Being open to give and receive feedback is key to growing as an artist. Participate in feedback sessions with an open mind, ready to share your ideas, and be receptive to the ideas of others.

If you want to get the most out of this course, being active with the community is the most important step. We highly recommend you join any feedback sessions you can, ask for feedback on the Discord, and genuinely engage with other participants’ work.

When you offer thoughtful critique, you sharpen your ability to see images objectively; training your eye to appreciate subtle compositional choices, technical nuances, and the overall potential of an image.

Feedback is about learning how to communicate visually. Over time, you become better at articulating why certain elements do or don’t work, translating those lessons back into your own process. Embracing critique helps demystify what makes an image compelling, fueling your confidence and creativity as you continue to grow.

During this course you will also be tasked with giving feedback. If you’re new to photography, you may feel that you’re not ‘in a place’ to give feedback to others. You’d be wrong. All perspectives have value, regardless of how long you’ve been in photography or the level of education you have of the subject. Photography is a visual medium, and you have been consuming visual media your entire life. You have an inherent understanding of it whether you consciously recognize it or not.

Alright, so you’ve accepted that you can give feedback, but now you’re asking ‘how??’ The main thing is that feedback should be constructive and actionable. What that means is that there needs to be more than what you like and dislike - there needs to be substance.

While probably appreciated by the photographer, it doesn’t really say anything. Instead, note what makes the photo ‘sick’ and ‘fireemoji.’ Is it the composition, where the subject is placed in the frame, the overall story? Identify why you are having the reaction to the image that you are.

Now for the actionable part. When giving constructive criticism, it’s important to note what can be done to improve the overall image. This would look something like “I love the energy of the overall scene, but I think we could bring more attention to the subject. Try getting closer to the point of interest to really highlight it.” Notice how what works was identified, and actionable advice is given.

The lens is the second core component of any camera. It is an optical device that takes scattered light rays and focuses them onto the sensor. Modern lenses are often complex, sometimes made up of a dozen or more optical elements, each serving a specific purpose. The quality of the glass, the coatings, and the precision of the construction all play a major role in determining final image quality.

Every lens involves compromise. A single lens that is perfect at every focal length, aperture, and distance would be impractical in terms of cost, size, and weight. For that reason, good lenses tend to be specialized. Being able to change lenses allows you to choose the right tool for the kind of image you want to make.

Focal length refers to the optical design of the lens and roughly describes how wide or narrow the scene will appear. It is expressed in millimeters. While the focal length itself does not change, the field of view it produces depends on the size of the camera sensor it is used with. This is often referred to as the crop factor.

To make comparisons easier, focal lengths are often described using “35mm equivalent” values. This refers to the focal length that would produce the same field of view on a traditional 35mm film camera and gives us a common reference point. If a lens is labeled with a single number, such as 24mm, it does not zoom and is called a prime lens. If it lists a range, such as 18–55mm, it is a zoom lens that can be used anywhere within that range.

For now, the most important value to notice on a lens is its maximum aperture. Lower maximum apertures allow more light in and offer greater flexibility. Professional zoom lenses often have constant maximum apertures like f/2.8, while consumer zooms commonly have variable apertures such as f/3.5–5.6. Most lenses can be stopped down to around f/22.

Lenses also include a focusing system. Most modern lenses have an internal autofocus motor controlled by the camera, along with a manual focus ring that allows the photographer to focus by hand. Many lenses are also equipped with optical image stabilization, called VR by Nikon and IS by Canon.

These systems detect small movements, such as hand shake, and counteract them by shifting optical elements inside the lens. While not a cure-all, they are very effective at allowing sharp images to be taken at slower shutter speeds. In modern mirrorless systems, this lens-based stabilization is often combined with sensor-based stabilization in the camera body for even better results.

The body is the light-tight box that connects the lens to the sensor and coordinates everything in between. While some film cameras were little more than sealed boxes, most digital cameras today are essentially small computers, packed with features and decision-making power.

Now, let’s look at some of the components you will find in most camera bodies.

On many cameras, shutter speeds typically range from about 30 seconds to 1/4000 or even 1/8000 of a second. Some cameras also offer electronic shutters, which expose the sensor without moving parts. These can be rolling or, in newer designs, global shutters. Each approach has its own advantages and limitations, which we will touch on later.

Compact cameras, often called point-and-shoots, were probably many people’s first digital camera. One of their biggest advantages is how unobtrusive they are. When you use a compact, most people assume you are a tourist and move on. Even a small mirrorless or DSLR tends to draw more attention by comparison.

A Digital Single-Lens Reflex (DSLR) camera has long been a popular choice among photographers because of its versatility, image quality, and level of manual control. These cameras use interchangeable lenses and an optical viewfinder, which provides a real-time, lag-free view of the scene through the lens.

DSLRs typically use larger image sensors than phones or basic compact cameras, which generally results in better image quality and stronger performance in low light. Another defining feature is access to a wide range of lenses, allowing photographers to choose the most appropriate tool for different situations. Full manual controls over aperture, shutter speed, and ISO give photographers precise control over how images are made. DSLRs have also been widely used for photographing fast-moving subjects, such as sports or wildlife, thanks to their reliable autofocus systems and responsive handling.

As mirrorless cameras have become more common, DSLRs now offer excellent value on the used market. For someone who wants a 'proper camera' with full control and access to interchangeable lenses, a DSLR can still be a very solid starting point. In recent years, manufacturers like Canon and Nikon have shifted new development toward mirrorless systems, which offer similar image quality in smaller and lighter bodies.

Mirrorless cameras, sometimes referred to as MILCs (Mirrorless Interchangeable Lens Cameras), are now the dominant category of interchangeable-lens cameras. Since their first appearance around 2008, they have moved from a niche option to the primary focus of most major camera manufacturers.

Unlike DSLRs, mirrorless cameras do not use a mirror mechanism. Instead, they rely on electronic viewfinders (EVFs), rear LCD screens, or both for composing images. This design removes the need for an optical viewfinder and allows the camera to show a live preview of exposure, depth of field, and other settings before the image is captured. Modern EVFs have improved significantly and are now clear, responsive, and reliable enough for most types of photography.

There are still trade-offs. Mirrorless cameras typically rely on electronic viewfinders and continuous sensor operation, which can lead to shorter battery life compared to DSLRs, though this gap has narrowed significantly in recent generations. Some photographers also prefer the experience of an optical viewfinder, valuing the direct optical view and lack of electronic mediation.

Film cameras use photographic film to capture images through a chemical process. Rather than recording light digitally, film produces physical negatives or transparencies that can later be printed or scanned. Despite the dominance of digital cameras and smartphones, there has been a noticeable resurgence of interest in film photography among many photographers and enthusiasts.

Another draw is the availability of unique and vintage cameras, many of which are no longer produced. For some photographers, using these tools is as much about the experience as it is about the final image.

There are some cameras that sit well outside what most photographers need or will ever use. In the digital world, this usually means medium format systems. These include both traditional digital backs and more recent medium format mirrorless cameras. These systems use sensors larger than full frame (35mm) and come at a significant cost. Entry-level medium format bodies typically start around several thousand dollars, while professional systems can easily exceed $10,000 before adding lenses.

What sets medium format apart is not just resolution, although sensors well over 100 megapixels are common. These cameras are also valued for their color depth, tonal transitions, and overall image rendering. That said, their advantages tend to show up most clearly in large prints, controlled lighting situations, or commercial workflows. For everyday shooting, the differences between high-end full frame cameras and medium format are often subtle. As a result, these systems are most commonly used by commercial photographers, studio shooters, and some landscape and fine art photographers who benefit from that extra image information.

Rangefinders are popular with some street and documentary photographers because of their compact size, quiet operation, and unobtrusive design. However, they come with a learning curve. Framing is less precise at close distances, focusing is entirely manual, and the experience is very different from modern autofocus systems. For photographers who enjoy that process, they can be deeply rewarding (hi, it’s me!). For others, they are simply not practical.

A common misconception is that focal length itself causes distortion. This is often demonstrated with portraits taken at different focal lengths, where wide-angle images show exaggerated facial features and longer focal lengths appear more flattering. That demonstration, often shown through .gif or static images, will show a face at 18mm, 56mm, and 80mm (for example) and apparent distortion such as exaggerated noses and compressed facial features at 18mm, versus more natural proportions at 80mm. You’ve probably already seen this effect in your own selfies since front-facing phone cameras tend to use a wide focal length.

But let’s look at this from a broader point of view. Think about that selfie you’re taking. As it’s inherently taken by you, by your own hands, you can only hold the camera so far from your own face. Now about that portrait with an 18mm focal length. We know that 18mm is quite wide, meaning there’s a lot of the scene in that image. To make sure the subject (in this case a person) is seen clearly and not lost in that massive scene, the photographer has to move closer. And closer. And closer.

Longer focal lengths allow you to stand farther away while keeping the subject the same size in the frame. That increased distance reduces perspective exaggeration, which is why longer lenses are often preferred for portraits.

That brings us to compression. The term "compression" is often used to describe the visual effect of narrowing the perceived distance between elements in an image. This is the same mechanism behind the facial distortion discussed earlier: perspective is set by physical distance to the subject, not by focal length.

Like that distortion .gif, you may have seen .gifs or visual representations of compression - normally with a farmhouse or shack in front of mountains. At wider focal lengths with the camera closer, the mountains behind the shack seem small and far away.

At more narrow focal lengths with the camera further away, those mountains are massive, and right up on the shack. This “perspective flattening” can be used to a photographer’s advantage strategically.

Now that you know more about focal length, let’s take a look at the different ranges usually found in lenses, and what their uses tend to be. Of course, there are many, many exceptions, but this is the “normal” use they were designed for. All focal lengths are given for 35mm sensor size (crop factor: 1).

Since raw files are not directly viewable, you will need software which can read and manipulate raw file types. We will go into more detail during our processing unit, but some popular options for software include:

The other major component of your digital workflow is backups. It seems like nearly everybody needs to go through one major data loss before getting serious about backing up. Just make sure it doesn’t happen to your most important images. This isn’t an exhaustive discussion on backup by any means, there are plenty of specialized articles which can delve into the nitty gritty details, this is more a primer to have you aware of the basic concepts and media. The blog of cloud storage company Backblaze has a wealth of information if you want to go further.

All backup options have their upsides and downsides, and the truth is that there is no perfect solution to perfectly store digital files for a long period.

Storing files on the cloud e.g. Amazon S3, Backblaze, Backblaze B2, Google Drive, Dropbox, Amazon Photos and similar services, are a great option to have the easiest way to have secure offsite storage. Pricing is generally very competitive, though some solutions scale to multiple terabytes better than others, and most also come with a versioning history. A critical factor in the viability of these cloud-based services is they are highly dependent on your internet upload and download speed, upload to move the data there and download to retrieve it in case of an issue with other media.

Of course, even a hypothetical immortal media wouldn’t survive fire, flood or accidental erasure. For these reasons, the basic concept of backups follows the 3-2-1 strategy; in that three copies are made of the data to be protected, the copies are stored on two different types of storage media, and one copy of the data is sent off-site. Businesses and working professionals almost always use variations of this, but the 3-2-1 idea holds well for hobbyists and enthusiasts where downtime if a failure were to occur isn’t a big issue.

As to what you should backup, at a minimum, you should backup your raw and processed versions of your best images, though with the price of storage, it is very easy to backup your entire photo library. It should also be mentioned that you want to have backup at both ends of the workflow pipeline, you want to have this process started as soon as you start copying files from your memory card to your computer. This copying stage is often where you are most vulnerable. You also want to ensure all your newly added tags, flags, ratings, non-destructive edits, and file duplicates with destructive edits are backed up as you make the changes within your DAM software.

Here are some recommendations for backup ideas.

In the last situations where you have two backup methods running automatically, you should also have a third, manually-run, in the case of ransomware or malware that encrypts your devices and locks you from your computer.