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

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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 SANTA MONICA, CALIFORNIA

7 JOSEPH NIEPCE

10 Abelardo Morell from Camera Obscura

11 Abelardo Morell, Empire State Building in Bedroom, 1992

14 ABELARDO MORELL

15 ABELARDO MORELL

17 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.

19 FROM CAMERA OBSCURA TO THE DSLR

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

21 PARALLAX

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

23 PLASTIC CAMERAS

25 PINHOLE CAMERA

30 JERRY SPAGNOLI from PANTHEON

32 Film and sensor sizes

33 dslr CAMERA ANATOMY

34 dslr CAMERA ANATOMY

35 ANATOMY OF THE 35mm SLR

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

37 CAMERA LENSES AND ANGLE OF VIEW

39 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.

40 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

42 CAMERA SENSOR CAMERA SENSOR

43 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

44 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)

45 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

46 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

47 EXPOSURE

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

49 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.

50 EXPOSURE ZONE SYSTEM

51 Exposure is measured by your camera s light meter.

52 Exposure is measured by your camera s light meter. MANUAL EXPOSURE DISPLAYS from 35mm Film Cameras

53 DIFFERENT IN CAMERA METERING OPTIONS

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

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

56 THE f/ STOPS HERE

57 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.

58 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

60 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

62 HOW CAN YOU USE DEPTH OF FIELD?

63 Henri Cartier-Bresson Rue Mouffetard, Paris 1954

64 Elliott Erwitt Dog Legs 1974

65 Sally Mann, Candy Cigarette 1989

66 DOUG DUBOIS from MY LAST DAY AT SEVENTEEN

67 DOUG DUBOIS from MY LAST DAY AT SEVENTEEN

70 ANDREAS GURSKY

71 ANDREAS GURSKY boxenstopp I, 2007

72 Candida Höfer Ca' Dolfin Venezia I, 2003

73 CANDIDA HÖFER

74 CANDIDA HÖFER

75 Mark Ruwedel from DEVIL S GOLF COURSE

76 Mark Ruwedel from PICTURES OF HELL

77 Mark Ruwedel from DEVIL S GATE #4, 1997

78 SEBASTIAN SALGADO

79 SEBASTIAN SALGADO

80 SEBASTIAN SALGADO

81 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)

82 EADWEARD MUYBRIDGE

88 JEFF WALL MILK, 1984

90 JEFF WALL MILK, 1984

91 JEFF WALL INSTALLATION VIEW

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

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

96 FREEZING MOVEMENT WITH FAST SHUTTER SPEEDS DENIS DARZACQ

97 RICHARD MISRACH desert cantos

99 CHRIS MCCAW from sunburn

100 Sunburned GSP#850 (Double midnight, North Slope, Arctic Circle, Alaska), 2015 Twenty-One Unique Gelatin Silver Paper Negatives

101 CHRIS MCCAW sunburn galapagos

102 CHRIS MCCAW

103 FRANCESCA WOODMAN

104 MOTION BLUR - slower shutter speeds (generally requires a tripod) FRANCESCA WOODMAN

105 FRANCESCA WOODMAN

106 FRANCESCA WOODMAN

107 HIROSHI SUGIMOTO

108

109 HIROSHI SUGIMOTO

110 PANNING don bartletti chiapas racers

111 PANNING Technique to show motion Panning is the horizontal movement of a camera as it scans a moving subject. Shutter Speed depends on how fast your subject is moving and how much motion or speed you want him to appear to have play around with anything from 1/4 to 1/30 Start moving with your subject before you press the shutter, and continue to move with him after you've pressed it follow through like a tennis swing

112 PANNING Mike Brodie from A Period of Juvenile Prosperity

113 Mike Brodie from A Period of Juvenile Prosperity

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.

114 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

115 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:

116 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

117

118 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.

119 Equivalent Exposures

120

121 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

122

123 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?

124 ONE LAST VARIABLE THAT AFFECT EXPOSURE

125 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:

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

127 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

128 ISO COMPARISON

129 JOHN DIVOLA from DOGS CHASING MY CAR IN THE DESERT

130

131 JOHN DIVOLA from DOGS CHASING MY CAR IN THE DESERT

132 DAIDO MORIYAMA

133 MASAHISA FUKASE

134 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)

135

136

137

138 BRACKETING

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

140

141 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 Be sure to not

142 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 Be sure to not cast a shadow on the card. You may need to zoom in so the meter only reads the exposure on the gray card. Then, you back up and shoot with the exposure setting the gray card meter reading provided using a gray card

143 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.

144 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

145 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.

146 Joseph Holmes amnh #2

147 Joseph Holmes amnh #35

148 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

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

150 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

151 Any Advantages? dslrs

152 dslrs Advantages also include THE HISTOGRAM

153 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

154 THE HISTOGRAM

155 THE HISTOGRAM

156

157 GOOD EXPOSURE

158 BAD EXPOSURE

159 HIGHLIGHTS CLIPPED

160 Using your judgement

161 GOOD EXPOSURE

162

163 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