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
Editing Overview
Alright, folks, we are continuing our way through the fundamentals and we are up to the art of editing. And this is a section that, in some ways, as I mentioned before, I'd rather not have in here. But we need to talk about what we're doing with our photographs and what our end goal is, because if we know what the end goal is that's going to change the steps that we take getting up to that goal. So this section is dedicated to everything after the shoot is over. And we're just basically going to walk through the entire process. And I have seen a lot of photographers and I've helped a lot of photographers, kind of, on a one-on-one basis and photographers, in general, tend to be more of the creative nature and less of the organization nature. And some of them have had a bit of a messy desktop, shall we say, for all of their files and their photos and everything. And so I wanna try to get people set on a way that would make things easier in the long run. So let's take a look at what we're...
gonna be doing. First up, we should do a little personal assessment about what are we trying to do in photography? How much do we shoot? What are you doing with your images? And how are you gonna access them? And how are you gonna work with them? And this is very different for a personal photographer who just takes pictures on the weekend versus maybe somebody who works in a company where everybody has to access the same photos. And so just be aware of how everything is gonna intermix. Who's gonna be accessing them? And how do you want to deal with things? Because it's gonna be a little different for all of us. Now, my goal. Mine, not yours. You can say whether you like these or not. I like to have quick downloads so I just want to get them into the computer without a lot of hassle. I wanna make sure that everything's secure and I'm not losing photos. I'm okay looking at my own photos, but I don't wanna spend all my time looking at photos. I would like to get through the edit session relatively quickly and when it comes to finding photos later on when I go, "Oh I need to find a photo." I don't wanna have to go rummaging through files and files and hard drives and trying to wonder where is this, where is that? I wanna be able to go find things relatively quickly. I hate it when things are lost and you know it exists, but you can't find it. That is really frustrating to me so I will go to great lengths to make sure that I can find stuff. Now our ultimate photographic goal. What is our ultimate photographic goal? Well, we wanna take really good pictures, right? And so whatever enables that process and helps that process along is important. We wanna capture the best moment. And so this gonna effect how we shoot. And so I wanna tear apart a moment in time, alright? Think about how we shoot. As you go along shooting you might notice things start to get good. Things start to improve. Lighting gets good, subject's doing the right thing, and so you continue to shoot. And the pictures get better and better, but you never know when things are gonna turn terrible. And that's why you continue to shoot. And with digital, you can do so with less cost than film because, before with film, there was always the concern of A, cost. Every single shot cost you a certain amount of money and then, B, how much film do I have left in my camera? I remember shooting film in sports and you get to around like 27, 28 on a 36 exposure roll of film and it's like, well, should I switch rolls now? Or will I have something that I can get in two or three shots? And so now, not a concern, you can just shoot whenever you want and so the next shot could be the best shot you've ever taken. And so you follow your instincts into better and better situations and if you are analyzing what you're doing and you're making it and you're improving it better with your composition and your point of view, you never know when it's gonna get better and you never know when it's gonna get worse. You gotta just keep shooting through the situation. And even though it gets worse, you still continue shooting because it may get better again. Things change all the time. And so you really gotta shoot through the entire moment, you might say. Never knowing when it's best. But usually when it starts tailing off, you start knowing it's not as good. We've lost the good light, my subject's not giving me the same expressions anymore. It's just not as good and so you tend to shoot a little less on the way out. But you still shoot, never knowing when things might change. A good example of this is when I shot an iceberg down in South Georgia. And here's the final shot. Really nice-looking, little iceberg down there. Well, it's not really little, but it's not huge. Alright, so what did that day actually look like? Well, here's a sampling of some of the photos. We went out in the Zodiac. Here's the boat that we were staying on. Holds about 100 passengers down there. And we're in the Zodiac and there's kind of an interesting looking iceberg over here, let's go over and take a look at it. There's, I don't know, six or eight of us on the Zodiac. We've got our Zodiac driver. He's gonna do some loops around this little iceberg. And let's go over here and see what it looks like. Let's go over here and see what it looks like. Hey, I kinda like these lines over here, this looks kinda nice. Shot a lot of photos of it. Just didn't come out right. Let's go around this side over here. Hey, this really sharp knife edge looks kinda cool, let's play around here. And so I'm shooting photos over here and the water's sloshing around and waves are pushing us up and down and it's hard to hold the camera steady. I can't even keep the iceberg in the frame for some of the shots. And I'm, you know, really shooting through and I'm gonna analyze these things and work on them later. Because this is a hairy situation and it's really hard to control, because there's not a lot of things you can do. Now, I notice in the water crashing over the right-hand side is creating this nice little color, and a nice little moment, and I get, what I think is a pretty nice moment in time, right here. And so get it back in the computer I'm gonna level the horizon because that was really hard to keep steady in that boat that was moving around. Then I'm gonna crop it a little bit. Just to fill the frame and get rid of some empty space in the sky and on the bottom. I'm gonna add a little bit of contrast, a little bit of punch, because I shot in raw and pretty much all raw images need a little sharpening and a little contrast adjustment to them. And then, it's a matter of personal taste, I went in and I decided to darken the clouds just a little, tiny bit, just to have little bit more drama. And this is my final photograph here. And so it required me to really shoot through the moment, from the beginning, through it, to the end and then just do a little bit of work in post-production. Now, how much work you do in post-production, well that's an argument you can go on the internet and have fights with all over the place. As to how much you're gonna Photoshop an image. And it depends on what sort of world you're living in. If you're a journalist, there's not much that you should be doing to your image. You need to really leave it true to life. There's other people in advertising that is changing everything in their photograph. And what you do in your photograph is really up to you. But how much you do really will kinda stick with you as your reputation. So I do a little bit in mine. I'm not submitting my stuff to National Geographic. I'm not a journalist documenting on a particular scene. So I don't have a problem darkening those clouds by 5%. I think it makes it look good and very realistic to the way it was. And so, sampling some of the shots I took after the moment. And so, if we were to go back to that graph, I kept shooting after I got the best shot. I didn't know it was the best shot until later. I'm shooting along, things are getting better, I have an idea for a good shot, but I'm gonna keep shooting because I'm just not 100% certain, until I get back, which one will come out the best. Usually, when I'm out in the field and it's a great shot, I usually know it at the time. But sometimes you gotta go back into your editing and you'll discover a great shot. And so the actual number of images I shot was around 80 for that little episode. I ended up throwing away a bunch and keeping around 45. But I had one shot that was really the winner of the whole group. And that's the one that really gets saved. The one that gets printed. The one that gets posted on Facebook.
Class Materials
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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!