Lessons
Photographic Characteristics
06:36 2Camera Types
02:53 3Shutter System
08:51 4Shutter Speed Basics
10:06 5Camera Settings Overview
16:02 6Camera Settings - Details
06:05 7Sensor Size: Basics
16:26 8Focal Length
11:26Practicing Angle of View
04:49 10Lens Speed
08:53 11Aperture
08:15 12Depth of Field (DOF)
12:32 13Lens Quality
06:56 14Light Meter Basics
08:54 15Histogram
11:38 16Dynamic Range
07:15 17Exposure Bracketing
07:59 18Focusing Basics
12:58 19Manual Focus
07:04 20Digital Focus Assistance
07:25 21Shutter Speeds & Depth of Field (DOF)
05:08 22DOF Preview & Focusing Screens
04:45 23Camera Movement
08:13 24Focus Stacking
07:48 25Lens Adaptors & Cleaning
08:24 26Flash & Lighting
04:37 27Tripods
14:03 28Cases
02:53 29Natural Light: Mixed
04:10 30Sunrise & Sunset Light
17:14 31Silhouette & Starburst: Sunrise & Sunset Light
05:25 32Golden Hour: Sunrise & Sunset Light
07:42 33Light Management
10:06 34Speedlights
04:02 35Built-In & Add-On Flash
10:37 36Editing Assessments & Goals
08:48 37Editing Set-Up
06:49 38Importing Images
03:49 39Culling Images
13:47 40Adjusting Exposure
07:53 41Remove Distractions
03:52 42Cropping Your Images
09:43 43Angle of View
14:25 44Framing Your Shot
07:17 45Foreground & Background & Scale
03:41 46Rule of Odds
04:50 47Visual Drama
12:20 48Elements of Design
09:14 49Texture & Negative Space
03:47 50Black & White & Color
10:23 51The Photographic Process
08:58 52What Makes a Great Photograph?
06:39Lesson Info
Natural Light: Mixed
so mixed lighting a little bit like the spotlighting that we talked about before. And in this case, it's a mixture of some sunlight and some shadows in there could be some overcast situations. These are fleeting moments, and I I treasure these moments when they when they come because they don't come around very often, they could be very, very dramatic. And you do have to be ready for these things. And so your subject may not be completely illuminated properly. You're just gonna have toe work with it as best you can. There be some subjects. It just doesn't work well with. You do have to be careful. Those blown out highlights and the blocked up shadows. It really depends on the photo that you're looking at and you're trying to capture, and they come and go very quickly. So you have to kind of anticipate and maybe bracket really quick. Just in case you got the wrong exposure in here, you want to have ah, good collection of images to come back with it. And so this is typically gonna work b...
est early and late in the day when it's not too drastic of a change in the level of brightness from the sun to the shadows and often times you want to be protective of those over of those highlights. You don't want to over expose them in most cases. And so what I found is that there is usually relatively short periods of time that it works, and then it just it just disappears on you. And so on the Brooklyn Bridge, Sunlight coming in. We've got a lot of shadows in here. The sun lights fine here, but just, you know, a little bit later in the day, half an hour later, it just becomes too bright in the shadows. Become too dark and the scene is not possible. I was down in California working in the redwoods, and I know in the redwoods there tall, cluttered environment. And I really wanted an overcast day and funny thing Waas in California. Apparently, they don't have overcast days when I'm down there. It's always sunny, and I got down there and I was going through the some of the trails when I first arrived, and it was just I don't even take a photo is just like this is a disaster of an area because It was just bright sunlight, deep shadow and every photo is just It's visual overload is what it is. And so it's like, OK, gotta get up. Not the crack of dawn, but well before that. So I got to get out there right at dawn, because as that sun's low on the horizon, it's nice even lighting in there. And then as soon as the sun starts to hit, which is right about now, I got a little bit of time to work with because there's a few highlights that I can deal with in here. But half a hour later, pack it up. Time to go home. It just gets to contrast in here. If you're wondering what it looks like when it's bad, this is a bad photo. Okay, this is the contrast the lighting that you get in the middle of a bright, sunny day, and this is actually in a park in Seattle. It's one of the few places in Seattle that has never been built upon. Its really never been touched. It's just kind of the original Seattle, you might say, and it was actually a really nice scene, but it's terrible. Terrible lighting coming back on a cloudy day, it's much, much easier to see. And just in case you're wondering, I did use a polarizer on this. Polarizer can be very effective in the forest, and that's because even on a cloudy day, because polarizer is work when there is a significant light source coming from a single direction now the light source is this big, cloudy sky. That sounds kind of opposite what I just said. The single light sources that it's basically filtering through the trees and it's coming down in a very direct angle. It's not coming in at any of these other angles, and so if I'm shooting 45 degrees to that angle has a very good impact. And so, especially as I kind of shoot down here. There is a lot of reflections that I'm taking off by using a polarizer in the forested environment on a cloudy day. And so that's one of those. I didn't really originally think of that years ago. I wasn't doing that very much, so now I know better and it's a good time to have that polarizer out there and working
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Jasna Crnjaric
Ayumi Bechdel
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