PHOTOGRAPHY 101PHOTOGRAPHY 101

“All photographers have their own vision, their own artistic sense of the world. Unless you’re trying to satisfy a client in a work for hire situation , the pictures you make should please you…if 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 mastered failing better.” George Bernard Shaw

“You can learn more from your mistakes than you can from your successes if you pay attention to those mistakes.” Paul Smith

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

LIGHTLIGHT“Light 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 to e key to photography.”photography.” George EastmanGeorge Eastman

How Many Different Types of How Many Different Types of Light or Light Sources?Light or Light Sources?

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

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

Types of LightTypes of Light• Flood Light• Stage Lights• Christmas Lights• Polarized Light• Window Light• Visible Light• Invisible Light• Neon Light

Basic Camera OperationBasic Camera Operation

Modes of OperationModes of Operation• Program Mode – Least Desirable – the camera decides

both aperture and shutter speed.

• Aperture Priority Mode – Controls Depth of Field – you select the aperture, the camera determines the proper shutter speed.

• Shutter Priority Mode – Controls Action (Stop or Blur) –you select the shutter speed, the camera determines the proper aperture.

• Manual Mode – Puts YOU in Total Control

+ 0 -. . . l . . .

Apertures and Shutter SpeedsApertures and Shutter SpeedsAperture, measured in f stops, determines the size of the opening in your lens, which controls how much light strikes your filming during an exposure. 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. The smaller the aperture, the greater the depth of field.

O o o o o o o

f2.8 f4 f5.6 f8 f11 f16 f22

Each f stop change lets in either 2 times or ½ the amount of light, depending on whether you are opening up or stopping down.Open up means to make the opening larger (but a smaller number).Stop down means selecting an aperture that is smaller in size (but bigger in number).

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 shutter

speed than 1/125, etc.• When you change 1 stop in shutter

speed, you are letting in either 2 times or ½ the amount of light

Reciprocal relationship between Reciprocal relationship between Aperture and Shutter SpeedAperture and Shutter Speed

• If a correct exposure for a given lighting condition is 1/60 @ 11, then 1/125 @ f8 will let in the same amount of light. If 1/125 @f8 is correct, then 1/250 @f5.6 will let in the same amount of light.

Exposure/MeteringExposure/Metering

• To understand exposure/metering, it is important to understand how a camera determines proper exposure.

• An in-camera meter reads light that is REFLECTED off of your subject. Your camera presumes that everything you point your camera at to be 18% GRAY.

Taking Meter ReadingsTaking Meter Readings

• Metering Modes

Average/Matrix – Looks at the entire scene.

Center Weighted - Looks at what’s in the center of your lens.

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

MeteringMetering• Your meter reading will vary in

accordance with the tonality of your subject. You will get different readings if your subject is white, black or gray.

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

18% Gray will give the most accurate 18% Gray will give the most accurate reading.reading.

Exposure/Metering (cont’d)Exposure/Metering (cont’d)

• As you saw, white gave one reading, black gave another reading and gray gave yet another reading.

• Since your camera thinks that the world is 18% GRAY, it will UNDEREXPOSEsubjects that are predominantly white.It wants to make your subject GRAY.

Exposure/Metering (cont’d)Exposure/Metering (cont’d)

Conversely, your camera will OVER-EXPOSE subjects that are predominantly black. It wants to make your subject GRAY.Sunny 16 Rule – 1/ISO @f16

“All photographers have their own vision, their own artistic sense of the world. Unless you’re trying to satisfy a client in a work for hire situation , the pictures you make should please you…if others like them too, great. If not, too bad.” -JIM ZUCKERMAN

Exposure/Metering (cont’d)Exposure/Metering (cont’d)• How to get a proper exposure?

• The most accurate way to determine proper exposure using an in-camera meter is by using a GRAY CARD.

A GRAY CARD will only give an accurate reading if you hold it in theSAME light that your subject is in.

Exposure/Metering (cont’d)Exposure/Metering (cont’d)• How to get an accurate exposure if you do

not have a Gray Card.

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

• BRACKET – Take several shots at different settings. If your subject is lighter than 18% Gray, open up, allowing more light in. If your subject is darker than 18% Gray, stop down, allowing in less light.

HistogramHistogram

Exposure/Metering (cont’d)Exposure/Metering (cont’d)• How to BRACKET

• Use Exposure Compensation when shooting in either 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 either 1/2 stops or 1/3 stops.

• When shooting in Manual Mode, just watch your meter indicator as you dial in either more or less exposure

Exposure/Metering (cont’d)Exposure/Metering (cont’d)

• Bracketing (cont’d)

• Rule of thumb - White subjects need approx. 1 to 1.5 stops of additionalcompensation. Black subjects usually about 1 – 1.5 stops less compensation.

Depth of FieldDepth of Field“Photography is not about depth of field, it’s about depth of feeling.”

- Michael Fatali

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

• How large or small that zone is, is determined by your aperture. A small aperture (f22) will make the apparent zone of sharpness greater. A large aperture (f2.8) will make the apparent zone of sharpness smaller.

VARIABLES THAT AFFECT VARIABLES THAT AFFECT DEPTH OF FIELDDEPTH OF FIELD

• LENS SELECTION

• APERTURE

• CAMERA TO SUBJECT DISTANCE

• CHECK BY USING DEPTH OF FIELD PREVIEW FEATURE

TO MAXIMIZE DEPTH TO MAXIMIZE DEPTH OF FIELDOF FIELD

• USE A SMALL APERTURE (f22) AND FOCUS 1/3 THE DISTANCE INTO YOUR PHOTOGRAPH

LENSESLENSES

LENSESLENSES

• FIXED FOCAL LENGTH• ZOOM• NORMAL• WIDE ANGLE• TELEPHOTO• PORTRAIT• MACRO• SPECIALTY (FISH EYE, PC)

LENSESLENSES• CONSIDERATIONS WHEN PURCHASING

A NEW LENS

1. Cost2. Speed – Faster lenses are also brighter3. Minimum Focusing Distance4. Diameter (Filter Size)5. Size/Weight6. Distance Scale or Hyperfocal Scale

SPECIALTY LENSESSPECIALTY LENSES

1. FISH EYE

2. PC OR PERSPECTIVE CONTROL

FISH EYEFISH EYE

• Fish Eye Lens createsdistortion – bends horizon lineup or down depending on how you aim it.Can be used as super wide angle lensif you do not bend it when shooting.A 16 mm fish eye has a 180 degree fieldof view.

PERSPECTIVE CONTROL LENSPERSPECTIVE CONTROL LENS

Used mainly in Architectural Photography and Product/Studio Photography.They allow you to stretch depth of field at moderate 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

RULE OF THUMB FOR RULE OF THUMB FOR HANDHOLDING LENSESHANDHOLDING LENSES

• SHUTTER SPEED = 1/FOCAL LENGTH OR FASTER

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 lens3. Using filters/stacking filters

• Reduce flare by:1. Using lens hood or gobo to shade lens2. Using a fixed focal length lens3. Using a longer focal length lens4. Removing filters

FILTERSFILTERS• U.V. FILTERS• POLARIZING FILTERS• COMBINATION

FILTERS• WARMING FILTERS –

81 Series• ENHANCING• SOFT FOCUS-

DIFFUSION• GRADUATED NEUTRAL

DENSITY

• FLD – Fluorescent Correcting

• NEUTRAL DENSITY• COOLING – 80 Series• COLOR CORRECTING• SPECIAL EFFECTS

Star FiltersRainbow FiltersMotion Filters

• Thin Filters for Wide Angle Lenses

FILTERSFILTERS

• Cheap filters may make adversely effect the sharpness of your images.

• Be careful to avoid vignetting – do not stack filters if you can avoid it. Wide angle lenses are more likely to produce vignetting. Avoid by buying thin filters.Be prepared to pay more money!

CompositionCompositionRules 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

Rule of ThirdsRule of Thirds

LEADING LINELEADING LINE

LEADING LINE and “C” CURVELEADING LINE and “C” CURVE

USE OF DIAGONAL LINEUSE OF DIAGONAL LINE

FRAME WITHIN A FRAMEFRAME WITHIN A FRAME

EYES IN UPPER THIRD IN EYES IN UPPER THIRD IN PORTRAITSPORTRAITS

LEAVE ROOM FOR SUBJECTLEAVE ROOM FOR SUBJECT

FOREGROUND FOREGROUND -- MIDGROUND MIDGROUND BACKGROUNDBACKGROUND

GIVE IMAGE SCALEGIVE IMAGE SCALE

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 canBreak the Rules

OTHER CONSIDERATIONSOTHER CONSIDERATIONS• 1. Horizontal Vs Vertical• 2. Lines, Textures, Patterns, Colors• 3. Make sure that leading lines lead to an interesting

subject 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 release7. Viewfinders usually do not show 100% of the image.

Things To Watch ForThings To Watch For• Watch your edges!!!!!• Most beginners do not look at the

bottom of the frame when composing.• Leave room for subjects such as birds

and animals so they do not appear to be leaving the frame.

• In portraits, leave some head space unless you are cropping tight for a reason.

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

compositional element.compositional element.