ALWAYS, ALWAYS, ALWAYS look at the first few images. If you go from outside to inside and have adjusted settings, you could end up with terrible

Transcription

1 PHOTOGRAPHY BASICS

2 ALWAYS, ALWAYS, ALWAYS look at the first few images. If you go from outside to inside and have adjusted settings, you could end up with terrible images. I constantly check my image, make adjustments and ask my clients to hold on so I can see what we got. Sometimes it s not them being impatient, it s ourselves. They want a good outcome too. Get in the habit of checking the pictures, especially if you are going to step outside of the green box!

3 PRACTICE, PRACTICE, PRACTICE makes perfect. It really does. Most of the time, I can t remember half of what we ll go over today so I keep cheat sheets nearby and I practice. You can t take a class, expect to put your camera on one setting and take amazing pictures every time. You have to have knowledge of what you camera will do and how to problem solve each time. Do not be afraid of mistakes. Plan to make them. You can learn a lot from a mistake.

4 Test your boundaries. I began shooting about four years ago after I took a photography class and learned how to use my camera. After that, I began taking the pictures that I thought might look good but wasn t sure. It doesn t hurt to try, especially with digital cameras and the option to take several pictures. My ideas didn t always work out, but sometimes they did surprisingly well. Each time you try something new, you will gain confidence and knowledge.

5 UNDERSTANDING EXPOSURE EXPOSURE INCLUDES 4 FACTORS: 1. How much light is in front of you. (natural or fake) 2. How sensitive the film/digital sensor is to light. (ISO) 3. The amount of light going through a lens. (aperture) 4. How long the film is exposed. (shutter speed)

6 CAMERA SETTINGS A P is for automatic. is for program (automatically sets your aperture and shutter speed but gives you control of ISO). It also allows you to shift the aperture/shutter speed combination to your preference. For example, you can shift to a larger aperture with faster shutter speed, or a smaller aperture with slower shutter speed, based on the effect you desire. It keeps the ratio constant to adjust while you're learning. TV is for shutter priority, which allows you to set the shutter speed and ISO but the camera will select the aperture. This is useful when you want to take a photo fast enough to capture motion but do not care about the aperture. Good for sports, dance and movement. AV is for aperture priority, which allows you to set

7 the aperture and the ISO but lets the camera set the shutter speed. Aperture can have some of the greatest visual impact on your photographs because light is one of the largest contributing factors to Depth of Field. A wide aperture (represented by a small F number, like F/1.8) will produce a photo where your subject is in sharp focus but the background is out of focus. This is good for portraits or focusing on one thing when the background is blurry. A narrow aperture (like F/8) will produce a photo where everything is pretty much in focus. This is good for landscapes, buildings, etc. Wider apertures are good when you also don't have a lot of light and don't want to use flash. AV mode is one of the best to use because you can still adjust your ISO and shutter speed can be tricky. M is for manual and lets you set your aperture, shutter speed and your ISO. Manual setting does not mean manual focus though. That has to do with the lens.

8 APERTURE PRIORITY Aperture controls the amount of light that reaches the film/sensor through the lens. It functions much like the pupil of an eye. The size of the aperture is indicated by its F stop. The larger the opening, or wider the aperture, the more light you let in with each exposure. The smaller the opening, or narrower the aperture, the less light you let in. A lower number, like f/2.8, denotes a wider aperture, and a higher number, like f/22, denotes a narrower aperture. So the bigger the number, the bigger the hole is that s letting in light.

9 DEPTH OF FIELD is the sharpness of objects in our field of view. We control the sharpness of those objects by using the aperture. If we have a larger aperture, the background will be blurrier, as you can see in the example below.

10 SHUTTER PRIORITY The shutter controls the length of time the film/sensor is exposed to light. Generally it is a fraction of a second, and if you're capturing fast motion it needs to be at most 1/300th of a second. If you're not capturing any motion, you can sometimes get away with as long of an exposure as 1/30th of a second. A good starting point is 1/60th. When you increase your shutter speed (1/4th to 1/30th), the sensor is exposed to more light because it's been given more time. This is useful in low light situations but this can lead to blurry images if the subject is in motion or you cannot hold the camera still. The use of a tripod can help but you wouldn't want a shutter speed any slower than 1/30th of a second when photographing handheld. If the image is too blurry try increasing the shutter speed and the ISO. Increasing the shutter speed halves the amount of light that enters the camera (because the curtain opens quicker). Moving to a slower shutter speed, doubles the amount of light that enters the camera. This change from one speed to another is called moving a stop. For instance, moving from a speed of 1/30th to 1/60th of second is going 1 stop faster, and from 1/60th of a second to 1/250th of second is moving stops.

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12 & QUICK REFERENCES

13 C H E A T S H E E T

14 ISO ISO is only one third of the equation when it comes to taking a properly exposed photograph. The other two variables aperture and shutter speed work in conjunction with your camera s light sensitivity in order to capture a photo that is the proper brightness. ISO is the digital equivalent to film speed. The faster the film speed the more sensitive it is to light. A high ISO is sometimes necessary (like in a dark shop or indoor event when aperture is at its largest and you need to make your shutter speed faster because the image is blurry) to let in more light. This might, however, make pictures have more noise (example on the right). 100 ISO is generally accepted as normal and will give you little noise/grain. If you bump your ISO up from 100 to 400 you ll notice that you can shoot at higher shutter speeds and/or smaller apertures.

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16 WHITE BALANCE The color of light is measured using the Kelvin Temperature scale. With digital cameras, you can adjust your white balance to tailor the color/filter of the light. A cameras standard is in auto mode, but might not always be the color you want it to be. For instance, a shop might give your photos an orange hue. You can test your white balance settings to get the color your like best. - Daylight is for the bluish light of the day. - Tungsten/Incandescent is for the reddish light of standard light bulbs. It can also be used as sunset. - Fluorescent is for the green cast of fluorescent bulbs.

17 MY PICTURES LOOK ORANGE?? Some color situations can not be completely remedied and will need to be fixed in post processing. WB, however, can significantly change the color of a photograph.

18 MORE BUTTONS? And just to make sure you are more aware of what your camera offers, here are a few more buttons to go over.

19 Most of the time, your image will be displayed on the back of your camera. But what if it looks like this? What does it mean?

20 FOCUS To take a picture, press the main shutter button half-way down. Holding the shutter button halfway down locks exposure and focus on the primary subject you ve chosen. This also allows you to selectively focus the camera on subjects that might not be the dominant element or in the center of the frame.

21 Getting an in-focus, super sharp photo is something many struggle with and very little can be done in post processing to fix it. You want to take sharp in-focus photos because the viewer s eye is naturally drawn to the sharpest part of a picture. When you look through your viewfinder and push your shutter halfway down your camera will attempt to focus. Your focusing screen will pop up through your viewfinder as a red blinking light. Depending on your camera and what mode you re shooting in, it ll look something like this: You can toggle between your focusing points to select where in your frame you want to focus. If you select the manual spot AF mode you can manually select focus points for every photo. There are also zone focusing options, but they give you less control. When you ve selected where you d like to focus your focus, it s time to shoot. When shooting portraits I like to focus on the eye closest to me. More specifically I try to focus on the inside corner of the eye. Now, lock in focus by holding the shutter button halfway down. Then you are ready to take a well focused image!

22 LIGHTING When photographing, you basically have to work WITH the light, not against it. Light is often the most challenging. Personally, I prefer natural light and try to default to it whenever possible. When it comes to lighting, most of us have found ourselves in a situation where light is uneven, dark, bright, and just overall inconsistent light? Thankfully, your camera has a handy spot-metering tool that helps you to get the proper exposure on your subject. You can spot-meter in Manual mode, as well as the priority modes (AP or TV). Manual mode gives you the most control. When you look at the screen on top of your camera, or, through your viewfinder at the bottom row of settings, you will see the meter it is a row of dots, with a needle in the center. To achieve proper exposure, you want your expo-

23 sure to be dead center on the needle, exactly where the arrow is pointing in the above image. Let s say you are photographing someone who is brightly backlit. If you let your camera auto-expose, most likely, the camera will make the correct exposure on the backlighting, leaving your subject underexposed. To properly expose your subject, point the camera at your subject, and press the shutter half-way down. Then, adjust your shutter speed and/or aperture until the line matches up with the center needle. If your subject is backlit, you will need a slower shutter speed, and a wider aperture to properly exposure your subject. Now, let s consider the opposite, and say that you want the light behind your subject to be properly exposed, with your subject in silhouette. You would need to spot-meter the brightest spot in light behind your subject.

24 Usually in priority modes, the arrow will stay in the middle as the light meter will be able to set the exposure correctly. However, if for example you set your aperture to 1/400 in TV(shutter priority mode) and the light meter indicated that you needed an aperture of f/4, but your lens was only capable of f/5.8, then the exposure meter will display one stop of underexposure. You will need to compensate for this by setting a longer shutter time, or increasing the ISO.

25 THE LIGHT IS LOW, WHAT NOW? 1. First check your aperture. Is it the smallest F number your camera can go? (e.g. f/5.8) 2. If that does not provide enough light, try increasing your ISO one step at a time. 3. Can you slow your shutter speed? The longer your shutter is open the more light that will get in. A shutter speed good to start with is 1/60th. If it s blurry, you will need to increase shutter speed (more like 1/200) or use a tripod. 4. The next step to try is to use camera flash. Using an off camera flash is optimal but sometimes all you have is the in camera. The pop-up flash tends to be too harsh and leaves shadows throughout your pictures. An external flash gives you more control. If there are a lot of shadows from the flash and you do not have a diffuser, try slipping a business card under the flash. Make two cuts on the ends of the card and install it to the metallic hinges like in the picture. Be mindful of glare. Position your camera slightly above and at an angle to your subject to diminish reflections from eyeglasses, PPE or reflectors or in front of cars or windows.

26 SHOOTING OUTSIDE ON A SUNNY DAY If you are outdoors and it s a sunny day, keep your ISO around 100. If you want your background blurry, use a larger aperture (f/5.8) using AV mode. If you want everything to be in focus, use a smaller aperture (f/11). If the image is dark, increase the ISO little by little or slow the shutter speed to let in more light. The Sunny 16 rule says in bright sun-lit situations, set your aperture to 16. Use a shutter speed of 1/100 or 1/125. Be mindful of the sun s location. If your subjects face is in full sun or too shadowed, move them. Light is tricky. Work with it. If the sun is directly behind the subject, they will be backlit. This will sometimes work or it could create an overpowering glow around them, darkening the face. If the sun is directly in their face, they will squint. The trick? Find shade (trees, crouching near a machine, beside a building) or try getting the sun behind them, off to the side and closer to the side of the face so they can bask in the sun. You can also try using the flash. Yes, you can use the flash outside on a sunny day. The light wraps around them!

27 SHOOTING IN A SHOP/CREW ROOM In shops and crew rooms, use AV mode. Crank up the ISO to 800 or 1600 and use the largest aperture you can (f/5.6). If the image looks orange, adjust the white balance. Lighting indoors can be one of the most challenging aspects of photography. If you can, step outside. SHOOTING IN A WELL LIT OFFICE If you are in an office and the lighting is fairly bright, you won t need to increase your ISO as much. Try ISO 200 and a large aperture (if you want the background to be blurry, especially for mug shots). If it s not light enough, increase the ISO a little more. Also, adjust your white balance if necessary. HOW WOULD YOU FIX THIS?

28 COMPOSITION What's the difference between a basic snapshot and a really interesting photograph? The subjects you choose, the way you arrange them in the frame and the light you photograph them in. My lighting is far from perfect, but sometimes that can be overlooked when the photo is unique. There are no fixed rules in photography, but the following composition guidelines can help you enhance the impact of your photos.

29 Simplicity: Try to tell one story. Determine the subject and move in close to eliminate distractions in the background. For this image, I focused on individuals after getting an overall image of everyone painting to get more detail.

30 Viewpoint- Don t be satisfied with one angle. Rather than just shooting from eye level, consider photographing from high above, down at ground level, from the side, from the back, from a long way away, from very close up, and so on. Does the sky look awesome. Maybe bend down, tilt up and use more of that. Can t see the subjects face? Get down low.

31 Rule of Thirds - Imagine your image is divided into 9 equal segments. Position the most important elements in your scene along these lines, or at the points where they intersect. This image also uses the leading lines composition.

32 Leading Lines - Eyes are naturally drawn along lines. By thinking about how you place lines in your composition, you can affect the way we view the image, pulling us into the picture, towards the subject.

33 Depth - Create depth in a photo by including objects in the foreground, middle ground and background.

34 Symmetry - Look for balance of objects on both sides of the image. This is also an example of a unique angle.

35 Uniqueness - Look for repetition in patterns, interesting texture (old walls and rail cars), interesting shadows and details. Don t be afraid to mix composition techniques. This photo uses framing, patterns, shadows, depth and leading lines to add impact.

36 Framing - Look for trees, machines, windows, even cups, to place around the edge of the image to isolate the main subject. The result is a more focused image which draws your eye naturally to the main point of interest.

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38 OUT IN THE FIELD Now that you ve learned how to use your camera and composition techniques to add impact, it s time to actually take the shot. The best approach? It depends on the person and the situation. 1. Keep it simple and act like a boss. This works especially well for ornery groups or people who just want to keep working. You know what you re doing, or at least you want them to think you do, so take charge. Hey, can I grab a shot really quick. That angle looks great, hold that! I need a picture of your group, can you come to this spot. If they say no? Don t push too much. Explain that you need it for the newsletter, it won t take much time and throw in some flattery. I want to show off your hard work. You look so handsome today, lets keep a record. I m amazed at what you guys do. I could never do it. Can I get just one? or scare them. Mr. Superintendant asked me to make sure to include you in so and so newsletter.

39 If they continue to resist say politely, if you change your mind, let me know and hand them a business card. Kill them with kindness, do not be a victim or disrespectful. 2. Make conversation. If they are a talker or have the time, use this approach. Can you tell me what you re doing? Why are you part of this project/family day/cleanup? This can lead into the story and warm them up to you. Near the end, ask for a quick shot or say, ok, you re almost off the hook. Let me grab a picture and you can get back to it! Afterward, flatter them, thank them, show them the image if they ask, tell them what its for and gather a story. I often send the picture directly to them so they can share it with family or friends. Then, you also have contact information for the future and this builds trust and rapport. If you follow through, it can speak volumes.

40 OUT IN THE FIELD Great pictures don t just happen. Sometimes you have to wait for it or take several shots. Look through the lens at the image. If you waited a second, would there be fewer people in the background or a flying flag more visible? Watch people. Listen to conversations. Be a little nosy. Be one step ahead. If someone is about to be recognized, watch them, not the speaker, for emotion.

41 Communication is key. If you want them to do something, tell them. If you are waiting for people to clear out from the background, tell them. If you want them to hold a pose, tell them. The more you dictate, the easier it is to get a great shot. Want emotion? A good laugh shot is usually the second or third image after the initial one. Utilize your continuous shoot (do you know how?). I ve found the best way to get a subject to laugh, is to simply as them to. If the subjects look really posed or uncomfortable, show them how to shake it out. I move my arms and shoulders up and down and wiggle, telling them to relax. This either makes them think you are crazy or makes them laugh, either way it puts them more at ease. When the dust settles, look them over. If you can t see a face, ask them to move. Look at hands. Have them put arms to the side, on shoulders, hands in the pocket or to stick their thumb in the pocket. When everyone lined up, I say ok, everyone smile. I snap a few, then, still looking through my lens, I ll say ok, SMILE!, with a big cheesy look on my face. Keep saying, Wow, this looks great or this is an awesome shot, let s try this, will give them confidence in your skill and put them at ease. Flattery is always a great method. WHAT WORKS FOR YOU?

42 DO BE A POSER Avoid shooting straight on. The shoulders are the widest part of the body. Have them angle just a tad. If there are only one to three or so in the picture, have subjects hold a tool, or pause working, look up and smile. When the shot is set up, move yourself. One up close, one full body, horizontal, vertical, side view, from below. Show subjects what you mean. Instead of trying to tell your client how to pose, get in the pose to show them how you want it to look. Don t be afraid to bend knees and arms. Ensure the location you pick for a group shot does not have any distractions such as lamp posts, tree branches etc., that could end up behind someone s head. Take multiple shots in case of blinkers and make sure everyone is visible. Do not be afraid to get in close on a smaller number of people and include as much detail as possible. Remember taller people should go to the back and short people to the front or sides in large group shots. Its easiest to spot the tallest person, put them in the middle and build from there. One on each side, some in front, some kneeling. Ensure the one or two people most important people are in the center of the shot. For emphasis, have them forward.

43 Do not forget that light is the key to every great image. On a bright sunny day do not have a group looking directly into the sun unless you want squinting faces. Look for open shade by a tree or just under cover. If the light changes, move the group. You will be glad you did in the long run. Take control of the situation. People want you to direct them and set up a photograph they will love. Be polite and straight to the point and keep talking to the group. Smile. No one wants to work with a stressed out photographer. Be happy even if you do get frustrated. SIZING PEOPLE UP Taller people will look best if photographed from above so they will look shorter, especially with others around them. Shoot from a low angle for short adults or children to give the illusion of a longer body and added height. Thin or underweight people should be photographed straight on to make them appear toned or curvy (for women). Minimize large or overweight people by shooting them at a slanted angle or from above. Zoom in to flatter your subject s face. People with thin faces should look directly at the camera to give the illusion of fullness. People with full faces or double chins should be photographed from above and at a slanted angle.