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Exposure Pop Quiz

Lesson 42 from: Fundamentals of Photography 2016

John Greengo

Exposure Pop Quiz

Lesson 42 from: Fundamentals of Photography 2016

John Greengo

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Lesson Info

42. Exposure Pop Quiz

Next Lesson: Focus Overview


Class Trailer

Class Introduction


Welcome to Photography


Camera Types Overview


Viewing Systems


Viewing Systems Q&A


Lens Systems


Shutter Systems


Shutter Speeds


Choosing a Shutter Speed


Shutter Speeds for Handholding


Shutter Speed Pop Quiz


Camera Settings


General Camera Q&A


Sensor Sizes: The Basics


Sensor Sizes: Compared






Sensor Q&A


Focal Length: Overview


Focal Length: Angle of View


Wide Angle Lenses


Telephoto Lenses


Angle of View Q&A


Fish Eye Lenses


Tilt & Shift Lenses


Subject Zone


Lens Speed


Aperture Basics


Depth of Field


Aperture Pop Quiz


Lens Quality


Photo Equipment Life Cycle


Light Meter Basics




Histogram Pop Quiz and Q&A


Dynamic Range


Exposure Modes


Manual Exposure


Sunny 16 Rule


Exposure Bracketing


Exposure Values


Exposure Pop Quiz


Focus Overview


Focusing Systems


Autofocus Controls


Focus Points


Autofocusing on Subjects


Manual Focus


Digital Focusing Assistance


Focus Options: DSLR and Mirrorless


Shutter Speeds for Sharpness and DoF


Depth of Field Pop Quiz


Depth of Field Camera Features


Lens Sharpness


Camera Movement


Handheld and Tripod Focusing


Advanced Techniques


Hyperfocal Distance


Hyperfocal Quiz and Focusing Formula


Micro adjust and AF Fine Tune


Focus Stacking and Post Sharpening


Focus Problem Pop Quiz


The Gadget Bag: Camera Accessories


The Gadget Bag: Lens Accessories


The Gadget Bag: Neutral Density Filter


The Gadget Bag: Lens Hood and Teleconverters


The Gadget Bag: Lens Adapters


The Gadget Bag: Lens Cleaning Supplies


The Gadget Bag: Macro Lenses and Accessories


The Gadget Bag: Flash and Lighting


The Gadget Bag: Tripods and Accessories


The Gadget Bag: Custom Cases


10 Thoughts on Being a Photographer


Direct Sunlight


Indirect Sunlight


Sunrise and Sunset


Cloud Light


Golden Hour


Light Pop Quiz


Light Management


Artificial Light




Off-Camera Flash


Advanced Flash Techniques


Editing Overview


Editing Set-up


Importing Images


Best Use of Files and Folders




Develop: Fixing in Lightroom


Develop: Treating Your Images


Develop: Optimizing in Lightroom


Art of Editing Q&A


Composition Overview


Photographic Intrusions


Mystery and Working the Scene


Point of View


Better Backgrounds


Unique Perspective


Angle of View


Subject Placement


Subject Placement Q&A




Multishot Techniques




Human Vision vs The Camera


Visual Perception


Visual Balance Test


Visual Drama


Elements of Design


The Photographic Process


Working the Shot


The Moment


One Hour Photo - Colby Brown


One Hour Photo - John Keatley


One Hour Photo - Art Wolfe


One Hour Photo - Rocco Ancora


One Hour Photo - Mike Hagen


One Hour Photo - Lisa Carney


One Hour Photo - Ian Shive


One Hour Photo - Sandra Coan


One Hour Photo - Daniel Gregory


One Hour Photo - Scott Robert Lim


Lesson Info

Exposure Pop Quiz

And so, we're gonna do a little bit of a quiz here in the class, and what I'm gonna do is I'm gonna group you into two groups. We've got three on the left here from me, you guys are group A, and then we have group B, and you can work together to discuss as to what the answer might be. So if you guys want to scoot your chairs just a little bit closer maybe, that way you, don't move them very much, just a little bit. Alright and so we're gonna start with group A and we'll go back and forth a little bit, this will be a little bit of a competition here, I don't know if somebody at home wants to keep track they can keep track. Alright, group A, here's the photo. Take a good look at the photo and try to think how would you take the photo? What settings would you make and what's important to you in this photo? Alright, so let's take a look, and the first question for you. Of the five different things that you can do in a photograph, we have them listed right up here. Which one of these five d...

o you think we're trying to do in this particular photograph? You're doing a portrait so you want to maximize the person you're shooting, the subject, and minimize the background, so we're trying to shallow-- Which one of these are we doing? Shallow depth of field. Shallow depth of field. They get a point, somebody at home keep track, they get a point, team A gets a point. So it is shallow depth of field. Okay, we're gonna go to team B for the second part of the question here. Now, how would you shoot this photograph? And here are your options. An 11-24 wide angle lens, a 35 millimeter wide angle, a 50 normal, or a 70 to 200 telephoto, or a 300 millimeter telephoto. Which lens do you think shot this photo? So this is kind of, folks this is kind of a combination of everything we've learned. What are we trying to do, what are the apertures, what are the lenses. We're trying to decide between a 50 to 70 but we're thinking maybe with the narrower field would be more of a 70 to 200. 70 to 200 is your choice and that's the right answer, nice job, that was shot with an 85 millimeter lens. Folks you see how easy it is now? I mean just a couple of hours in education and you can start taking apart all the photographs that you see. Okay let's go back to group A. Now we are obviously gonna start at ISO 100, that's too easy to guess. Now the question is what's the next setting if we are trying to take a shallow depth of field shot in this case? What are we gonna set next and don't just say aperture or shutter speed, give me a category and a number. This is tough on them folks. This is a lot of pressure. They're on camera in front of more people then they've every been on camera with ever before in their lives. Give them only a moment to confer here. Okay what do you think? Well I don't think you want to go too shallow depth of field cause you want the ears in focus and the nose, not just the eyes, so maybe two for the aperture? You're going with aperture at two. You're very very close. Aperture at 1.4, we are trying to get super shallow depth of field here, but two would not be a bad call at all. Okay, and so as far as shutter speed, well we have our subject sitting there so we don't need too fast a shutter speed for that, so let's go ahead I'm just gonna get that set. It'd be nice to be at 60, 125, something like that for a subject that's stationary. Now we need to look at the light meter. Uh-oh, light meter is overexposed. Remember what I said about overexposed? That is a good problem to have, that is easy to solve. Team B, how do you think we should solve this problem of having too much light come in the camera? What should we change in our settings to make this picture darker? I would bump up the aperture. Bump up the aperture, alright. What are we trying to do in this photo? Shallow depth of field. Right, is there another way to make this picture darker, besides aperture? We can change the ISO or the shutter speed. Right, if we change our ISO that's gonna make it brighter. We're trying to make it darker, so ISO is out. We are wanting to get shallow depth of field and so we want to leave this here. We can change this to a faster shutter speed with no impact. This picture does not get worse by shooting at a faster shutter speed. And so we just keep raising up the shutter speed until we get the light meter evened out, and that's how we would solve that problem. Thank you. And so that's how we go about getting that shallow depth of field. Alright let's go on to the next photo. Let's just talk about this type of shot. So if you wanted to get this type of shot yourself here are things you need to think about. Number one, it helps to use a fast lens. And this is where prime lenses or zoom lenses that have a fast aperture, like 2.8, are really helpful. After that, using either the maximum opening if you don't have this, so for instance I often only have an f/4 lens with me. I will shoot it at f/4 so I can get the shallowest depth of field possible. You want to be fairly close to your subject. The closer you are to your subject, the shallower that depth of field is going to be. And it helps to also use telephoto lenses because remember telephoto lenses give you a shallower depth of field. And there's our photo again. Alright, let's try the next one. Take a look at this photo, and I think we need to go back to team B because I want to have you alternate so that you're answering slightly different questions. And so the question is what are we trying to do in this photograph, so which one of these five options in the world of photography are we trying to accomplish with this photograph? We want to get a blur motion on the water. Got some blurry motion down here. And it makes me mad to say this, but you are right but that was not my intention on this. I was actually trying to maximize the depth of field which actually coincides with blurring the motion, and so they kind of go along together. So I think they should at least get a half point on that one for sure. Okay so good job. Alright back to team A. I want you guys to try to figure out what sort of lens you would need to use to take this sort of photo, so you're gonna have to look at the size and positioning of things and figure out where am I standing, what lens would you need? Wide angle, so I'd say on this 11 to 24. 11 to 24, you guys are getting good at this one, that one's easy, you guys are nailing all of these. And so I was using an 11 millimeter lens on this, that's the widest lens that they make right now, cause I was so close to that. Alright so we know we're gonna set ISO 100, and we know that kind of the main goal here for me was maximizing depth of field. We'll go back to team B, what are we gonna set in order to maximize the depth of field on this shot with that 11 millimeter lens? We want the high aperture so I think go all the way to 22. Alright, so a high-numbered aperture like at 22 is the correct answer, good enough, 16. The only reason I chose 16 is because I was about three feet away and not a foot away. And so that's exactly the right concept. And then as far as shutter speed, I'm gonna use the light meter and I'm gonna kind of figure things out. In general it'd be nice to hand hold this. It is fairly dark because it's in a very narrow slot canyon. So in this case ideally 60, but I'm gonna look at the light meter and I'm just gonna adjust my shutter speed until I get an even exposure. And it ends up being at a half second, which is not bad for blurring some of the water in there. And so that's kind of the motivation and the thought process for setting that type of picture. Okay and let's take a final look, oh wait, we gotta talk about how do we do this type of shot. Alright so if you want to take this type of shot, which is you know, what we'd often call a landscape-type shot, you want those smaller aperture openings, f/11, 16, 22, and so forth. A wide angle lens, something 28 millimeters or wider is gonna make this usually work the best. Often nice if you can get close to the foreground and have some foreground elements in there. And if you can have different subjects at different distances, so like that assignment we gave you earlier, foreground and background in the same shot. So you can have two different elements, multiple elements in the photograph. And there's our photo again. Okay I think we're back to team A. Here's your photo. Let's think about what we're trying to do in this photo. And of our five options, what do you think is our highest priority in this? Freeze motion. Freezing motion is the correct answer, nice job on that one. So yes we have high-speed action, we need to freeze that motion. Alright let's go back to team B. Now which one of these lenses do you think took this photo? What's our guess? We're gonna guess with the 70 to 200 again. 70 to 200, you're close. It was the 300, you're in the right range, you're in the right telephoto range. You do need a telephoto for this sort of work. It's a blurry out of focus background, it's a very small area in the background, so that's a 300 millimeter lens. So we're using a 300 to freeze the motion. Let's think about our shutter speeds and apertures. We're gonna go back to team A, and we want to figure out what is our next setting after the ISO at 100. What needs to be set to freeze motion like this, let's hear a category and a number. So for shutter speed I think you said animal motion should at least be I think a thousand or 2,000, so I'll just say 2,000. Okay, so I don't know that I ever said animal action, I said fast human action was 500th of a second, and to be honest with you I wish that I could have been at a thousandth or 2,000th. It was not real bright of a day and so 500th, and if I'm panning with the dog the dog's not really moving, it's moving very fast but because I'm keeping it in the same spot in the frame, I can utilize a little bit slower of a shutter speed here so I don't quite need a thousandth or 2,000th, but the thinking is correct. You got the thought process right which is the most important part, not the specific answers. Are you going the right direction, making the right decisions. Alright, for the aperture let's go back to team B and let's think about the background here. How important is the background and where might we want to set the aperture, also in consideration with other things that we're setting, but mostly background sharpness is something to think about. So we consider the dog being kind of like the flat subject right? Yeah. And so then the aperture wouldn't matter as much so we'd go mid-range being kind of an eight or an since the background can be kind of blurred. Okay so you are correct in the fact that we're really only focusing on the side of the dog. But the background, if we want it more out of focus, if we really want it out of focus, where would we set the aperture in that case? So then we'd set it low, so would it go all the way down to 2.8? So in that case, this is not a very interesting background, and so we do want to set it all the way down at 2.8, and kind of the other behind the scenes, kind of second level thinking is the subject's moving really fast, I'm probably gonna need to let in a lot of light through the aperture so that I can use a fast shutter speed. So we take a look at the light meter. Light meter says that we are still underexposed, so in this case we can't do anything more with the aperture, it is maxed out. We can go with a lower shutter speed but then we're starting to get blur. And so the only thing that's left is the ISO and so we bump the ISO up until it needs to be, and in this case it needs to go all the way up to in order to get the shot. It's not as clean as ISO 100 but what are you gonna do? Because they don't make a 300 f/2 lens, at least anymore. Alright so we've done the best that we can with what we have. And so if you want to do these type of sports and action-type shots. Some thoughts on this is figure out what shutter speed you need to use. It's gonna be fast enough to stop the action, but you don't need to go overly beyond it. Like this picture at 8,000th of a second isn't gonna be any better, it would just mean that we have to raise up the ISO even further, which would really degrade the photograph. So figure out something that is fast but not too fast. They are typically easier to catch with a telephoto lenses. If you remember back in the lens section we talked about the subject zone, where the subject needs to be. This was really easy. I just ran across this guy playing catch with his dog and I asked him if I could shoot photos, and I said could you throw the ball from there to there. Cause no matter how fast this dog ran, it was always about the same distance from me, so focusing on the dog was super easy. All I had to do was time the jump with the catch and I could get the shot. And so in this the focusing mode at continuous. Now the subject was not exactly the same distance, but generally I'm gonna be tracking the movement. And so in the next section of the fundamentals class here we're gonna be talking about focusing, and so this is the continuous focusing that I'll be talking about in that section. And then the motor drive, we talked about this in the first section of the class, is setting that on continuous high so that you can capture a series of photos at the right time. And the other option is to potentially just shoot a single photo if you can time it just one at a time. And so for some situations, it's easier to time one shot than to shoot a burst and hope one of the bursts hits it at the right time, and so it depends on the type of action whether you should use the continuous motor drive or pick and choose your exact moment. And here is our dog, our Frisbee-catching dog. Alright, I've forgotten, are we back to B? I think we're back to B. Alright so here we are, we're shooting some twirling dancers in Turkey. Look what we see in the shot, and let's think about what are we trying to do in this photograph. So of our five categories, what do you think we're trying to do in this shot? We're trying to blur motion. Right, you see they're wearing these outfits, they're spinning around, and it kind of gets kind of a neat look when you get it spinning around, and so we are definitely trying to blur the motion, very good job. Okay so we're back over on team A, and we're gonna try to figure out what sort of lens do you think took this photo, so here are your five choices. Which one of those do you think took the shot? Is it 35? 35, so wide angle. Not 35, pretty close, it was a wide angle though, cause I'm in fairly close there. You can see it's wide angle by the fact that there's such a big difference between the subject in the foreground and the background, and so the bigger that difference is probably the wider the angle of the lens, but going in the right direction. Alright so 16 millimeter lens, we're trying to blur the action. Got an ISO of 100, I think we're back to team B, and we're trying to figure out okay, you got ISO 100 set, what do you set next on your camera in order to get this type of photograph? Alright, what do we got. We're thinking of setting the shutter speed, cause you're looking for motion, and so maybe 125 so you can still hold it with your hand, and then it still, it's slower than humans, casual humans or fast human speeds. Okay so it's very smart to be thinking about how steady can you the photographer hold the camera. But let's just think about their movement. What was the shutter speed for stopping casual human action? Do you remember that number? (Team B students quietly discussing) 500 was fast human action but I gave you another number for casual human action. To steal a point, can team A tell me the shutter speed for casual human action? That would be 60. 60 okay, so. Back to team B, they just stole a point from you guys. I know we got it right before. But let's see if you can redeem yourself here. And we're wanting to get them to blur. So we probably want something lower than a casual, cause we're not trying to stop them we're trying to let them blur, so what do you think now? Maybe let's go with 15. Let's go 15, and what do we have in here? Come on clicker, there we go. And we are at eight, so you're really close, so that's pretty close. And you don't know how fast they're spinning, they could be zooming around or they could be going more slowly. So that's the right concept, okay. Understand we need that blurriness and if they're moving we need a little slower shutter speed. As far as aperture on this one I'm just gonna kind of set it here at f/8, cause it'd be nice to, well do I want them in focus or not, well they're gonna be blurry cause they're moving but we kind of want the whole scene to have a bit of focus to them. Let's take a look at the light meter. Light meter says, oh what do you know, it's only two stops underexposed. And here we need to let in a couple of stops of light. We know that we don't want to affect the shutter speed, and so in this case you might just have to go with the f/4 aperture. A little bit shallower depth of field, but it's so wide angle, that wide angle gets you so much depth of field it just carries so much depth of field through you don't need to close it down very far. And so that's where this picture was shot, and we'll take a look at some treatment tips for doing this type of blurry action. And so you're gonna have to play around a little bit with different shutter speeds to see what works for this situation, and you might try a 30th and a 60th and an 8th and a quarter and a full second just to see what sort of interesting results. Remember when we talked about shutter speeds, everything that moves deserves a little bit of exploration with different shutter speeds. In this particular case you really need to hold the camera steady. The panning situations that we've talked about are something different, and I do have a separate panning section that comes up later in this class. In this case, they are basically stationary cause they're just twirling, but I also need the building fairly steady cause I want to show the scene of this area as well. And so that's were stabilization can help out as well. And so here, the motor drive did not help me out at all, because what happens is that I would get all these shots where the lead dancer's back was at me, and I don't want to shoot the back of this lead dancer. And so I would individually choose when the dancer turned around towards me, so I was just shooting one photo, one photo, one photo as that was happening. And you're gonna need to shoot a lot of photos because when you shoot blurry action photos you just end up with a lot of ones that don't look quite right. The timing's a little bit off, something happened that is hard to predict, so you will need to go through a number of shots in those cases. And so there's the twirling dancer shot. Okay so here's our subject. This is the Blue Mosque in Istanbul, Turkey. And let's think about what we're trying to do. What's our subject material, which one of these five options do you think we're trying to accomplish in this photograph? We're gonna maximize sharpness. Maximize sharpness, and the answer is correct. Now yes, this turret is a little bit closer to us than the dome in the background, but relatively speaking because it's so far away, it's not that different, this is basically a flat object. And so we don't need a lot of depth of field, there's really nothing behind it to get super shallow depth of field, so maximizing sharpness makes perfect sense in this case. So over on to team B, what sort of lens do you think you would need to capture this image? The 300. 300 millimeter, and in this case it was the 200. So you were really close, so you're thinking in the right direction, which is perfect. And so good job there. And so we're using a 200 millimeter lens, we're maximizing the sharpness. Let's go back to team A to figure out what category and what sort of number setting are you gonna make for this? Aperture, next category, and just thinking from what you said before maybe starting in the middle but going up, so 16. Okay, so just you're going with a little bit more depth of field, cause remember the maximum sharpness was in the middle, so you're going for a little bit more depth of field, right? - Right. Okay, and so the actual setting on this was f/8, so you're generally pretty close. You're not too far off there. And so shutter speed on this, well, it's not moving. The question is am I hand holding the camera or is it on a tripod? Ideally it'd be nice to do this hand held and just point the camera, take the shot. And because we have a 200 millimeter lens, you remember the one over focal length hand holding rule. We want to have 250th, because that's gonna match up with our lens, one over the focal length of the lens. So that would be where I would ideally like to be to take the shot. In this case, we are a stop underexposed, which means we need to brighten this subject up. There's a couple of ways we can do that. We can either do that with our shutter speed at 125th of a second, or we can come down to 5.6, and in this case I'm gonna come down to 125th of a second cause my lens had image stabilization and I can easily hand hold 125th of a second with a 200 millimeter stabilized lens, and so that's how this photo was taken. Take a closer look. Oh wait let's talk about how to maximize sharpness. So this where you want to try to identify flat subjects where there's not a lot of depth to that particular subject. And they don't have to be truly physically flat like this. It's just relatively flat. You're gonna set your middle aperture usually to the f/8, f/11 settings, in that general range. And you want to shoot perpendicular to your subject, so you want to be kind of straight in front of your subject, and so if I was shooting this gigantic TV monitor, I wouldn't want to shoot it from here, because I'm not straight on. I would want to get right in front of this so that I an shooting straight on to it. And so this mosque, cause it's kind of round kind of allows you to do it in many different areas on that. And sometimes cameras will have in-camera grids that help you align up vertical and horizontal, and there's a lot of the cameras, especially the mirror-less ones, pretty much all of the mirror-less ones. One of the nice things about it is that you can just electronically turn that feature on. But there's a bunch of SLRs that have intelligent view finders where you can turn on these gridlines as well, which help this type setup as well. So there's our Blue Mosque. It's blue on the inside if you haven't been there. Not so blue on the outside. Alright, so there we go, the exposure section. Hopefully it's all kind of coming together. You guys did an excellent job making the right choices, going the right direction in what you want to do. It's not so much that you nail the perfect answer every time cause that is pretty much impossible. I couldn't do that. I'm not gonna pretend that I could. But going the right direction and making the right choices for the right reasons, and that's really what this whole section of the class is getting you making the right decisions. And John someone at home said "I love how he's making us think" in all caps, and that's exactly what these exercises do is to put those things into practice and to see what we can conceptualize and get through. So let's just take a couple of questions, let me know if you have any in the studio. This one came from Jeffrey Van Egam who said "What type of metering did you use "to set your exposure settings in the examples shown?" As you were sort of going through the underexposing, the overexposing, things like that. Yeah for pretty much all my metering, which means 99%, I'm using a multi-segment metering system. So Matrix, Evaluative, it's whatever the name your company has for the multi-segment metering system, and so very rarely do I ever go to a spot metering system and that's simply because I can look at the results on the back of the camera, or in the view finder in the case of a mirrorless, and I can look at the histogram and I can get exact truthful information with that. Spot metering can be useful in a few specialized situations, but I really don't think it's necessary for most types of work. Alright great. This is from Desert Flower, who says "My camera will not go as low as ISO 100. "Does that mean that I have to adjust "the aperture and shutter speeds accordingly?" Can you just talk a little bit about that. Yes, if you remember, we had one example where I think I was shooting chairs and the camera did not have an ISO 100. In some cases that's gonna be an advantage to you. In some cases it's going to be a disadvantage, and yes, you're just gonna need to compensate by changing the shutter speed or the aperture a little bit more in one direction or the other. And that's why the camera that I had, which only went to ISO 200, allows that camera to go up to a faster shutter speed to compensate for the fact that they have a different base level on their ISO. Now your camera may not have that feature, but that is something that is available out there on some cameras.

Class Materials

Free Download

Fundamentals of Photography Outline

Bonus Materials with Purchase

Learning Project Videos
Learning Projects PDF
Slides for The Camera Lessons 1-13
Slides for The Sensor Lessons 14-18
Slides for The Lens Lessons 19-31
Slides for The Exposure Lessons 32-42
Slides for Focus Lessons 43-62
Slides for The Gadget Bag Lessons 63-72
Slides for Light Lesson 73-84
Slides for the Art of Edit Lessons 85-93
Slides for Composition Lesson 94-105
Slides for Photographic Vision Lessons 106-113

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.


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!

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