11 Darkroom courses
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This course will introduce you to the beautiful world of colour analogue photography. Taking as a starting point the work of contemporary photographic artists working with colour, we will discuss and explore theory as well as developing core skills essential for the capture and printing of your own colour images. You will learn how to correctly expose colour negative film and learn more about the characteristics of different types of film and the effects that they can have on an image. Within Stills’ darkrooms you will learn how to process your colour film by hand and print high quality analogue C-Type prints. Day 1 Morning: Colour Theory, Inspiration and Refresher for SLR Camera Controls During the morning we will be looking at contemporary photographers and artists that have used colour to inform their practice in specific ways. We will look at the ways in which colour revolutionized the artworld and vernacular photography. We will also look at basic colour theory, exploring which colours compliment each other and why. We will also refresh basic camera controls, load cameras and head out to the streets to shoot a roll of film. Afternoon: Colour Film Processing During this session, you will learn how to hand process your colour film. We will discuss the loading of the tank and the preparation of the machine to ensure correct processing temperature. We will look at different film types, why you may want to use them and the range of effects that can be produced. Day 2 Morning: Introducing the Colour Darkroom and Contact Sheets You will be introduced to Stills colour darkooms and become familiarised with the range of equipment you will be using. You will be taught how to set up your darkroom for printing, how the colour print processor works and how to print a contact sheet for viewing your negatives. Afternoon: Printing In the afternoon you will be expected to make a series of final C-Type prints. You will be shown techniques to improve your printing skills and produce the images you desire. This last session will allow you time to print with some one-to-one attention. We will discuss some printing techniques to help you get the most from your negatives. We will also have time at the end of the day to look back on all the work produced over the course and discuss it in relation to theory we learnt at the beginning. By the end of the course you will have: * Learned more about colour theory and have a knowledge of contemporary artists working with colour photography * Learned to process your own colour film * Experimented with a variety of specialised darkroom printing techniques * Printed contact sheets and a collection of colour photographs * Feel confident in a colour darkroom using specialist equipment -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout.
A perfect follow-on course for those who have already completed an introductory darkroom printing course, or who have a reasonable level of B&W darkroom printing experience. Please bring B&W negatives (35mm or medium format) that relate to each other in some way (subject matter, tonal range, environment etc.) as we will be making a number of prints that can be read as a series. Please note: This course only covers the printing of images and participants should therefore bring previously processed negatives and if you have one, a printed contact sheet along to the session. All other materials (including a range of papers) will be provided. Class sizes are currently limited to 4 participants to enable social distancing throughout the course. Morning * Presentation and analysis of what makes a successful series of photographs, and how the final print can be crafted to accentuate the photographer’s artistic intent * Reading the negative and pre-visualising the print * Re-cap of darkroom skills – including overview of single filter printing, test strips and making a work print * Learning how to split-filter print Afternoon * Making a printing plan * Using fibre based paper * Plenty of practical darkroom time to work on your images and gain confidence in the new skills and processes * Finishing your prints -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. [https://stills.org/stills-bookings-cancellation-policy/] Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout. Stills uses ILFORD PHOTO chemicals on this course that can potentially pose a risk to pregnant and breast feeding women and asthmatics. We take every care to ensure good working practices and adequate ventilation in our darkrooms. If you feel you may be adversely affected, please visit the Health and Safety section of Ilford’s website for further information. -------------------------------------------------------------------------------- General Guidance Notes for Pregnant and Breast Feeding Women and Asthmatics: From a risk assessment standpoint, provided all necessary control measures (such as good working practices, adequate ventilation, and the use of appropriate PPE) are in place then pregnant and breastfeeding women should be able to continue to work safely with photochemical products.Inhalation is the main route by which fumes and gases enter the body, making good ventilation a high priority. Exposure to irritant chemicals that would not affect most people may provoke an asthma attack in a person who already has asthma. For example, low levels of the gas sulphur dioxide can be produced by some ILFORD PHOTO processes. Most individuals would be unaffected but asthmatics may suffer adverse affects. * ILFORD PHOTO products include no known human carcinogens, and no substances to which phrase R46 (May cause heritable genetic damage) or R64 (May cause harm to breastfed babies) applies. * Most ILFORD PHOTO developers use hydroquinone, and their classification therefore includes R40 (Limited evidence of a carcinogenic effect) and R68 (Possible risk of irreversible effects). * Some ILFORD PHOTO chemicals use boric acid or borates. These substances are classified as toxic for reproduction. As a result, the classification of some of the powder developers includes R60 (May impair fertility) and R61 (May cause harm to the unborn child).
“Any good photography is a successful synthesis of technique and art.” – Andreas Feininger Discover the magic of Black & White Photography and learn some of the secrets the masters use to make stunning photographs. Explore the fundamentals of light and time and no longer be a slave to the Auto setting. Master the manual functions of your 35mm SLR film camera and unlock its true potential. Get to grips with the complete darkroom workflow from processing film to printing your own black & white photographs. Perfect for those with no experience or those looking for a full refresher. If you don’t have a 35mm SLR camera we have a limited number available for use during the course – please make your selection from the dropdown at time of booking. Week 1 Capture, technical notes, discussions, art context Understand the fundamentals of light and time in balancing an accurate exposure; No longer be a slave to the Auto setting! Learn how to utilise the Manual functions of your 35mm SLR camera including aperture, shutter speed, film speed and metering. Understand depth of field, composition and creative photo-making techniques; Appreciate photography within an art context – Begin to look at the work of other photographers Assignment: You will be given one roll of B&W film to be shot for the second week Week 2 Film processing Learn how to process B&W film by hand in Stills’ darkrooms. We will discuss different film types and chemistry, as well as best practice procedures for film handling. Appreciating photography within an art context-Sally Mann. Week 3 Contact Printing Gain an appreciation of general darkroom procedures;understand how to set up your enlarger and make a contact print using the traditional analogue method; learn how to make 8×10″ work prints using the single filter printing method. All paper and chemistry will be provided. Week 4 Darkroom printing This last session will allow participants to keep on printing with some one to one attention. We will also explore some basic dodging and burning and other printing techniques to get the most from your negatives and make a series of final prints. -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. [https://stills.org/stills-bookings-cancellation-policy/] Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout. Stills uses ILFORD PHOTO chemicals on this course that can potentially pose a risk to pregnant and breast feeding women and asthmatics. We take every care to ensure good working practices and adequate ventilation in our darkrooms. If you feel you may be adversely affected, please visit the Health and Safety section of Ilford’s website for further information. -------------------------------------------------------------------------------- General Guidance Notes for Pregnant and Breast Feeding Women and Asthmatics: From a risk assessment standpoint, provided all necessary control measures (such as good working practices, adequate ventilation, and the use of appropriate PPE) are in place then pregnant and breastfeeding women should be able to continue to work safely with photochemical products.Inhalation is the main route by which fumes and gases enter the body, making good ventilation a high priority. Exposure to irritant chemicals that would not affect most people may provoke an asthma attack in a person who already has asthma. For example, low levels of the gas sulphur dioxide can be produced by some ILFORD PHOTO processes. Most individuals would be unaffected but asthmatics may suffer adverse affects. * ILFORD PHOTO products include no known human carcinogens, and no substances to which phrase R46 (May cause heritable genetic damage) or R64 (May cause harm to breastfed babies) applies. * Most ILFORD PHOTO developers use hydroquinone, and their classification therefore includes R40 (Limited evidence of a carcinogenic effect) and R68 (Possible risk of irreversible effects). * Some ILFORD PHOTO chemicals use boric acid or borates. These substances are classified as toxic for reproduction. As a result, the classification of some of the powder developers includes R60 (May impair fertility) and R61 (May cause harm to the unborn child).
This 5 week in-house class is an introduction to plant-based photographic processes. It will cover anthotypes, chlorophyll printing, lumens, accelerants, chemilumins and make-your-own developers. Key differences between the in-person and online classes include: In-house: Each session will be 3 hours long and all materials will be provided for these classes. In this face-to-face course, students can work on different techniques in class, with additional work outside of this subject to the individual’s preferences. • Session 1: Introduction and Overview During this first session, we will begin by making exposures in-camera for future use with the DIY Developer. We will also cover the format of the course and provide an opportunity to answer questions participants may have prior to the hands-on sessions. It will offer the space for participants to get to know each other and feel confident in the approach and setup required without the pressure of jumping straight into the practical tasks. • Session 2: Anthotypes Anthotypes date back to the 19th century and a fantastic Scottish scientist Mary Somerville. An emulsion is made from fresh plant material, coated on paper, and then exposed using the sun. • Session 3: Chlorophyll Printing Chlorophyll printing is related to Anthotype printing, but instead of using plant juices to create an emulsion, an image is created directly on leaves using an object, stencil, or positive transparency. • Session 4: DIY Paper Developer These DIY developers can be made from things found in your kitchen and garden. Learning about the building blocks of photochemistry, we will create eco-friendly chemistry to process both our black and white contact prints/photograms at home. • Session 5: DIY Film Developer In this session we will build on our successes with DIY developers for paper and apply it to film (which is more sensitive and specific to chemistry). • Session 6: Lumens and Accelerants on film and paper Lumens are camera-less prints made with materials in direct contact with photographic papers. Accelerated lumen prints are made by using organic, nontoxic chemistry directly onto film and paper with increased exposure times. These can then be fixed and printed from to create wildly coloured and unpredictable prints of great beauty. IMAGES ALL PRODUCED BY PAST COURSE PARTICIPANTS: IMAGE 1 : © WENDY KIRKUP AND ALEX HETHERINGTON, NEW HYBRIDS, 2020 IMAGE 2 : © WENDY KIRKUP – ANTHOTYPE, 2020 IMAGE 3: © CATHERINE SEAGAR – LUMENS, 2020 IMAGE 4: © ERIN WOODBREY – ANTHOTYPE, 2020 IMAGE 5: © WENDY KIRKUP AND ALEX HETHERINGTON, NEW HYBRIDS 5, 2020 IMAGE 6: © ERIN WOODBREY – ANTHOTYPE, 2020 IMAGE 7: © CATHERINE SEAGAR – LUMENS, 2020 IMAGE 8: © CATHERINE SEAGAR – LUMENS, 2020 -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout.
This 2-day course will introduce you to the magic (and basics) of hand applied silver gelatin. You will learn to use light sensitive liquid emulsion that can be applied to different surfaces and exposed to produce a photographic image. The many possibilities of the technique means it is used by painters, sculptors and print makers as well as those who like to have more control over their photographic images. Please bring along your own negatives (film or digital) to contact print from or get in touch with Stills when booking and we will produce a digital negative for you. Day 1 We will begin by making our own silver gelatin paper which we will expose and print in the darkroom to produce a handmade photograph. After going through the basics of the process we will explore printing on other materials such as wood, ceramic, shells etc. Some materials will be provided but please feel free to bring along any objects that you would like to try printing on to. Day 2 In this session we will move on to the Dry Plate process: darkroom printing onto glass We will continue printing on glass and also try creating glass plates to expose in camera. By the end of the course you will have produced: * Two prints on paper * Two prints on different porous material objects * One glass plate -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout.
Photojournalism Course
By Elearncollege
DESCRIPTION Photojournalism Diploma Immerse yourself in the dynamic world of visual storytelling with the Photojournalism Diploma, a comprehensive online course that imparts in-depth knowledge and practical skills essential to the craft of photojournalism. The programme is meticulously designed to cover a broad range of topics, providing students with the tools and techniques required to thrive in this exciting and fast-paced field. The initial stages of the course focus on 'The Art of Photojournalism', a module where participants become acquainted with the vital elements that constitute the heart of photojournalism. Here, students learn to view the world through the lens of a photojournalist, creating compelling narratives that captivate and inform audiences. Students then progress to understanding the 'Essential Equipment for Photojournalists', where they gain detailed knowledge about the right gear for various assignments. The course enlightens learners about how choosing the correct equipment can make the difference in effectively portraying a narrative. A key aspect of successful photojournalism lies in the 'Composition and Framing Techniques'. This part of the Photojournalism Diploma teaches students to utilise these techniques to elevate their work, creating visually captivating compositions that can tell a story without the need for words. Moving on, students learn about 'Mastering Exposure and Lighting'. From manipulating natural light to working with artificial sources, the course guides learners through various facets of lighting, helping them capture their subject in the best possible way. In the 'Developing Visual Storytelling Skills' module, students are trained to construct visual narratives that resonate with viewers, evoking emotion and empathy. This is where they learn to combine their technical skills with creativity, transforming ordinary scenes into extraordinary photo-stories. The course also delves into the 'Digital Darkroom', where students learn about digital post-processing techniques. Here, they discover the power of editing software to enhance their images and create a polished final product. The Photojournalism Diploma doesn't overlook the 'Business of Photojournalism' as it equips students with essential knowledge on how to navigate the professional realm. This segment provides them with an understanding of the market dynamics, contracts, and relationship-building within the photojournalism industry. 'Social Media and Photojournalism' is a vital component of the course, teaching students how to utilise various social media platforms to showcase their work, reach wider audiences, and connect with potential employers or clients. The course further covers 'Legal and Ethical Considerations' in photojournalism, a topic of great importance in the current digital age. It emphasises respect for the privacy and dignity of subjects, copyright laws, and responsible reporting. Lastly, the Photojournalism Diploma discusses 'The Future of Photojournalism', exploring trends and technological advancements shaping the future of the industry. Students will gain insights into potential career paths and future opportunities in the field of photojournalism. In summary, this Photojournalism Diploma offers a comprehensive and accessible pathway for those passionate about storytelling through the lens. Enroll today to start your journey into the captivating world of photojournalism. What you will learn 1:The Art of Photojournalism 2:Essential Equipment for Photojournalists 3:Composition and Framing Techniques 4:Mastering Exposure and Lighting 5:Developing their Visual Storytelling Skills 6:The Digital Darkroom 7:Navigating the Business of Photojournalism 8:Social Media and Photojournalism 9:Legal and Ethical Considerations 10:The Future of Photojournalism COURSE OUTCOMES After completing the course, you will receive a diploma certificate and an academic transcript from Elearn college. ASSESSMENT Each unit concludes with a multiple-choice examination. This exercise will help you recall the major aspects covered in the unit and help you ensure that you have not missed anything important in the unit. The results are readily available, which will help you see your mistakes and look at the topic once again. If the result is satisfactory, it is a green light for you to proceed to the next chapter. ACCREDITATION Elearn College is a registered Ed-tech company under the UK Register of Learning( Ref No:10062668). After completing a course, you will be able to download the certificate and the transcript of the course from the website. For the learners who require a hard copy of the certificate and transcript, we will post it for them for an additional charge.
Join us for this special weekend Masterclass with renowned narrative landscape photographer, John Davies. “A fundamental aspect of my approach to landscape is the sense of power it can symbolise and evoke. Images of land, water and sky can become metaphors, which reflect our emotional and spiritual states. But the landscape can also represent power in terms of land ownership and material wealth. It is this dual and often ambiguous representation of the metaphysical and the material in the landscape that underlies my photographic work…to raise questions about our collective responsibility in shaping the environments in which we live.” John Davies Davies work captures the British landscape in a permanent state of flux, displaying rare moments of calm and quiet amidst the inevitable change of these modern landscapes. Perhaps best-known for his black and white photographs made between 1979 and 2005 and comprising the project The British Landscape, his work shows the vast, complex, and majestic scenery of post-industrial and industrial Britain. Shaped by human endeavour, Davies’ cooly detached viewpoint serves to highlight the seams and layers of information left behind by time. This practical 2-day workshop* will primarily focus on Davies’ use of black and white, which through his unique vision gives his photographs an almost magical and mystical appeal. Demonstrating methods of how to produce high quality B&W prints and also to engage in discussions about communicating ideas through photography, Davies will talk about his journey in producing many exhibition projects of his landscape work throughout the UK and Europe. Including a short field-trip nearby the gallery, John will show examples of his exhibition prints and explain his interest and approach in photographing various landscapes. John will also discuss his research practices and how his photographs are derived from his interest in the social and political landscape around him, drawing inspiration from issues relating to his surroundings and conditioning. *Due to space limitations in the darkrooms, the full course is only open to a maximum of 6 participants. However, there are a number of additional 1-day places (for Saturday 21st only) that can be booked when these physical restrictions are not relevant. Outline Day 1: Morning: John will start the workshop with a comprehensive overview of his major bodies of work and his journey in producing many exhibition projects of his landscape work – examining the research methodologies and planning decisions that go into each project. He will show examples of exhibition prints and books and explain his interest and approach in photographing various landscapes. He will also show some digital prints including infrared pictures made with a digital camera. Afternoon: A short field-trip nearby the gallery will give participants the chance to learn about Davies’ choice of equipment and experience first-hand his personal approach to camera exposure techniques and film selection. The group will then return to the gallery to process the exposed film and learn how development of negatives can achieve best results for printing or scanning. Detailed workshop notes on film exposure and film processing can be found at: www.johndavies.uk.com/atec.htm [http://www.johndavies.uk.com/atec.htm]. Outline Day 2: Morning: Practical demonstration of B&W darkroom printing, providing insight into John’s decision-making processes, paper and chemistry choices and darkroom techniques. John will advise on how to achieve high quality photographic prints to archival standards. Afternoon: This final session will explore aspects of landscape photography (but not exclusively) and will involve interactive discussions about perceptions of meaning and communicating ideas through images. This session is an oppertunity for participants to bring along a selection of prints to be discussed as a group, and receive constructive feedback from John. There will also be time for additional questions -------------------------------------------------------------------------------- John Davies Biography Born in Sedgefield, County Durham, in 1949, John Davies studied photography at Trent Polytechnic in Nottingham. In the 1970s his first photographs were landscape studies of rural Britain and in 1981 he began an ongoing documentation of urban Britain, concentrating on the industrial transformation and on post-industrial landscape. He has published several photobooks, including The British Landscape in 2006. This series was launched at PhotoEspaña in Madrid and other exhibition venues include Gallery Vu, Paris, and The New Art Gallery, Walsall. His photographs have been widely exhibited, including at the Museum of Modern Art, New York, the Pompidou Centre, Paris, the Royal Academy of Art and the Victoria and Albert Museum, London. In 2008, Davies was shortlisted for the Deutsche Börse Photography Prize for his major retrospective exhibition of photographs taken from The British Landscape. Davies continues to photograph, publish, and exhibit internationally, most recently publishing Retraced 81/19,featuring before-and-after photographs made at the same locations in England, Wales, France and Germany between 1981 and 2019. Current exhibitions include Energy: Sparks from the Collection at the V&A, London, and Landscape Trauma at the Centre for British Photography, London, featuring his newest body of work of Contrail Cirrus clouds from jet engines above the north sky. -------------------------------------------------------------------------------- IMAGES USED COURTESY OF JOHN DAVIES: IMAGE 1 : © JOHN DAVIES – TROTTERNISH, ISLE OF SKYE 1981 IMAGE 2 : © JOHN DAVIES – VIADUCT, STOCKPORT 1986 IMAGE 3: © JOHN DAVIES – GREAT GABLE, CUMBRIA 1980 IMAGE 4: © JOHN DAVIES – AGECROFT POWER STATION, SALFORD 1983 IMAGE 5: © JOHN DAVIES – ALLOTMENTS, EASINGTON COLLIERY, COUNTY DURHAM 1983 -------------------------------------------------------------------------------- Courses are subject to minimum enrolment. Please register early, within five days of the start date, to reduce the likelihood of course cancellation. Please read our cancellation policy before booking. Students, anyone over the age of 65, and those in receipt of any form of benefits can claim the concessionary price, offering a 10% discount on the full course price. Valid proof of eligibility must be produced on the first day of the course. Please use the code CONCESSION when prompted at checkout.
Photography Composition & Portrait Photography Masterclass
By iStudy UK
This Photography Composition & Portrait Photography Masterclass is loaded up with tips and directions to fuel up your photography aptitudes and to become an expert photographer who can take great pictures with any camera. Figure out how to communicate through stills by honing your inner creativity and photographer eyes in the most artistic way. This course requires no related knowledge or learning in photography to join up with. You should simply to adhere to the guidance religiously and you will be prepared to become a master photographer in no time. WHAT YOU'LL LEARN * Access Your Built-In Ability To See Creatively * Create Simple Yet Powerful Compositions * Master The Visual Language Of Photography * Master The Creative Photography Process * Master The Art Of Portrait Photography * Take A Picture That Impresses With Any Camera * Understand How Light Works And Its Importance In Photography * Take Great Color Images * Take Great Black And White Images * Take Images Using Some Very Advanced Photography Composition Techniques * Take Powerful Portraits Using Just Natural Light * Understand How To Set Up A Home Based Portrait Studio On A Budget * Master The Classic Studio Lighting Techniques Used In Studio Photography * Take Beautiful Portraits Using Flashes And Strobes In A Modern Studio Setting REQUIREMENTS * You Will Need To Have A Passion For Photography * You, Will, Need Access To A Camera - A Smartphone Is Sufficient To Get You Started A Brief History of Photography Is It Art 00:08:00 A Brief History Of Photography 00:06:00 The Great Debate 00:09:00 Activities 00:02:00 The Art Of Seeing Introduction 00:01:00 The Ordered Universe 00:08:00 Beauty Detector 00:04:00 Let There Be Light 00:07:00 The Photographer's Playground 00:11:00 Activities 00:01:00 Seeing The Light Introduction 00:01:00 Seeing The Light 00:05:00 Hard Light 00:09:00 Soft Light 00:09:00 Colour Temperature 00:03:00 Activities 00:01:00 Controlling The Light Introduction 00:01:00 Working The Scene 00:02:00 Moving Your Feet 00:08:00 Moving Your Subject 00:07:00 Move Your Light 00:07:00 Activities 00:01:00 Capturing The Light Introduction 00:01:00 Your Camera 00:18:00 The Three Levers 00:11:00 ISO 00:05:00 The Shutter 00:07:00 The Aperture 00:13:00 Activities 00:01:00 Processing The Light Introduction 00:01:00 The Digital Darkroom 00:10:00 Lightroom Edit 00:10:00 Snapseed Edit 00:07:00 Activities 00:01:00 The Core Principles Of Composition Introduction 00:01:00 The Language Of Composition 00:02:00 The Subject 00:08:00 The Environment 00:06:00 Leading The Eye 00:04:00 Evoking Emotion 00:05:00 Symmetry 00:06:00 Activities 00:01:00 The Basic Rules Of Composition Introduction 00:01:00 The Rule Of Thirds 00:09:00 Leading Lines 00:07:00 The Highest Point Of Contrast 00:13:00 Activities 00:01:00 Color Photography Introduction 00:01:00 Adventures In Color 00:06:00 Hue, Saturation, Luminosity 00:03:00 The Color Wheel 00:12:00 Working With Color 00:10:00 Simple Color Edit 00:09:00 Activities 00:01:00 Black And White Photography Introduction 00:01:00 Why Black And White 00:04:00 King Luminosity 00:04:00 A Zone System 00:05:00 Seeing In Black And White 00:06:00 A Simple Black And White Edit 00:07:00 Activities 00:01:00 Controlling The Frame Introduction 00:01:00 In The Frame 00:14:00 Isolating The Subject 00:08:00 Negative Space 00:05:00 Framing Your Subject 00:07:00 Abstract And Geometric Composition Introduction 00:01:00 Abstract Images 00:06:00 Seeing Like An Architect 00:06:00 Strong Visual Elements 00:09:00 Activities 00:01:00 Creative Portraiture Introduction 00:01:00 The In Between Moments 00:05:00 The Eyes 00:08:00 Body Language And Gesture 00:12:00 Activities 00:01:00 Finding Yourself As A Photographer Introduction To Finding Yourself As A Photographer 00:01:00 Creating An Image 00:07:00 Creating A Style 00:08:00 Creating A Series 00:02:00 Creating A Body Of Work 00:03:00 Sharing Your Work 00:06:00 Natural Light Portrait Photography Introduction To Natural Light Portrait Photography 00:01:00 Finding Your Light 00:03:00 Hard Light And Soft Light - A Recap Of The Basics 00:05:00 Outside Soft Light 00:09:00 Inside Soft Light 00:08:00 Outside Hard Light 00:14:00 Inside Hard Light 00:08:00 Finding Your Background - Simple Backgrounds 00:04:00 Finding Your Background - Complex Backgrounds 00:06:00 Posing Your Subject - A Refresher 00:04:00 Projects For Natural Light Photography 00:01:00 Building A Home Based Portrait Studio On A Budget Introduction To Home Based Photography Studio 00:01:00 Finding Your Studio Location 00:06:00 Camera Choices 00:05:00 Lens Choices 00:02:00 Equipment List 00:09:00 Additional Studio Equipment 00:05:00 Basic Studio Lighting Set Up 00:06:00 Finding Clients For Your Business 00:06:00 Recording Your Floor Plans 00:01:00 Dealing With The Public 00:03:00 Activities For Home Based Photography Studio 00:01:00 Classic Studio Portrait Photography Introduction To Classic Studio Portrait Photography 00:01:00 Open Loop Lighting 00:05:00 Closed Loop Lighting 00:05:00 Butterfly Lighting 00:06:00 Split Lighting 00:06:00 Short Lighting 00:04:00 Broad Lighting 00:03:00 Rembrandt Lighting 00:07:00 Studio Backdrops 00:03:00 Preparing The Subject 00:06:00 Choosing The Facial Angle 00:07:00 Posing The Body 00:05:00 Body Poses And Posture 00:03:00 Body Poses - The Light Pose For Males 00:04:00 Body Poses - The Shadow Pose For Females 00:04:00 Group Shots - Basic Core Principles 00:03:00 Couples Shots - Basic Core Principles 00:10:00 Black And White Portrait Tips - A Refresher 00:01:00 Lens Choices In The Studio 00:01:00 Classic Studio Course Activities 00:01:00 Modern Studio Portrait Photography Introduction to Modern Studio Portrait Photography 00:01:00 Studio Lighting Buying Tips 00:03:00 Strobe Modifers Explained 00:05:00 Standard One Light Techniques 00:09:00 Non Standard One Light Techniques 00:08:00 Two Light Techniques 00:07:00 Three Light Techniques 00:08:00 Four Light Techniques 00:08:00 Hollywood Lighting- Advanced Lighting 00:08:00 Modern Studio Photography Activities 00:01:00
