PHOTO NOTES

1. PHOTO NOTES

2. HistrogramA graph that represents all tones in an image. It is commonly known as any visual representation of data that uses bars to illustrate an amount/frequency.

3. HISTOGRAM

4. Exposureis the total amount of light allowed to fall on the film/image sensor Too much light creates an over-bright image with white spots: parts of the image are Over-Exposed Too little light creates an under-bright image with black spots: parts of the image are Under-Exposed Getting the ‘best’ exposure can be difficult in scenes with contrasting light

5. Aperture • We can use the Aperture to change the amount of light entering the camera • To describe aperture we use “f/stops” and these have an f number. • e.g. f2, f2.8, f4, f5.6, f8, f11, f16, f22

6. Aperture • Small Apertures (e.g. f11, f16, f22) only let a small amount of light through • Large Apertures(e.g. f4, f5.6, f8) let through alot of light • So for a sunny day you might need to use a small aperture to get the correct exposure

7. Apertureis the size of the opening in the lens that allows light through the lens – similar to an eye’s pupil Low f-stop = High aperture = Large opening = More light = Higher Exposure High f-stop = Low aperture = Small opening = Less light = Lower Exposure

8. Apertures Aperture, 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. Aperture also determines depth of field smaller the aperture, the greater the depth of field. Oo o o o oo 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)

9. Depth of Field • Changing the aperture of a camera also changes the amount of the image that is in focus – this amount is called the depth of field

10. Depth of Field • Depth of field can vary between shallow and deep • Large Apertures give shallow depths of field (small f numbers) • Small Apertures give deep depths of field(large f numbers)

11. Creative Use of DOF • Separate your subject from the background • Give a feeling of space or distance to a scene • Highlight an area of the image

12. Depth of Field • Apart from using aperture, the DOF can also be changed by varying: • Focus

13. Shutter Speed • 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- - Long shutter speeds spend more time letting light in, which can help in dark environments and create artistic blur effects with movement

14. - Short shutter speeds spends less time letting light in, which allows for quicker pictures and the ability to ‘freeze time’ in great detail So Shutter Speed is the length of time the camera’s lens shutter is open – in other words, how long the camera spends taking the picture

15. What is a Reciprocal relationship between Aperture 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.

16. - To get a good exposure on manual mode, you have to make sure the aperture and shutter speed balance each-other out correctly for the sort of photo you want - Most SLRs on automatic mode will judge the aperture and shutter speed for you when taking a picture – but you can still change an exposure compensation setting to alter what it thinks is ‘correct’ if it gets it wrong On most SLRs you can switch on: Aperture Priority (you pick the aperture, the camera picks the shutter speed), or - Shutter Priority (you pick the shutter speed, the camera picks the aperture – compacts usually have this too) - depending on which is most convenient for what you want Remember:Practice makes perfect!

17. Blur Have to be careful – blur is not always obvious at first! Can be caused by low light, fast movement, unsteady camera, falling out of focus, using long zoom, slow shutter speed…

18. CORRECTING BLUR • Use a tripod or lean against something firm • Switch on self-timer or use a remote control • Hold camera with arms pressed against body • Take a breath and then blow it out and then push shutter release • 50% of all student failed photos are due to blur Focus Make sure you’re in focus and focusing on the right part: turn off auto-focus : it sometimes takes over and confuses the photographer

19. Shadows/dark tones are placed to the left. Midtonesare placed in the center. Highlights are placed to the right. Absolute black is the farthest left. Absolute white is the farthest white.

20. Depending on the effect of the photograph, you will want a bell curve histogram for it to be properly exposed.

21. There is no GOOD or BAD histogram. It gives information, and you decide if it needs to be fixed. Get in the habit of glancing at it.

22. RED EYE The red color comes from light that reflects off of the retinas in our eyes. Animals have a reflective layer that acts almost like a mirror at the backs of their eyes. Shine a light at them, and the eyes light up. Humans do not have this layer, but a bright enough light reflects off of the retina.

23. GETTING RID OF RED EYE Many cameras have a "red eye reduction" feature. The flash goes off twice -- once right before the picture is taken, and then again to actually take the picture. The first flash causes people's pupils to contract, reducing "red eye" significantly. Another trick is to turn on all the lights in the room, which also contracts the pupil.

24. GETTING RID OF RED EYE Move the flash away from the lens(if detaching is possible). If the flash is only an inch or two away from the lens the reflection comes right back at the camera. Bounce the flash off of a wall or ceiling.

25. HOT SHOE

26. The HOT SHOE has a contact point to sync a flash. It does not feed power to external devices. Before the 1970s, many cameras had an "accessory shoe" or "cold shoe", intended to hold flashes that connected electronically

27. Leading Lines • Lines in nature that are man-made or natural that lead the eye through the composition. • Helps to show movement – your eye follows the line… • To a focal point • Around a bend • Off the page • Into the distance

28. Leading Lines Photos

29. Framing

30. What is Framing? • A "frame" in a photograph is something in the foreground that leads you into the picture. • The frame can be natural (ex. branches) or man-made (ex. window) • Framing gives you a sense of where the viewer is, and borders the area of interest.

31. Framing Examples

32. Types of Lenses for cameras • Removable – for DSLR cameras • Fixed – on compact cameras • “Prime” Lens (Fixed focal length) • Zoom – most common(Range of focal lengths)

33. What does Focal Length mean? • Wide Angle = large field of view (focal lengths under 50mm) • Standard (50mm) = same perspective as the human eye • Telephoto = high magnification (focal lengths over 50mm)

34. Depth of Field • Apart from using aperture, the DOF can also be changed by varying: • Focal Length (varying magnification)

35. Exposure / Shutter Speed • A physical shutter will open for a small length of time then close. • The film or chip receives light for an exposure. • With a DSLR the shutter is electronic. The sensor is only receptive to light for the shutter period

36. Shutter Speed • Very long exposures (30 seconds+) may be required in low light, but this can produce nice effects – look at the sea.