photography101rev2 for7hills final

7/31/2019 Photography101Rev2 For7Hills Final

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PHOTOGRAPHY 101PHOTOGRAPHY 101


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All photographers have their own vision, their ownartistic sense of the world. Unless youre trying tosatisfy a client in a work for hire situation , the picturesyou make should please youif others like them too,

great. If not, too bad. Jim Zuckerman

Failure is a crucial part of the creative process.

Authentic success arrives only after we have masteredfailing better. George Bernard Shaw

You can learn more from your mistakes than you can

from your successes if you pay attention to thosemistakes. Paul Smith


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When is an image created?When is an image created?


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LIGHTLIGHTLight makes photography.Light makes photography. Embrace light. Admire it. Love it. But above all,Embrace light. Admire it. Love it. But above all,

know light. Know it for all you are worth, and you will know thknow light. Know it for all you are worth, and you will know the key toe key to

photography.photography. George EastmanGeorge Eastman


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How Many Different Types ofHow Many Different Types of

Light or Light Sources?Light or Light Sources?


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Types of LightTypes of Light

Sunlight

Moonlight

Good Light

Bad Light Soft Light

Harsh Light Storm Light

Flash Light

Incandescent

U.V. Light

Black Light Fluorescent

Indirect/Bounce Highlights


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Types of LightTypes of Light

Front Light

Side Light

Back Light

Twilight Flat Light

Tungsten Light Halogen Light

Mercury Vapor

Lightning?

Candle Light

Available/Ambient Incident

Reflected Diffused Light


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Types of LightTypes of Light Flood Light

Stage Lights Christmas Lights

Polarized Light Window Light

Visible Light

Invisible Light Neon Light


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Basic Camera OperationBasic Camera Operation


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Modes of OperationModes of Operation

Program ModeLeast Desirable the camera decidesboth aperture and shutter speed.

Aperture Priority ModeControls Depth of Field youselect the aperture, the camera determines the propershutter speed.

Shutter Priority ModeControls Action (Stop or Blur) you select the shutter speed, the camera determines theproper aperture.

Manual ModePuts YOU in Total Control

+ 0 -. . . l . . .


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Apertures and Shutter SpeedsApertures and Shutter SpeedsAperture, measured in f stops, determines the size of the opening inyour lens, which controls how much light strikes your filming during anexposure. The smaller the number, the larger the opening.

The larger the number, the smaller the opening. The smaller the number,the larger the opening. Aperture also determines depth of field. Thesmallerthe aperture, the greaterthe depth of field.

O o o o oo o

f2.8 f4 f5.6 f8 f11 f16 f22

Each f stop change lets in either 2 times or the amount of light,depending on whether you are opening up or stopping down.

Open up means to make the opening larger (but a smallernumber).Stop down means selecting an aperture that is smaller in size(but bigger in number).


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Shutter SpeedsShutter Speeds Shutter speeds appear as whole

numbers, but are really fractions:

1/60 sec., 1/125 sec., 1/250 sec.,1/500 sec.

Therefore 1/60 is a slower shutterspeed than 1/125, etc.

When you change 1 stop in shutterspeed, you are letting in either 2 timesor the amount of light


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Reciprocal relationship betweenReciprocal relationship between

Aperture and Shutter SpeedAperture and Shutter Speed

If a correct exposure for a givenlighting condition is 1/60 @ 11, then

1/125 @ f8 will let in the same amountof light. If 1/125 @f8 is correct, then1/250 @f5.6 will let in the same amount

of light.


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Exposure/MeteringExposure/Metering

To understand exposure/metering, it is

important to understand how a cameradetermines proper exposure.

An in-camera meter reads light that isREFLECTED off of your subject. Your

camera presumes that everything youpoint your camera at to be 18% GRAY.


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Taking Meter ReadingsTaking Meter Readings Metering Modes

Average/Matrix Looks at the entire scene.

Center Weighted - Looks at whats in thecenter of your lens.

Spot Looks at a very small area in the lens.Best used in manual Mode.


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MeteringMetering Your meter reading will vary in

accordance with the tonalityof yoursubject. You will get different readingsif your subject is white, black or gray.

Shades in between white and black canalso fool your meter (Yellow , Pink, etc.)

18% Gray will give the most accurate18% Gray will give the most accuratereading.reading.


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Exposure/Metering (contd)Exposure/Metering (contd) As you saw, white gave one reading,

black gave another reading and graygave yet another reading.

Since your camera thinks that the worldis 18% GRAY, it will UNDEREXPOSE

subjects that are predominantly white.It wants to make your subject GRAY.


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Exposure/Metering (contd)Exposure/Metering (contd)Conversely, your camera will OVER-

EXPOSE subjects that arepredominantly black. It wants to makeyour subject GRAY.

Sunny 16 Rule 1/ISO @f16

All photographers have their own vision, their own artistic sense of the

world. Unless youre trying to satisfy a client in a work for hire situation ,the pictures you make should please youif others like them too, great.If not, too bad. -JIM ZUCKERMAN


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Exposure/Metering (contd)Exposure/Metering (contd) How to get a proper exposure?

The most accurate way to determineproper exposure using an in-camera

meter is by using a GRAY CARD.A GRAY CARD will only give anaccurate reading if you hold it in the

SAMElight that your subject is in.


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Exposure/Metering (contd)Exposure/Metering (contd) How to get an accurate exposure if you do

not have a Gray Card.

Find something in the scene that is 18% Grayor of medium tonality (blue sky, green grass).

BRACKET Take several shots at differentsettings. If your subject is lighter than 18%

Gray, open up, allowing more light in. If yoursubject is darker than 18% Gray, stop down,allowing in less light.


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HistogramHistogram


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Exposure/Metering (contd)Exposure/Metering (contd) How to BRACKET

Use Exposure Compensation when shooting ineither Aperture or Shutter Priority.

Dial in + compensation to let in more light, or dial in

compensation to let in less light.

Most cameras will allow changes in either1/2 stops or 1/3 stops.

When shooting in Manual Mode, just watch yourmeter indicator as you dial in either more or lessexposure


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Exposure/Metering (contd)Exposure/Metering (contd) Bracketing (contd)

Rule of thumb - White subjects needapprox. 1 to 1.5 stops of additionalcompensation. Black subjects usuallyabout 1 1.5 stops less compensation.


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Depth of FieldDepth of FieldPhotography is not about depth of field, its about depth of feeling.

- Michael Fatali

Depth of field is defined as the distance between thenearest point and furthest point in the photographwhich is perceived as acceptably sharp. It is theapparent zone of sharpness within a photograph.This zone typically extends from 1/3 of the distancein front and 2/3 of the distance behind the subject.

How large or small that zone is, is determined byyour aperture. A small aperture (f22) will make the

apparent zone of sharpness greater. A largeaperture (f2.8) will make the apparent zone ofsharpness smaller.


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VARIABLES THAT AFFECTVARIABLES THAT AFFECT

DEPTH OF FIELDDEPTH OF FIELD

LENS SELECTION

APERTURE

CAMERA TO SUBJECT DISTANCE

CHECK BY USING DEPTH OF FIELDPREVIEW FEATURE


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TO MAXIMIZE DEPTHTO MAXIMIZE DEPTHOF FIELDOF FIELD

USE A SMALL APERTURE(f22) AND FOCUS 1/3 THE

DISTANCE INTOYOUR PHOTOGRAPH


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LENSESLENSES


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LENSESLENSES FIXED FOCAL LENGTH

ZOOM

NORMAL

WIDE ANGLE TELEPHOTO

PORTRAIT

MACRO

SPECIALTY (FISH EYE, PC)


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LENSESLENSES CONSIDERATIONS WHEN PURCHASING

A NEW LENS

1. Cost

2. Speed Faster lenses are also brighter3. Minimum Focusing Distance

4. Diameter (Filter Size)

5. Size/Weight6. Distance Scale or Hyperfocal Scale


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SPECIALTY LENSESSPECIALTY LENSES1. FISH EYE

2. PC OR PERSPECTIVE CONTROL


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FISH EYEFISH EYE Fish Eye Lens creates

distortion bends horizon lineup or down depending on how you aimit.

Can be used as super wide angle lens

if you do not bend it when shooting.

A 16 mm fish eye has a 180 degree fieldof view.


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PERSPECTIVE CONTROL LENSPERSPECTIVE CONTROL LENSUsed mainly in Architectural Photography

and Product/Studio Photography.They allow you to stretch depth of field atmoderate apertures by use of tilts and shifts.

They come in various focal lengths:Canon makes: 24 mm, 45 mm, and 90 mm.

Nikon makes an 85 mm macro PC lens

($1300). They no longer make the 28 mm

or 35 mm


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RULE OF THUMB FORRULE OF THUMB FORHANDHOLDING LENSESHANDHOLDING LENSES

SHUTTER SPEED = 1/FOCAL LENGTH

OR FASTER


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LENS FLARELENS FLARE Caused by shooting directly into a bright

light source (sun or flash)

More likely when:1. Using a multi element lens (zoom)2. Using a wide angle lens

3. Using filters/stacking filters Reduce flare by:

1. Using lens hood or gobo to shade lens

2. Using a fixed focal length lens3. Using a longer focal length lens4. Removing filters


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FILTERSFILTERS U.V. FILTERS

POLARIZING FILTERS COMBINATION

FILTERS

WARMING FILTERS

81 Series

ENHANCING

SOFT FOCUS-

DIFFUSION GRADUATED NEUTRAL

DENSITY

FLD FluorescentCorrecting

NEUTRAL DENSITY

COOLING 80 Series

COLOR CORRECTING

SPECIAL EFFECTSStar FiltersRainbow FiltersMotion Filters

Thin Filters for WideAngle Lenses


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FILTERSFILTERS Cheap filters may make adversely

effect the sharpness of your images.

Be careful to avoid vignetting do notstack filters if you can avoid it. Wideangle lenses are more likely to produce

vignetting. Avoid by buying thin filters.Be prepared to pay more money!


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CompositionComposition

Rules of CompositionRules of Composition 1. Rule of Thirds and Power Points

2. Leading Lines

3. Diagonal Lines

4. S Curve and C Curves

5. Frame Within a Frame

6. Keep it Simple 7. Rules for Portraiture

8. Eye enters photo from left to right (USA)

9. Foreground - Midground Background 10. Use of Color as a Compositional Element

11. Breaking the Rules


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Rule of ThirdsRule of Thirds


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LEADING LINELEADING LINE


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LEADING LINE and C CURVELEADING LINE and C CURVE


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USE OF DIAGONAL LINEUSE OF DIAGONAL LINE


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FRAME WITHIN A FRAMEFRAME WITHIN A FRAME

EYES IN UPPER THIRD INEYES IN UPPER THIRD IN


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EYES IN UPPER THIRD INEYES IN UPPER THIRD IN

PORTRAITSPORTRAITS


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LEAVE ROOM FOR SUBJECTLEAVE ROOM FOR SUBJECT

FOREGROUNDFOREGROUND -- MIDGROUNDMIDGROUND


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FOREGROUNDFOREGROUND -- MIDGROUNDMIDGROUND

BACKGROUNDBACKGROUND


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GIVE IMAGE SCALEGIVE IMAGE SCALE


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EXCEPTIONSEXCEPTIONS Bulls Eye may be acceptable for close

up shots of flowers, etc. Horizon in middle may be acceptable in

reflection shots

Need to Know the Rules Before you can

Break the Rules


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OTHER CONSIDERATIONSOTHER CONSIDERATIONS 1. Horizontal Vs Vertical

2. Lines, Textures, Patterns, Colors

3. Make sure that leading lines lead to an interestingsubject and do not lead viewer out of the frame

4. Avoid distracting elements

5. Watch out for merging elements 6. Make sure the horizon line is level

use tripod, bubble level, and cable release

7. Viewfinders usually do not show 100% of the

image.


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Things To Watch ForThings To Watch For Watch your edges!!!!!

Most beginners do not look at thebottom of the frame when composing.

Leave room for subjects such as birds

and animals so they do not appear tobe leaving the frame.

In portraits, leave some head space

unless you are cropping tight for areason.


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USE OF COLOR(S)USE OF COLOR(S) Use Complimentary Colors as aUse Complimentary Colors as a

compositional element.compositional element.


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photography101rev2 for7hills final

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