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FAST CLASS: Fundamentals of Photography

Lesson 23 of 52

Camera Movement

John Greengo

FAST CLASS: Fundamentals of Photography

John Greengo

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Lesson Info

23. Camera Movement

Lessons

  Class Trailer
Now Playing
1 Photographic Characteristics Duration:06:36
2 Camera Types Duration:02:53
3 Shutter System Duration:08:51
4 Shutter Speed Basics Duration:10:06
5 Camera Settings Overview Duration:16:02
6 Camera Settings - Details Duration:06:05
7 Sensor Size: Basics Duration:16:26
8 Focal Length Duration:11:26
9 Practicing Angle of View Duration:04:49
10 Lens Speed Duration:08:53
11 Aperture Duration:08:15
12 Depth of Field (DOF) Duration:12:32
13 Lens Quality Duration:06:56
14 Light Meter Basics Duration:08:54
15 Histogram Duration:11:38
16 Dynamic Range Duration:07:15
17 Exposure Bracketing Duration:07:59
18 Focusing Basics Duration:12:58
19 Manual Focus Duration:07:04
20 Digital Focus Assistance Duration:07:25
22 DOF Preview & Focusing Screens Duration:04:45
23 Camera Movement Duration:08:13
24 Focus Stacking Duration:07:48
25 Lens Adaptors & Cleaning Duration:08:24
26 Flash & Lighting Duration:04:37
27 Tripods Duration:14:03
28 Cases Duration:02:53
29 Natural Light: Mixed Duration:04:10
30 Sunrise & Sunset Light Duration:17:14
33 Light Management Duration:10:06
34 Speedlights Duration:04:02
35 Built-In & Add-On Flash Duration:10:37
36 Editing Assessments & Goals Duration:08:48
37 Editing Set-Up Duration:06:49
38 Importing Images Duration:03:49
39 Culling Images Duration:13:47
40 Adjusting Exposure Duration:07:53
41 Remove Distractions Duration:03:52
42 Cropping Your Images Duration:09:43
43 Angle of View Duration:14:25
44 Framing Your Shot Duration:07:17
46 Rule of Odds Duration:04:50
47 Visual Drama Duration:12:20
48 Elements of Design Duration:09:14
49 Texture & Negative Space Duration:03:47
50 Black & White & Color Duration:10:23
51 The Photographic Process Duration:08:58
52 What Makes a Great Photograph? Duration:06:39

Lesson Info

Camera Movement

all right, talk about camera movement because camera movement can affect the sharpness of the image. So we did talk about this before, so I'll move quickly here as we talked about the hand holding rule of thumb is, you want a minimum shudder, a minimum shutter speed to be won over the focal length of your lens or faster. And so if you have a 60 millimeter lands, you want 1/60 of a second or faster. Now, if you have a crop frame camera 1. point 62 times or something else, you do want to figure that in a swell with the 60 millimeter lands on a crop frame camera, you should probably have 1/90 of a second, because that's what the crop factor is. Its magnifying your view. By that, it's magnifying your movements. By that, if you have a 200 millimeter lands on a micro 4/3 system, you should really be shooting out of 400 maybe a 5/100 of a second, and so one over the lands multiplied by the crop factor that you're actually using. So for the full frame user 50 millimeters well, that's gonna be ...

around a 60 millimeter lands your 100 to 400. Well, it depends on where you're zoomed at for that shot, 1 25 to 500. Every camera manufacturer has their own little letters, and what's happening is that the stabilization systems are continuing to get better. And so, for instance, Nikon started off with stabilization Vibration reduction that, helped out by two stops, would let you handhold the camera. Two stops more. Now, some of their lenses are four stops. I think there was somebody who introduced one, and I forget. If it was Nikon or not, it might have been there 1 80 to 400 that I think it's five or six stops. They was five stops better. And so technology gets better in the system. So the more current your lenses, probably the better the stabilization system that's going to be in there. With Nikon. They have vibration reduction, as they call it. They will have a normal, and an active switch on their normal is if your handheld or you're on a mono pod. Active is if your writing in some other sort of vehicle, like an airplane, where there's gonna be mechanical movements on top of your normal human hand movements of it. And so normally you would in normal. But activists for those other devices that you might be traveling on. And then there are some that have a sport mode, which is designed for panning. And so when you're panning, you don't want the camera to correct for your movements because you're intentionally moving. And so, if you are specifically trying to do panning, you may want to turn it into that sport mode on the night. Cons. And so there are a number. I'm just trying to cover a few of the most common stabilisation options out there. Some of the higher in canon lenses will have three different options. The basic lenses will just have one option on the first option is just for normal hand held photography. And if that's what you're gonna find on most of their lenses, if you want to put it in the 2nd 1 it's going to accommodate for panning. And it's not gonna correct for your movements. Pani. And it has a special 3rd 1 where it turns off the image stabilization. As you look through the viewfinder, you'll find that as you look through the viewfinder, the camera, the image that you see does not mimic exactly your movements. And some people get a little seasick because, like they're moving it, but they don't see it move, and then it moves and they're not moving. And some people that doesn't work out very well with them. And so you can turn that off in certain types of action photography. And in all these cases, you don't want to have this turned on. If your camera is really steady on a tripod, you don't want to have this turn on because what's happening is the lenses want to move a little bit to correct for your movement. So they're looking for movement, and then it might actually get caught during the time of exposure when it's doing that, So just turn it off when it's on a tripod. And, yes, a lot of us forget to turn it back on when we take it off, but you get used to it, you learn your lessons. Something else to be thinking about is the camera movement versus the subject movement, what is actually moving in there, And so in some cases, you need to correct for your own movements. Sometimes you're needing to correct for their movement tripods. We'll talk more about these in the gadget section, but it's great for getting the sharpest photos, enabling great depth of field because you can shoot at any different aperture you want cause you can shoot any shutter speed you want. And I like it for really precise composition and slowing you down to think more about what you're doing. And I know because I do a lot of travel photography that carrying around a tripod is not the most convenient thing. And it's not what I want to do all the time. It's what I want to do some of the time because it's a tool for solving problems. Now one of the most popular photographic destinations in Seattle is are incredibly germy second germiest in the world gum wall down at the Pike Place Market, and you're gonna probably want to go down there if you're visiting Seattle from out of town and photograph the gum wall. Haven't been down there in a couple of years, but it probably looks a little something like this. And if you're taking this picture Well, you're gonna get a picture that looks a little something like this. If you're using a wide angle, lands wide open aperture very easily. Handhold Herbal shot at 1 to 50 of a second. And then you thinking, Wow, all of this delicious gum. I want it all in focus. Let's stop the aperture down and get us much and focus is possible. So if you stop it down as much as you can Well, we can get a lot in focus at F 22 but we gotta have a tripod out there and carefully set it up next to the gum wall. Right? All right, so our tripod photographer gets everything in focus are lazy. Handheld photographer who didn't bring the tripod can stop down as much as F four because it's a millimeter lands and 1/30 of a second is the slowest. They can go because they don't have an image stable. I system here, and then, if you want shallow depth of field, you can get shallow depth of field so tripods aren't just for low light is what I'm trying to say here. There for times when you want to have creative control over your photograph. And if you want to have full control, sometimes the tripod just gives you more options to work with. And so I could sit here all day showing you examples of photographs that I could not have taken hand help or they would not be as good equality because I'm using long shutter speeds on almost all of these cases. Sometimes it's what I artistically want. Sometimes it's just technically what that situation demands because it's relatively low light levels. And so tripods are a really, really handy thing. And what I have found that has helped me in using tripods more frequently is spending enough money on a tripod that I get a tripod I'm really happy with. And so my tripods I love they are fantastic tripods. They're really good, and I don't mind carrying them with me because they're like close friends. They help me out with problems, and so all of these cases I'm stopping the aperture down. I'm working under lower light. I'm wanting or needing those slower shutter speeds, and if you are using a tripod, then using that cable release is very important as well. You can also use the self timer, which is a good way trick of going around it now, one of those little tripod tips that I like to mention over and over again because I still keep seeing people out there with their model pods up on top of a tripod. You don't want to use the center post unless you absolutely have to. It's not a stable, as the full device used the cable released herself. Timer. Sometimes you're gonna need mere lockup for those of you with SL ours and turn that stabilization either in the camera or in the lens off. Make sure that you are on solid ground. Sometimes you're on dirt or leaves or grass just kind of pushed that tripod and get it settled into the ground properly so that it's not loose in that way. And tripod collars for the longer lenses can be very, very helpful. They're not always supplied. Sometimes you have to buy him extra, but if you have him by all means, use them and then having a good head that supports the weight that you would put on it. Yes, well

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As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.

Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:

  • How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
  • How to choose the right gear, and develop efficient workflow.
  • How to recognize and take advantage of beautiful natural light.

John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential. 

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