Intro to Digital Photography

We discuss the major and some minor manufacturers on the market. We also review the sensor formats and crop factors of the different sensors.

Time Codes
Camera Brands 0:46
Camera Platforms 5:58
Reflex Mirror 6:54
Sensor Format 8:53
Crop Factor 10:00

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

What lenses do you have? We talk about the prime lenses you will likely own, zoom lenses that would likely come with your kit, pancake lenses, macros and various quality levels.

Time Codes
MM and Field of View 0:23
Prime Lenses 7:18
Zoom Lenses 11:03
Variable Aperture 13:45
Lens Quality Levels 16:07
Lens Sets 19:28
Lens Features 24:05
Image Stabilization 25:06
Macro 30:14

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

To expand on the description of “field of view” and the lens’ “MM” measurements: In short, the lower the MM number of a lens the wider it can see. So, think of a 24mm, 35mm, 50mm lens. The higher the number the narrower its vision and the more telephoto it becomes. That is to say the more it magnifies your subject. A lens’ “field of view” is a generic reference to the “viewing angle”. When you look at the specifics of a particular lens for sale it will tell you what the view angle is. This refers to how wide or narrow that angle is. For a visual, let’s say that 180 degrees is roughly perfect peripheral vision including everything to your right and left and 8 degrees is like looking through a paper towel roll. A wide angle lens of say 24mm would see about 84 degrees. An extreme wide angle would be even wider at 16mm and beyond. 16mm can see about 84 degrees. Once you get down to about 12mm and wider it would be considered a “fisheye” lens which means it sees way more than the human eye can and therefore creates a lot of distortion and curving. These lenses can see from about 160-180 degrees. A telephoto lens of 200mm would see about 12 degrees. Keep in mind that different manufacturers will have slightly different fields of view for the same mm lens. This is just due to design variations, but they will be very close.

In unit 3 we talk about the buttons and controls that may be available on your camera body, the touch screen, swivel screens and the electronic viewfinder, or EVF.

Time Codes
Physical Controls 0:22
Touchscreen 2:07
Rear Screen Icons 3:20
Articulating Screen 7:34
Viewfinder Diopter 10:58
Electronic Viewfinder (EVF) 13:16
A/V and Ports 15:47

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

In this unit we’ll discuss the different kinds of tripod plates available, also known as QR plates which stands for “quick release”. We’ll discuss power consumption, or battery life and we’ll talk about battery grip accessories and how they’re used.

Time Codes
Power Consumption 0:22
Battery Grips 4:58
Tripod Plates 10:10
L-Bracket 18:12

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

Time Codes

Camera Strap 0:24
Hot Shoe 6:50
Cold Shoe 9:00
Sony Smart Shoe 11:03
Safe Operating Temperatures 14:05

Time Codes
Changing Your Lens 1:00
Manual Focus Rings 8:00
Hard Stops 11:00
Lens Hoods 12:24

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

Time Codes
Holding The Camera 0:24
Points of Contact 1:44
Steady Yourself 2:35
Viewfinder vs Screen 10:28
Tabletop Tripod 12:28
Joby 17:13
Camera Shake 19:21
Self Timer 20:19
Intervalometer 21:32
Normal Tripod 24:16
Monopod 26:31
Tripod Heads 29:55

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

Time Codes
0:25 Exposure Triangle
4:14 Photography Terms: Stop
5:40 Photography Terms: Depth of Field
6:55 Focus Scale
9:28 Image Demo: Depth of Field
14:42 F-Stop
15:36 Photography Terms: Shutter Speed
16:00 Image Demo: Shutter Speed
18:14 ISO
24:29 Image Demo: ISO & Noise
29:47 Achieving Balanced Exposure

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

In this unit we go in depth to discover what the different exposure modes do. We cover manual, aperture priority, shutter priority, program and full auto. We also discuss the exposure compensation dial and some of the different button layouts you may experience.

Time Codes
Mode Dial 0:37
Exposure Modes 3:25
Priority Modes 6:08
Intelligent Scene Modes 7:00
Fujifilm’s Different Approach 10:12
Exposure Compensation 12:33
Adjusting Your Settings 15:14

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

We talk about the rest of the non-exposure modes available on most cameras. Those include the different shutter modes such as single and continuous, the different metering modes like point, center-weighted, zone and average, and the focus modes like manual, single and continuous (also known as servo).

Time Codes
Shutter Modes 0:33
Burst 4:54
Electronic Shutter 5:30
Panorama 9:55
Metering Modes 12:30
AE-L Button 15:00
Focus Modes 18:14
Back Button Focus 20:35
Continuous AF 23:08
AF Tracking Points 26:13

We discuss in detail the difference between RAW and JPEG file formats and do an introduction to RAW file processing software.

Time Codes
JPEG compression 1:00
JPEG options 4:00
Raw vs JPEG 6:00
Pro + Con of RAW 9:40
Raw Processing 13:50
Free Raw Software 19:10
Raw vs JPEG in Processing 27:30
Adobe Lightroom 35:06
Adobe Photoshop 37:36

To download your 30 day free trial of Capture One go here: https://www.captureone.com/en. Remember, there are more affordable versions of the software which only work with Fujifilm OR Sony cameras.

To try Adobe’s Lightroom with a free trial: https://lightroom.adobe.com. Remember, Lightroom only works on a subscription platform where Capture One has an option to subscribe or purchase. Adobe does have a student discount.

Canon’s free RAW software is available by going to the Canon website, navigating to the drivers and downloads, finding your camera and downloading the software from there. Follow this link and choose your camera from the list to download. You will need to select your operating system before downloading.
Fujifilm’s free RAW converter, SilkyPix, is available here: https://fujifilm-x.com/en-us/products/software/raw-file-converter-ex-powered-by-silkypix/
Sony’s software is called Imaging Edge and is available here: https://imagingedge.sony.net/en-us/
Nikon’s software is called Capture NX-D and is a free download. https://www.nikonusa.com/en/Nikon-Products/Product/Imaging-Software/Capture-NX-D.html
Olympus’ free software is called Olympus Workspace and is here. https://support.olympus-imaging.com/owdownload/

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.

In the first part of this unit we talk about white balance and why it’s important. We also discuss why RAW files are superior when dealing with white balance. Then we talk about memory cards and your camera’s buffer. Lastly, we talk about data storage and backing up your photos.

Time Codes
White Balance Overview 0:33
Practical Application 4:04
Color Temperature and White Balance 11:43
White Balance in RAW Vs JPEG 15:10
Memory Cards & Buffer 20:50
Formatting Cards 23:10
Data Storage 24:55

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.
White Balance: The temperature of the light condition, measured in degrees kelvin.

In this final unit for Camera Basics we discuss what to do when you get dust on your sensor and smudges on your lenses. We talk about the ways to protect your equipment from damage and dirt and how to clean it when it’s necessary. We also talk about packing your gear for trips.

Time Codes
Sensor Dust 0:30
Cleaning Equipment 4:14
UV Lens Filter 6:40
Sensor Cleaning Mode 11:53
Blower 14:00
Compressed Air 16:20
Cleaning Chemicals 19:00
Basic Cleaning Kit 20:30
Smudges on Lenses 22:50
Storing Your Gear 28:52
Screen Protectors 32:36
Bag Padding & Stacking 34:50

Terminology reference list
Stop: A halving, or doubling of light. I.e. 1 stop more of light is double the amount of light.
Shutter Speed: How fast the shutter opens and closes, exposing light to the sensor. Measured in stops.
Aperture: The iris of the lens. Measured in stops, referred to as f-stops.
Viewfinder: The eye cup you look in to see the image as opposed to using the live-view screen back on some cameras.
Field of view: The viewable area of a lens.
Lens Milimeters: The MM of a lens is a reference to how wide or tight it’s field of view is. The SMALLER the number the wider the view. I.e. 24mm is wider than 50mm.
Full Frame: A 35mm film sized sensor.
Cropped frame, or cropped sensor: A smaller sized sensor, either Micro Four Thirds or APS-C. These smaller sensors only see the inner portion of the image so therefore they are cropping off the rest.
White Balance: The temperature of the light condition, measured in degrees kelvin.
JPG: An image format where the camera hard codes the data with little ability to edit afterward.
RAW: All the data from the camera which allows for the maximum adjustments in post production.

In this unit we’ll discuss in depth the differences between the focal lengths of lenses. We’ll cover “focal length”, “field of view” and “angle of view”. Then we’ll compare the equivalent fields of view between a full frame camera and a cropped sensor camera.

Assignment: Use a zoom lens to compare different focal lengths. Stand in one spot, frame up your subject and take one photo at each of your lens’ focal length markings. For example, if you have an 18-55 zoom lens, start at 18, then 24, 35 and 55. Compare the differences between the images. Next, start close to your subject and frame up with your widest focal length. Then zoom in to the next marking and back up to keep your subject the same size. Do this until you’ve zoomed in all the way. Compare the images to see the differences and observe the background separation and lens distortion from the wide angle.

In this unit we will cover a short history of the art and discipline of still life. Then, we’ll talk about the fundamentals of still life and go into our first assignment of photographing “found” still life.

Time Codes:
Still life to start a curriculum 0:30
Still life will test you 5:06
Composition 7:00
Control over content 9:11
Leading lines 12:30
Jean Baptiste Simeon Chardin 16:30
Irving Penn 19:09
Cortis and Sonderegger 21:47
Found still life 24:30
Why take photos? 36:20
What I don’t want to see 38:00
Assignment 38:55

Assignment: Shoot two found still life images. The subject and execution is entirely up to you.

Building on the foundations in unit 1 we talk about the “story” we can tell by the art of the table top still life. We’ll jump in to selecting our work surface, the orientation and placement of our objects and what they say to the viewer. We also talk about some technical information regarding lighting angles, contrast and drama via light sources. We also talk briefly about mixing light sources like daylight and incandescent.

Time Codes:
0:57 Composing a tabletop still life
8:47 Randomness
12:06 Layering, depth, selective focus
15:14 Balance, geometry, mirroring, symmetry
19:12 Texture and light angle
22:40 Dramatic light
25:10 Mixing color temperatures 25:10
29:13 Tabletop still life
33:24 Assignment

Assignment: shoot one composed still life. The subject and execution is up to you. Try to generate a feeling in your viewer.

In this unit we introduce the concepts of the rule of thirds and golden ratio. We take a look at one of my still life images and how it developed over the course of 10 images. Then, we introduce the basics of food photography and talk about some methods and approaches to various kinds of food. We also spend some time talking about what angle is best for your subject by looking at the shape and height of the food and type of container it’s in.

Time Codes:
0:19 Unit 2 recap
1:15 Sequences of images
2:00 Leaving space for copy
5:58 Using reflectors
11:53 Food photography
13:28 Rule of 3rds
15:00 Golden ratio
18:25 Creating desire with your image
20:08 Objects dictating your angle
26:14 Leading lines in food
27:26 Simplicity
31:22 Assignment

Assignment: You should choose a food that is visually appealing to you and create two simple compositions. Choose a different focal length or angle for the 2nd image, maybe add an additional object to expand the story. Consider your lighting and angles.

In this unit we’ll talk “vignettes”, which are larger still lifes that provide more space to work and context for the setting. We’ll also talk about shooting larger place settings for food to show the environment and paint a complete picture for the meal. We’ll also cover a few lighting tips you can use to create softer lighting when dealing with direct sunlight.

Time Codes:
Working larger 1:22
Keeping your set clean 2:07
“Body language” 3:30
Styling your shot 6:32
Layering and context 8:13
Setting the mood 9:55
Moving closer 10:56
Center focal point 12:37
The vignette 14:12
Set styling/arrangement 19:39
Light ratio 24:26
The place setting 26:30
Working with delicate subjects 30:19
Subtractive vs additive lighting 32:18
Filtering direct light 36:27
Assignment 45:57

Assignment: you have two options. Option 1: Shoot a food shot with a full place setting or larger image with context of the space. Option 2: Shoot a still life vignette which is larger than a tabletop but not so large that it becomes about the architecture. Consider lighting, shadows, reflections, layering and placement of the objects.

Time Codes:
0:30 Why landscape comes after Still Life
1:30 Pre-Planning
3:05 Power of landscapes
6:25 What we can learn
10:43 Planning and effort
11:51 Hit and miss
14:10 What gear do you have?
17:57 No correct focal length
20:12 Ansel Adams
24:19 View camera
27:45 Zone system
29:25 David Muench
31:21 Peter Lik
32:41 So much great work out there
37:24 Altering images
42:40 Apps for planning
45:51 Assignment

Assignment:
Find two landscapes that speak to you and write 2-4 sentences on each one describing why those images are successful. Start scouting for a landscape location to shoot. Be mindful of private property and all posted restrictions.

In this unit we’re going to be discussing how to direct your viewer’s attention using framing and leading lines. Furthermore we’ll discuss the angle of view and how the angle of light can add drama to your image.

Time Codes:
:25 Direct attention
2:11 Foreground, Middle, Background
4:10 Leading Lines
9:45 Dramatic sky
10:55 Heavy and light tones
14:42 Angle of light
17:55 Sunrise vs. Sunset
21:35 Low angles
23:38 High angles
26:18 Assignment

Assignment:
Shoot 3 versions of a landscape location of your choice. Shoot 1 high angle, 1 normal and 1 low angle. If all three angles aren’t possible at the same location you can change it up. Be safe and observe all posted signs and private property boundaries.

In this unit we’ll discuss some of the details of capturing a sunrise and sunset and what to look for in your composition.

Time Codes:
:23 Sunset intro
1:10 Sunrise/Sunset phases
5:26 Image examples
15:09 Metering
18:45 Histogram
24:35 Metering demo
26:59 Raw processing and dynamic range demo
28:33 Tone curve
31:22 Auto mode
32:26 Assignment

Assignment:
Shoot a bracket of 3 images of a sunset. Shoot one that is -2EV, one that is 0EV and one that is -2EV. Examine the exposure differences and see which one is best. Submit your best shot.

In this unit we’re going to discuss some basics of astrophotography. When the light level is low you will need to adjust your exposure settings accordingly. Cameras have some technical limitations in that they have a maximum aperture and ISO. The aperture cannot be opened any further than what the lens’ design will allow. The camera body will also have a maximum ISO with which it can operate. And that maximum is not usually very pretty as it will produce very dramatically visible digital noise in the image. Usually the usable maximum ISO will 2 stops lower than the maximum, and even that will exhibit a lot of ugly “artifacts” (blocky colors and ugly sandpaper-like texture). Enjoy this lesson as we talk about photographing the stars, the Milky Way Galaxy, car headlights, city glow and much more.

For a helpful page on reading a bit more about the visibility of the Milky Way check out this resource: https://darksitefinder.com/when-is-milky-way-season/.

Timecodes:
0:30 Lowlight challenges and surprises
4:50 Camera support
6:49 Self timer
7:20 My first low light photo
9:00 My first color low light photo
10:33 Cityscapes
15:16 Malcolm Webb
15:55 Light trails
18:50 Light pollution
23:08 Milky Way Galaxy
25:30 RAW file
26:05 500 rule
28:45 RAW processing software
30:15 Luminar 4
40:18 Experimentation
42:23 Assignment

Assignment:
Shoot 2 images in low light. Composition and situation are up to you! Be prepared with camera support to shoot a long exposure. Submit your samples in the quiz.

In this unit we discuss the historical importance of portraiture and how it is still valuable today as a memento for the future.

Time codes:
0:20 History of portraiture
2:40 Contemporary portrait photography
3:40 Personal value of portraiture
6:03 Assignment for life

Assignment: Develop your eye and skill as a photographer to document the lives of those around you. Begin thinking of yourself as a documentarian and think about the historical value of photography.

We’re going to discuss some technical camera settings to help you get the most out of your equipment while shooting portraiture. We’ll then move on to techniques for framing, discuss posing, working with young children and then we’ll finish up with a detailed section on working with continuous autofocus and high speed drive modes for capturing motion.

NOTE: The first segment of this video will seem repeated from Camera Basics. The information is being relayed specific to portraiture and there will be crossover. If you don’t need the refresher please use the timecodes below to fast forward.

Timecodes
00:44 Autofocus for portraiture
3:14 Moving focus points
4:22 Back button focus
5:41 Button remapping
5:57 Shooting with screen or viewfinder
7:30 Checking critical focus
8:14 Being engaged with your subject and equipment
10:05 Maintaining focus with moving subjects
10:55 Get a variety of poses
12:50 Manual focus is a challenge
13:20 Working with young children
14:55 Manual focus with moving subjects
18:22 Autofocus Demonstration: Continuous vs Single AF, face detection, continuous drive mode vs single
21:18 When to use continuous drive mode
23:40 Photos from demonstration
26:25 Images from continuous mode + face tracking demo
27:50 Drive mode selections
28:57 Automatic exposure modes for portraiture
32:30 Assignment

Assignment: Follow the examples given and reproduce those tests. Use your focus modes and become familiar with them. Try to focus and recompose. Try to move your focus points around. Use continuous autofocus to track a subject moving side to side, forward and backward. Lastly, try using manual focus to become familiar with your lens’ capabilities.

We’ll discuss the effect that different lenses, and focal lengths have in portraiture by looking at several examples.

Time codes:
0:25 Lens choice/focal length introduction
2:35 35mm focal length
6:08 50mm focal length
8:11 50mm close up
9:28 Stacking and layering
10:15 70mm focal length
11:25 85mm focal length with close background
13:16 85mm with distant background
15:05 100mm, classic headshot
18:42 145mm telephoto
21:14 Assignment

Assignment: Find a subject and shoot 4 different portraits at 4 different distances/focal lengths. Position them near a background and then try pulling them further away. How does the image change? If you have a zoom, try wide, medium and tight. Which do you prefer and why? Submit your favorite image and explain why it’s the best.

How will your perspective communicate about your subject. We’ll also talk about making your subject comfortable with the process and a couple bits about older film cameras I used to use.

Time Codes:
0:22 Candid vs portraiture
2:54 Connecting with your subject
6:15 Honest expressions
7:47 Find the interest/unique
8:27 Medium format film camera
9:06 Environmental portrait
10:13 Compositional guides
16:48 Down perspective
20:26 Level perspective
22:32 Upward perspective
28:42 Assignment

Assignment: Choose a portrait subject and photograph them in a familiar environment to make them comfortable. Shoot all three perspective: Down, level and upward and analyze what makes them different. Submit your favorite image and explain why you chose.

In this unit we’re going to discuss “light quality” which refers to the effect that different environments and light sources will have on your image.

Time Codes:

0:25 Types of light quality
1:40 Hard light
3:30 Reflected light
5:44 Hard vs reflected
7:00 Soft light
9:12 Overcast sky
12:41 Window direct on subject
15:50 Window as a back light
16:56 Sunset 18:30 Golden Hour
20:53 Catch lights
24:12 Assignment

Assignment: You are to make TWO portraits in two different lighting situations discussed in the video. You can choose between window, sunset, golden hour, reflected, direct hard light or another one referenced. You can only use available sunlight as your main light source.

In this unit we’ll discuss several aspects of digital black and white photography. We’ll talk about several photographers who effectively use black and white in their art. We’ll talk about processing your black and white images using raw processing software and using film simulation or a monochrome effect to preview your image in black and white.

Time Codes:
0:30 The fundamentals of b/w
1:15 “Tones” rather than colors
3:33 A matter of taste
5:30 Historical examples
10:25 High contrast “oscillation effect”
11:56 Contemporary examples
15:40 Digital simulation and filter modes
20:15 Portraits
21:15 Auto conversion vs custom conversion
22:30 Raw processing in Lightroom
26:55 Raw processing in Luminar 4
30:40 Assignment

Assignment: Shoot and process 3 black and white images. 1 landscape, 1 portrait and 1 abstract.

The “pan” is an older technique that was more popular in the 70’s-90’s. But it can be used with great effect today. The name for the technique refers to the side to side movement of a camera. To move horizontally is to “pan” the camera. To move up and down is to “tilt”.

Time Codes:
0:25 Definition
1:55 Technique Breakdown
4:45 Tracking vs Panning
5:25 Walter Ioos, Jr.
13:18 Paul Bickford
15:54 Telephoto pan
18:19 Wide angle pan
20:40 Counter movement
22:05 Things to remember
25:10 Assignment

Assignment: Shoot a pan in 2 different locations (scenarios). Each pan should consist of a 5 image shutter speed bracket. Ex: 1/10, 1/15, 1/20, 1/25, 1/30. Use your aperture and ISO to control the exposure. Think about creating a good image. Consider background color, artificial lights and counter movement. Upload the best one.