Lessons
Class Introduction
17:26 2Welcome to Photography
13:08 3Camera Types Overview
02:00 4Viewing Systems
28:43 5Viewing Systems Q&A
08:45 6Lens Systems
32:06 7Shutter Systems
13:17 8Shutter Speeds
10:47Choosing a Shutter Speed
31:30 10Shutter Speeds for Handholding
08:36 11Shutter Speed Pop Quiz
09:06 12Camera Settings
25:35 13General Camera Q&A
14:38 14Sensor Sizes: The Basics
15:33 15Sensor Sizes: Compared
19:10 16Pixels
20:13 17ISO
21:13 18Sensor Q&A
13:34 19Focal Length: Overview
11:09 20Focal Length: Angle of View
15:09 21Wide Angle Lenses
08:48 22Telephoto Lenses
25:23 23Angle of View Q&A
09:29 24Fish Eye Lenses
10:39 25Tilt & Shift Lenses
23:42 26Subject Zone
17:19 27Lens Speed
09:56 28Aperture Basics
08:46 29Depth of Field
21:49 30Aperture Pop Quiz
13:23 31Lens Quality
18:30 32Photo Equipment Life Cycle
03:57 33Light Meter Basics
09:25 34Histogram
15:25 35Histogram Pop Quiz and Q&A
10:58 36Dynamic Range
06:03 37Exposure Modes
15:58 38Manual Exposure
09:38 39Sunny 16 Rule
05:54 40Exposure Bracketing
10:18 41Exposure Values
27:21 42Exposure Pop Quiz
26:43 43Focus Overview
16:15 44Focusing Systems
05:15 45Autofocus Controls
11:56 46Focus Points
07:35 47Autofocusing on Subjects
20:19 48Manual Focus
07:52 49Digital Focusing Assistance
03:40 50Focus Options: DSLR and Mirrorless
04:58 51Shutter Speeds for Sharpness and DoF
05:20 52Depth of Field Pop Quiz
12:14 53Depth of Field Camera Features
04:54 54Lens Sharpness
09:58 55Camera Movement
05:20 56Handheld and Tripod Focusing
04:32 57Advanced Techniques
07:12 58Hyperfocal Distance
06:50 59Hyperfocal Quiz and Focusing Formula
04:36 60Micro adjust and AF Fine Tune
05:34 61Focus Stacking and Post Sharpening
06:00 62Focus Problem Pop Quiz
18:07 63The Gadget Bag: Camera Accessories
25:30 64The Gadget Bag: Lens Accessories
12:46 65The Gadget Bag: Neutral Density Filter
20:43 66The Gadget Bag: Lens Hood and Teleconverters
08:55 67The Gadget Bag: Lens Adapters
05:43 68The Gadget Bag: Lens Cleaning Supplies
04:34 69The Gadget Bag: Macro Lenses and Accessories
15:57 70The Gadget Bag: Flash and Lighting
05:08 71The Gadget Bag: Tripods and Accessories
18:50 72The Gadget Bag: Custom Cases
11:20 7310 Thoughts on Being a Photographer
07:37 74Direct Sunlight
25:04 75Indirect Sunlight
18:49 76Sunrise and Sunset
18:39 77Cloud Light
14:48 78Golden Hour
09:50 79Light Pop Quiz
07:53 80Light Management
14:00 81Artificial Light
13:56 82Speedlights
16:02 83Off-Camera Flash
27:38 84Advanced Flash Techniques
09:49 85Editing Overview
08:24 86Editing Set-up
08:06 87Importing Images
16:45 88Best Use of Files and Folders
20:54 89Culling
20:56 90Develop: Fixing in Lightroom
18:13 91Develop: Treating Your Images
10:53 92Develop: Optimizing in Lightroom
14:51 93Art of Editing Q&A
06:01 94Composition Overview
06:53 95Photographic Intrusions
10:10 96Mystery and Working the Scene
16:18 97Point of View
09:11 98Better Backgrounds
16:02 99Unique Perspective
11:02 100Angle of View
15:06 101Subject Placement
41:14 102Subject Placement Q&A
05:18 103Panorama
07:39 104Multishot Techniques
13:57 105Timelapse
16:13 106Human Vision vs The Camera
20:07 107Visual Perception
08:35 108Visual Balance Test
22:56 109Visual Drama
12:25 110Elements of Design
28:57 111The Photographic Process
12:28 112Working the Shot
27:38 113The Moment
04:42 114One Hour Photo - Colby Brown
1:04:32 115One Hour Photo - John Keatley
1:03:05 116One Hour Photo - Art Wolfe
59:01 117One Hour Photo - Rocco Ancora
1:01:20 118One Hour Photo - Mike Hagen
1:01:20 119One Hour Photo - Lisa Carney
1:00:52 120One Hour Photo - Ian Shive
1:08:00 121One Hour Photo - Sandra Coan
1:10:29 122One Hour Photo - Daniel Gregory
1:06:07 123One Hour Photo - Scott Robert Lim
1:05:41Lesson Info
Angle of View Q&A
Do you have any thoughts, and maybe we're gonna get to this, but any thoughts on the pancake lens? The pancake lens, I've got a pancake lens, wait did I bring it? No, I didn't bring it, I didn't have room for it. So a pancake lens should really be called a cookie lens. Because it's more about the size of a cookie, than a pancake, it's not that big. A pancake lens is just a flat lens. And there's a couple from, let's see, who makes that, Panasonic makes one, I think Olympus maybe makes one. Canon has one or two of 'em, and they're just really small lenses. And I love 'em, I wish that manufacturers made more really small lenses, they're not the fastest aperture, they're not the sharpest lens, and I say that kinda hesitantly, because I have the Canon 40 millimeter pancake lens. And I was testing it against one of the L series zoom lenses, and it was just as sharp as that. But it's just a very simple small lens, and I don't like the fact that they have very small focusing rings on 'em. B...
ut for travel photography, for backpack, lightweight stuff, economy wise they're very cheap too. So I would like to see more of them. Cool, thank you, we have a question in the back row, do you wanna stand? So, I do primarily fashion photography for my wife, for her blog and YouTube stuff. And while I do the photography for it, I wanna be a little bit better, 'cause I do stand at distances. We have a kit lens of 35 to 105, or 28 to 105. Okay. And then we have, I believe a 50 millimeter, and a 28 millimeter. Okay. Based on what we just learned, I'm guessing I may have to step up one more, what would you think in that sense? Well that really depends on the style that you're shooting for. Because if you are shooting clothing, and you're like, I wanna show the texture, and the features of this particular clothing, possibly a macro lens, 'cause you're getting down smaller. If you're shooting this on a model, something in that 105 range is probably gonna be fine. Now, I know you're from New York right? Yes. So maybe if you're goin' out to Central Park, and all the other parks you have out there. If you're going out to the park and you have a larger working distance, And you have a big, open area, and you wanna show a subject with maybe a skyline in the background, that's where you might wanna go all the way up to 200. Now, you could have a completely different style, where maybe you're showing work clothes in a work environment, and you wanna show that you're in a work environment, so that's where you need a little bit of a wide angle. Got it. And so you're probably not gonna need anything wider than 24, and you're not gonna need anything more telephoto than 200, which is kinda that standard that I gave for everybody. And it really depends on the style. Got it. I know there's a lot of fashion or lifestyle photographers that really like the 35 and the 50 millimeter focal length. Because they're very normal, show kind of a very natural perspective. And those lenses also, are often available on very fast apertures where you can shoot with sallow depth of field, so you can show somebody, and they're really standing out from their background. Because they're in focus, and the background kind of falls out of focus. And so I can't completely answer that, without knowing more of the style that you like. But, what you can do is, look through magazines, and blogs, and look at what other photographers are doing, and just kinda look at styles that you think fit what you're doing, what you're trying to do, and then reverse engineer those photographs to figure out, are we wanting more wide angle, or a little bit more telephoto. Right. Now are you shooting inside or outside most of the time? We're shooting sometimes inside, but I have a lot of ideas as in terms of shooting outside, especially in Central Park. And being able to, sort of put my wife, let's say, on a bunch of rocks, and shooting from across the street. So I'm thinking that telephoto lens would really work, and I couldn't really understand that concept until seeing it right here. (laughing) Okay, okay. So now, it's starting to click a little bit. But when we do more intimate shots, it's more inside, or in our backyard, against a wall of vines, and stuff like that. So I'm thinking like an 85 millimeter, or a 50 millimeter may be suffice for that. Right, right, I wanna do a little in class demo, thing. Would you come up here? Bring your microphone up here. Yeah, sure that's pretty cool. I'm just gonna have you stand up here, I'm not gonna actually photograph you, 'cause we're not really set up for that. But I just-- Do I need to put this down. You can just hold that, you can just hold that. And so, let' see, what do I want? I wanna grab, this is my 70 to 200. And... Because I really like the 85 millimeter focal length. But I also like the 135 focal length. And... I will use my lens hood, because they are very important, and I'll talk more about that. So I'm just gonna set this lens right about 85. And so we're not gonna do any posing, I'm terrible on posing, there's other classes on posing. But if I wanted to shoot an 85, and I just wanted to show you, kind of a passport type photo, 85, I'll put right about here, okay. Now, if I was trying to show you in your sweatshirt, with that 85, I'm more back here. Okay, now, I'm not sure what size of place you live in New York, but here in Seattle, I have a relatively small home, and this is about as much as I can do, in my living room, right here. And so if I wanna shoot with a 135, Which I really like doing, and let me set this up to 135, and I'm gonna throw these camera angles way off here, but I need to keep coming all the way back, and I need to be back here, to shoot him in the sweatshirt. With the sweatshirt, and so the 135 to me, is the outdoor portrait lens. And so if you're shooting indoors, you're probably gonna be 85 or less. And then 135 and up to 200, that's the outdoor stuff. Unless you get yourself a real nice big studio. Alright, thank you. Thank you very much, I appreciate it. Thank you for that in class demo, because that truly did help a lot of people see the ah-has too. Good, good. So let's take some more questions, is that alright? Yes, yeah. Alright, cool. Let's see, so going back to distortion, again, a lot of these, John, are like clarifying, to make sure everybody gets it. Okay. So this is from Alicia Young. Will you have the same distortion on say, a 24 to 70 on the wide angle on a crop censor, versus a full frame? Okay, so they're going back and forth between a crop. If you have a 24 millimeter lens on a crop, and a full frame, they're gonna look different. And you are not gonna get as much distortion on the crop frame, because you're not getting all that area along the edge. And that 24 is looking more like a 35 millimeter lens. Great, thank you, I know it takes a lot for it to sink in, especially on the crop censor, versus full frame, and how it's affected. Which your slides are incredible at explaining. So thank you, John. Let's see, so... (laughing) This question about lenses, M goes, asks, I would be interested in your opinion of the lenses that can be attached to smart phones. Oh. And what do they actually do? So, there are add on lenses, and we talked about this briefly yesterday when we talked about lens systems. There's interchangeable lenses, where you can take the lens on and off, and then there's add on lenses. So for any device that has just a fixed attached lens, that you can't take on and off, you can buy an add on lens, and you can get more wide angle, you can get more telephoto, or you can allow the device to focus a little bit closer. Now when you add elements in front of the already perfectly designed, or theoretically perfectly designed lens, you're gonna lower the quality of that lens. And so there is gonna be an image quality problem, and how much, it depends on the quality of those lenses, and they make really cheap ones, and they make really nice ones. And that's reflected, probably in the price of it. And so you wanna take a look at the quality of what your needs are, and what you're getting into. Now one of the nice things, is that it doesn't change the light gathering ability. So that stays the same, so the settings on the camera stay the same. And it can be a handy way of getting a slightly different angle of view, so that not all of your photos have exactly the same look to them. And you can very easily start spending lots of money, and having lots of attachments, at which point, you might just wanna have a regular camera that has a zoom lens. And so I'm not against them, but be aware of the potential pit falls in quality. And there's image quality, there's flare, and there's a number of issues that we'll talk about, and they are just kind of exacerbated when using these add on lenses. Back quite a while ago, with interchangeable lenses, there was the opportunity to buy add on lenses for your 50 millimeter lens, rather than buying an interchangeable lens. And they were typically a little bit less money, than the official interchangeable lens. But they ended up just being a really cheap lens, and they weren't very good. And so I probably say there are more poor quality ones, than good quality ones out there.
Class Materials
Free Download
Bonus Materials with Purchase
Ratings and Reviews
a Creativelive Student
Love love all John Greengo classes! Wish to have had him decades ago with this info, but no internet then!! John is the greatest photography teacher I have seen out there, and I watch a lot of Creative Live classes and folks on YouTube too. John is so detailed and there are a ton of ah ha moments for me and I know lots of others. I think I own 4 John Greengo classes so far and want to add this one and Travel Photography!! I just drop everything to watch John on Creative Live. I wish sometime soon he would teach a Lightroom class and his knowledge on photography post editing.!!! That would probably take a LOT OF TIME but I know John would explain it soooooo good, like he does all his Photography classes!! Thank you Creative Live for having such a wonderful instructor with John Greengo!! Make more classes John, for just love them and soak it up! There is soooo much to learn and sometimes just so overwhelming. Is there anyway you might do a Motivation class!!?? Like do this button for this day, and try this technique for a week, or post this subject for this week, etc. Motivation and inspiration, and playing around with what you teach, needed so much and would be so fun.!! Just saying??? Awaiting gadgets class now, while waiting for lunch break to be over. All the filters and gadgets, oh my. Thank you thank you for all you teach John, You are truly a wonderful wonderful instructor and I would highly recommend folks listening and buying your classes.
Eve
I don't think that adjectives like beautiful, fantastic or excellent can describe the course and classes with John Greengo well enough. I've just bought my first camera and I am a total amateur but I fell in love with photography while watching the classes with John. It is fun, clear, understandable, entertaining, informative and and and. He is not only a fabulous photographer but a great teacher as well. Easy to follow, clear explanations and fantastic visuals. The only disadvantage I can list here that he is sooooo good that keeps me from going out to shoot as I am just glued to the screen. :-) Don't miss it and well worth the money invested! Thank you John!
Vlad Chiriacescu
Wow! John is THE best teacher I have ever had the pleasure of learning from, and this is the most comprehensive, eloquent and fun course I have ever taken (online or off). If you're even / / interested in photography, take this course as soon as possible! You might find out that taking great photos requires much more work than you're willing to invest, or you might get so excited learning from John that you'll start taking your camera with you EVERYWHERE. At the very least, you'll learn the fundamental inner workings and techniques that WILL help you get a better photo. Worried about the cost? Well, I've taken courses that are twice as expensive that offer less than maybe a tenth of the value. You'll be much better off investing in this course than a new camera or a new lens. I cannot reccomend John and this course enough!