a great That's a great question. - Any other Any other thoughts? - Yeah, - yes, - yes. - So January 31st we will meet at Seven Islands Wildlife refuge as part of a nan pub. - Meet up Nampa is the North American Nature Photography Association. - Try to say that 10 times fast and meet up is simply a website platform where people with - like interests can meet up. - There's no dues, - there's no fees. - There's no masters in PATA. - Juan's This is everyone just learning together. - Eso fine. - You can go to my light fines website. - There's a link. - It looks just like that at the bottom of the home page. - Just click on it. - There's all the information you conjoined into that totally free group. - It's a fun way to get out and play in practice. - Well done. - Really great job. - Really great job. - There's a couple extra chocolates here. - Somebody would like to take those, - but do stay in touch. - You guys have been a great group. - Really appreciate it? - Yes. - Can I give everybody at it at the same time? - E mail me If you want to know Tripod info, - I'll send you a whole block post on it with links and everything. - Okay, 44. BEHIND THE SCREEN (assignment 4 of 4) - Edit down to 10!: part two of your final homework assignment is a challenging one. Here it ISS edit your images down to just 10 images. Yes, just to now, some of you have taken two or 300 images. Great. In fact, if you haven't, you probably need to go shoot some. Or many of you have taken two or 3000 images during the course of this course. Excellent, it's free digital. Why not? Right? The best rule to keep in mind when editing is does an image of oak an immediate response in the viewer. So brings in people over your shoulder. A family member, a child apparent friend. Uh, bring him over and say, I just want you to look at Thies. Say 20 or 30 images that you have it narrowed down to, and and if 20 of those don't evoke a ah response thing, go ahead and ditch those another note. If two or three images are very similar and content or lighting, go ahead and narrow that down to one. The point here is that a vigorous editing process is key to having a dynamic and powerful digital portfolio. It's kind of a secret of the pros that we take a lot of bad pictures. The whole point is, if you know how to edit really well and Onley show people your best photos, then you look like a pro. Hope you had a blast. And I hope you're well on your way to making the dreams you have and photography come true . And after you finish this assignment go in and poster images in the classroom, I'd love to take a look at him and the other students probably would, too. Don't get held back by that. I'm a rookie year. I'm a beginner voice in your in your head that says, You know, I really need to be great before I share these pictures. No, no point of share them now. Not only will that exponentially increase your joy in the whole process, but you also will grow Ah, lot more by sharing those images getting feedback. And so so for now, Congratulations on graduating If you did your assignment, you Yeah, you go in. Did it go ahead? Okay. Did you finish it now? But seriously, go do your homework. If you do share the pictures with us know when you do share the pictures with us. Love to see him. We love they see some feedback from other students And ah, congratulations on graduating from light finds University jumpstart. See you in the next course.