Lesson Info

Final Word: Show Me What The World Looks Like To You

because of these, pretty much everyone has a camera now. Then again, everyone has one of these two. And just as on the one hand, a pen can be used to scribble a quick note or on the other to write a best selling novel so a camera can be used to grab a quick snapshot, or it can be used to create art. The difference between a snapshot and art is what this trilogy of courses has been all about and can be summed up in three words. Hand, eye and heart. Now, in many ways, the first two elements, which were the subject of Part one and part two of the Easier to master because on the whole there more objective the rules around lens, aperture and shutter speed or the placement of objects in the scene, for example, unknown variables. This course, on the other hand, has been far more subjective, mostly because it's been about you as an individual and as a photographer. What moves you, how you respond to certain subjects and stimuli and the machinations of your subconscious mind. And so I think for...

me, that's why it's also the most important, because beyond craft skills and technique is about training, the one element of the photographic journey that most often gets forgotten. You. Every photograph starts with you. It starts with you having something to say and the passion and oftentimes courage to say it. Think about that. The next time you're out with your camera, don't be so eager to start snapping away. Wait a moment, sit in contemplation and figure out what it is that moves you in that one unique moment. And if nothing comes immediately, don't just walk away. Stay a while. You never know what the very next moment might bring. I was in Japan once with a group of photographers. We were hoping to photograph Hooper's ones. It was early morning, and we'd all been up before breakfast with no sign of a swan insight. It was winter, and the cold was numbing. Now a couple of people asked if they could head back to the hotel for a break and some nourishment, and despite my encouragement to sit it out pretty soon everyone was in agreement and boarded the bus, which headed back. Everyone, that is, except to two of us chose to stay as the bus disappeared into the mist. We sat with our cameras enjoying the stillness. Then I heard a bush bush and a trumpet. And out from the mist came squadron after squadron of swans emerging like ethereal angels. That morning I made some of my very best photographs of the whole trip. And, boy, did I have a story to tell. The art in photography is born in the story. Everything follows that indisputable fact equipment, choice, camera settings, composition, even the way you process an image. Every step of the journey hinges on the destination. They are dependent on what it is you want to say, and I am certain you are bursting with stories. And I know that what you have to say is important because you have something that no one else has. Your unique vision. So the next time you pick up your camera, don't record what everyone else sees. Tell me what I really want to know. Show me what the world looks like to you. Mhm! Yeah, yeah, Uh huh, Uh huh. Oh, yeah, yeah, yeah, yeah, yeah, Mhm Mm

Class Description

Lessons

1. Class Introduction - Three Steps To Creative Photography

   There are three elements that go into creating a compelling photograph: technique, composition and creativity. Chris explains how an ancient Japanese philosophy of art, built around the notion of hand, eye, heart, helped him develop a fool-proof process for creating beautiful photographs, time and time again.

2. Firing The Creative Mind - Part 1: The Camera Points Both Ways

   The photographs we take reflect not just what we see but what we feel about what we see. In this lesson, Chris explains how to connect with your subject - the first step in turning snapshots in photographic art.

3. Firing The Creative Mind - Part 2: Letting Go Of Judgement

   Almost by definition photography involves making judgements but being judgemental blocks creativity. So, to reveal how to turn negative views into positive outcomes, Chris heads to Britain’s “least-interesting” location and challenges himself to create a compelling photograph.

4. Firing The Creative Mind - Part 3: Detaching From Outcomes

   Sometimes, we get so focussed on what we set out to photograph that we forget about everything else, which leads to missed opportunities. Often, the most successful photographs are the ones never anticipated. Chris reveals the benefits and practices of keeping an open mind.

5. Practicing Mindfulness In Photography

   By deconstructing one of his all-time favorite images, Chris shows how approaching photography with a mindful eye can help you create photographs that show much-photographed subjects in a new and compelling way.

6. Finding The Visual Narrative

   To find the story, you have to get involved. You have to invest time and energy and immerse yourself in your subject. Stepping way outside his photographic comfort zone, Chris heads to Naples, in Italy, to see whether he can capture on camera its people and culture, and reveals the benefits of knowing your subject.

7. Behind-the-scenes: Naples

   In a feature-length lesson, Chris is joined by fellow professional Simon Weir. Together, they take you behind-the-scenes of photographing on assignment, and reveal their vision-to-print approach for capturing compelling images.

8. Seeing Beneath The Surface Of Things

   Getting beneath the surface of things is key to creative photography. Chris compares his passport photograph with a masterful portrait to demonstrate the difference between the semblance of a subject and its essence.

9. Finding Inspiration

   Where does inspiration come from? Chris looks back at the past to discover what inspired his approach to photography, and passes on ideas about how to find inspiration in the world around us.

10. Slowing Down

    Revisiting a personal photographic project, Chris explains the benefits of taking a more thoughtful approach to image making.

11. Three Reasons To Shoot RAW

    Looking at the whole process of photography, from visualisation to print, Chris explains the three key reasons for moving away from JPEG and embracing RAW.

12. Choosing the Right Frame Format

    Cameras are designed to be held a specific way but that way doesn’t always suit the composition. Chris reveals how turning pro’ helped to think more carefully about frame format, and explains how to match subject and composition in the field.

13. Don’t Be Limited By The Shape Of Your Camera

    We rarely give much thought to the shape of the camera sensor and yet it defines the image space. Investigating some of his favorite photographs, Chris shows how thinking “outside the rectangular box” can have a huge impact on the visual quality of photographs

14. WYSIWYG

    With a camera, what you see is what you get. Unlike the human eye, cameras record every minute detail, which can reduce the visual impact of a photograph. In this lesson, Chris reveals how he uses the viewfinder to improve his compositions and ensure every pixel counts.

15. Choosing Lenses

    We all love to buy them but don’t always know how best to use them. Chris heads to the cinema to showcase how different lenses are used to define the visual narrative of a photograph.

16. Perspective

    Chris takes on the challenge of capturing an image he’s long had in mind to show the benefit of looking at the world from a different perspective.

17. Considering Foreground And Background

    Most photographs contain three elements: the subject, and what’s in front of and behind the subject. Chris puts on his walking boots to reveal the importance of considering all three elements, and show how to use foreground and background to strengthen composition.

18. Two Out Of Three Ain’t Bad But Three Into Two Is Better

    Chris considers the limitations of cameras in recording the world we see and reveals compositional techniques that can be used to recreate the three-dimensional world on a flat piece of paper (or digital screen).

19. Separate And Isolate

    Chris compares a set of images to show how separation of subject and “ground” improves composition, and shows the different camera techniques and composition rules you can use to draw attention to your main subject.

20. The Art Of Creative Exposure

    There is no “right” or “wrong” exposure. In this lesson, Chris looks at silhouettes and high-key imaging to demonstrate that exposure is a creative tool, and reveals some of the techniques behind capturing in-camera exposures that match the photographer’s vision.

21. Focus On The Story

    Chris poses the question, what is the point of focus? In answering that question, he reveals the power of focus and de-focus in defining the visual narrative and leading the viewer on a visual journey through the image space.

22. The Passage Of Time

    Most photographers know the technical role of the shutter. In this lesson, Chris looks at how to use the shutter as a creative tool.

23. Creating A Visual Sense Of Mood

    Great photographs reveal more than the physical nature of things, they elicit an emotional response, too. In this lesson, Chris heads out in the middle of winter to show you how to use light and color to add mood to a photograph.

24. Color vs. Black & White

    We see the world in full, beautiful technicolor. So why on Earth would anyone want to compose an image without it? In this thought-provoking lesson, Chris looks towards some of the world’s leading photographers - past and present - and heads to New England to reveal when to shoot color and when to shoot black-and-white.

25. The Decisive Moment

    Henri Cartier-Bresson coined the phrase “The decisive moment”. In this lesson, Chris talks through one of his most successful wildlife images to explain what makes a “decisive moment”.

26. Using Color As A Cohesive Tools

    Photography isn’t always about the single image. There are several reasons you may want to consider building a portfolio of work - from exhibition to competition. Chris reveals how he set out to create a unified set of images for display in his gallery.

27. Photography Is A Two-Part Process

    As Chris moves from out in the field to inside the digital darkroom, he explains the role of computer-based processing in photography, today, and describes the essential processing tools he use for the vast majority of his processing work.

28. Case Study: Recreating The Art of Sumi-e

    In the first of three case studies, and with the help of some Hollywood-style GFX, Chris takes you on a step-by-step explanation of how he used Adobe Lightroom to fine tune the out-of-camera RAW files of his Japanese-style photographs, ready for exhibition in his galle

29. Case Study: Making Something Out of Nothing

    In this second case study, Chris takes the out-of-camera image from his Lincolnshire challenge (Lesson 3) and sets about completing the process of vision to print.

30. Case Study: Moody Blues

    In the final case study, Chris takes an image from his winter waterfall experience (Lesson 23) and, step-by-step, reveals how he used Adobe Lightroom to turn the RAW file into a finished image that perfectly matched his visual intent.

31. Image Reviews

    In a series of image reviews, Chris deconstructs (mostly) TCP students’ images, posing the question, “Does the image tell the story the photographer wanted to tell?” Where it does, he explains how, and where it doesn’t he reveals what could be changed to better match final image and creative intent. The sequence starts with a herd of zebra and frame format.

32. Image Review: The “Thinking Man”

    Chris reveals how to use depth-of-field to improve a portrait of an orang-utan.

33. Image Review: The Golf Course

    Chris shows how to use the vertical format to identify and isolate the main element in a “busy” scene.

34. Image Review: Dreamstate

    Chris uses frame format, color and the presence controls to turn an “okay” portrait into a more compelling composition.

35. Image Review: Gone Fishing

    Chris reveals some useful composition techniques to bring visual energy to a static kingfisher.

36. Image Review: Promenade

    Chris takes a step forward to remove a foreground distraction and open up the visual journey.

37. Image Review: Sky and Reflections

    Chris shows how the placement of the horizon line can completely change the visual narrative.

38. Image Review: Grass and Field

    Chris shows how an image that looks pretty on the surface, misses the visual narrative, and sets about making changes that better match the photographer’s story.

39. Final Word: Show Me What The World Looks Like To You

    In his final word, Chris explains why just because “everyone now owns a camera” doesn’t mean the world is full of photographers, and shows why training yourself as a photographer is the most challenging but most rewarding aspect of The Complete Photographer journey.