98
Controlling Depth of Field 1. Distance to Subject 2. Size of Aperture 3. Size of Lens

DocumentSL

Embed Size (px)

DESCRIPTION

SL

Citation preview

Page 1: DocumentSL

Controlling Depth of Field1. Distance to Subject

2. Size of Aperture

3. Size of Lens

Page 2: DocumentSL
Page 3: DocumentSL
Page 4: DocumentSL
Page 5: DocumentSL
Page 6: DocumentSL
Page 7: DocumentSL
Page 8: DocumentSL
Page 9: DocumentSL
Page 10: DocumentSL
Page 11: DocumentSL
Page 12: DocumentSL
Page 13: DocumentSL
Page 14: DocumentSL
Page 15: DocumentSL
Page 16: DocumentSL
Page 17: DocumentSL
Page 18: DocumentSL
Page 19: DocumentSL
Page 20: DocumentSL
Page 21: DocumentSL
Page 22: DocumentSL
Page 23: DocumentSL
Page 24: DocumentSL
Page 25: DocumentSL
Page 26: DocumentSL

Bokeh

Page 27: DocumentSL
Page 28: DocumentSL
Page 29: DocumentSL

Seeing Light

Page 30: DocumentSL

Photography and Light

Page 31: DocumentSL

Exposure Defined

Page 32: DocumentSL

Light Metering

Page 33: DocumentSL

Reflective Light Meters

- Measures the light reflecting off the subject - All objects reflect light

Page 34: DocumentSL

1. Incident Light Meters !!!!!!!!!!!!

!!!!!!!!2. Reflective Light Meters

Light Meters

Page 35: DocumentSL

The Moon - Reflected moonlight

Page 36: DocumentSL

Incident Light Meters

Measures the amount of light falling on the subject

Page 37: DocumentSL
Page 38: DocumentSL

Center Weighted

Partial Metering

Spot Metering

* Matrix Metering Mode takes an average of all areas of the image

Types of Metering in Camera

Page 39: DocumentSL
Page 40: DocumentSL

What does your camera think a “correct” exposure is?

Page 41: DocumentSL

Gray Card

Neutral gray color

Reflects 18% of the visible spectrum

Provides a reference object for exposure

Page 42: DocumentSL

Light Meter TipsAdjust shutter speed and aperture when metering

Always meter the brightest area in your viewfinder

Consider the ratio - amount of highlights and shadows in your image

Tough lighting is the reason photographers don’t shoot in automatic modes

Page 43: DocumentSL
Page 44: DocumentSL

Time of Day

The best natural light is sunrise and sunset

The more the directional the light - the more dramatic

Sunlight becomes saturated “golden” and sunrise/sunset

Page 45: DocumentSL
Page 46: DocumentSL
Page 47: DocumentSL
Page 48: DocumentSL
Page 49: DocumentSL
Page 50: DocumentSL
Page 51: DocumentSL

Directional Light - Source of light hits subject at an angle

Page 52: DocumentSL
Page 53: DocumentSL
Page 54: DocumentSL
Page 55: DocumentSL
Page 56: DocumentSL
Page 57: DocumentSL
Page 58: DocumentSL
Page 59: DocumentSL

Directional Spot Light - Directed source of light often filtered through objects

Page 60: DocumentSL
Page 61: DocumentSL
Page 62: DocumentSL
Page 63: DocumentSL
Page 64: DocumentSL
Page 65: DocumentSL

Back Light - Shows shape and detail - “Hair Light”

Page 66: DocumentSL
Page 67: DocumentSL
Page 68: DocumentSL
Page 69: DocumentSL
Page 70: DocumentSL
Page 71: DocumentSL
Page 72: DocumentSL

Silhouette - Shows shape and adds a graphic atheistic

Page 73: DocumentSL
Page 74: DocumentSL
Page 75: DocumentSL
Page 76: DocumentSL
Page 77: DocumentSL

Soft Light - Diffused and even light, few shadows

Page 78: DocumentSL
Page 79: DocumentSL
Page 80: DocumentSL
Page 81: DocumentSL
Page 82: DocumentSL

Time Exposure - Creative use of shutter speed for desired effect

Page 83: DocumentSL
Page 84: DocumentSL
Page 85: DocumentSL
Page 86: DocumentSL
Page 87: DocumentSL
Page 88: DocumentSL

Light Painting - Long exposure with added moving light source

Page 89: DocumentSL
Page 90: DocumentSL
Page 91: DocumentSL

“Mothers and Daughters”© Julia Fullerton-Batten

Page 92: DocumentSL
Page 93: DocumentSL
Page 94: DocumentSL
Page 95: DocumentSL
Page 96: DocumentSL
Page 97: DocumentSL
Page 98: DocumentSL