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Camera & Lens Stabilization

Lesson 9 from: Fundamentals of Photography

John Greengo

Camera & Lens Stabilization

Lesson 9 from: Fundamentals of Photography

John Greengo

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Lesson Info

9. Camera & Lens Stabilization

Lessons

Class Trailer
1

Class Introduction

23:32
2

Photographic Characteristics

06:46
3

Camera Types

03:03
4

Viewing System

22:09
5

Lens System

24:38
6

Shutter System

12:56
7

Shutter Speed Basics

10:16
8

Shutter Speed Effects

31:57
9

Camera & Lens Stabilization

11:06
10

Quiz: Shutter Speeds

07:55
11

Camera Settings Overview

16:12
12

Drive Mode & Buffer

04:24
13

Camera Settings - Details

10:21
14

Sensor Size: Basics

18:26
15

Sensor Sizes: Compared

24:52
16

The Sensor - Pixels

22:49
17

Sensor Size - ISO

26:59
18

Focal Length

11:36
19

Angle of View

31:29
20

Practicing Angle of View

04:59
21

Quiz: Focal Length

08:15
22

Fisheye Lens

12:32
23

Tilt & Shift Lens

20:37
24

Subject Zone

13:16
25

Lens Speed

09:03
26

Aperture

08:25
27

Depth of Field (DOF)

21:46
28

Quiz: Apertures

08:22
29

Lens Quality

07:06
30

Light Meter Basics

09:04
31

Histogram

11:48
32

Quiz: Histogram

09:07
33

Dynamic Range

07:25
34

Exposure Modes

35:15
35

Sunny 16 Rule

04:31
36

Exposure Bracketing

08:08
37

Exposure Values

20:01
38

Quiz: Exposure

20:44
39

Focusing Basics

13:08
40

Auto Focus (AF)

24:39
41

Focus Points

17:18
42

Focus Tracking

19:26
43

Focusing Q&A

06:40
44

Manual Focus

07:14
45

Digital Focus Assistance

07:35
46

Shutter Speeds & Depth of Field (DOF)

05:18
47

Quiz: Depth of Field

15:54
48

DOF Preview & Focusing Screens

04:55
49

Lens Sharpness

11:08
50

Camera Movement

11:29
51

Advanced Techniques

15:15
52

Quiz: Hyperfocal Distance

07:14
53

Auto Focus Calibration

05:15
54

Focus Stacking

07:58
55

Quiz: Focus Problems

18:54
56

Camera Accessories

32:41
57

Lens Accessories

29:24
58

Lens Adaptors & Cleaning

13:14
59

Macro

13:02
60

Flash & Lighting

04:47
61

Tripods

14:13
62

Cases

06:07
63

Being a Photographer

11:29
64

Natural Light: Direct Sunlight

28:37
65

Natural Light: Indirect Sunlight

15:57
66

Natural Light: Mixed

04:20
67

Twilight: Sunrise & Sunset Light

22:21
68

Cloud & Color Pop: Sunrise & Sunset Light

06:40
69

Silhouette & Starburst: Sunrise & Sunset Light

07:28
70

Golden Hour: Sunrise & Sunset Light

07:52
71

Quiz: Lighting

05:42
72

Light Management

10:46
73

Flash Fundamentals

12:06
74

Speedlights

04:12
75

Built-In & Add-On Flash

10:47
76

Off-Camera Flash

25:48
77

Off-Camera Flash For Portraits

15:36
78

Advanced Flash Techniques

08:22
79

Editing Assessments & Goals

08:57
80

Editing Set-Up

06:59
81

Importing Images

03:59
82

Organizing Your Images

32:41
83

Culling Images

13:57
84

Categories of Development

30:59
85

Adjusting Exposure

08:03
86

Remove Distractions

04:02
87

Cropping Your Images

09:53
88

Composition Basics

26:36
89

Point of View

28:56
90

Angle of View

14:35
91

Subject Placement

23:22
92

Framing Your Shot

07:27
93

Foreground & Background & Scale

03:51
94

Rule of Odds

05:00
95

Bad Composition

07:31
96

Multi-Shot Techniques

19:08
97

Pixel Shift, Time Lapse, Selective Cloning & Noise Reduction

12:24
98

Human Vision vs The Camera

23:32
99

Visual Perception

10:43
100

Quiz: Visual Balance

14:05
101

Visual Drama

16:45
102

Elements of Design

09:24
103

Texture & Negative Space

03:57
104

Black & White & Color

10:33
105

The Photographic Process

09:08
106

Working the Shot

25:29
107

What Makes a Great Photograph?

07:01

Lesson Info

Camera & Lens Stabilization

Now the other thing that comes up with shutter speeds is, you are also moving when you're photographing in many cases, because you're not on a tripod in certain situations, and so you need to be concerned about shutter speeds, not just for what's going on out there, but what's happening right there in your hands with your camera. And so we want to talk about handholding the camera, and safe shutter speeds, and dealing with tripods and so forth. First off, there is the correct way, and then a shall we say less correct way of holding the camera, and it has to do mostly with your left hand. And if I just grab one of my cameras right here, let's get this off the tripod, and so to be honest with you, the wrong way feels right. At first, when people grab a camera, they often just like, "That's how it fits there!" That's not really the best way to hold a camera and the reason is because your elbow is kinda flapping out in the wind here with no support. It's much better, thumbs up, I don't kno...

w how you'll ever remember that, but thumbs up holding the lens like this, and now you can get your elbow in and support it on your body, and so it's a much more comfortable position, it's a much more stable position, and it's how you should be holding your cameras. It's something that takes a little bit of practice before you get used to it, but it's something that you'll notice all the top photographers do on a regular basis. Let's talk about minimum shutter speeds for handholding. There's a rule of thumb that's generally pretty true, we'll talk about it as we go through this class, and the handholding rule of thumb is that the minimum shutter speed you need to have is equal to one over the focal length or faster. So what that means if that seems like gibberish to you, is let's take a lens. In this case we have a 60 millimeter lens. One over 60 is the minimum shutter speed that we want to use with that lens. One 60th of a second. "But I don't a 60 millimeter lens, I have a 50 millimeter lens." Well, 50's pretty close to 60, it's gonna go into the same category. You have yourself a big 100 to 400. Well it depends on if you're at 100 or 200 or as to what your minimum shutter speed would be, but it would be a faster set of shuttle speeds because that longer lens is gonna magnify your hand movements. If you have a wider angle lens, you'll be able to get away with some slightly slower shutter speeds as far as your minimum shutter speed. Remember you could always set something faster, this is just kind of the bottom end of the bracket. Now the technology that has changed this over the years is stabilization systems. First it was in lenses, now it's in bodies and sometimes it's in both. And so there's a number of different companies, most of the companies have some sort of lens stabilization system on some, but generally not all of their lenses that are available. Some cameras have decided to put stabilization devices in the lenses. Now what happens when you hook them both up together? Well sometimes they work together, for instance Olympus has a really good system that they work together very well, and they combine. In other cases it just reverts to the one in the lens, 'cause the lens is usually the better working one. The one in the body is more convenient, does a good job, but it's generally not as good as the ones in the lenses. But it varies from item to item. And so this is usually a pretty notable feature, and so it's something that they're going to note with special letters on the lens. And they've all tried to choose different names but they all do the same thing. There's a gyro in the lens or the camera that is sensing your movement, and then it's counter moving with either the sensor or the lens movements itself. And they're all good, I'm happy with all of them, I like them all, they're quite fine. It does vary from one manufacturer to the other in only the slightest of ways. So what difference would it make? Well if you're using a 200 millimeter lens, what shutter speed do we need? One over 200, well one over 60's not gonna be good, that's too slow a shutter speed. We're likely to get a blurry shot. So if we can't get a faster shutter speed, we could use the stabilization system that we have in the lens or the body, and shoot pictures of non-moving subjects and get them sharp at slower shutter speeds than we would normally need. Normally with this I would want to have one 250th of a second, 'cause that's the closest shutter speed to 200th. So different companies will have different standards as to how good they are. And they might rate them, and you might have to dig into the product literature, or the technical specs of that particular item to find out how good it is. So the Nikon 300 two-eight is good for three stops of stabilization. What does that mean? It means normally you should be at 250th or above, but with three stop stabilization, 125, 60, you could shoot it handheld at a 30th of a second, and probably get a sharp shot. It depends on your movement as well. Some people are more steady than others, and you might need one above what everyone else needs or one below, it varies. Another popular option here is Canon, most of their lenses have four stops of image stabilization. With a 35 millimeter lens, you would normally be at a 30th of a second, and then you just count down four stops. So with that lens, in theory, theory, this isn't real world, you could get a sharp picture, handholding, at a half second. Sometimes the manufacturers in the past have been a little boastful about their claims. "We're good for this!" And then everyone else who tests says, "No, it's one stop less than that." So if you take one stop off of what they say that's probably more real world, but they do actually have to meet industry standards now. So it's a little bit more accurate now than it was in the first 10 years of stabilization. So if you think about a 50 millimeter lens, basically you need everything from 60 and above for handheld is fine, below that, you need tripod stuff. And so you're gonna get nice sharp images there, and what I've found is sometimes I get sharp images when I shoot at slower shutter speeds but sometimes not, so there's kinda this mixed zone where it's kind of a grab bag whether you're gonna be sharp or not and then there's some other ones, like I am always blurry at a quarter of a second. And what a stabilized lens will do, well it will extend my reach as to how far I can reach in to those slower shutter speeds. When I'm using a 24 millimeter lens, I can use a little bit slower shutter speed to get my handheld shots. And then when I use a stabilized 24 millimeter lens, it extends even further. And so stabilization just extends the opportunity for handheld shooting. But remember this is only for stationary subjects where you are the only thing that's moving. With a 200 millimeter lens, I can shoot at 125th, most people are around 250th, I'm a little better than average there, but with stabilization, boy that can really help out. So I much prefer to have a stabilized lens than a non-stabilized lens. It just makes it more versatile in most all cases. However, one thing that you need to remember for stabilized bodies and lenses, is that you need to turn it off when you put it on a tripod. Apparently belts and suspenders are not a good thing to use at the same time. The lens is trying to look for movement, and so if it's not moving, it tends to like, "Are you moving? Are you moving?" And then that actually causes the blur. And so if you know your camera's rock solid on a tripod, you should turn it off. Now there are some cases where you might put a camera on a tripod and the wind is still buffeting and hitting it, you should still leave it on. So if the camera's moving or has a chance of movement, then you should leave it on. So in the world of photography, we have handholdable shutter speeds, and then we have tripod shutter speeds. And I know a lot of people who get into photography are kinda like I was when I got into photography and I didn't want to be the tripod photographer. I wanted the freedom of just walking around with my camera and taking photos, and the whole tri-- that just goes to so much stuff, you know, who wants to do all that stuff? Well the fact of the matter is that if you don't want to use a tripod, first, that's totally fine. That is your choice. But if you say, "I'm willing to use a tripod 'cause it's gonna solve some problems for me," it allows you to do a lot of things that you can't do handheld. And I like versatility. I like options, and thus I like the tripod. Because it gives me more options and more things that I can shoot with. Now obviously it's gonna help out shooting in low light conditions, but it helps out in many other ways as well, and we'll talk more about this when we get into the gadget section. But it's gonna get sharper images, it's gonna give you greater depth of field which I'll talk about in the lens section, and it forces you to slow down and think a little bit more. If I go up and I shoot something handheld, I'm probably gonna shoot 10, 12 shots of it. If I get up on a tripod, I'm gonna probably shoot three or four shots. Just 'cause I know that I've narrowed out all those problems that I would normally get handholding, getting things lined up. I'm sorry, you cannot shoot this picture handheld in any way, shape, or form. There is no stabilization system that will keep you steady for 30 seconds. You'll not be able to get the Milky Way in a 45 second shot, you have to have a tripod in order to do that. You want those blurry shots of water? Most of them are gonna take a tripod. 'Cause it requires a very long shutter speed. And if you're working off of a tripod, you can use a cable release to trigger your camera so you're not moving it, I sometimes like to cheat, when it's okay, and in this case I use the self timer. A two second or a 10 second self timer, get my hands off the camera, the vibrations settle out, there is no movement in the camera when the picture is being taken. But the cable release is really nice when you're trying to time something. Which can be very important in those situations. So, your next learning project, take a look at it, is the handholding test. This is not holding hands with your partner or anything, this is how steady can you hold a camera. And this one's a fun one to do. How good are you, walking in and getting a shot at a slow shutter speed? And you can do this, the steps are in there, I'm not gonna go through them here, but you want to do them a couple of different ways. You want to just do them, "Okay, stand like this. Okay, now I'm gonna stand like this, knees bent, feet apart. And then I'm gonna do it leaning up against this, and then I'm gonna do it sitting down, and then I'm gonna try it with my longer lens, then I'm gonna do it with the stabilization turned off," and see where those different limitations are for you. Because of me, I know that when I get down to certain shutter speeds, I gotta get on a tripod. But I know my limit, because I've gone through this test, and so this is a good test for you to go through, and just be really knowledgeable about what is your limit, for holding shutter speed, for holding the camera with slower shutter speeds.

Class Materials

Bonus Materials with Purchase

Fundamentals of Photography Class Outline
Learning Projects Workbook
Camera Keynote PDF
Sensor Keynote PDF
Lens Keynote PDF
Exposure Keynote PDF
Focus Keynote PDF
Gadgets Keynote PDF
Lighting Keynote PDF
Editing Keynote PDF
Composition Keynote PDF
Photographic Vision Keynote PDF

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!

JUAN SOL
 

Dear John, thanks for this outstanding classes. You are not only a great photographer and instructor, but your classes are pleasant, they are not boring, with a good sense of humor, they go straight to the point and have a good time listening to you. Please, keep teaching what you like most, and I will continue to look for your classes. And thanks for using a plain English, that it's important for people who has another language as native language. Thanks again, Juan

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