-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 OBSCURA dark chamber

JOSEPH NIEPCE

Abelardo Morell from Camera Obscura

Abelardo Morell, Empire State Building in Bedroom, 1992

ABELARDO MORELL

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.

FROM CAMERA OBSCURA TO THE DSLR

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

PARALLAX

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

PLASTIC CAMERAS

PINHOLE CAMERA

JERRY SPAGNOLI from PANTHEON

Film and sensor sizes

dslr CAMERA ANATOMY

ANATOMY OF THE 35mm SLR

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

CAMERA LENSES AND ANGLE OF VIEW

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.

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

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

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)

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

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

EXPOSURE

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

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.

EXPOSURE ZONE SYSTEM

Exposure is measured by your camera s light meter.

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

DIFFERENT IN CAMERA METERING OPTIONS

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

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

THE f/ STOPS HERE

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.

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

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

HOW CAN YOU USE DEPTH OF FIELD?

Henri Cartier-Bresson Rue Mouffetard, Paris 1954

Elliott Erwitt Dog Legs 1974

Sally Mann, Candy Cigarette 1989

DOUG DUBOIS from MY LAST DAY AT SEVENTEEN

ANDREAS GURSKY

ANDREAS GURSKY boxenstopp I, 2007

Candida Höfer Ca' Dolfin Venezia I, 2003

CANDIDA HÖFER

Mark Ruwedel from DEVIL S GOLF COURSE

SEBASTIAN SALGADO

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)

EADWEARD MUYBRIDGE

JEFF WALL MILK, 1984

JEFF WALL INSTALLATION VIEW

A Sudden Gust of Wind (after Hokusai), 1993

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

DENIS DARZACQ

CHRIS MCCAW from sunburn

CHRIS MCCAW florida sunburn

CHRIS MCCAW sunburn galapagos

CHRIS MCCAW

FRANCESCA WOODMAN

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. 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

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:

Apertures in whole f stops: 1.4 2 2.8 4 5.6 8 11 16 22 32 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 1 2 4 8 15 30 60 125 250 500 1000 2000

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.

Equivalent Exposures

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

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?

ONE LAST VARIABLE THAT AFFECT EXPOSURE

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: 25 50 100 200 400 800 1600 3200

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

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

ISO COMPARISON

JOHN DIVOLA from DOGS CHASING MY CAR IN THE DESERT

DAIDO MORIYAMA

MASAHISA FUKASE

127

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)

BRACKETING

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

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 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

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.

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

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.

Joseph Holmes amnh #2

Joseph Holmes amnh #35

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 f/16 @1/100

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

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

Any Advantages? dslrs

dslrs Advantages also include THE HISTOGRAM

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

THE HISTOGRAM

GOOD EXPOSURE

BAD EXPOSURE

HIGHLIGHTS CLIPPED

Using your judgement

GOOD EXPOSURE

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