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Het fotografie-woordenboek achter de cursussen, alfabetisch.
AI-based noise reduction instead of the regular noise slider: slower (it computes a new file), but keeps far more detail at high ISOs than the classic method.
Lightroom recognizes parts of your photo itself, such as the subject, the sky or people, and automatically applies a mask to them. Often saves the manual cutting-out you used to do with a brush.
AI that estimates what was already there, like noise reduction or an AI mask that recognizes the sky: it makes visible what was already in the data. The opposite of generative AI, which invents something that was never there.
AF-S (or One Shot) focuses once and locks it, ideal for stationary subjects. AF-C (or AI Servo) keeps focusing continuously and tracks movement, so use it as soon as your subject is moving.
Three things that need separate protection: your original files (a second drive plus backup software), your catalog (Lightroom can back this up automatically), and your exports. Losing your catalog is just as painful as losing your photos: all your edits are gone.
The number of brightness values a file can record per color channel: 256 for 8-bit JPEG, between 4096 and 16384 for 12- to 14-bit RAW. More bit depth means more room to edit before you see banding or loss of detail.
Pointing the flash not directly at your subject, but at a wall or ceiling, so that surface works like a kind of softbox. The light becomes softer, but it costs you about 2 stops of power.
How far or close your lens 'looks', in millimeters. A shorter focal length (24-35mm) takes in more of the surroundings, a longer one (85-135mm) isolates your subject, regardless of where you're standing.
A portrait pattern with the light straight ahead and slightly above the face, creating a butterfly-shaped shadow under the nose. Flattering for most faces, widely used in beauty and glamour portraits.
The file in which Lightroom Classic keeps track of which photos you have, where they are, and which edits you've applied. It contains no photos itself, only references: move a folder outside Lightroom and the catalog loses track of those photos.
Two light sources directly in front of the face, one above and one below, like a kind of shell around the subject. Gives a soft, evenly lit face with hardly any shadow, widely used in beauty and fashion portraits.
A set of photos within your catalog that's separate from the folder structure on disk, handy for putting together something like 'best of 2026' without moving files. A Smart Collection fills itself automatically based on rules you set, such as stars or keywords.
Adding separately colored tints to the shadows, midtones and highlights of a photo, the way film looks and many 'cinematic' color styles are built up.
The panel (also known as HSL) that lets you adjust the hue, saturation and luminance of each color separately, for example making only the green in a photo fuller without touching the rest.
Digital, signed provenance information attached to a photo: who made it and with which tools or AI steps it was edited. Relevant as soon as your work needs to account for what is and isn't AI for a client or photo contest.
The process by which your camera (or Lightroom, for RAW) converts the sensor's raw, single-color-per-pixel data into a full red/green/blue image per pixel. With JPEG this happens permanently in the camera; with RAW it only happens in software, with more room for quality.
Divide your frame into three equal parts, horizontally and vertically, and place your subject on one of the intersections instead of the middle. A simple rule of thumb that almost always gives a calmer image than aiming straight at it.
The opening in your lens, expressed as an f-number. A low number (f/1.8) lets in a lot of light and gives a thin depth of field, a high number (f/11) lets in little light and keeps more in focus.
A translucent screen you hang between a hard light source and your subject. It optically enlarges the light source, which makes the light softer.
An open, brand-independent RAW format from Adobe, as an alternative to camera manufacturers' own RAW formats (such as CR3 or NEF). The advantage is future-proofing and a smaller file; the downside is one extra conversion step, and sometimes you lose that one manufacturer-specific bit of data.
Using a longer shutter speed than you normally would with flash, so the ambient light (the room, the atmosphere) is captured too, instead of just your flash-lit subject against a black background.
A fixed set of export settings (format, color space, dimensions, sharpening) that you apply with one click, so you never accidentally email a print file to a client or vice versa. Work with two fixed presets: web/social and print/client.
Colored filters you put over your flash to match the color of the flash light to the ambient light (orange for tungsten light, for example), so your white balance is correct for the whole photo instead of just one light source.
AI that adds something that was never there, like Adobe Firefly in Lightroom inventing a missing piece of background with Generative Remove or Expand. Unlike assistive AI, this costs credits, and for commissioned work it's something you consciously choose to use, not something you apply by default.
A ratio of roughly 1 to 1.618 that has been considered 'naturally pleasing' in art and architecture for centuries. In photos it works like a more refined version of the rule of thirds, with the emphasis divided slightly differently.
How sharply or softly a shadow falls off. That doesn't depend on how bright a light source is, but on how large that source is relative to your subject: a small source gives hard light with sharp shadow edges, a large source gives soft light with a gradual transition.
The graph that shows how the light in your photo is distributed, from black (left) to white (right). If the graph runs up against the edge, you're clipping: on the left you lose detail in the shadows, on the right you lose detail in the highlights, and the latter is barely recoverable in RAW.
A flash mode (High Speed Sync) that lets you shoot above the sync speed, handy if you want to use a fast shutter speed or a wide aperture in bright daylight while still using flash. Costs flash power though.
A flash you barely notice in the final result: just enough power to fill in the shadows in backlight or bright sun, without it looking like it was flashed.
The amplification of your sensor's signal. A higher ISO makes your photo brighter without having to adjust shutter speed or aperture, but you pay for it in noise.
A color you attach to a photo with a meaning you define yourself, for example red for 'still needs editing' and green for 'done'. Pure workflow, Lightroom itself doesn't attach any meaning to it.
Lines in your image, such as a path, a staircase railing or a row of streetlights, that guide the viewer's eye through the photo. Use them to lead straight to your subject.
The four sliders you use to adjust a photo's exposure: Exposure (overall brightness), Highlights and Shadows (the light and dark side separately), and Whites/Blacks (exactly where your white and black point sit). Hold Alt/Option while dragging to see where you're clipping.
The difference in stops between your key light and your fill light. 1:1 is flat and friendly, 1:4 is already quite dramatic. Measure it with a separate light meter, or just with a test shot and your histogram.
The attachments you put on a flash or studio strobe to control the shape and hardness of the light: an umbrella (cheap and soft, throws light in all directions), a softbox (more directional with a clear edge), a beauty dish (semi-hard, flattering on skin), a strip (a narrow strip for rim light) and a grid (limits the spread to exactly where you want it).
The 'real', file-based version of Lightroom that works directly with folders on your own drive via a catalog. That's different from plain 'Lightroom' (cloud-based, no folder structure of its own) or Lightroom mobile (the app): for serious archive management, Classic is the only one of the three built for it.
A portrait pattern slightly subtler than Rembrandt: the key light sits a bit lower and less to the side, so the shadow of the nose makes a small 'loop' on the cheek instead of a triangle.
The file that sits next to your .lrcat catalog and, since the arrival of AI masks, holds all masks and generative edits. Lose this file in a backup and you lose all your AI edits, even though the catalog itself still looks intact.
The Masking panel (shortcut Shift+W) that lets you apply an edit locally instead of to the whole photo, for example darkening only the sky. Masks can be combined and refined afterwards, so you don't have to get it right in one go.
A dark filter for your lens that simply removes light, without affecting color. Handy if you want to keep a slow shutter speed or wide aperture in a lot of ambient light, as an alternative to HSS.
The empty, calm space around your subject. Not something to avoid: it gives your subject room to breathe and often makes it stand out more.
JPEG is a ready-made file 'baked' by the camera: 8-bit, compressed, with white balance and color profile already permanently applied. RAW is the unprocessed sensor data, 12 to 14-bit, where you can still adjust everything afterwards without losing quality. It's the difference between a cake and the batter: you can't go back from JPEG.
A panel (white, silver or gold) that bounces light back into the shadow side of your subject. Cheap gear with a big effect on how soft a portrait looks.
A portrait pattern with the key light at about 45 degrees to the side and slightly above eye level, recognizable by the small triangle of light on the shadow cheek. One of the four classic lighting patterns covered in this block.
The grainy, sometimes colored contamination that occurs when you amplify your sensor's signal with a high ISO. The higher the ISO, the more noise, and the darker your sensor originally was, the sooner it becomes visible.
A list of the shots you definitely want, made before the shoot based on your moodboard. Prevents you from discovering during editing that you simply forgot to capture an important image.
The time your shutter stays open. The shorter it is, the less light and the better it freezes motion; a handy rule of thumb against camera shake is not to shoot slower than 1 divided by your focal length.
A small, separately editable copy of your photo that Lightroom creates for use on your phone or laptop while travelling, without having to bring the originals along. Edits you make on it automatically come back into the main catalog once you're connected again.
A portrait pattern where the light comes straight from the side, so exactly half the face is lit and the other half falls into shadow. Dramatic and high-contrast, the opposite of Clamshell.
The color space that pretty much every screen and website displays correctly. Exporting for online use or a client? Choose sRGB; Adobe RGB has a wider color range but is only useful if you're sure the whole chain after it (printer, screen) supports it too.
A rating from 1 to 5 that you give to your picked (flagged) photos, for a second, finer round of selection.
One stop is a doubling or halving of the light reaching your sensor. It's the unit in which shutter speed, aperture and ISO all work, so once you understand what one stop does, you understand all three settings at once.
The fastest shutter speed at which your sensor is still fully exposed by the flash all at once, usually around 1/200s. Go faster than that with a regular flash and you get a black bar in the frame, unless you use HSS.
Copying the settings of one edited photo to a whole series of other photos in one go, for example all images from the same lighting setup. Saves an enormous amount of repeated work.
Connecting your camera to Lightroom Classic via USB, so every shot appears on your screen immediately with a preset already applied. Essential for studio work or a headshot session where the client is watching on a big screen; use a short, good-quality USB cable though, since almost every tethering problem is a cable problem.
Search terms you attach to photos (location, client name, type of shoot), so that years later you can still find what you're looking for in seconds without having to browse through folders.
TTL lets the camera determine the flash power automatically for each shot, handy when the distance keeps changing. With manual you set a fixed power yourself, more predictable because every halving is exactly one stop less light.
An extra 'version' of the same photo within your catalog, without a second file being added on disk. Handy for placing two different edits of the same RAW file side by side, for example a color and a black-and-white variant.
Mark a photo as Pick (P), Reject (X), or leave it neutral: the fastest way to separate the wheat from the chaff in one pass, especially with Auto Advance on so you move straight to the next photo.
The setting that determines whether white actually looks white, whether your light is yellow tungsten or bluish shade light. Shoot in RAW and you don't even need to get it right on location: you decide it afterwards.
A separate little file next to your RAW photo in which Lightroom, optionally, writes a copy of your edits. Costs a bit of extra write time, but if your catalog ever breaks beyond repair, you can still recover your edits from it into a new catalog.
Algemeen
Do I need prior knowledge?
No. Photography Basics starts at auto mode. The standalone modules "From card to finished" and "Flash outside the studio" can also be taken without the basic course.
How long do I have access to the course?
Access to material you've bought has no end date: you keep access as long as fotolessen.nl exists, and you work at your own pace.
How does the feedback work?
You submit a hands-on assignment per block and get personal feedback from Joep van Drunen himself, not from an algorithm.
Which level fits me?
Not sure? Take the free quiz and get course advice within 2 minutes.
Do I get a certificate?
With the Confident Photographer course you receive a certificate once all nine blocks are completed.
Can I buy a single block separately?
Yes. Started with a lower tier but want a specific extra block? You can buy it separately.
Can I still cancel my purchase?
Because you get access to digital course content immediately after purchase, we ask for explicit consent at checkout, which waives the standard 14-day right of withdrawal. See our terms and conditions for the exact terms.
De driehoek van belichting
Wat is een stop, en waarom is dat de basis van alles?
Een stop is de eenheid waarin je meet hoeveel licht er binnenkomt: een stop erbij is twee keer zoveel licht, een stop eraf is de helft. Sluitertijd, diafragma en ISO regelen alle drie dezelfde hoeveelheid licht, in stops. Verander je er een, dan moet je een andere de andere kant op draaien om dezelfde helderheid te houden.
Catalogus, mappen en importeren
Wat is het verschil tussen Lightroom Classic, Lightroom en Lightroom mobile?
Lightroom Classic is de desktopversie waarbij je foto's op je eigen schijven blijven staan, en waar dit boek over gaat. Lightroom (zonder toevoeging) bewaart alles in de Adobe-cloud en is simpeler. Lightroom mobile is de app voor telefoon en tablet. Classic kan met de andere twee synchroniseren, maar de catalogus blijft de baas.
Kijken en kaderen
Wat is de derdenregel?
Je verdeelt je beeld in drie gelijke stukken, horizontaal en verticaal, en plaatst je onderwerp op een snijpunt. Simpel en bijna altijd goed genoeg.
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