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
Editing Assessments & Goals
Okay, folks. So we have worked our way through most the class, and now we're to the art of editing. And so we're gonna talk about what you do after you take the shot, all right, cause there's a lot of things to think about. And what you do after the shot might affect the way you go out and shoot the next shot. So let's talk about all those other things that photographers need to worry about. And so what we're gonna be doing here in the art of editing is talk a little bit about the set up in the mechanics of what you need a little bit about organizing and culling and debating your images as to what's best and then a little bit on developing. And, you know, if I was just pause here for a moment as faras, the skill levels that photographers need to get good at one of the things that it seems like is lacking in most photographers is the ability to edit themselves. I have found that they tend to people tend to overshare too many items, and it's like you were good at 10. But now that I've se...
en your top 100 shots. My opinion has gone a little bit downhill, and I know it's really hard to only show, Ah, few images at time. But sometimes it's better to show few that are really good than the other ones. The other skill that's really hard is just simply deciding. Is this a good photo, or is this a good photo? And is there something I can do to this photo that makes it better than that? What? And that's a skill set. It's a It's a little bit harder to learn, I think. And so that's what I want to try to tackle in this class. Let's talk about the set up all right. Personal assessment. Just doing asked these questions of yourself. How much are you shooting? And the person who shoots photos at a sporting event is going to be very different than the porch photographer who shoots 40 or 50 in a session. What are you doing with your images? Are they being sold? Are they going into a hard drive that nobody ever looks at again? Be honest about what you plan to do with him now and into the future and How do you access your images? How do you want to get to them? And so I've done this myself. And, you know, one of the things that I've set up that I'm really happy about is that when I'm sitting at my computer and my hard drives air spinning and I got you know, my program up and I decide you know what, I need a photo. I confined that photo in less than 10 seconds in almost every single case, and that feels really good. It's just you got access to everything that you have, and that's because I've tried to keep things as organized as I can now. If I was to ever break both legs and be confined to my office for a year, part of me would love it. I would go in and I would organize this even better so I could find my photos in five seconds. And so there's a limited amount of time that we can spend on that, but you need to spend some so it makes life easier. And so this is my personal objectives, but they seem pretty reasonable. I like to download quickly without any hassles. I want to back up my stuff, make sure it's not lost in any sort of way. I don't like to spend a lot of time editing. I want to be able to get through my edits and have things taking care of in a fairly reasonable fashion. And then I want to be able to search for my images and find them whenever I want them. I like in doing in preparing this class. I sat at my computer for a lot of hours and quite frequently I was like, I need a photo and I think in my brain like I remember shooting that and this is what it waas Let me go find it and I want to find it in seconds. I don't want to look all over the place and be lost looking for things, and I want to be able to find things very, very quickly and easily. Now, the ultimate photographic goal is to get the best image when you're shooting there and have it developed and have it ready. Therefore, you and you're trying to capture the best moment. And so I talking about this because the way you shoot affects the way you edit and back and forth because you could be saying, Well, I don't want to go through too many images, So I'm not going to shoot too many images. Well, that's not exactly the right saw thought. I know some people hear the saying that great photographers shoot lots of photos, and that's the reason they have great photos to say Shoot lots of photos. So I'm just gonna go out lots of photos. Well, that doesn't help you out. You gotta have the right skills in there as well. And so let's analyze a moment, A really good moment, something that, like that, was a good moment. How do things happen? Well, oftentimes you're going along and things aren't that interesting s So we got our timeline on the bottom in the quality of photos over on the left, and then you kind of see Oh, that's kind of interesting. Let's slow. Let's go over here. Let's try this angle and you got to keep shooting because that's maybe not as good as it gets. The next photo, to be honest with you, could be terrible. It could. That could be It is just like a glimmer of something, but then it just faded, and it's nothing, but you don't know the next photo could be the best photo you ever took. All right? And if you're doing things right, you're learning about your subject. You're figuring out how this technique work. This one did it. Oh, I got to do this to make it look good. Now I have this problem. Now I'm solving that problem, and then it's gonna likely get worse. But you keep shooting because it may get better again. Remember, we talked about the light, had kind of one dip, and then hope Time to go home. Oh, no, it's getting good again. All right, You got to stick around for a little bit. But you know, most things, they kind of have a peak moment, and then they come back down. And this is what happens in a lot of events. And so let me share with you one of my favorite photos of the last year and this is from my safari and the Gorgo No crater. And I call this zebra framing. And first off, I'll show you the final shot, which is the shot here. And it's just kind of a fun, unusual, different shot and kind of the back story on this since I have been out shooting on safari for about three or four days and I was looking at my images and I'm saying, Wow, I'm using that telephoto lens for everything. It's like if I ever get a chance to use a normal or wide angle lens and we can get really close to an animal, I just want a different view rather than that standard telephoto shot. And so we're in No Gorgo, no crater and the zebras air there, too. Nice graphic elements. It's just Blue Sky Day, not that interesting. And I'm just, you know, shooting wide angle just to see what I can get. And I noticed that there's some zebras that are standing right next to the path that we're driving down. And I tell my driver just drive really slowly and come to a stop near the zebras that are standing right next to the road and maybe cross my fingers. They won't move. Maybe they well, and it won't turn out that maybe if they don't move, it'll be kind of interesting. So he stops right beside the zebra. And rather than shooting out the roof of the vehicle, I get down and I opened the door and I'm just sitting in the seat. So I mus lowest possible cause you can't get out of these vehicles Not right to do that. And I tried shooting wide angle and Okay, well, that isn't exactly what I thought would be a great shot. Let me try. Just using the back of the animal is bit of a framing for the other animals and wasn't quite right. And And I wanted to experiment with because, you know, the animals were all everything's in movement. So you got to keep shooting and maybe I'll try these animals off to the side. Now that doesn't look quite right, But OK, these air kind of getting in position, and that's kind of nice, because it's a clear shot of the two of them. Maybe I'll try getting a little bit more sky in there and know that doesn't really help. Let me get in a little bit tighter, and so I'm just playing around with different things. Let me go in real tight. I'm getting a nice mix of zebras in the background. I don't like the ones Ybor off the top of the ear on the left. I want a little bit more separation and then I come back and this is my favorite shot here. And it took a while to kind of figure out the goods in the bads and you learn from your mistakes. And if you do so quickly, you can end up with the things you want. And then Then I tried doing some shallow depth of field and try doing some other things, and they didn't turn out as well. And, you know, the situation is falling apart and it's just not quite the same thing. And it very much falled into that same thing. You know, there was a glimmer of something that might turn out interesting. I worked the problem over. I ended up with a shot that I was happy with, and then it kind of fell apart, and it just wasn't the same again. You know, there are just good moments in time, and you need to be free to shoot these out in the field. It's kind of hard just to go. I'm gonna wait until it's really good and I'll take my one shot. I'm not that good. I don't know. Very many people who are could just take one shot during the day and that be the best shot, this part of working the process. So I shot a total of 33 images in this situation, and there's really, uh, a bunch that I threw away that are just like complete garbage. I didn't even show him to you here. And then there's really just one winner of the group, and so I'm gonna shoot 33 photos to get one, and I'll keep the others around in case I need him for some other slightly different reasons.
Class Materials
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