-Cameras and the camera body -Lenses -Exposure -Metering -Aperture -Shutter -Reciprocity / Equivalent Exposures -Depth of Field -Plane of Critical

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Oscar Caldwell
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1 CAMERA BASICS

2 -Cameras and the camera body -Lenses -Exposure -Metering -Aperture -Shutter -Reciprocity / Equivalent Exposures -Depth of Field -Plane of Critical Focus -Bracketing -ISO -Histogram

3 CAMERA OBSCURA dark chamber

6 JOSEPH NIEPCE

7 Abelardo Morell from Camera Obscura

8 Abelardo Morell, Empire State Building in Bedroom, 1992

11 ABELARDO MORELL

12 I love the increased sense of reality that the outdoor has in these new works.the marriage of the outside and the inside is now made up of more equal partners.

14 FROM CAMERA OBSCURA TO THE DSLR

15 LARGE FORMAT VIEW CAMERAS (8X10 OR 4X5 SHEET FILM) MEDIUM FORMAT CAMERAS (120 OR 220 FILM)

16 PARALLAX

17 SLR (SINGLE LENS REFLEX) CAMERAS POINT AND SHOOT CAMERAS AND CAMERA PHONES

18 PLASTIC CAMERAS

20 PINHOLE CAMERA

23 JERRY SPAGNOLI from PANTHEON

25 Film and sensor sizes

26 dslr CAMERA ANATOMY

27 dslr CAMERA ANATOMY

28 ANATOMY OF THE 35mm SLR

29 LENS -allows light into the camera body -amount of light entering is controlled by the aperture and shutter

30 CAMERA LENSES AND ANGLE OF VIEW

32 ZOOM LENSES (LONG) Use when you can t or don t want to be close to the subject. Medium long lens is good for portraiture. Long lens has less depth of field, flattens space, relatively small aperture Disadvantages heavy, bulky, more expensive.

33 WIDE ANGLE LENSES (SHORT) Have considerable depth of field, allows you to work in close quarters. Edges of frame distorted, things closest to lens have distortion

35 CROP FACTOR 35mm film marked with digital camera sensor sizes. Green: Canon 1.3x Red: Nikon DX Blue: Canon 1.6x. Nikon FX and Canon full-frame are the same size as the image in the film

36 Image from 35mm film or full-frame digital camera 1.3x sensor camera (Canon 1D series) 1.6x sensor camera - Canon consumer dslrs 1.5x sensor camera (Nikon DX digital)

37 CROP FACTOR Multiply a lens' focal length by a camera's factor to get the focal length of a lens which, when used on a full-frame or 35mm film camera, gives the same angle of view as that lens does on that digital camera A 100mm lens on a 1.5x factor camera shows the same area of view that a 150mm lens would show on a 35mm film or full-frame camera

38 This lens on the CANON T1i or T2i 10mm 12mm 14mm 16mm 17mm 18mm 20mm 24mm 28mm 35mm 50mm 60mm 70mm 85mm 100mm 135mm 200mm 35mm CAMERA 16mm 19mm 23mm 26mm 28mm 29mm 32mm 39mm 45mm 57mm 81mm 97mm 114mm 138mm 162mm 219mm 324mm

39 EXPOSURE

40 EXPOSURE Is a combination ratio of aperture and shutter speed - space and time Exposure (EV)= Intensity (of Light) x Time

41 What does good exposure do for me? - Information in our midtones - Information in our highlights (instead of a flat white shape where a cloud should be) - Information in our shadows (instead of a flat black shape where the shadow of our subject is) So proper exposure will result in a good tonal rage with details in the highlights and shadows.

42 EXPOSURE ZONE SYSTEM

43 Exposure is measured by your camera s light meter.

44 Exposure is measured by your camera s light meter. MANUAL EXPOSURE DISPLAYS

45 DIFFERENT IN CAMERA METERING OPTIONS

46 There are two main variables that you control when photographing manually that affect exposure - APERTURE - SHUTTER SPEED

47 APERTURE - the size of the lens opening through which light passes - controls the amount of focus from front to back in your picture

48 THE f/ STOPS HERE

49 DEPTH OF FIELD the range of distance in the scene that is acceptably sharp. THREE things that affect the depth of field aperture lens type distance to the subject.

50 THE PLANE OF CRITICAL FOCUS the part of the image that is the most sharply in focus the range of focus increases with smaller apertures

52 LENS - The longer the focal length of the lens, the smaller the depth of field - The shorter the focal length of the lens, the larger the depth of field DISTANCE TO SUBJECT - The closer the camera is to the subject the less depth of

54 HOW CAN YOU USE DEPTH OF FIELD?

55 Henri Cartier-Bresson Rue Mouffetard, Paris 1954

56 Elliott Erwitt Dog Legs 1974

57 Sally Mann, Candy Cigarette 1989

58 DOUG DUBOIS from MY LAST DAY AT SEVENTEEN

59 DOUG DUBOIS from MY LAST DAY AT SEVENTEEN

60 ANDREAS GURSKY

61 ANDREAS GURSKY boxenstopp I, 2007

62 Candida Höfer Ca' Dolfin Venezia I, 2003

63 CANDIDA HÖFER

64 Mark Ruwedel from DEVIL S GOLF COURSE

65 SEBASTIAN SALGADO

66 SEBASTIAN SALGADO

67 SEBASTIAN SALGADO

blurred movement leaf shutter (located in the lens)

68 SHUTTER controls when and the length of time the shutter is opened controls the likelihood of frozen/ blurred movement leaf shutter (located in the lens) focal plane shutter (located in front of the sensor or film)

69 EADWEARD MUYBRIDGE

74 JEFF WALL MILK, 1984

76 JEFF WALL INSTALLATION VIEW

77 A Sudden Gust of Wind (after Hokusai), 1993

78 Katsuskika Hokusai, A Gust of Wind in Ejiri (1831)

81 DENIS DARZACQ

84 CHRIS MCCAW from sunburn

85 CHRIS MCCAW florida sunburn

86 CHRIS MCCAW sunburn galapagos

87 CHRIS MCCAW

88 FRANCESCA WOODMAN

89 FRANCESCA WOODMAN

90 HIROSHI SUGIMOTO

92 HIROSHI SUGIMOTO

Exposure can be changed in intervals called stops. A stop is a doubling or halving of the amount of light that you are allowing in to expose your film.

93 Exposure can be changed in intervals called stops. A stop is a doubling or halving of the amount of light that you are allowing in to expose your film. For instance If you are at 1/125 th sec and you change your shutter speed to 1/250 th, you are cutting the amount of light in your exposure by half, or, a stop

94 Aperture can be changed in regular stop intervals as well each interval is double or half the amount of light depending on whether you are opening or closing your aperture. opening up (increasing the light by double) stopping down (cutting the light by half) Here is a list of the whole F-stops and shutter speeds, found on all manual cameras or dslrs:

95 Apertures in whole f stops: bigger hole, more light < > smaller hole, less light left to right each stop is half the light of the previous stop for example f/2 lets in half the amount of lights at f/1.4, f/2.8 lets in half the amount of light as f/2 Shutter speeds in whole stops: B

97 Reciprocity Law: The theoretical effect on exposure of the relationship between length of exposure and the intensity of light stating that an increase in one will be balanced by a decrease in the other. The law does not hold true for very short or very long exposures. Raising the value of one, in other words, means you will have to lower the other, and vice versa.

98 Equivalent Exposures

100 Knowing the whole f-stops and shutter speeds is essential consider them rungs on a ladder. Knowing where the steps are gives you a clear method of stepping up or stepping down at regular, predictable intervals. Shooting manual offers creative control of your image. On most cameras: - M is manual setting - Av is aperture priority - Tv is shutter speed priority

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102 Things to consider when selecting aperture / shutter speed Do you want everything in the image still or frozen? Do you want to show movement of something in your scene? Do you want to show the movement of the camera/photographer? Do you want lots of focus from foreground to background in your image Do you want a thin plane of focus in your image, with everything else soft?

103 ONE LAST VARIABLE THAT AFFECT EXPOSURE

104 ISO - International Standards Organization Number rating the light sensitivity of film or of camera s sensor. This also affects the exposure The higher the ISO the more sensitive the sensor is to light. A rating of 200 is twice as sensitive as 100. Standard ISO settings:

105 SLOWER ISO S HAVE: - finer detail - less noise - better color saturation - less color aberration

106 HIGHER OR FASTER ISOs: - FILM GRAIN IS MORE VISIBLE AT HIGHER ISO RATINGS. THE DIGITAL EQUIVALENT TO FILM GRAIN IS DIGITAL NOISE -REQUIRE LESS EXPOSURE DUE TO SENSITIVITY TO LIGHT (allows the use faster shutter speeds and smaller aperture) -CHROMATIC ABERRATION

107 ISO COMPARISON

108 JOHN DIVOLA from DOGS CHASING MY CAR IN THE DESERT

109 JOHN DIVOLA from DOGS CHASING MY CAR IN THE DESERT

110 DAIDO MORIYAMA

111 MASAHISA FUKASE

112 127

113 LIGHT METERS - Meters measure the intensity of light. It does not judge the quality of light or the mood or feeling it evokes. - The meter reading you get when you compose your shot your viewfinder is called the indicated meter reading, - All meters are programmed to produce correctly exposed photographs when they detect middle-toned, or middle-gray, subjects. (The term middle gray refers to tone, not color)

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115

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117 BRACKETING

118 BRACKETING purposefully under and overexposing your image to ensure you have a good digital negative to print from

119

120 Why do something other than what the meter says? Meters can be fooled Meters assume you have an even distribution of shadows, midtones, and highlights Meters are usually wrong to a small or large degree Bracketing over and under your indicated exposure reading is one method to compensate for this

A gray card will take the light in a given scene and reflect 18% of the light, or middle gray, which is what your meter is calibrated to look for A gray card helps to unfool the meter You must

121 A gray card will take the light in a given scene and reflect 18% of the light, or middle gray, which is what your meter is calibrated to look for A gray card helps to unfool the meter You must walk up close and take the meter reading off the gray card only (don t cast a shadow on it!) Then, you back up and shoot with the exposure setting the gray card meter reading provided using a gray card

122 What if I don t have a gray card? - Meter off of something that seems close to middle gray - The sky is almost always too bright, so never meter with the sky in your frame, it will cause underexposure. If you learn to correctly identify middle-toned areas in your photos, you can always take accurate light readings using your camera s spot-metering mode.

123 If the sun is just outside the frame, you can use either a lens hood or your hand to block the light from striking the glass surface of the lens, which will often prevent the flare. LENS FLARE

124 If you can see the sun in the picture, then the flare is impossible to eliminate unless you partially block the sun with some element in the photograph or you use Photoshop in post-processing to clone it out.

125 Joseph Holmes amnh #2

126 Joseph Holmes amnh #35

127 Corrected exposure We can use a corrected exposure (our educated guess) as opposed to our indicated exposure reading (what the meter says) Sunny 16 - set your aperture to f/16 and set your shutter speed to the speed closest to the ISO - for ISO 100 you would shoot at

128 Exposure with a dslr Many things are the same with exposure and shooting with a dslr

129 What is different then? dslrs disadvantages: Less Dmax (density max), meaning they can t get as many highlights, midtones, and shadows in the same shot as a negative can A harder time rendering shadows A propensity to blow out highlights easily

130 Any Advantages? dslrs

131 dslrs Advantages also include THE HISTOGRAM

132 THE HISTOGRAM A histogram is a graphical representation of where all the tones of your image fall according to how the image was exposed Most DSLRS have an option to show the histogram of the image you are viewing When highlight/shadow info is lost, it s called clipping

133 THE HISTOGRAM

134 THE HISTOGRAM

135

136 GOOD EXPOSURE

137 BAD EXPOSURE

138 HIGHLIGHTS CLIPPED

139 Using your judgement

140 GOOD EXPOSURE

141

142 Last thought about DSLRs and the histogram Don t rely on the screen, always check the histogram to see if all the necessary information is in your picture/file! If you are in low lit scenes or high contrast scenes.bracket, bracket, bracket

-Cameras and the camera body -Lenses -Exposure -Metering -Aperture -Shutter -Reciprocity / Equivalent Exposures -Depth of Field -Plane of Critical

CAMERA BASICS -Cameras and the camera body -Lenses -Exposure -Metering -Aperture -Shutter -Reciprocity / Equivalent Exposures -Depth of Field -Plane of Critical Focus -Bracketing -ISO -Histogram CAMERA