Introduction to Digital Photography
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1 Introduction to Digital Photography
2
3 A CAMERA IS A LIGHT TIGHT BOX
4 All contemporary cameras have the same basic features A light-tight box to hold the camera parts and recording material A viewing system to allow you to compose images A lens and mechanism to focus the image * A way to store the image * And the lens isn t really necessary
5 EXPOSURE
6 Exposure
7
8 Stops A stop is a measurement of exposure. Whole stops double or half the amount of light entering the camera or light necessary to make an image. Stopping Up More Sensitive / More Light Stopping Down Less Sensitive / Less Light Your digital camera has half or third stop increments.
9 THREE THINGS DETERMINE EXPOSURE
10 ISO The lower the number the less sensitive to light. Select an ISO based on available light. Remember, a higher ISO can cause noise in your image.
11 Sensitivity to Light Size of the bucket
12 Film Speed/ISO With film stocks, the lower ISO rating also meant that the photosensitive grains of salt on the film acetate were very fine, thus producing a smoother, cleaner image. A higher ISO had larger, jagged grains of salt, thus producing rougher or grainier images.
13 Film Speed/ISO
14 Film Speed/ISO In digital photography, the same logic applies the lower the ISO rating, the less sensitive the image sensor is to light and therefore the smoother the image, because there is less digital noise in the image. The higher the ISO rating (more sensitive) the harder the image sensor has to work to establish an effective image, which thereby produces more digital noise (those multi-colored speckles in the shadows and in the midtones).
15 Noise Unwanted information (artifacts) that belongs to the process rather than the image More likely at higher ISO s or longer shutter speeds
16 Digital Noise
17 The f-stop refers to the diaphragm in your camera lens that controls the amount of light that enters the camera. It is figured by dividing the focal length of the lens by the diaphragm opening. The smaller the number, the larger the opening or The bigger the number, the bigger the depth of field in your image. Aperture
18 F number = N Focal Length = f Diameter = D Aperture
19 The flow of light into the camera Fast or slow?
20 Light
21 Anything with a small hole can cast an image
22 The smaller the hole, the smaller the overlapping circles and the sharper the image appears.
23 But nothing is sharply focused
24 The small circles cast by the small holes are called circles of confusion.
25 A large aperture with large overlapping circles of confusion.
26 A small aperture with small, overlapping circles of confusion.
27 A focused lens will cast an image with a single sharp plane.
28
29 An aperture, when used with a lens, makes things appear sharp in front of and behind the plane of critical focus
30 Depth of field = Range of acceptable sharpness
31 It s always 1/3 in front and 2/3 behind the plane of critical focus.
32 How aperture affects depth of field
33 How distance affects depth of field
34 How focal length affects depth of field
35 Aperture TWICE F2.8 lets in as much light as F4 F11 lets in HALF as much light as F8
36 Shutter Speed Expressed in fractions of a second 1/x The higher the number the faster the shutter speed.
37 Time Long or short?
38 Shutter Speed is Relative Fast Medium Slow
39
40 Shutter Speeds HALF 1/60 lets in as much light as 1/30 TWICE 1/125 lets in as much light as 1/250
41 Equivalent Exposure
42 Equivalent Exposure
43 Stops & Equivalent Exposure Settings based on light Film Speed Less Sensitive More Sensitive Aperture More Light Less Light Shutter Speed More Light Less Light
44 Light Meter Based on the available light, what do you need to do to make a good exposure? You don t have to guess
45
46 Histograms
47 Histograms
48 Histograms In digital imaging, black is 0 and white is 255 for 256 tones in each color channel.
49 Digital Single Lens Reflex
50 Camera Parts Data Panel Command Dial Shutter Release Prism Hot Shoe Viewfinder Mode Dial Mirror Sensor Shutter Cable Connections Body
51 LENSES
52 Lens Parts Focus Selector Focusing Ring Zoom Adjustment
53 Inside the Lens Multiple Elements Diaphragm - Circle of overlapping leaves to adjust the size of the aperture
54 Lens Focal Length
55 The effect of increasing focal length while keeping the same distance is an increase in magnification and a decrease in angle of view. Lens Focal Length
56 29mm from 1 foot away to 105mm from 12 feet away
57
58 Lens speed isn t the same as shutter speed. A fast lens has a very large aperture and can be used in lower light. Ø mm Filter size Lens Markings
59 Filters UV filter a good investment to protect your lens. Better to buy a new filter than to replace a scratched lens. Polarizing filter reduces glare on reflective surfaces, reduces haze and makes colors appear richer.
60 Zone Focusing Some lenses include a focusing scale for zone focusing. You can focus your camera for a fixed distance and depending on your aperture, anything on that plane and 1/3 in front and 2/3 behind will have acceptable sharpness. Good for sports or if you need to be discrete in focusing your camera.
61 Most like regular human vision For 35mm film - 50 mm lens Larger camera formats have larger normal focal lengths A lens with a fixed focal length is called a prime lens Normal Lenses
62 Telephoto Lenses Decreases angle of view, flattens the image and the lens is usually heavy. A general rule of thumb for using a long lens: the slowest shutter speed for handholding the camera is approximately the same as the focal length a 200 mm lens & 1/250 of a second
63 Contain a range of focal lengths (i.e mm) More expensive than fixed length lenses, but usually more practical Zoom Lenses
64 Designed for close-up photography Lens elements correct the aberrations that can happen in short focusing distances. There are combination Macro/Zoom lenses on market, though they don t usually get as close as a dedicated macro lens. Macro Lenses
65 A short focal length Includes a lot of the scene Can distort perspective (serious foreshortening) Wide Angle Lenses
66 Up to 180 field of view Exaggerate differences in size of objects Usually have a great depth of field Fish-eye Lenses
67 1. Lens Focal Length 2. Maximum Aperture 3. Manual/Auto Focus 4. Distance Scale Lens Markings
68 1. Lens Focal Length 2. Maximum Aperture 3. Manual/Auto Focus 4. Distance Scale 5. Filter Size Lens Markings
69 Automatic Focus Auto-focus can be handy, but sometimes won t cooperate. If your camera won t focus on your subject, try centering the subject in the frame and pressing the shutter release half way. This should bring your subject into focus. Without releasing the shutter button, re-compose your image and fully depress the shutter.
70 DIGITAL IMAGING TERMINOLOGY
71 Image quality depends on 4 things (Film or Digital) 1. How much detail it contains Resolution 2. The range of brightness it can record Dynamic Range 3. How true the colors are Bit Depth 4. Level of imperfections Noise
72 Resolution The measure of detail; depends on the number of pixels in a given are of the image Most often expressed per inch Pixels per inch (ppi) Lines per inch (lpi) Dots per inch (dpi)
73 Resolution in Digital Cameras Optical Resolution The measure of the actual information focused on the sensor by the lens Interpolation Digital manipulation to fill in the gaps between pixels to create more information Sometimes good, sometimes not Digital Zoom is actually interpolation. (not good)
74 Interpolation The receptors on the camera sensorare individually filtered red blue and green in groups, then the missing information is supplied or interpolated from the nearby pixels. Interpolation can help overcome all sorts of problems, but it is processed data (a guess) and not actual data.
75 Dynamic Range Dynamic range is the breadth of information from highlights to shadows DMin the brightest level at which a sensor or film can detect detail DMax the darkest level at which a sensor can detect detail
76 Bit Depth I was told there d be no math The measure of how many different colors a pixel can display 256 is usually sufficient and is used by most software Following the mathematical expression for large numbers, bit depth is usually expressed as 2 raised to whatever power, 256=2 8 Some scanners and cameras work at 210 (1,024) and 212 (4,096)
77 ADDITIVE COLOR THEORY
78
79
80
81
82
83
84 RGB
85
86
87 CYM vs. CYMK
88
89 The range of color a device can produce, or the range of color a color model can represent. The gray area is the entire range of possible colors. The colored area is the range from a CRT monitor. Each corner of the triangle represents a additive primary color. Gamut
90 SENSORS
91 Color Filter Array - CFA The sensor array is covered with a CFA, a mosaic of red, blue and green, with one color covering one sensor. The most popular CFA pattern is the Bayer pattern
92 What your sensor records
93 The final result
94 Accumulates a charge proportionally to the light intensity Can only record monochrome light. Charge Coupled Device - CCD
95 Works on the same principle as CCD, but is manufactured by the same process as computer memory chips Each cell is a memory chip with a light sensor Complementary Metal-Oxide Semiconductor - CMOS
96 DIGITAL TERMINOLOGY
97 Digital Components Bit short for binary digit, the basic unit of computing and has two states, on or off Byte eight bits, one byte has 256 (28) combinations Megabyte MB; approx. 1 million bytes (1,048,576) Pixel smallest unit of a digital image, short for picture element Megapixel approximately 1 million pixels
98 Lossy vs. Lossless Lossless file formats allows you to recreate the file exactly as it was when you saved it. Lossy file formats compress the data to make the file smaller, but have to simplify some of the data to do this. Once the data has been compressed, it can t be restored to it s original state.
99 File Formats JPEG compressed image file named from the International Standards Organization s Joint Photographic Experts Group (lossy) TIFF tagged image file format; a file format for bitmapped images. It supports CMYK, grayscale and RGB files. (lossless) PSD The proprietary file format for Adobe Photoshop files. (lossless)
100 File Formats RAW A camera file format that preserves the data capture and reduces in-camera interpolation. Interpolation happens during image editing. Each camera manufacturer has it s own proprietary file designation. Nikon NEF, Canon CR2, Sony ARW XMP Called a sidecar file, it is a text file that contains the adjustments made to a Camera RAW file.
101 File Formats DNG Digital Negative A cross platform RAW file format. You can convert your camera s RAW file to DNG and then your are no longer dependent on your camera s manufacturer for access to the file. It s also smaller than most Camera RAW files.
102 WHITE BALANCE
103 Gamma Rays <10 picometers 400 nanometers X-Rays 1 nanometer 500 nanometers Ultraviolet Visible Spectrum Infrared 600 nanometers Microwaves 1 centimeter Radio 1 meter 700 nanometers Electromagnetic Spectrum
104 Dusk to night Open shade at noon Hazy to overcast Average clear day 10am 3pm Morning & afternoon light 6500 K - on camera flash 5500 K average strobe system Daylight balanced film 3200 K Photofloods Tungsten balanced film 2700 K 60 watt bulb Sunset 1800 K - candle Black-Body Radiation
105
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