Lesson 0 - The Book (bad focus)
Lesson 1 - The Oyster (light leak during developing)
Lesson 2 - El Carro Azul (Henri Cartier Bresson - The decisive moment)
Lesson 3 - The Bar Window (A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant.)
Lesson 4 - Thirty-six frames (loading film into a camera)
Lesson 5 - Nude {low angle not flattering for a body)
Lesson 6 - Selfie {confusing space orientation}
Lesson 7 - Still life with Araki and spices (film expired in 1996)
Lesson 8 - Kalapana (semantics of the blacks)
Lesson 9 - Temple (rule of thirds)
Lesson 10 - Dolls {Landscape vs Portrait orientation}
Lesson 11 - From the bus (window light reflection)
Lesson 12 - Green is the sea (Orton effect)
Lesson 13 - Stair C 1 at MoMA PS1 (semiotics overload)
Lesson 14 - Sunrise (Emotional lomography)
Lesson 15 - The Doors (Harsh midday shadows)
Lesson 16 - Three Lights Setup (Model pose too stiff)
Lesson 17 - Commercial landscape (Contemplating Gursky's "Rhein II" - the most expensive photograph - on a train with curtain down)
Lesson 18 - Skewed (unstraightened lines give viewer an instant vertigo)
Lesson 19 - Wet rope (minimalist surreal photography does not mean taking picture of every cute thing on the pavement)
Lesson 20 - Sashimi for a friend (boring by-the-book ballanced composition)
Lesson 21 - Two self-portraits (The parallax compensation is necessary when shooting close-ups with rangefinder cameras .)
Lesson 22 - Light haze (Never use flash on Jesus)
Lesson 23 - Conversation (Never use flash when snowing)
Lesson 24 - Coney Island babies (confusing juxtaposition)
Lesson 25 - Loneliness ("If your photographs aren't good enough, you're not close enough.” - Robert Capa)
Lesson 26 - Valle de los Ingenios (Document photography should not only romanticize the village life)
Lesson 27 - "If the doors of perception were cleansed every thing would appear to man as it is, Infinite." (Short shutter speed should be used for moving subjects.)
Lesson 28 - Before the storm (Inappropriate mood, all Miami Beach pictures should be joyful)
Lesson 29 - A tree is a tree is a tree (oversaturated)
Lesson 30 - En attendant Beckett (Picture of another art should bring substantially new quality)
Lesson 31 - Morning mist (Outdoor photographs taken in fog often appear dull and unattractive)
Lesson 32 - Eiffel tower (choose a sigle key subject on the picture and focus on it)
Lesson 33 - Caracas (outgrowths and mergings are among the most common composition errors)
Lesson 34 - Diagonals study (New aestheticism is post-theorical)
Lesson 35 - Siesta (when a portrait session takes too long, the model might get bored)
Lesson 36 - Mixed media (when the result of the session satisfies neither the model nor the photographer)
Lesson 37 - Check, one, two, three, ... (rewind the first few frames of the film to avoid partially exposed pictures)
Lesson 38 - La playa oscura (central compositions are boring)
Lesson 39 - People at the exhibition ("I always look for the most interesting silhouette or something that's a little off, but I have to figure it out."
Rihanna)
Lesson 40 - Shanghai (Steve McCurry - "A powerful picture becomes iconic of a place or a time or a situation." Or not.)
Lesson 41 - Edward Hopper-esque cafe (slow shutter speed)
Lesson 42 - Silhouettes (Cannot see the forest for the trees.)
Lesson 43 - A Bus (How far can one go with minimalism?)
Lesson 44 - Sisyphus ("The struggle itself ... is enough to fill a man's heart. One must imagine Sisyphus happy." - Albert Camus)
Lesson 45 - Golde Gate Bridge (Wait for the weather, wait for the weather.)
Lesson 46 - Not a Camper advertisement (Lock shutter when handling the camera to prevent accidental shots.)
Lesson 47 - Las Vegas {Pop-up flash provides too harsh light for most occasions.)
Lesson 48 - Milan (The most common portrait mistakes: too much space above head, distracting background, wrong angle, wrong pose, poor location choice.)
Lesson 49 - Goa ("Kitsch art may often contain palatable, pleasant and romantic themes and visuals that few would find disagreeable, shocking or otherwise objectionable.")
Lesson 50 - Temple of Heaven (Message is principal, form is auxiliary.)
Lesson 51 - Francis Bacon in Blue (Keep your model at ease.)
Lesson 52 - Crossroad (Should photography be a reflection of reality?)
Lesson 53 - Vilanova i la Geltrú ("The criteria of deconstructive radicalism - expressed in ideas like 'the conditions of no art,' and 'every man is an artist'- could be applied to photography primarily, if not exclusively, through the imitation of amateur picture-making.", Jeff Wall) [see also Lesson 28 (inappropriate mood)]
Lesson 54 Seagulls (Thou shalt not seek romanticism in post-apo pictures.)
Lesson 55 - Tiananmen Square (Go closer to capture individuality, if there is any.) [See also Lesson 25 (Robert Capa)]
