1 / 32

INTRODUCTION to CREATI VE PHOTOGRAPHY

INTRODUCTION to CREATI VE PHOTOGRAPHY. “…Of course, there will always be those who look only at technique, who ask “how,” while others of a more curious nature will ask “why.” I have always preferred inspiration to information…”. Man Ray, “Glass Tears”.

sebastien-romano
Download Presentation

INTRODUCTION to CREATI VE PHOTOGRAPHY

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. INTRODUCTION toCREATI VE PHOTOGRAPHY

  2. “…Of course, there will always be those who look only at technique, who ask “how,” while others of a more curious nature will ask “why.” I have always preferred inspiration to information…” Man Ray, “Glass Tears”

  3. “All photographs are accurate. None of them is the truth."Richard Avedon, 1923-

  4. Basic camera features:1. A body2. A lens which is interchangeable. That means you can take it off and put on a different one.3. An adjustable aperture which is inside the lens.4. An adjustable shutter which is inside the body5. A built in lightmeter. (Probably !).Measures light coming Through The Lens

  5. The fundamentals of photography:1. Exposure2. Lens Length3. Shutter Speed4. Aperture5. Depth of Field6. Films7. Film Speeds8. Lighting

  6. 1. ExposureCorrect exposure, over-exposed or under-exposed.

  7. What is exposure? In photographic term, exposure is an image that has been recorded either on film (conventional photography) or on a CCD sensor / PCMCIA card in digital photography.The recorded image can be of any subject matter but the most important aspect of any exposure is whether it is correctly exposed or simply too bright (overexposed) to register any detail or too dark (underexposed) to see anything at all.

  8. Over and Under Exposure. Giving your film more exposure than necessary will result in overexposure. Pictures will be pale or light with poor washed out colors.Giving your film less exposure than necessary will result in under exposure. Pictures will be dark with poor detail in shadow and dark areas.

  9. 2. Lens LengthWide-angle, Standard, Telephoto or Zoom lenses.

  10. Shutter and Shutter Speeds.The shutter prevents light from reaching the film until the moment of exposure, when it opens for a predetermined time allowing light passing through the lens aperture to reach the film. Unlike the aperture, which is always in an open position the shutter is always closed. Like the aperture, shutter values or 'speeds' follow a standard sequence with each one being half that of the next, allowing half as much light to pass through. A typical shutter speed range may look like this;1sec; 1/2sec; 1/4sec; 1/8th; 1/ 15th; 1/30th; 1/60th; 1/125th;1/250th; 1/500th; 1/1000th; 1/2000th

  11. 3. Shutter Speed refers to the length of the exposure time. Fast shutter speeds to freeze action 1/500th; 1/1000th; 1/2000th or slow shutter speeds 1sec; 1/2sec; 1/4sec; 1/8th; 1/ 15th; 1/30th; 1/60th; 1/125th;1/250th; to create a mood parallel with the particular atmosphere.

  12. Choosing and Using Shutter Speeds.Your choice of shutter speed will have a controlling effect on how movement will be captured in the finished photograph. Too slow a shutter speed will result in blurring of the subject while too fast a shutter speed can sometimes cause a scene to look unnaturally static. In choosing a shutter speed you will have to consider several factors. camera movement. (camera shake)subject movement. how much movement you want to show. aperture setting.

  13. Subject movement.For most people the most important aspect of choosing a shutter speed is getting one fast enough to freeze movement. Unfortunately the world is full of things that all move at different speeds and no one bothered to make a list of what shutter speed would be needed to freeze each and every one of them. With this in mind I have put together a little table containing some common 'things that move' and a suitable shutter speed to stop them. You can use these values as a basis for working out shutter speeds for other situations you may encounter This is a rough guide only and there is no substitute for practice.Still Life Shutter speed will not affect a subject which is completely static Landscape. Landscapes are fairly static but wind will move clouds, grass, leaves etc 1/30th of a second if you want it still. Less if you want a bit of life in it.a Street scene.1/60th - 1/125th of a second. Your holiday photos.1/60th - 1/125th of a second. Person walking 1/125th - 1/250th of a second.Person running.1/500th - 1/1000th of a second.American football, soccer, rugby etc.1/250th - 1/1000th of a second and lots of practice.Car, approx. 30 mph.1/1000th -1/2000th of a second.Motocross.1/500th of a second and over and lots of practice.F1 / Indy car.1/1000th of a second and over plus lots of practice. It is probably worth mentioning that subject movement is also relative to the distance from the camera. That means something moving at a fixed speed will appear to move faster the closer it is to the camera / larger in the viewfinder. On top of that, movement is more apparent travelling across your field of view than it is moving towards you. Now that you have an idea of how to make things stop moving we will have a wee look at making the things you stopped look as if they are still moving.

  14. Beware of camera shake in a shutter speed of 1/60th or below

  15. A fast shutter speed of 1/2000 sec., 1/4000 sec., etc. means the shutter curtains is open for only that brief instant. ( can stop action)

  16. A slower shutter speed of 1/30 sec., _ sec. means the opposite, the exposure is made with the shutter curtains open for a comparatively longer period of time.(blurs action)

  17. 4. ApertureWhat is a minimum aperture and what is the maximum? What do they both do in photography?

  18. What is "aperture" ? referes to the lens diaphragm opening inside a lens. The size of the diaphragm opening in a camera lens REGULATES the amount of light passes through onto the film inside the camera when the shutter curtain opens during an exposure process. The size of the aperture in a lens can either be a fixed or adjustable type. Aperture size is usually calibrated in f-numbers. i.e. those little numbers engraved on the lens barrel like f22 (f/22),16 (f/16), f/11, f/8.0, f/5.6, f/4.0, f/2.8, f/2.0, f/1.8 etc. Each of this value represents one time the amount of light either more or less in quantity. Meaning to say, f16 will let in 1X the amount of light than a diaphragm opening of f22 and so forth; while on the other hand, f4.0 will let in 1X lesser than that of f2.8

  19. ASA 100=Shutter speeds: 1/250= Bright Sun - f/22Cloudy Bright (no shadows) - f/11Heavy Overcast - f/8Open shade (subject shaded from the sun but lighted by a large area of sky) f/8

  20. In photographic terms: a big opening is a smaller number engraved on the aperture ring of the lens i.e. f1.4, f2, f2.8 f4 etc. while smaller openings is a bigger number on the ring of the lens: i.e. f 22 f16, f11, f8 etc.

  21. 5. Depth of FieldIs the distance in front of and behind the plane of exact focus (usually where the subject is) which remains acceptably in focus. Beyond or in front of the depth of field range, objects are perceptibly blurry. The depth of field range is determined by a combination of three factors: focal length, f-stop, and camera-to-subject distance. Notice that in all cases, there is more area behind the exact plane of focus that is within the depth of field range than there is in front.The focal length of the lens is one factor that affects depth of field. The shorter the focal length, the more depth of field the lens will have, the longer the lens, the shorter the depth of field.

  22. Depth of Field:factors that can affect the depth of field: 1. focal length of the lens 2. distance from the camera to the subject 3. the size of the aperture or the setting of the f-stop

  23. Little depth of field Greater depth of field

  24. 6. FilmsBlack and white negative films for b/w prints or reversal for slides.Color negative films for color prints or reversal films for color transparencies.

  25. 7. Film SpeedsWhen to use slow speed films like ISO/ASA 25, 50 or 64.When to use medium speed films like ISO/ASA 100, 125 and 200.When to use fast speed films like ISO/ASA 320, 400, 800 and 1600.

  26. 8. LightingFront Lighting (also known as FLAT Lighting)45° Side Lighting (also known as Natural Lighting)90° Side Lighting (also known as Texture Lighting)Back Lighting (also known as Rim Lighting)Available Lighting: Tungsten, Fluorescent, Dusk, Dawn, Sunset and other artificial light sources.

  27. OnComposition:If you are using an 'auto-everything' camera like a 35mm compact or program SLR then your main area of control is going to be in the composition of your photographs. Sadly I can't tell you how to take a great picture as to some degree it comes down to your ability to 'see' a picture or the potential to create a picture. Having said that; there are a load of 'rules' and techniques you can use to improve the final look of your photographs. We will look at a few of the popular, effective and easy to implement techniques that you will be able to start using right away.

  28. There are 3 basic ways to arrange the elements within your composition.1. Physically move objects relative to each other. Only really works with still life photography.2. Tell people to move relative to each other or other objects. Only works with people who can hear you.3. Move ! Usually the most effective way to control your composition is to alter your viewpoint.

  29. Fill the frame.Sometimes your mind tends to exaggerate what you see through the viewfinder of your camera. You often perceive things a bit bigger than they actually are and you also tend not to notice 'slight' distractions. What you end up with is photographs with huge areas of wasted space around the edge and people with things growing out of their heads. Make sure your subject fills the frame. The best way to do this is to move a bit closer. Before you press that shutter release have a quick look round the edge of the frame and behind your subject. Make sure that you don't have acres of space full of nothing interesting and check for 'stuff' intruding into your masterpiece. In our wonderful 3 dimensional world that telegraph pole is away in the background; in your flat 2 dimensional photograph that same pole is sticking out of someone.

  30. The Rule of Thirds. One of the most popular 'rules' in photography is the Rule Of Thirds. It is also popular amongst artists. It works like this:Imaginary lines are drawn dividing the image into thirds both horizontaly and verticaly. You place important elements of your composition where these lines intersect.

More Related