Photography; How to Take Awesome Photos Every Time! | Chris P. | Skillshare

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Photography; How to Take Awesome Photos Every Time!

teacher avatar Chris P., GIMP, Photoshop, Photography + Lightroom

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

    • 1.



    • 2.

      Photography Ingredient 1


    • 3.

      Photography Ingredient 2 - Part 1


    • 4.

      Photography Ingredient 2 - Part 2


    • 5.

      Photography Ingredient 3


    • 6.

      Photography Ingredient 4


    • 7.

      Photography Ingredient 5


    • 8.

      Photography Ingredient 6


    • 9.

      Photography Ingredient 7


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About This Class

In this course, you'll learn the 7 secret ingredients to awesome photos every time.  Once completed, you'll know how to take back creative control from your camera and will be well on your way to creating awesome photos. 

Meet Your Teacher

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Chris P.

GIMP, Photoshop, Photography + Lightroom

Level: Beginner

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1. Intro: Hello and welcome to my photography fundamentals. Course. My name is Chris Parker, and I've been a pro photographer for 30 years, and I'm so excited that you're here because I can't wait to share with you the seven Count em seven ingredients for awesome photos every time. You need to know these seven ingredients if you want to take that creative control back from your camera so you can be an awesome photographer and take awesome photos every single time and be able to fulfill your creative vision, not letting the camera decide for you. Let's decide on our own what we want to capture and how we want to capture it by taking that creative control back from our cameras. And I'm going to share with you how to do that with E seven secret ingredients, you're gonna learn each one of them in great detail. So if you're ready to take your photography to the next level, let's get started right now. Let's not procrastinate anymore. Let's get started on those right now. This is a short class of about one hour, and you're gonna learn everything you need to know to start taking awesome photos right now . So grab your camera and let's get started right now. No more hesitating. Grab that camera. Let's go. Come on. I know you can do it. Let's get started. And I can't wait to share with you everything that I know about thes seven secret ingredients because they will make your photos awesome. So let's do it. Let's go. 2. Photography Ingredient 1: all right, So here we go, the main ingredient to photography and taking awesome photos every time This ingredient is so important. It doesn't matter what kind of camera equipment have. It doesn't matter if you have a high end, expensive DSLR camera. It doesn't matter if you're using a smartphone or anything in between, because it really doesn't matter what kind of gear you have. So what is so important that it doesn't really matter what kind of equipment you have? Well, it's pretty obvious. It's light, so without light, you can't take any photos. So let's try it out. Since our eyes are very similar to our lens on our camera, which allows light in to the camera into our brains, let's close our eyes and what do you see? Nothing. Darkness, blackness. You can't see anything because there's no light coming into the iris or the lens of your camera. So light is more important than any other thing when it comes to photography. Now, this is important to know, because we need to be masters of late. We need a study light and learn how to use it to capture our creative vision, regardless of what you're photographing, you need light toe, photograph it. So once we understand light how to use it, how to control it will be able to take much better photos than what we're taking now. And once you start mastering light, you'll be able to fulfill your creative vision and start taking better photos every time. Now check this out. This is pretty cool. We're going to check out what the word photography means, because it's pretty cool once you take a deep look into the word photography. So we're gonna go over to Wikipedia and we can see that the word photography is made up of two Greek roots. We have photo's, which means light and then graph e means drawing. So together they mean drawing with light. How cool is that? So photography is essentially an art form by which you use light to draw or paint with to capture your images. Now, like I mentioned, you have to master light in order to take better photos. But here's the bad news. It's not going to happen overnight. It's not gonna happen in the next month or the next year. It's going to be a life long journey. I've been a photographer for 30 years, and I'm still learning new techniques for using light for different creative ideas. So I'll see artwork from other photographers. And I wonder, How did they like that particular scene? Or that subject that there photographing? And if you take a deep look into the image itself, you can see where the light is coming from, based on the shadows and the color of the light, whether it's artificial or natural light. And by studying other images, you can get a pretty good idea of how an image was actually lit to get that final artwork. So it's essential if you want to become mawr than just an average photographer and you want to take better photos is to study light. If you don't mind being just your everyday average photographer, like the millions and millions of other photographers out there that just take a camera and snapped the photo and don't really consider the light or even the composition, for that matter, then there's no need to continue on with this course because you're just fine and happy with average images. But if you want to take better photos every time, then you need to take a look at light in more detail and study it. And the more you learn, the better your photos will become. So, in the next lesson, we're gonna take a little deeper look into light itself because light is made up of many more ingredients in addition to just being while light. So once you know all these different ingredients, you can start mastering light and using it to your advantage to take better photos every time. So if you're ready to get started on that, let's do it. 3. Photography Ingredient 2 - Part 1: hello and welcome back. In the last lesson, you learned that light is the number one ingredient for awesome photos. Every time. Now we're going to explore mawr ingredients over the remainder of this course, so let's get started now. Although light is the number one ingredient, light itself consists of several different characteristics and behaviors, each of which can affect your final image. Now, based on the artwork or the photo you wish to capture, you have to consider each one of these carefully when painting with light. Now your choices will help set the mood of your image, which can evoke different emotions based on those choices. So let's take a look at some of those characteristics, which include, but not limited to, the quality of light, the intensity of light, the direction of light which can even have an impact on your artwork. Then, how your light is transmitted to your camera's sensor can also affect your final work, so this can include reflections, absorption and transmission. Now, those characteristics and behaviors are advanced techniques, and they're well beyond the scope of this course. So instead, we're just gonna focus on one of the main characteristics you must master before moving on to those other advanced techniques. Now I haven't mentioned this characteristic yet because they first want explain something else about light, and that is, where does light come from Now I know it's pretty obvious where it comes from. It depends on the light source, but we have a ton of different light sources from which to choose to light your objects or our subjects, or are scenes etcetera in order to fulfill our creative vision. So let's just take a quick look at some of those common sources of light, and then we're gonna go from there. All right, so here we go. So light can come from two basic places. It can either be natural light or it can be artificial light. So here's some natural light that we can work with. The 1st 1 is probably the one that you use the majority of the time, like I do, which is the sun. Now, I know that's not a groundbreaking revelation, so just bear with me for a moment before I revealed the secret sauce that all light sources have in common. Okay, So in addition to the sun, we can even lighter subjects and our scenes when the sun goes down, either with the stars or the moon, or both if you want. And then if we have, let's say some lightning, we could paint are seen with that. And then let's say that lightning strikes a dry forest and creates a fire. Well, guess what? You can paint with fire as well, since its light pretty obvious again. I know. Okay, so those are all natural types of light from which you can paint with now as faras artificial sources of light. We have a lot more options. Artificial light sources could include off camera flash studio strobes, lighting in our home or our workplace like lamps or overhead fluorescent lighting and much , much more. Now all of these light sources and many more all have one thing in common. Drum roll, please. The secret sauce of all light sources is they all emit a color of light now. More importantly, not all light admits the same color. So the next ingredient for awesome photos every time is painting with or capturing the color of light to fulfill your creative vision. Now, just like a watercolor parent chooses different colors to depict a piece of art, you need to consider the colors of your seen in how you wish to capture those colors. So just remember we're painting with light, and we can use the color of light to evoke a certain mood for our images. Or maybe we want to capture the scene or the subject that is coated with that color of light so we can properly record what we see now in order to paint with color of light with their cameras, we or the camera needs to decide what color to paint with. So, depending on the type of camera you have, you may or may not have an option to make that decision. So maybe you have a smartphone or maybe a low end consumer camera. Then chances are you may not have an option to select the color. In that case, your camera will do it for you automatically and will make the creative decisions for you. Now if you have, let's say, a pro Sumer or a pro camera like a D S L R, which simply means your camera body can use interchangeable lenses. So here I have a Nikon D 300 I can take the lens off the camera body. So this is considered a D. S, L. R. Any time you can take the lens off an interchange lenses, that's what that means. So if you have a camera like that, chances are good. Your camera will allow you to make the creative decision when it comes to painting with the color of light. Now, when it comes to the color of light, you need to know to specific photography terms, both of which we're going to learn in the next lesson. So if you're ready toe, learn that I'm excited and can't wait to share with you exactly what it is in your camera that you need to control the color of light. Oh, I'm so excited. So let's get started on that right now. Let's do it. Come on, let's go 4. Photography Ingredient 2 - Part 2: hello and welcome back. As promised, we're going to learn to to just to photography terms. And then we're going to explore how to take back Creed of control from your camera and capture the color of light. So the 1st 1 is Kelvin temperature. So what exactly is a Kelvin? Well, I'm glad you asked. It's simply a unit of measurement for temperature in photography. The Calvin measures the color temperature of that light source. So remember different light sources emit different colors based on the Kelvin temperature. From that light source, we can then tell the camera what color we want to paint with or, in other words, what color we want to capture. So the Kelvin temperatures range from 2000 Kelvin to 9000 kelvin. So let's take a look at this kelvin temperature skill, and we can see common light sources that we may photograph with on the left. The color of the light is more blue, and this can include shooting in shade or on a cloudy day. The kelvin temperature ranges from around 7 to 9000 kelvin. In these lighting situations, when shooting under direct sunlight, the color of light is more white or neutral. Then with tungsten lighting, it's much warmer and emits a more yellow to orange color. Then, at let's say sunrise or a sunset, it gets closer to the reds and the oranges, so both of those are in the 2000 to 5000 range. So now the question is, Why does this matter and how do we use it to take better photos every time? Well, that brings us to our next photography term, which is white balance. So are you ready for it? White balance is the process of removing unrealistic color casts. So that we see in person is what our camera captures. So, in essence, you want to balance the color you're capturing in camera, so it matches the scene that you're photographing. Or you can set up the white balance to be either warmer or cooler, based on your personal preference and your creative vision. So when choosing your white balance, you have to take into consideration the color temperature or the kelvin temperature off the main light source. Then you can make the creative decision to capture a neutral, warmer or cooler color of light. All right, so now that we know the two terms of photography for capturing the color of light. Let's now take a look at how we can make those creative choices ourself versus letting the camera do it for us. Now, this is going to depend on the type of camera that you have. If you have a smartphone or a low end consumer camera, then chances are you don't have an option to select the color. In that case, your cameras going to do it for you automatically, and it's going to make the creative decisions for you. So that's one of the downfalls. Another is your cameras not always going to capture the correct color, and you're gonna have to fix it in post production. Now, if you have a semi pro or pro camera like a DSL are, then chances are your camera will allow you to make those creative decisions when it comes to painting with the color of light. Now, when it comes to choosing your white balance on your camera, it can come in three different flavors. For example, you may have an option to manually and put the Kelvin temperature, or you may have several options that will automatically select the white balance for you based on the situation that you're shooting in or you may have an option toe. Let the camera automatically decide regardless of the shooting situation, which is just like the smartphone or the low end camera. It's going to do everything 100% of the time. The problem again with this is we're giving creative control back to the camera, so that's not what we want. Instead, we either want to manually input the Kelvin temperature or choose an automatic setting based on the shooting situation. So when it comes to manually in putting the Kelvin temperature, you need to be able to see the color of light and know what number to manually input based on the color scale that we talked about previously. And, of course, your personal preference. This is much more difficult to do until you become more experienced and seeing the color of light and recognizing the Kelvin temperature. And of course, at this time you may not know which colors you prefer. You may prefer warmer or cooler, but you may not have an idea at this time, so this may not be an ideal option for you right now. So let's take a look at the second option, which is letting our camera automatically select the white balance for us, but to do so in a specific shooting situation. So, for example, let's say we're shooting outside on a sunny day. We should have an option like this for Nikon or like this for Canon, and that's going to select the Kelvin temperature or the white balance for that specific shooting situation. Now these are the options for Canon and Nikon, of course. And if you're using something else, you're going to need to refer to your camera manual to find out what your dialled looks like, or how to select the white balance options for these different shooting situations. Now the other thing is depending on the make and model of your camera, you may have more or less white balance options than what was shown previously. Now this is where that handy dandy manual that you probably through into your drunk your just like I did when I bought my first digital camera back in 2002 and you probably want to get that out, dust it off and go through the difference white balance options for your particular camera . So check out those auto white balance options you have and begin using them the next time you go out to shoot some photos. And then as you begin shooting Mawr and Mawr, you're gonna start discovering the limitations of your camera's ability to capture the color that you want. So you may find yourself correcting your camera and post production by warming it up or maybe cooling it down. And in that case, you can then take a note off the color temperature in light room or photo shops, a CR or whatever editing program that you're using. And you can take note and say, You know what? I like the Kelvin temperature at 5900. But when I shoot in these situations, my camera is choosing a Kelvin off 5400. And then, at that point you can start dialing in the kelvin temperature manually, which means you're taking bad to creative control from your camera and you're going to start making the creative decisions and you're gonna create better photos every time. Now, for those that are still not convinced about taking creative control of the white balance in camera. This next scenario may convince you now imagine if you could save 30 seconds of editing time for every photo you capture. And let's say you go on a vacation and you shoot 1000 images and let's say you save 30 seconds of editing time for every image that comes out to 30 1000 seconds saved, which equates to five hours of editing. I don't know about you, but I love photography, but I don't want to sit in front of my computer any longer than necessary. I confined a lot of things, and I'm sure my my wife could find some chores for me to do instead of sitting in front of the computer for five hours that I didn't need to dio. Now maybe I shouldn't do that so I don't have to do the chores anyways, because if you get it right in camera, the white balance you don't have to fix it in post production, and you're going to save a ton of time Now. This brings us to my number one pro tip. When it comes toe editing, editing. Are you ready? Let's get a little drumroll going here. Editing starts in your camera and not in light room or Photoshopped. Get it right in your camera and you'll save hours, weeks, months of post processing. Okay, so these air my tips for capturing white balance and camera to save editing time and to ensure you have more time for tours and how to choose the white balance for your creative vision and not letting your camera make the decisions for you. So next up, we're going to discover another important ingredient to awesome photos every time. And I can't wait to share this with you because it is a big one, and if you're ready, it's do it. Come on, let's go to do it. 5. Photography Ingredient 3: Okay, here we go. Ingredients number three for awesome photos. Every time is the exposure. So first we're gonna go over what exploiter is, and then we're going to explore the three ingredients that relate to exposure. So here we go. Exposure by itself simply means how light or dark your image will be based on the options selected from your camera. So when we're painting with light, it first enters into our lens and then it's recorded by a sensor inside of the camera. Now, if we let in too much light, your image will be over exposed if you don't let in enough light than your photo will be under exposed. So the goal is toe Bayliss delight. So we get a well balanced exposure. This not only provides you with a better image straight out of camera, but it also means you don't have to fix it in post production, which again saves you time but also gives you a better quality image. But that doesn't mean that we're limited by our creative vision, because if we want to, we could select certain parts of an image to be overexposed or under exposed, and depending on the type of camera you have. This may happen automatically based on the limitations of your camera, depending on the lighting situation that you're shooting in. So if you're shooting on a bright sunny day and your subjects are Maurin the shadows and you want to expose for those subjects in the shade, then your sky is going to be overexposed. Now let's say we're shooting a sunset photo and we want to expose for the clouds in the sky and the colors from the sunset. Well, other parts of the image may be under exposed in those situations, and maybe that's okay, because that's the creative decision that we want for that particular image. But in most cases, we do want a well balanced exposure so we can get detail and both the highlights and the shadows, which will give you a much more dynamic and powerful image versus something that is over or under exposed and certain parts. But again, that's all dependent on your creative vision. All right, let's talk about when you're shooting with a D S L. R. You should have three options for balancing the exposure. Now, nowadays, even some of our smartphones will give us thes options to select the three different ingredients that make up our exposure. So you're gonna have to refer to your smartphone or the camera that you have to see if you have these options. So let's quickly learn about each of them now how to use them for a balanced exposure. And then in upcoming lessons, we're going to explore how to use them creatively. So our fourth ingredient is aperture. So the amateur is the size of the opening within your lens, and the size of the aperture determines how much light you allow to pass through it into the camera. Now, on older lenses like this one, you're gonna find an aperture ring that lists each of the different sizes in numbers like this. 1.42 point 83.55 point 6 11 16 And then, depending on the lens, you may have more or less now on new lenses. The AM picture is actually selected. View your cameras menu. Even with the older lenses, you're still going to select the aperture from here versus on the lens itself. Now you can. I prefer to do it from up here on my menu. Now these numbers that I had mentioned previously are referred to as F Stops, and they're going to be displayed like this in your manual in articles that you read, etcetera F 1.4 F, 2.8 F, 5.6 etcetera. So that's just a reference for you to know in case you see an F in front of the numbers when you're reading your different articles in your manual and things like that. Now, when I turn the aperture ring inside of my lens, I can physically see the size of the opening change based on the aperture selected. So the smaller the aperture, the less light that I can paint with or capture. And then the larger the aperture, the more light I can capture. Pretty obvious, I know, but here is where it can get a little confusing. If you select, say, 2.8. The aperture opening is actually larger than let's say, If I select F 11 now, you would think the opposite would be true. Since 11 the number is larger than 2.8. So here's why. It's not so in this case, so each F stop number is actually a fraction. Now, don't worry. We don't need to know math to take great photos. I just wanted to point this out to you to help you understand that the opening for let's say F 1.4 is larger than the opening for F 16. Okay, so that brings us to our fifth ingredient, which is the shutter speed. Now, just like the aperture, the shutter speed also controls how much light we paint with or capture with our cameras. This time, the shutter speed is regulated by a shutter within our camera body. So if we take a look at our camera, we can see a little mirror inside here. Now, if we take a photo, this mirror rises up, and you're gonna see a little shudder behind it. Now, I don't recommend doing this because it can cause the damage to your camera and does can get in on your sensor. So just know that you can control how long that shutter stays open the balance out your exposure, and it can also provide you with some creative options as well. And we're gonna go over those in an upcoming lesson. All right, so check this out. You can either set the shutter speed in seconds or fractions, so let's try it out. So right now I have the camera shutter speed set to 1 5/100 of a second and listen when I take a photo. So that was really quick. The mirror popped up when I pressed the shutter release, and then it closed after 1 5/100 of a second. Now, if I bring this shutter speed down to let's do one second, let's listen to the difference. So that was one second. So the shutter speed can give you some creative options as well as help you avoid camera shake, which are two things you need to consider when selecting your shutter speed. And we're gonna talk more about the creativity in an upcoming lesson on shutter speed. So this brings us to our sixth ingredient, which is ice. Oh, and it's another option to help us balance exposure, and this one is often referred to by other photographers and instructors as your camera's sensitivity toe light, which is incorrect. The term ice so was created back in the day of film. I actually have a role of unprocessed film. I'm not quite sure what I took, but I pray shot this about 15 years ago. This is actually slide film, which is a little different from just film, which is a story for another day. But yes, film is sensitive toe light and the higher the isil number, the mawr sensitive it becomes. However, since we're shooting with digital cameras, they're not sensitive toe light. The sensitivity of your sensor is fixed, and I'm going to spare you all the technical details at this time. Just remember this. The higher the isil number, the more light you can capture with your sensor. The problem is, the higher the isil number. The Mawr digital noise is added to your image, which means a lower quality image. So here's an example of an image shot at ESO 100 then the same image at ESO 1600 so you can see what looks like rain or different colored specks throughout the higher Isil image. Our goal is to shoot at the lowest possible ice. So for a balanced exposure based on our aperture and shutter speed, selections and the intensity of light available depend with to avoid this digital noise because it will lower the quality of your images. Now, if you're any low light situation and let's say you've maxed out your aperture it, let's say F 2.8. You've used the lowest possible shutter speed possible for hand holding to avoid that camera shake. And let's say you're not able to get a balanced exposure, while the next thing you need to consider is increasing the ice so as needed. So this brings us to another question you probably have. How do you use those three ingredients for a balanced exposure? I'm glad you asked. Let's take a look at a tool that was introduced a couple of decades ago to help us understand how to get a balanced exposure. So this graphic is known as the exposure triangle, and you can actually download it from this lesson. And here's how it works. We have each one of the ingredients on a side. When you change one of the ingredients, you have to change one or both of the other ingredients until you have a balanced exposure . So if you choose F 2.8, you may need to increase the shutter speed to I don't know, let's say 1 5/100 of a second to get a well balanced exposure. The same thing with the shutter speed. If you choose a shutter speed of, let's say, 1/60 of a second, that's going to let in more light than 1 5/100 of a second, which means you need to choose a smaller aperture opening like F 11 for example. And then, like I mentioned, if I had the exact aperture and shutter speed I want and still can't get a balanced exposure than I have to increase the ice, so to capture more light to create a balanced exposure. Now, at this time, you're probably overwhelmed by all this information, and your head may be spinning. No worries. I've got your back. Here's the thing. As you progress on your photographic journey, you're going to see this exposure triangle from just about every instructor and every article that you read about exposure. And here's the thing. I've been a photographer for over 30 years, and I've never used this exposure triangle. I'm a visual person, and I'm sure you are too. So there's actually a tool within our cameras that will tell us if we have a well balanced exposure or not, and it's not necessary to print out this exposure triangle for field use. Instead, take a look inside of your camera's viewfinder and what do you see? Probably a bunch of stuff. But take a look at the bottom. You're going to see something like this. This is known as your cameras, late meter. So when you adjust the aperture, shutter speed or ice so the marker is going to move left or right, so a well balanced exposure is in the middle. Now, the next question is, which options should you choose First capture, shutter speed or isil? Well, that all depends on your creative vision. So in the next three tutorials, we're gonna learn about the creative options for each one of those three different ingredients and learn how they can affect your work creatively and which ones you should select first and why. Okay, I gotta take a deep breath because I'm getting really excited again, and I can't wait to share with you what we can do creatively with these three ingredients. Can't wait. Let's do it right now. Don't press pause. Don't turn out the computer. Click. Continue. Let's go on to the next lesson and learn which option we should be selecting first. Oh, I can't wait to share that with you. Let's go. 6. Photography Ingredient 4: Hello and welcome back. All right, so one of the first things I would consider when choosing from the three ingredients that make up a well balanced exposure is the isil setting. And there's a couple of reasons why. So let's go over those briefly, and then we can move on to our next ingredient. So the ice so itself does not provide any method of creativity. It's just taking the available light, and it's either going to take in mawr or less light, depending on the ice. So number, the higher the number, the more light that is going to be captured now. The second reason I would start with ice. So is because we want to start with the smallest isil number possible. Then, if needed, we can increase the number depending on the lighting situation. In the previous lesson, I showed you what happens if you choose a higher ice Oh, versus a lower isil number, which is the digital noise that is added to your photos. So that's why I recommend starting with the smallest isil number possible. The problem is starting with the lowest number possible. Like, let's say, 100 is not always the best option. It all depends on the lighting situation, and unfortunately, I really don't have a secret formula to suggest on which isil setting to choose for a specific situation. However, we can go over some general guidelines on where to start with your isil selection. For example, if the light source is very intense, let's say on a sunny day, then you're gonna want to choose a very low isil number like 100. And if you're using artificial light like on camera flash or even studio strobes than Isil , 100 is a good starting point for those as well. And then, if you're in a situation where the light is not his intense, let's say on a cloudy day or at sunrise or sunset, then you may need to use a higher isil number like 200 or 400 or even 800 in lower light situations. Again, all depends on the intensity of the light. Now you could probably get away with ice a 100 on a cloudy day. If those clouds are not very dark and the sun is still shining through and again, it would depend on your aperture and your shutter speed settings as well, so the same thing applies when shooting indoors with natural light. The intensity of that light will determine where to start. So if you have a large window with lots of natural light spilling in from a sunny day, even then, you could probably start at 200 or 400. If it's the same room on a cloudy day, you may have to start at 400 or 800 now, if there's no sun coming through and you're just using available tungsten lights from lamps or overhead lighting, you may need a started 800 or even 1600 in those situations. So the moral of the story is start off at ice, so 100 if possible, and then adjust higher as needed to get a well balanced exposure based on the intensity of the light. So once you have your aperture in your shutter speed selected, you're gonna want to take a look at your viewfinder and look at the light meter inside it to see if that meter is perfectly aligned in the center. And that's gonna let you know if you have a well balanced exposure or not. If it's not properly balanced. Then you have to decide if you can make adjustments to your amateur and your shutter speed in order to keep the same isil where it is. If not, and you can't change to shutter speed because you may end up with camera shake. Or you can go to a larger aperture because your lens has a maximum amateur of I don't know f war or F 5.6. Then you're gonna need to increase your ice. So setting now. The one thing you may want to consider, at least until you become proficient with setting all three ingredients manually, is toe. Let your camera automatically choose your isil setting for you and then, depending on your camera, you may be able to manually select the aperture and shutter speed, and then the camera will auto set the isil for you, or even better, take the time to practice choosing the isil manually, and you're bound to learn what works and what doesn't work a lot faster versus letting the camera thing for you. All right, so that's it for ice. Oh, and the reason why I would choose Isil first before aperture and shutter speed And then the next lesson we're gonna learn which one I would choose to set manually next, So let's do it. 7. Photography Ingredient 5: Hello and welcome back. All right, So the $1,000,000 question is what comes first setting the aperture or the shutter speed? Well, that all depends on what you're trying to achieve creatively, because both give you different creative options and you'll choose one or the other first, based on what you're trying to create. So in this lesson, were first going to go over the creative options of your aperture. Then, in the next lesson, we're gonna take a look at the creative options for shutter speed. So when it comes to your aperture, you have two main choices for creativity. You can either have your scene and complete focus, or you can selectively blur part of the image. For example, if you're shooting a landscape, you may want to have both the foreground and background very sharp. Or if you're shooting a portrait of somebody, you may wanna have that person and focus, which would be the foreground and then have the background blurt out. This can also be achieved based on the temperature you select. So right now you can see that I'm in focus and the background is out of focus. So by choosing the appropriate aperture. I've been able to separate myself from the background versus if the background was in focus as well. So check this out. Here's two photos of the same person shot at opposite ends of the available apertures for this lens. The image on the left was shot at F 16 and the image on the right was shot at F 1.4. So any time you want to have both the foreground and background and focus, you're going to want to choose a smaller aperture opening like F 22 or F 16 or even F 11. Then, as you open up that aperture to a larger size the MAWR, the background will go out of focus. In that case, you're going to choose something like F 1.4 or 2.8, or even at four in some cases. So just remember, the larger the aperture opening, the Maura separation from the foreground and background or the more of the background is going to be blurred out. So this is also known as depth of field, so the larger the depth of field, the mawr of the foreground and background will be in focus, so that means F 22 has a larger depth of field versus F 2.8, which means a shallower depth of field will have less of the scene and focus. And in that case, that would mean that F 1.4 has a shallower depth of field versus F 11. In fact, an aperture of 1.4 could even add Blur to your subject because the death of field is so shallow. So this is a lot of information to take in. So the best way and the fastest way toe learn more about your aperture is to grab your camera and a friend and shoot and all the different amateurs you have for that particular lens. Once you do that, bring those photos into your favorite editing software and compare them side by side and take a close look at the foreground and the background of each photo, and then take note of the aperture used. So before we move on, I just want to give you a couple more quick tips about your aperture. Let's say you're shooting a group of people of three or more than in that situation. You're gonna want to choose an f stop of, Let's Say, F four or 5.6. So those aperture settings will increase the depth of field so that everybody that's not on the same plane, because if they're not completely lined up, you want to make sure that all those people are in focus and then the background will still be blurred out a little bit. Now let's say you have a second row of people, then you want to shoot at at least 5.6 or even better F eight. So this is going to increase the depth of field to ensure the people in the second row are in focus as well. Now, before he decide on your aperture, you may want to consider your shutter speed first. Why? Well, it gives you to creative options that you may wish to select over the AM picture. So if you're ready, let's take a look and our creative options for the shutter speed in the next lesson. You're still here. Hit that. Continue button. I'll see you in the next lesson 8. Photography Ingredient 6: Hello and welcome back. All right, so just like our aperture are shutter speed gives us to creative options to help us fulfill our creative vision. And that's based on the speed that you select for that shutter in the camera that we talked about previously. So what can we do? Well, let's say we have a lot of action going on in the scene that we're trying to capture, and we can either stop the action and make it tax sharp or weaken. Blur the action or the motion from that person or object or whatever it is were photographing that is moving. So if we want to capture something tax sharp with no blurring, then we're going to want to choose a higher shutter speed like 1 5/100 of a second. And if we want to blur it, then we're going to choose a slower shutter speed of, let's say, 1/30 of a 2nd 1/2 a second. It really depends on how fast that person object or thing is moving. So, for example, here I have a photo of a waterfall that I took in New York and because I used a slow shutter speed we can see that the water falling over is actually blurred, and we can't see the individual droplets of the water while we're a little far away. But if we were closer to the water, we wouldn't see those individual droplets if I had used a faster shutter speed. So those are the two options we have with shutter speed to create something different from , let's say, our aperture. So if you want something tax shirt, you're gonna go with the faster shutter speed. And if you want to blur the motion, you're gonna go with a slower shutter speed. So when it comes time to decide on which one comes first aperture or the shutter speed settings, you first have to ask yourself what it is you want to achieve with this particular image. What's your creative vision? Do you want a blur early action? Or do you want the action to be sharp? Do you want the background to be in focus, or do you want the background to be out of focus? Then once you answer that, you'll know which one to set first. Then you set the 2nd 1 and then, of course, I so is first, so you should already have that set. And then you look through your viewfinder to see if that light meter is balanced right in the middle. And that indicates you have a well balanced exposure at least most of the time. And then you can take the photo. Now we have one more ingredient for awesome photos every time, and we're going to discover that one in the next lesson. So if you're ready, let's do it. 9. Photography Ingredient 7: hello and welcome to our seventh and final ingredient for awesome photos every time. And it is composition, so composition by itself has over a dozen composition techniques and rules just by itself. So instead of overwhelming you with lots of techniques, we're just going to focus on one in this lesson. Then, once you understand, use and begin to master this technique, you can then begin the journey of learning the rest of the composition techniques. Doing so will elevate your photography to a whole new level. For now, let's just go over one of my favorite composition rules. And that rule is the rule of thirds. No worries. This isn't a heart set rule. It's more of a guy in line or a rule of thumb. So this rule or guideline suggest that an image should be imagined as divided into nine equal parts. Then, in those parts, you're gonna find two equally spaced horizontal lines and two equally spaced vertical lines , which we can see from this diagram. So we have both our horizontal and vertical lines, and then we can see we have four points where those lines intersect, So the rules suggests that placing your main elements along one of these grid lines or, better yet, intersecting at one of the main four points. You're going to create a stronger, more meaningful composition and will grab your viewers attention by drawing their eyes to the main element of your artwork. So your subject now you could also use the grid lines to divide your seen in tow thirds, which simply means we can use one of these three horizontal rows to place your elements in , and this works well for landscape images. Then you can use one of the three vertical columns to place your main subject in, and this works well for numerous types of subjects. Personally, I tend to use this one a lot for my portrait photography. Now, in order to use the rule of thirds, you have to imagine these nine sections within your viewfinder and then frame the scene with your lens. Accordingly. However, some if not all cameras includes some type of grid overlay with the rule of thirds, and then you convey better. See this visually as you look through your viewfinder to fit the different elements within those different sections. So once again, you're gonna have to check your camera manual in order to see if you have this feature built into your camera. If not, just imagine nine evenly sized rectangles with in your viewfinder as you begin to frame the scene. Guess what? Congratulations on completing the seven ingredients toe Awesome photos every time. And I hope you learned a lot these for listening and have an awesome day.