Photography I — bythr<span style="color:var(--dark)">e</span><span style="color:#3897F1">e</span>du

Duration

~26

weeks

Total Lessons

26

at your pace

Units

7

progressive phases

Assignments

7+

practice shoots

Destination

Portrait
Mastery

The full curriculum — move at your own pace across any plan.

00 — ApproachCourse Philosophy

Mechanics First, Vision Second

Most people pick up a camera and start on Auto, then wonder why their images don't look how they imagined. This course reverses that. We start with what light is, how a sensor records it, and what every dial on your camera actually does — before taking a single creative photograph.

By the time we reach portrait work, manual mode feels like fluency. You'll know why you're making every decision.

See Everything, Then Choose

You cannot direct a subject until you can read light. You cannot read light until you understand exposure. You cannot understand exposure without first understanding your camera as a tool.

Each unit builds directly on the last. Nothing skipped. By the final unit you'll have the full vocabulary — technical and visual — to make exactly the portraits you imagine.

01 — CurriculumLearning Path

01

Unit 1 · Weeks 1–3

The Camera as a Machine

Lessons

L1

How a Camera Sees

Sensor vs. film, how lenses focus light, what a "correct exposure" means, and the physics of capturing a moment in a fraction of a second.
L2

Anatomy & Controls

Every dial, button and mode on your specific camera. Metering modes, viewfinder reading, shooting modes (P, A, S, M). Your first fully manual frame.
L3

Focus Systems

Single-point AF, face detect, continuous tracking, manual focus. When to use each — and how to override your camera when it chooses wrong.

Add-on

+

File Workflow & RAW

RAW vs. JPEG. Memory cards, importing, folder structure. Building habits from day one so you never lose an image.

Key Concepts

Sensor sizeMetering modesAF systems

Assignment 1

Shoot 36 frames entirely in Manual mode. Subject: anything. Goal: at least one correctly exposed frame using only your light meter. Submit your best 5 with all settings written down.

You'll know what every control does and why — before making a single creative decision.

02

Unit 2 · Weeks 4–7

Exposure: The Triangle

Lessons

L4

ISO & Sensitivity

What film speed (ASA/ISO) means. How noise and grain behave at different values. Comparing ISO 100 vs. 3200 on the same subject — seeing the tradeoff firsthand.
L5

Shutter Speed: Freeze vs. Blur

The full scale from 1/1000s to 30s. Freezing action, creative blur, the handhold rule, when a tripod is necessary. First shooting script: freeze and blur three subjects.
L6

Aperture & f-stops

The f-stop scale — each stop doubles or halves the light. Wide-open (f/1.8) vs. stopped-down (f/16). The bucket analogy for reciprocity. Shooting at every f-stop.
L7

Reciprocity & Equivalent Exposures

How all three variables balance each other. Multiple paths to the same exposure — each with different creative results. Exposure bracketing. Your first intentional choices.

Key Concepts

f-stop scaleMotion freezeMotion blurBracketingReciprocity law

Assignment 2 — Shooting Script

Part A: 3 moving subjects — each frozen (above 1/250) and blurred (below 1/30). Change both settings each time. Part B: Same static subject at f/2.8 and f/16. Submit pairs with settings noted.

You'll control exposure intentionally — understanding every tradeoff, not guessing.

03

Unit 3 · Weeks 8–10

Depth of Field & Focus

Lessons

L8

DOF Explained

What depth of field actually is — the zone of acceptable sharpness. How aperture, focal length, and subject distance each affect it. Demystifying "bokeh."
L9

Controlling DOF Creatively

Shallow DOF to isolate subjects. Deep DOF to include environmental context. Shooting the same frame at f/2, f/5.6, and f/16 without moving — to see and feel the difference.
L10

Lens Focal Length & Perspective

35mm vs. 50mm vs. 85mm vs. 135mm — compression, distortion, working distance. Why 85mm is the classic portrait lens and what it does to a subject's face that a 35mm doesn't.

Add-on

+

Focus Accuracy for Portraits

Eye-detect AF, single-point on the eye, focus-recompose. What happens when focus misses by 2 inches at f/1.8. Critical focus in low-light portrait situations.

Key Concepts

DOF zoneBokehPortrait-criticalFocal compression

Assignment 3

Shoot one subject close-up at f/2, f/5.6, and f/16 — feet planted, focus unchanged. Then photograph the same person at 35mm and 85mm from the same distance. Write one sentence about what you notice in each pair.

You'll use DOF as a deliberate compositional tool — not a happy accident.

04

Unit 4 · Weeks 11–14

Seeing Light

Lessons

L11

The Language of Light

Hard vs. soft. Direction: front, side, back. Color temperature: golden hour warmth, open shade coolness, tungsten orange. Learning to read light before you raise the camera.
L12

Natural Light Portraits

Window light, open shade, overcast sky, golden hour, backlit subjects. Metering for skin in tricky conditions. Same subject, four different natural light situations.
L13

Intro to Artificial Light

On-camera flash, off-camera speedlights, continuous LED panels. How each affects your camera settings. Color temperature of artificial light vs. natural. When and why to reach for artificial light.
L14

Portrait Lighting Patterns

Rembrandt, loop, butterfly, split, broad/short lighting. Reading existing portraits and naming their patterns. Building a diagram vocabulary you'll use through the rest of the course.

Add-ons

+

Modifiers & Building a Setup

Umbrellas, softboxes, reflectors, bare bulb — how each shapes and softens light differently. Building your first complete one-light portrait setup from scratch.
+

Recreating Lighting Patterns

With a speedlight and basic modifier, recreate Rembrandt and loop patterns from reference photographs. Deep practice on reading and replicating professional lighting.

Key Concepts

Light qualityColor tempFlash typesRembrandt patternBacklight metering

Assignment 4

Window light only — subject at 90°, 45°, and backlit. Then photograph using one named lighting pattern with available light or a lamp. Submit all four with a hand-drawn lighting diagram for each.

You'll diagnose any light source and position your subject within it deliberately.

05

Unit 5 · Weeks 15–19

Composition, Vision & Planning

Lessons

L15

Point of View & Framing

One subject, six radically different frames: close-up, far, high angle, low angle, horizontal, vertical. How camera position changes meaning entirely. Framing with elements in the scene.
L16

Compositional Principles

Rule of thirds, leading lines, foreground/mid/background, negative space, symmetry and tension. Analyzing strong photographs for their underlying structure before we shoot.
L17

Tone & Intentional Exposure

Deliberate over/underexposure for mood. High-key — intentionally bright, minimal shadows, clean commercial feel. Low-key — shadow-dominant, moody, dramatic. Developing a tonal point of view, not just "correct exposure."
L18

Mood boarding & Shoot Planning

How professional photographers prepare before a shoot. Building a mood board using real reference images. Writing a shot list. Planning location, light direction, and wardrobe. The difference between showing up prepared vs. improvising.
L19

First Critique Session

Bring your 5 strongest images from any assignment. Together we examine: what's working, what isn't, and why. Learning the vocabulary of critique — itself a skill that makes you sharper.

Key Concepts

Rule of thirdsNegative space6 POVsCritique literacyHigh/low keyPre-production

Assignment 5 — Shooting Script

Build a mood board and written concept statement for your Unit 6 portrait session. Then: one subject, six completely different perspectives. Separately: 3 subjects framed by an element in the scene. Submit all with one sentence per frame on the compositional choice.

You'll approach every frame with compositional intention — and show up to every shoot prepared.

06

Unit 6 · Weeks 20–23

Portrait in Practice

Lessons

L20

Posing Fundamentals

Body angles, weight distribution, head tilt, hand and arm placement. Avoiding the stiff "grip-and-grin." Posing as guidance, not instruction — and the difference it makes.
L21

Directing Your Subject

Building rapport before you raise the camera. Verbal and non-verbal cues. Prompts that generate real expression. The 60-second warm-up that changes the whole session.
L22

Location & Environmental Portraits

Using environment to tell more of the story. Scouting a location before the subject arrives. Urban, interior, and outdoor portrait considerations for NYC specifically.
L23

Full Portrait Shoot — Applied

A guided portrait session: you control location, light, direction, and every camera setting. Real-time feedback. Everything from Units 1–5 applied in a single shoot.

Key Concepts

Subject directionGenuine expressionPosing anglesLocation scouting

Assignment 6 — First Portrait Series

Photograph one person in two different environments — one indoors, one outdoors. Submit 5 selects from each (10 total). Include lighting setup and one sentence about your intention for each image.

You'll run a portrait session independently — from setup to direction to selects.

07

Unit 7 · Weeks 24–26

Style, Voice & Final Series

Bonus

The Photography Industry

A panoramic look at where photography goes beyond portrait practice. Commercial, editorial, documentary, and fine art — what each demands technically and artistically. What a digital tech does on a professional shoot. How creative crews are structured. Where your skills from this course connect to each discipline — and which direction excites you most. A preview of what Photography II looks like.

02 — ReferenceCore Mechanics

⏱

Shutter Speed

How long the sensor is exposed to light. Controls motion — freezing action at 1/1000s or introducing intentional blur below 1/30s. The minimum for handholding is roughly 1/focal-length.

1/1000 · 1/500 · 1/250 · 1/125 · 1/60 · 1/30 · 1/15 · 1/4 · 1s

◎

Aperture (f-stop)

The size of the lens opening. Controls light and — critically for portraits — depth of field. f/1.8 = wide open, blurry background. f/16 = closed down, everything in focus.

f/1.4 · f/2 · f/2.8 · f/4 · f/5.6 · f/8 · f/11 · f/16 · f/22

◈

ISO / Sensitivity

Sensor sensitivity to light. Higher ISO = brighter image but more noise/grain. ISO 100 is clean. ISO 3200 is visibly grainy. Use the lowest ISO your light allows.

100 · 200 · 400 · 800 · 1600 · 3200 · 6400

↔

Depth of Field

The zone of acceptable sharpness in a photo. Controlled by aperture, distance to subject, and focal length. The blurry-background portrait look is shallow DOF — not a filter.

Aperture-drivenDistance mattersKey for portraits

⇄

Reciprocity

Fast shutter needs wider aperture. Slow shutter needs smaller aperture. The same total exposure can be achieved many different ways — and each has a different creative result.

f/16 + 1/30 = f/4 + 1/500

◐

Light Quality

Hard light (direct sun, bare flash) = sharp shadows, drama. Soft light (overcast, large modifier) = gentle gradients, wraps a face. Understanding quality separates photographers from snapshooters.

Hard vs softDirectionColor temperature

03 — CapstoneFinal Portrait Series

Course Deliverable

A Complete Portrait Project

The capstone is a self-directed portrait series — your chance to apply everything from all 7 units in a single cohesive body of work. You plan, shoot, edit, and present 8–12 images around a subject or theme of your choosing. This becomes the anchor of your portfolio and the proof of everything built across the full course.

◎

Concept BriefWritten subject/theme statement, mood board, shot list, and lighting plan — reviewed together before you shoot.
◎

Shoot DayA fully planned, independently executed portrait session applying techniques from all 7 units.
◎

Edited Series8–12 fully processed, sequenced images with a cohesive grade — presented as a set, not individual picks.
◎

Final CritiqueOne-on-one session with written feedback notes, strengths identified, and a clear development plan going forward.

04 — EcosystemBetween-Lesson Resources

▹

Curated Reading & Viewing

Every unit ships with a reading and reference package — photographer spotlights, photo essays, and technical material mapped to that week's topic.

Photographer profiles tied to each unit's theme
Photo essays: Magnum, NYT Lens, TIME LightBox
Technical reading: exposure guides, lens charts, lighting diagrams
Recommended book list — delivered Week 1

◇

Practice Assignments

Between lessons, a targeted shooting or editing exercise. Small enough to complete. Focused enough to build one specific skill.

One assignment per unit (30–90 min)
Submit selects to shared folder before next session
Each session opens with a 10-min review of your work
Running feedback notes doc updated every lesson

↗

Async Support

Questions don't wait until next session. Real feedback on specific problems between lessons.

Text/DM for quick camera or settings questions
Image feedback via email — 24-hr turnaround

□

Student Hub

A living library organized by unit — session notes, diagrams, templates, and your growing portfolio archive, all in one place.

Session notes & key takeaways per lesson
Lighting diagram library (grows week by week)
Shot list & mood board templates
Portfolio review archive — every session's feedback saved

05 — InvestmentPricing Options

per Hour

$85

1-hr lesson

Flexible · No commitment

Virtual only

Flexible scheduling
1-on-1 focused attention
No long-term commitment

Best for trying the curriculum before committing.

Popular

per Month

$895

4 lessons · 1.5 hours/lesson

1 lesson/week · book more to move faster

Virtual + In-Person

Session notes delivered after
Async DM support between sessions
Priority scheduling

Booking 2× per week simply draws down your lessons faster — no extra charge.

per Semester

$5,235

26 lessons · 1.5 hours/lesson

~6 months · save 10% vs. monthly

Virtual + In-Person

Most complete scope of the full curriculum
Session notes delivered after
Capstone critique + written notes
Portfolio review at completion
Booking 2× per week draws down lessons faster

The full Photography I arc — from fundamentals to final series — in one commitment.

06 — ContactLet's Talk

Not sure which plan is right for you? Start with one session and see how it feels. No pressure, no commitment — just an hour with your camera and a clearer sense of where you're headed.

Do I need to own a camera?

Yes — lessons are hands-on from day one. Any camera with manual controls works. If you're not sure what to get, ask before the first session and I'll point you in the right direction.

Are lessons online or in-person?

Both. Per Hour sessions are online only. Monthly and Semester plans include the option for in-person sessions in NYC.

Can I switch plans later?

Yes. You can upgrade from per Hour to Monthly or Semester at any point — unused lessons from a trial session apply toward your first month.

What if I need to reschedule?

Life happens. Just give 24 hours notice and we'll find another time. Monthly and Semester students get priority rebooking.