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The Gadget Bag: Camera Accessories

Lesson 63 from: Fundamentals of Photography 2016

John Greengo

The Gadget Bag: Camera Accessories

Lesson 63 from: Fundamentals of Photography 2016

John Greengo

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Lesson Info

63. The Gadget Bag: Camera Accessories


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

The Gadget Bag: Camera Accessories

Let's kind of take tabs of where we have been, and where we are going. So, we've gone through a lot of the exposure and focus, a lot of technical stuff at this point, and I know people always have a lot of questions about all of the little gear that we use, and I wanted to kind of separate that from everything else, because there's a lot of artistic and conceptual, you know, things that we're talking about. And this is the area we get to talk about all the gadgets and so forth. And so, if you have questions on gadgets, this is the place to look for those answers, because I've broken it out into several different categories where we can go through all of them. So, we're gonna start with camera accessories, and work our way through all the rest of the devices that are out there. So, the vertical grip on the cameras is very handy for anyone that shoots in the vertical format very often, which tends to be people who shoot other people. Whether that's in sports or portrait photography, you'...

ll find that having a vertical grip will put your arms in a more comfortable position, which is why they do make this group as an available add-on grip for a lot of cameras. I used to do more sports photography in the past, this is something I always wanted to have on my camera, because it enabled me to keep a comfortable handhold position, no matter if I was prone on the ground, or standing up. When I do travel photography, I don't really need the extra weight on there, and that's something that's just kind of extra bulk and weight that I don't need, and so it's not something that you always need, but for some types of photography, it is really handy. So, take a look, see if it's available for your camera, and if it fits your needs. Also good for people with big hands sometimes, it just gives you a better grip on the camera. Most all cameras are gonna have some sort of dedicated triggering device that you can hook into the camera. Whether that is a physical cable release, or whether it's an infrared remote release. This is gonna be good for triggering the camera when you can't be near it, or you don't want to bump the camera. And so, if you work with a tripod, if you work with the camera in a remote location, it's very, very handy to have one of these remotes. At the very end of the entire class, I'm gonna be sharing with you a few photos that I took, and kind of the whole thought process in how I went about taking the photos. And one of those photos was taken, thankfully, because somebody near me had a wireless remote system, because I was not able to trigger the camera myself. And so, it can be very handy in situations where you might not expect it, so I will be explaining that later on in the class. If you do need to trigger the camera over a greater distance, the wireless remotes that I had just talked about in the previous slide are often infrared, which means that they have a line of sight that is often less than 30 feet or so. If you need to fire a camera that was a very long ways off, you would need a radio remote. The radio signals will go through solid walls, just like a radio signal for a radio will. They'll be able to trigger these in all sorts of situations. So, if you have a camera in an unusual position, or in a very far distance away. So, for instance, there is a number of photographers, sports photographers, who will mount a camera in the goal, or above the backboard on a basketball game, and they'll mount the camera in the ceiling and so forth, and this is how they trigger the camera, is through these radio remotes. There's a number of brands out there, Pocket Wizard is surely one of the most popular ones out there. They're not super cheap, but they are very, very reliable, and they are very versatile in what they can do. They also have multiple channels, so you could have several photographers working in the same arena, all triggering different devices, where you're not all triggering the exact same thing, which could be a problem if they were all on the same channel. So, there's a whole world of remote photography. Clearly, we need to have memory cards in our cameras so that we have places to store all our data. The two most common cards on the market today are the Compact Flash, and the Secure Digital card. The Compact Flash has been around a long time, that's kind of like the original digital card, and it's a very sturdy, stout little card. I like them because they just don't bend, and they don't break very easily. The SD cards are a little bit smaller, and a little bit lighter, but they are used in a wider variety of cameras. And so, the speed limit, as far as how fast information can be read to the card and off of the card is a little different, because they have different technologies, and there's different groups that kind of follow, or at least organize how information is put on, and taken off, so there's organizations. There's the Compact Flash card Association, I forget the exact name of it. And so, there kind of setting the limits of how these things work, and what the parameters are. But, we're also seeing some new ones along. So for instance, little GoPro cameras use this microSD, and there are many other cards, and I'm just gonna talk about the few cards that are in still photography cameras that you'll expect to see, and there are a few still photography cameras that'll use a microSD, and so this is all part of the same consortium, which means they communicate in the same manner, it's just that they are a physical different size. Another new one that we're just seeing a few cameras that have is the XQD, and this is a completely different format, but electronically speaking, or at least the interface with it has some relationship to Compact Flash, but it's a faster card. Nikon has chosen to go with this card in a couple of their latest cameras, so that the camera can read and write information from that card as fast as possible. And, this is always a frustrating thing for photographers, because on one hand, we like something that's just common, we have one memory card that fits in everything. But, when you buy a really top-of-the-line, bleeding edge, fast camera, you want a card that can record and write information to it at that same speed, and so that's what they decided to do, is go with a new type of card system. So, we might see more of this card system, or maybe not. It depends on how well it's accepted by the rest of the industry. As I say, there are many other different cards out there, but these are the primary ones that you're gonna see in cameras today at least. So, when you are looking at cards, obviously you wanna look at the size of card to get, and what size of card you get depends on your needs, but a lot of times my pocketbook tells me the smartest card to buy is the one that is cheapest per megabyte, or gigabyte, or terabyte of space, and what ends up happening is that usually ends up being somewhere in the middle of the range. It's not the highest, it's not the smallest, it somewhere towards the middle. And so, with the SD cards, they have different labels according to the size. SDHC is high capacity, or extreme capacity. What's important to still photographers is the maximum speed and this is most important to people who shoot lots of photos very quickly, sports photographers for instance. How fast can your camera write information to the memory card, because this will then dictate how fast your camera can clear the memory buffer. If you'll remember, back in section one, we talked about what the memory buffer is. How quickly will that clear, and the camera be ready to start shooting photos again? The maximum speed is something that you might wanna take a look at. To be honest with you, for most people though, who take a picture here, and a picture there, and a few here, few there, the speed of the card has very little to do with daily picture taking, because you're not shooting a whole bunch of photos, and you're not trying to download them super fast. It's generally the sports photographers that are concerned with that. The other little number to be aware of is the minimum speed of the card. This is important for anyone who shoots video, and that's because video is using up a lot of data, and it has to keep writing this data at a very consistent pace, and so you need a card that can keep up with this flow of data being pushed onto the card. And there will be different recommendations depending on what camera you have. You may want to look at the technical specifications, or recommendations on your camera to see what is necessary. Finally, there might be listed a bus speed, which is kind of the overall speed that the camera, or excuse me, the card can handle. For instance, on the SD cards, we're just starting to see some of the newest cameras use this UHS-II standard, which, as you can see on the right-hand side of your screen, the card has two rows of pins that it can connect up with the camera, so there's more data that can be written and taken off of it in a very quick fashion. For downloading, it's really a slow process if you download from your camera through a USB cable to your computer. The transfer system that is built into most cameras is painfully slow in virtually all of them out there. And so, a better system for downloading your images is to use a card reader, which can be sold for 10, 20, 30 bucks or so, or if you have an actual slot in your computer to plug those cards in, and there's a lot of computers that take the SD card, because they are so common. That's gonna be the fastest way to get that information into your computer. Clearly, shooting a digital camera without a battery is not very easy to do, and so you always have to be aware of your battery life, how full a tank of gas do you have, and this is one of those things where you should really always carry a spare. You never know how much you're gonna shoot, you never know when one's gonna die. Even if your camera is telling you, sometimes it could be a little misleading. I saw a neat little graphic of what it really means when it's, you know, halfway down, it means you've got hours, and hours, and hours to shoot, and then you got a little bit left, you have three minutes to shoot, and so, it seems to run out very quickly at the end, so it's best just to always have a spare around. As far as chargers, there are two different types of chargers that cameras may come with, or may be available for a camera. Most cameras these days are coming with what's called a travel charger, and what it is is it's a very small charger, but it tends to charge the battery rather slowly. In some cases, there are speed chargers that you can get, often for the more professional cameras, that'll charge the battery faster, but they tend to be bigger and bulkier in size, and sometimes they'll take two or multiple batteries at the same time, so be aware if you have different needs and with the one that you got. There are also car chargers, and AC chargers. For instance, if you're in a scientific environment, and you're in a laboratory, you need to leave the camera turned on for doing time-lapse, or some other type of device where it needs constant power. When I'm working from a car, doing a road trip or something, I'll usually just by an inverter that I can plug my charger into, that way I can plug my computer, and my phone, and other things into that for charging. As for power, be aware that the chargers that come with cameras are kind of set for the country that they are sold in. So, if you travel to a different country, you're gonna need different plugs for that particular country that you're going into. It should be able to handle the voltage, but there is different voltages in the different countries that you might go to. Look at the back of your charger, make sure that your charger can handle the voltage that you'll be experiencing in the new country. Chances are that it will be able to handle that, but just in case you got a really cheap aftermarket charger, it might be set for a very narrow standard. So, that way you don't blow up the hotel room that you're trying to charge your batteries in. It is possible to use solar charging. In general, the very small little chargers that you might see out in the market are often for phones and iPods, and very low powered systems. The one system that I've seen that looks probably the best for the money is something called Goal Zero, and they make a couple of different models. This model is the Sherpa 100 Solar Kit, but it is a somewhat expensive, somewhat bulky option for charging batteries, and so you really have to look at how long are you going to be without power, and how many batteries could you bring? For instance, you could probably buy a dozen batteries for the size of this system, and those dozen batteries would be a lot smaller than the system here. But, if you were gonna go up at base camp on Everest, and you were gonna be up there for four months, this is what would be a better solution in that system. The sensor can get dirty. If there is dust spots on the sensor, you will see it as little dust spots like we see in this photo here. Either a little hair gets in on your sensor, or there is a bit of dust that gets in there. It can happen for a lot of different reasons. So, number one, be careful about where you change lenses. In dusty environments, you have to be very careful about where you change lenses, and how you change lenses, and how long you leave your camera without a lens on it. Now, most cameras, virtually all cameras these days, are gonna have some sort of automated, self sensor cleaning system that automatically cleans the sensor when you turn the camera on, and/or when you turn the camera off, and in general, they do a really good job, but from time to time, if you're in a dirty environment, you may need to clean the sensor yourself. And so, there's a couple steps you might wanna think about if you do need to do it. The first step I think everyone should be familiar with, and should have, and that is a rocket blower. These are a little handheld blower. You just squeeze it and it blows air, and the idea is just to hopefully blow a little bit of clean air into the camera, knocking the sensor off. And so, take off the lens, put the camera into the camera cleaning mode, which usually locks up the mirror, and opens up the shutter if it's an SLR, mirrorless, it's just right there and available, and then blows some air in there to hopefully knock off that dust. About half the time, that's gonna do a fine job doing it. If it doesn't do it, then you need to go to a more serious solution, and you may or may not feel comfortable doing this, which is a self-cleaning of the sensor, where you do it yourself. The system that I am most happy with is from Photographic Solutions. It's a sensor swab and cleaning fluid, and the idea here is that you have this very clean sensor swab, you put a couple of drops of alcohol on it, and then you wiped across the sensor. Now, there are potential problems, obviously, that if you do this incorrectly, you can end up with streaks or smudge marks on your sensor, so you do have to be very careful about doing it, but it is something that I think someone who is careful can do. There is another system, it's pretty good, I think this is what they use up on the International Space Station. It is the Lens Pen, and it has a special little cloth that should hopefully not leave too many little filaments or flakes of, because it's got a little, it's like a little smooth cloth on the end of it, and so hopefully it doesn't leave any of those pieces in there, but there's a little loop so that you can look in and find out where that is, and keep that in there as you're going in there, and trying to wipe that part of that sensor clean. So, a couple of different solutions there. For those of you with SLRs, and this is gonna be a very small percentage of you. I think kind of the main camera out on the market is the Canon 6D that has an interchangeable focusing screen, and this is something that used to be very common in SLRs, where you could choose to have a different focusing screen in the camera. With the 6D, and there are a few others, you can choose to have a grid screen. For instance, an architectural photographer might like that. A lot of the newer cameras have these electronic lines that you can turn on and off, and so you don't really need it for that purposes, but if you do use an SLR for manual focusing, there are special lenses that you can get, like a precision matte screen, which will allow you to focus a little bit more critically. If you remember in the previous section of the class, I talked about the compromise that they made with the focusing screens, and they decided to go with something that was brighter, rather than something that was more accurate. Well, this is something that's not as bright, but is more accurate, and it's easier to manual focus a shallow depth of field lens. All right, I'd mentioned viewing your images out in the field can be tough for those of us who are losing our close focusing ability, and so if you wanna be able to steady an image on the back of an SLR camera, the viewing loop is a handy little way of getting in nice and close, blocking the light out, magnifying that screen so you can really see it. This is something that people who shoot video with their cameras really need, especially out in bright sunlight, so they can see what their composition is, and what their focus is, and so forth. You don't need this on the mirrorless cameras, at least the ones that have a viewfinder on them, because that's your magnifying loop right there. And so, there's a couple of different models out there. The Hoodman is kind of nice for people who just do still photography, because it's a little bit smaller, lighter, and less money. If you do video work, the Zacuto one is nice, because you can get it to attach, and stay right on the camera, and it stays in that position, and you don't have to hold it there. Not very often you're gonna see one of these, but I still keep it in the show here. This is something that's very popular for macro photography, or astrophotography. If you're viewing through the viewfinder, and you wanna do so at a 90 degree angle, they still make these 90 degree viewfinders. A lot of times now, when we have our flip out screens, we're gonna use those, but these still are available if you needed to use the actual viewfinder, and not the LCD on the back of the camera. The LCD on the back of the camera is something that you're gonna be using a lot to judge sharpness, composition, and so forth. I know Nikon comes with a little plastic piece on the back to protect it, but you can buy other little protectors for the different LCDs, and if it's something that you might be using your camera in an environment where you might be getting a lot of scratches on it, it might be wise to put those on it. It lowers the image quality of what you see by maybe 1%, but it's gonna protect it from getting scratches, and if you've ever had a camera with a big old scratch, you know it's an expensive fix, and it's just gonna be something that sits there and irritates you all the time. And so, it's something that I've used on a lot of my cameras. Not all of them, but most of them I try to put it on. This is our one slide on video, folks. This is all we're talking about, and we're actually talking about audio when it comes to video, and so, I think it's great that cameras can record video, because now I don't have to go out and buy a video camera. I can just use my still camera. But, one of the most important things to recording good video is having good audio, and the built-in microphones, although many of the cameras have stereo, is still pretty garbage sound, and so improving the sound means getting the microphone outside of the device that's actually doing the recording, and so having one of these external mics and then getting a Dead Cat. Everyone should get a Dead Cat. That's what they sometimes call these little fuzzy things to put on the outside of the microphones so that it reduces the amount of wind noise if you do a lot of shooting outside. So, if you do wanna use your camera for video purposes, this is probably one of the best things that you could buy, maybe after a tripod, for getting better quality production. Some cameras have GPS units built into them. On other cameras, you can buy a device, and this is something that, this is a real conundrum in my mind, because when I wanna use GPS is when I am a long ways from the home office, and I'm out in some really remote region, but that is also the place where I have the hardest time charging batteries, and this eats up a lot of batteries, and so you really have to make a judgment call between battery life and GPS, and this is something that they do eat up, is they do eat up some batteries, and so be aware of that if you are traveling a long ways off the beaten path away from power, that you can have this, but it's gonna be a little bit of a hard decision in my mind, and so, hopefully these will become more efficient in the future, because I would like to have that automatically tagged on all my images, exactly where I was. You know, I don't know if Creative Live has a class on underwater photography. I'm not the guy to teach it. I think it's really cool, I think it's amazing, the work that many of those underwater photographers do. There are three general steps if you wanna get into underwater photography. One option, the cheapest option is the waterproof bag. This is the elaborate zip lock bag for putting the camera that you already have in there. And a lot of times, they'll have an optical piece of plastic that you can shoot through, and it's convenient, because you don't have to spend too much money, maybe 50 bucks or 100 bucks, and you get to use your normal camera. And as far as how likely are they to leak, well, as long as you're careful, you're probably gonna be okay. The next step is to purchase a waterproof camera. There are a number of point-and-shoot cameras. Nikon makes an interchangeable lens camera, not that there's a lot of interchangeable lenses that you can put on it, but there's a couple. And so they have the AW1, and these will usually go down to most scuba type depth of, you know, 30 feet or so, snorkeling type depth. If you really wanna go professional on this, the standard system these days is to buy yourself a nice SLR camera, and then by a housing for it. Now, the thing about the housings is that they are extraordinarily expensive. They're usually about $5000 for a good housing that you can mount different lenses on, have different ports so you can have different lenses, you could have control of the zoom, and the focusing, and all the buttons match up with the other buttons, and then as soon as you wanna upgrade your camera, you need a new $5000 housing for your new camera, and nobody wants your old housing, because that doesn't go with the new camera. So, it is a little bit of a specialty of the photography world. Neat stuff, but it's gonna cost you a little bit of money to get into that. John, this is from Richard Hale, "Do SD cards ever wear out? "As long as I keep reformatting the card occasionally, "Will it last forever?" No, the memory cards will not last forever, and I don't have the technical slides to go in exactly how the solid-state media is working, but it is sending a signal in, and it's recording it, and it's allowing you to read it, and this system will wear out eventually. Now, the numbers that I've heard is 100,000 recordings and deletings. So, if you did a lot of shooting and deleting every single day, eventually it's gonna wear out. In virtually all cases, people outgrow the size of their card to the next size card, and so I have no problem with just keeping using it. This is one of the things of that, one of the reasons why a lot of photographers, serious photographers, prefer the cameras that have two memory card slots. This is something I talk more about in the fast start classes, where the cameras actually take these, but you can have two cards in your camera, and you can have the choice of overflow, so as soon as one flows up, it goes to the next one, or you can record simultaneously to both cards. I was hired by a large company to shoot a lot for them, and I was in a situation where I did not want to mess up. You know, when you're getting paid good money, and it's an important job, you don't want to lose data, and so I was writing to two memory cards at the same time. I would bring a card back, download it, put it onto two hard drives, and then I could go back and reformat both those cards, because now it's on a separate two drives. So, it's one of those safety precautions that you can take. With the LCD protector, with the touchscreens, does that cause interference when using the touchscreen? It often will, and so if you do use the touchscreen a lot, you'll have to be aware of that. I know, with the last phone I had, I put on a protector on the front, and it was always a little bit slow in that regard. So, if you use the touchscreen a lot, you may not wanna get that protector, and you just need to have a little extra level of caution when using it. Going back to the memory card, is there any way to know if one's gonna burn out on you? Do you know if it's gonna? Usually, there'll be something that might happen, it's like it's a little bit slow in communicating with the computer, or maybe it takes longer than normal to format the card, or just anything out of the normal that takes longer. Longer to hook up, longer to connect, that would be indications of what I would look for. The CFompact Flash cards use tiny pins in the camera, and the card kind of goes around it, and so pins in the camera can get broken, and you can actually look in the camera, and that's one of the reasons why the manufacturers wanna move away from the Compact Flash system, is because those systems can get bent rather easily. Having said that, I've never broken a pin, or bent a pin myself, and so there are things that can go wrong. Just be aware of anything out of the ordinary. Oh, do you wanna grab the mic? The gadgets have brought out the questions, how about that? So, we have, my wife and I, we have a 6D and a 70D, I believe both have GPSs built in, and you had mentioned about the external GPSs draining batteries. Do you know about the internal GPSs draining batteries? Absolutely, it is, and so are cameras with Wi-Fi, and so one of the recommendations I make in those cameras that have the GPS and Wi-Fi is that, unless you are specifically trying to use those features, just turn them off, because it's gonna be wasting battery power sending a signal out, or looking for a signal. So yeah, turn that off unless you really wanna use it. Is there an issue with using the microSD card in an adapter in your camera if it takes an SD card? Are those reliable? Yeah, so there's a little adapter that you can put in there. There should be no problem with that. I haven't worked with them myself, but I don't see any problem with that.

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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