Lesson Info
50. BONUS - In Conversation with Art Wolfe
Lessons
Buttons, Dials and Switches: What This Course is All About
03:37 2Setting Up Your Camera
05:25 3JPEG or RAW
03:11 4Compression
01:38 5Menu Settings for JPEG Shooting
05:19 6Module 1 Summary
01:42 7Applying White Balance
03:41 8Using White Balance Creatively
01:19Auto White Balance
03:07 10Module 2 Summary
01:31 11Controlling Exposure
01:23 12F Numbers
03:06 13Lens, Aperture, and Shutter Speed
03:32 14Exposure Modes
01:48 15Too Little or Too Much Light
02:34 16Manual Exposure Mode
01:37 17Aperture Priority Exposure Mode
02:23 18Module 3 Summary
01:40 19ISO in Practice
01:16 20ISO and Noise
05:03 21An Acceptable ISO
01:23 22Module 4 Summary
01:29 23Metering Modes
03:06 24The Light Meter
02:11 25The Bucket Test
02:12 26How To Read Tonality
02:32 27Being Creative With Tone
01:14 28Exposure Compensation
01:35 29High Contrast Lighting
03:39 30Histogram
02:06 31Highlights Alert
01:32 32Never Underexpose
04:16 33Digital Exposure Mantra
01:25 34Module 5 Summary
02:57 35Focus Modes
01:23 36Autofocus
02:59 37Point of Focus
02:35 38Depth of Field
02:41 39Hyper-Focal Distance Focusing
02:51 40Focus Tracking
04:19 41Manual Focus
01:57 42Predictive Focus
01:03 43Summary
02:32 44Buying Lenses
05:00 45Summary
01:45 46Quality of Light
01:32 47Direction of Light
01:52 48No Such Thing as Good Light
02:00 49Final Word
02:52 50BONUS - In Conversation with Art Wolfe
07:11 51BONUS - The Source of Creativity
06:34Lesson Info
BONUS - In Conversation with Art Wolfe
Chris Great. Give me hope. It's been, what, a couple months since I saw you. Like living in London. I don't like the new digs. Beautiful way just opened in January. Yeah, come on over here. I love this style of photography. This use of movement to mimic that idea, the motion of the animals. What technique behind it, simply panning with the motion of the animals. Long shutter speed. It's a technique that was inspired by the work of Ernest Toss, and eventually I compiled enough of these images. It became a book called Rhythms From the Wild and I love the Cell because it takes a literal subject and interpret said into something more lyrical, more painterly and more artistic, which is always what I'm after. It's a complete change of C. Yeah, thing is one Sean. China is really on the South Coast, south central coast of eastern China. It's a place that I first visited in 1986 and once I went there for the first time, I knew I'd return in return toe return again. It's a great location. It's o...
n the top of a mountain. It's noted for its vertical columns. Iraq and bonsai trees. And if you hit it just right, you got all the swirling miss from the lowlands. And in short, it reminds me of a watercolor painting. It's got that classic Asian aesthetic, and whenever I get a photo that reminds me of a painting, it connects my history because I'm a painting major. So, China, I mean, China is a great place not only for the landscape, but it right around the corner. I want to show you another Chinese image that's distinctly different. Do you find that the influence of different cultures has changed your photography? Yes, different cultures, different landscapes, different wildlife. I started traveling internationally in and I've never stopped, because when you think about it, every new place you go stimulates your imagination, opens up the subject matter. And so I've never run out of ideas in 40 straight years of shooting, and I think that's the oh, it's well, thank you, Im. It's absolutely what I teach and love to take people with me is to show them new environments to expose him to the term culture shock because I think it's a positive thing, and I think as well that I mean, a lot of people say to me that there are short of ideas. Where do you find ideas? How do you see photographs when you have your photograph? The same subject? Different, different ways. I think that's one of the things you've been doing it for 40 years. You know, the new ideas are still there. They're still coming out, and it's been great because not only am I traveling far a field, but over the years my styles have changed. So I got it. This great variety of subjects. I'm not really a wildlife photographer or a landscape ist or even a cultural photographer. I embrace it all, and I think that's the training in art. You know, the background in art and art education. Really, I said, Don't get stock in one genre or the other. Do you feel like you're kind of like a storyteller? I am. I love taking photographs that still the bigger story, a single capture that shows contacts. It's an intimate shot. I'm just ah, few inches away from these core Marantz. This will be a 16 millimeter wide angle shot with very small aperture opening. It's totally lit by the Ambien Post Sunset lied in the the lantern lights that they're lighting that they use in fishing. Yeah, well, I just love the traditional hats. They're wearing modern shoes and modern pants, but they virtually are wearing the hats and the ring because it is actually raining. You concede drops on the boat and so on. And I was constantly wiping off my filters, and I was using a neutral density filtered to darken the sky. I mean, there were a lot of things going on at once, not the least of which is these fishermen wanted really to get out and start fishing. And I kept on telling the interpreter just a couple more seconds. I'm just getting the shot. So there's a sense of urgency, which often breathes spontaneous life into an image. I think it really conveys in 11 image, the entire story, the history of this tradition, this lip from yeah, it's entirely naturally lit. I tend not to use Flash because it overwhelms the subtleties of light. I love the use lantern fire, like candlelight. You know, romantic light for my subjects. Because my subjects are traditional. I'm not generally shooting modern people in modern cities, although I have done that. But I'm drawn towards traditional culture, and there's a sense of urgency and importance to that because many of these cultures have changed in my 40 years. And I wanna have a visual record of what may not last very far into the future. You know, Chris, this photograph is a great metaphor of tigers because it's passed me is looking back in that backward glance could be a great metaphor for, you know, looking back into a better time. Better? Yeah, 30 year cubs that were still hanging around, and I think the mother's driven him out and they're on their own. But they're still out of alliances sticking together. So virtually one after another kind of moved through this open ground. And that's why I mean, this is like the 2nd 1 going through. I was in the right position. It's even soft light late in the day. All those elements come together when, when subject circumstance in light arrived, you know magic can happen. It's a poignant any rate. India is also a great place for cultures. Yeah, one of my favorite shots over here was shot in Roger stand you can see it's very colorful. Medallion break colors on the shape, shape, color. The two things really stand out. Yeah, I'm actually shooting directly above looking down, leaning over with a wide angle. How did you get to that angle? Get just leaning over like yeah, yeah. So with a wide angle, it kind of distorts a little bit, but they gave me the depth of field and, you know, the women totally were on par with doing this. You know, it's been taking photographs for almost 40 years now. And his passion, his creativity, his enthusiasm really rub off on you. I want to take some pictures now.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
mark jacobson
What a marvelous course! What a marvelous teacher! When I went to college, my father would always ask me about my professors, more than the courses themselves. He was passionate about learning and although too busy with earning an income to go beyond an undergrad degree, continued to read 50 books a year. I still remember how he'd get almost visibly excited when I'd tell him about some special professor who taught with such enthusiasm and, more than just passion, evident delight and joy in the subject. 'Ah they're the best, son. How wonderful you have such a teacher." Well, he passed away decades ago but if he were still around I'd get a kick out of telling him about Chris Weston, the 'Prof' of this course. He's one of the very special ones: a teacher who's loved and lived his vocation--his avocation--since he was a boy--and still is as excited about it now as he was then. The result: a course that seems to be more a labor of love--of pouring far more energy and thought into the details then one typically finds in these courses--than anything else. Bravo Chris! I'm already on to your next one.
user-6402bf
Chris is an amazing instructor who dissects theory giving amazing analogies that bring concepts to life. I have rarely been able to sit through most video course for more than a half-hour but watched this one from beginning to end. A good refresher course if you've been away from the camera for awhile or there are some concepts that still illude you. I highly recommend this course and look forward to watching his others. Thank you for the clarity and great explanations.
Sky Bergman
This was an amazing class. I have looked at a number of basic photography classes. This one was by far the best I have seen. Chris is an exceptional teacher. He breaks things down into digestible information and then inspires you to be creative. Thank you!