The Passage Of Time
Lesson 22 from: Mastering the Art of PhotographyChris Weston
The Passage Of Time
Lesson 22 from: Mastering the Art of PhotographyChris Weston
Lesson Info
22. The Passage Of Time
Lessons
Class Introduction - Three Steps To Creative Photography
03:48 2Firing The Creative Mind - Part 1: The Camera Points Both Ways
03:10 3Firing The Creative Mind - Part 2: Letting Go Of Judgement
06:53 4Firing The Creative Mind - Part 3: Detaching From Outcomes
04:12 5Practicing Mindfulness In Photography
02:43 6Finding The Visual Narrative
02:39 7Behind-the-scenes: Naples
07:52 8Seeing Beneath The Surface Of Things
02:30Finding Inspiration
03:19 10Slowing Down
03:57 11Three Reasons To Shoot RAW
02:29 12Choosing the Right Frame Format
03:52 13Don’t Be Limited By The Shape Of Your Camera
05:07 14WYSIWYG
04:15 15Choosing Lenses
05:02 16Perspective
02:44 17Considering Foreground And Background
03:10 18Two Out Of Three Ain’t Bad But Three Into Two Is Better
03:43 19Separate And Isolate
02:32 20The Art Of Creative Exposure
06:38 21Focus On The Story
04:20 22The Passage Of Time
03:00 23Creating A Visual Sense Of Mood
04:24 24Color vs. Black & White
03:09 25The Decisive Moment
03:00 26Using Color As A Cohesive Tools
01:51 27Photography Is A Two-Part Process
06:55 28Case Study: Recreating The Art of Sumi-e
07:04 29Case Study: Making Something Out of Nothing
04:32 30Case Study: Moody Blues
03:29 31Image Reviews
03:02 32Image Review: The “Thinking Man”
01:55 33Image Review: The Golf Course
02:32 34Image Review: Dreamstate
02:38 35Image Review: Gone Fishing
02:24 36Image Review: Promenade
01:47 37Image Review: Sky and Reflections
01:57 38Image Review: Grass and Field
02:20 39Final Word: Show Me What The World Looks Like To You
04:44Lesson Info
The Passage Of Time
when I'm photographing wildlife, I'm a big fan of using slow shutter speeds to create a sense of movement. Heard of galloping wildebeest, for example, could look very static when stopped dead by a far shutter speed. Allowing light to move across the frame as the shutter remains open, however, can give an image a much more authentic narrative. Shutter speed controls how time appears Far shutter speed freezes time revealing detail and form. A slow shutter speed blurs time to create a sense of visual motion. Now, like most things in this course, there's no right or wrong shutter speed for any given subject or set of circumstances. There's just the appropriate shutter speed. They capture the story you want to tell now to show you how you might apply this concept in the field. Let's go back to Weymouth Bay. My narrative for this image of Weymouth Bay is stillness, but I've got to see in the frame, which is moving with the tide. So there's a contradiction that I need to negate at a standard ...
mid range, just a speed. This is what the image would look like now. There's nothing particularly wrong with this image. Technically, but compositionally, it doesn't tell the story. I want to tell. What I really want to do is remove any sense of motion in the water. Now, if I set a super slow shutter speed, this is the image I get now. Image and intention are aligned. Stillness. This is what I'm doing all the time. When I'm looking through the viewfinder, I'm asking myself, How am I responding emotionally to this scene? What elements in the scene and making me feel that way and how can I use the camera to recreate those feelings for others? Asking and answering questions like this before you press the shutter is how you start to use a camera to create the image you visualize and turn a snapshot into a photograph. Shutter speed and lens aperture are your primary tools for changing the aesthetic and emotion of a photograph. Play with them. Experiment. Get to know how different settings affect the look and feel of the images you create for shutter speed. Waterfalls are a really great subject to experiment with, but if you live nowhere near a waterfall, you can achieve the same thing with a running tap. Set your camera on a tripod for stability during longer exposure times and then take several pictures at different shutter speed settings, starting with 1 1/1000 through to, let's say a second. For aperture, get a set of colored pencils, frame them in the viewfinder and focus around one third of the way into the picture space. Now take pictures from your widest setting to your narrowest setting and compare the different images for emphasis. Get to know these two controls like the back of your hand. They are the two dominant variables.
Ratings and Reviews
Gary Hook
Wow, what a wonderful journey. I love the concept of telling a story with one's photos and as I go through past images, I'm seeing them in a much different perspective. That's the good news, The bad? The lost opportunities I never 'saw' before; however that is a good thing. There is so much to internalize with the material so that it can get out of the head and into the 'heart'. I also found the concept really helps me with composition, both in camera and post. Biggest take away, as Chris underscored in his closing, is to slooooow down, take the time and feel it. Don't be so quick to leave one scene as there remain other aspects, yet to be discovered. A great experience that I truly enjoyed Thank you
Glenda
I loved this course - in particular the latter part of it in which he demonstrated how post processing lets you really tell the story of the image. Another fabulous course. Thanks Chris & thanks Creative Live.
Abdullah Alahmari
Thanks a lot to mr. Chris Weston This course is great and It is a 🌟 🌟 🌟 🌟 🌟 course for me. Beside the other course ( mastering photographic composition and visual storytelling) both courses are Complementing to each other and highly recommended.