Digital Photography Module 2

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Digital Module 2 Photography

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Digital Photography

Module 2: Learning the Language

Overview Photography is an art form with a unique language. In order to fully understand what you are seeing and capturing in images you must learn this language. The lessons in this module aim to introduce you to the elements of art and design that influence photographic composition. Additionally there are lessons which provide valuable information regarding digital exposure, how lenses work and how to handle your camera. Consider this module basic photography boot camp. At the end of this module there is a field assignment where you will have the opportunity to demonstrate your understanding and showcase your new skills.

Table of Contents

 Lesson 1 - Photographic Attributes

 Lesson 2 - Composition

 Lesson 3 - How Lenses Work

 Lesson 4 - Handling the Camera

 Lesson 5 - Digital Exposure

Marcel Ter bekke, Thinkstock bekke, Ter Marcel

Scuddy Waggoner, iStockphoto/Thinkstock iStockphoto/Thinkstock Waggoner, Scuddy Digital Photography

Module 2: Learning the Language

DoDEA Standards

VA1c: The student evaluates the characteristics of traditional media, technolog- ical tools, techniques, and processes in the process of making art. VA1d: The student uses art materials and tools, including technology, in a safe and responsible manner. VA2b: The student analyzes and explains how elements of art and principles of design clarify an artwork’s role and purpose. VA4d: The student analyzes the cultural diversity of American art with that of the host nation and other cultures. VA5a: The student uses a formal system of evaluation to defend personal art and that of others. VA5b: The student analyzes and defends art work using correct art terminolo- gy. VA5c: The student evaluates the quality, craftsmanship, and effectiveness of personal work and that of others by using a formal system.

Marcel Ter bekke, Thinkstock bekke, Ter Marcel

Learning Objectives

Upon completion of the module, students will be able to:

 Define and identify photographic attributes in your own and others’ works.

 Compare and contrast works for their composition, content, style, genre and meaning.

 Examine and explain the effects of different lenses on photographic imagery.

 Practice and compose a photograph utilizing specific camera functions.

 Experiment with exposure and point of view while constructing a photographic se-

ries. Scuddy Waggoner, iStockphoto/Thinkstock iStockphoto/Thinkstock Waggoner, Scuddy

Digital Photography Lesson 1: Photographic Attributes

Photographers continually make decisions regarding an image Key Terms as they selectively click to capture an instant in time. Many different factors impact the final image. There are a range of Light photographic attributes that contribute to the final composi- Focus tion. In this lesson you will learn about a few important attrib- Vantage Point/Point of utes and will have the opportunity to apply your learning to View your own photographic images. Time Light Framing Motion Light is the defining element of photography. Light literally Cropping brings the photograph to life, and the type and quality of light Technique have the strongest effect on the resulting image. Of- ten, photographers are inspired to create a photograph because the light is so revealing, casting on the subject a quality that captures a moment in time. Focus

The word focus means center of attention. This uniquely photographic attribute is created by both the focus and the aperture controls on the camera. The focus control centers on a part of the image, and when in focus the area is clear, sharp, and detailed, with distinctions between forms. When out of focus, the area is cloudy, indistinct, and vague, with blurri- ness between forms.

The aperture control creates depth of field, the area Rue St. Rustique, Eugene Atget, 1922 that is in focus. Aperture measures the distance from the end of the focus area to the focal center (imagine the perimeter of a circle and its center). A shallow depth of field is in focus only to a small degree around the focal center.

Benji Iguchi driving tractor, Ansel Adams, Digital Photography Lesson 1: Photographic Attributes

Vantage Point/Point of View Time

Vantage point or point of view is the pho- Photography has a unique relationship to tographer’s stance, both in terms of how time, in part because the image is created the photographer is positioned when he or by the interaction of light and the camera she takes the picture and what the photog- at a particular moment. A drawing or rapher’s attitude is toward the subject. painting may describe a particular time and How the photographer perceives the sub- place, but it can be rendered over time ject influences how the photographer through the artist’s perception or memory. chooses to position himself or herself in re- In contrast, a photographer and camera lation to the subject. This is similar to how need to be there, responding to the world, your opinion about something affects the in order to create the image. Photographs tone of your voice and the language you have the quality of capturing a moment in use to communicate. time, of “being there.”

Detail of Circular Stairs Looking Up From First Floor Reverend Jessee [i.e. Jesse] Jackson’s march for jobs — around the White House, 1975 Framing

Whenever photographers create a photograph, they are selecting a slice of the world as described through a frame. In terms of content, framing is like point of view: It presents the photographer’s frame of reference with regard to the subject. Graphically, framing affects composition, because your eye follows the visual movement created by lines, shapes, and angles in the picture. In addition, the information that is included in the frame determines how we read the picture, just like how clues lead to the solution of a mystery.

Archway, Wolfgang Dietz, 2014

Digital Photography Lesson 1: Photographic Attributes

Motion

In a photograph, motion can appear frozen in time and space or be described through blur. These effects are achieved mainly through the shutter control and the aperture. The shutter, triggered by your finger when you take the picture, opens and shuts like a blink- ing eye, letting in light. The aperture affects how much light comes into the camera; it works like the iris of an eye, widening in the dark to let in more light and narrowing in the bright sun to let in less light. In order to achieve a correct exposure—the right amount of light to make the picture, the aperture and shutter speed must have the right relationship. When there is a lot of light, the shutter speed is fast; and when there is little light, the shutter speed is slow. The faster the shutter, the more able the camera is to freeze motion, such that someone jumping could be forever suspended in mid-air. A slow shutter speed creates blur when figures are in motion. You can also create a sense of motion by moving the camera when you take the picture, called “panning” the camera, resulting in blur.

Animal Locomotion, Eadweard Muybridge, 1887 Digital Photography Lesson 1: Photographic Attributes

Cropping

Sometimes when photographers frame a photograph, they crop or exclude from the frame a portion of the subject, foreground, or background. The frame may cut off the man’s hat, an arm, half of the chair. To make sense of the image, viewers don’t need to see the whole person or object because there is enough information to imagine the rest beyond the frame. Cropping calls attention to the fact that you are looking at an artist’s selection of a scene (as opposed to an una- dulterated view of reality). Used effectively, cropping can add dynamism to the composition or make the photographic state- ment more concise. Used ineffectively, we may wonder what’s missing or we may wonder why the image looks awkward.

Part of the Kitchen, Walker Evans Technique When photography was first invented, photogra- Spotlight on Technique: phers carried a large- format camera, tripod, black drape, glass plates, and bottles of chemistry in a Ian Ruhter covered wagon that served as a darkroom to process the wet plates. Now photographers carry studio strobes, tripods, lighting stands, Hasselblad cameras, 35mm SLR cameras, digital cameras, and even disposable cardboard cameras, which they can tuck into their vest pocket. Images are processed in labs or downloaded to a computer. The choice of camera, film, lighting source, and other techniques http://vimeo.com/92688138 greatly affect the look of resulting images.

Lesson Tasks

It is now time to check your understanding of the concepts covered in this lesson. Please return to the classroom and complete all the tasks and assignments listed in the Module 2 | Lesson 1 | Tasks and Assignments folder. Digital Photography Lesson 2: Composition

Composition is how you arrange the subject and the other ele- Key Terms ments you have in your photograph. It is what you include in the frame; what supporting details you think will give us more Shape information about the subject. But more than that, good com- Line position gives the person looking at your photograph some- Angle thing to do. It helps guide their eyes around the image so they Color and Tone see the whole thing. Pattern Taken together, the shapes, lines, angles, colors and tones, Depth patterns, and depth of the image create the composition. Rule of Thirds Figures and objects in the image are considered the “positive Background space” of the composition. Consider the “negative space,” Foreground too—this is the part of the image between the actual forms Symbol/Metaphor and the frame: the white sky or the gray floor, for example. Style

Composition Activity Genre

justinecottonphotography, iStockphoto/Thinkstock justinecottonphotography, Digital Photography Lesson 2: Composition

The Rule of Thirds

The rule of thirds is a basic guide for composing photographs. The rule came to us from the early photographers; most of whom were painters before they were photographers. They applied the painting approach to composition to photography. The Rule of Thirds is a way to offset the subject in the image so it will appear to be more dynamic than simply putting the subject in the center. This is also called giving the image motion; there is nothing actually moving in a photograph, but putting the subject off center allows the viewers eye to move through the image. Subject

What is the subject of the picture? A trickier question than it seems, it can be an abstract idea, a representation, or specific content. All the visual elements are drawing the viewer’s attention to the concrete subject (what is literally portrayed) and the

abstract subject (the main idea that the

photographer is trying to communicate). Sometimes the subject of art is an idea; in conceptual art, the idea often is the point of the artwork. In narrative art, the subject portrays a story or part of a Shoemaker Workshop, Jorge Royan, 2008 © Jorge Royan / http://www.royan.com.ar / CC-BY-SA-3.0 story with the rest implied. In figurative art, the subject is the person, place, or thing that is represented. Overall the

subject matter provides clues to the photographer’s ideas and/or intentions. justinecottonphotography, iStockphoto/Thinkstock justinecottonphotography,

Digital Photography Lesson 2: Composition

Background

The background creates a context for the photograph. It can be a color, a blurry shape, or a highly detailed scene. Color creates a mood. Details offer hints about the subject. The background provides valuable information on how to interpret the photograph because it sets the context. Foreground

The foreground is the area in front of the subject. It contains valuable information that Mountains, Stefan Schweihofer, 2013 reflects the subject, and it can affect the mood of the image and the access the viewer has to the subject. Space in the foreground can create a feeling of distance from the subject. Shading in the foreground can create di- mension. Activity or cropped forms can add dynamism to the composition—creating mystery. Sometimes there is nothing in the foreground, giving direct access to the subject.

People Story

Every day we observe Photographs are a people, and from their wonderful tool for sto- expression, gestures, rytelling. They capture and actions, we inter- a moment in time that pret who they are and can be the beginning, how they feel. When middle, or end of a we study a portrait of story. In a photo- someone, we use the graph, you can often same skills, assump- see a character in a tions, and acts of im- situation that poses a agination in assessing question or presents a the subject’s identity Suffragists demonstrating against Woodrow Wilson in mystery leading to Chicago, 1916 and mood. story.

Digital Photography Lesson 2: Composition

Mood/Feeling

Many attributes of a photograph can create mood: lighting; the colors and tones; the shapes, lines, and angles; texture of the print; the subject; and even the expressions of the people in the picture. Texture refers to the photographic material (e.g., smooth glossy paper, rough matte paper, or a Polaroid transfer on handmade paper). Images can also have a tactile quality reflecting how a viewer may think an object would feel if touched (e.g., the soft furriness of a dog’s ears). Colors inspire an emotional reaction: Some colors in the blue family seem cool and in the red family, hot. Mood is connoted by visual elements but depends on each person’s subjective response. Symbol/Metaphor A symbol is usually a solid, recognizable thing that stands for something more than what is observed visually. Symbols can be powerful and iconic such as the American flag or a bald eagle. Metaphors differ in that they often evoke a certain feeling. Metaphors may also act to represent certain ideas or thoughts. Visual metaphors may be obvious or abstract, depending on the artist’s intentions. Mountains, Stefan Schweihofer, 2013 For instance, Stafan Schweihofer’s Mountains, above, is inspired by Michelangelo’s The Creation of Adam painting on the ceiling of the Sistine Chapel in Vatican City. The hands in both Mountains and The Creation of Adam could be viewed as symbols representing the spark of life. Artist’s Intention/Purpose

Without a direct quote from the artist, you can only guess about the artist’s intention. Your observations on intention are based on what you can see in the image and information provided about the techniques used. The style, content, and use of the image indicate its purpose (e.g., magazine illustration, fine art still life).

Digital Photography Lesson 2: Composition

Style

Everyone has got style! Style is attitude; style is taste. Just as you have a taste for certain types of clothes, photographers have likes and dislikes for certain techniques, compositional elements, and working methods. Genre

Genre is a type or category based on the photograph’s style, content, and intended purpose. Photography genres include news, sports, fashion, architecture, landscape, portrait, etc. For instance genres such as fashion and sports are created for commercial purposes and landscapes and portraits are often created for fine art purposes.

Spotlight on Fashion Photography Fashion Photography is a popular genre that show- cases the creativity of designers and photographers alike. One of the most prolific fashion photographers is Richard Avedon with his stark lighting and mini- malist backdrops. His approach draws the viewer in to the emotive power of the subject’s expression. Mi- chael Avedon is following in his grandfather’s foot- steps creating beautiful and evocative fashion portraits. To learn more about Richard Avedon and view his fashion photography, click here: http://www.avedonfoundation.org/fashion/ To learn more about Michael Avedon and view his Emma Ferrer, Michael Avedon for Harper’s Bazaar, portfolio, click here: 2014 http://michaelavedon.com/

Meaning

Viewers arrive at an understanding of the photograph’s meaning through various path- ways, which can include their personal responses, knowledge of allusions to artistic tradi- tions, and an evaluation of whether the photograph “works” (i.e., communicates its message). Digital Photography Lesson 2: Composition

Spotlight on Steve McCurry Steve McCurry was honored by Leica in 2011 with the Hall of Fame Award. His photographs have told stories of people all over the world for over thirty years. This retrospec- tive slide show represents his work which exemplifies his style and the genre of documentary photography while inciting an emotional response from the viewer.

http://vimeo.com/28448318 To learn more about Steve McCurry visit: http://www.magnumphotos.com/C.aspx?VP3= CMS3&VF=MAGO31_9_VForm&ERID=24KL535AWZ

Lesson Tasks

Digital Photography Lesson 3: How Lenses Work

In the early days of photography, the camera was a big box Key Terms mounted on a tripod with a very simple lens. The photographer would put a piece of polished metal or a piece of glass 35mm Equivalent that had light sensitive material on it in the back of the cam- Wide-angle Lens era. To expose the light sensitive material, the photographer Normal Lens would remove the cap that covered the lens. He would then Telephoto Lens start counting "one-one thousand, two-one thousand, three- Linear Distortion one thousand" until he thought the photograph was made. Perspective Distortion Of course, not long after the early days, lenses improved, Looming making photographs much sharper. Some could move in or out relative to the back of the camera. This feature could make the image wider or narrower. But lenses were expensive and most photographers could afford to have only one or two. Luckily, those days are far behind us.

How Lenses Work Almost all digital cameras have zoom equivalent." This is because the 35mm film lenses. A zoom lens allows you to stand in camera was so popular for so long that one spot and visually get closer to your most people can really relate more to those subject or get farther away. This feature al- measurements than anything else. This is a most seems to be a no-brainer. On a point good thing because it makes everything and shoot camera for instance, you push standard and much easier to compare. the "T" button to zoom in and the "W" button to widen out. But there are some things you need to know... Wide-angle lens setting: A focal length less than 45mm and gives you a much Camera lenses, or a lens setting in the case wider view of the scene. of a zoom, are divided into three categories Normal lens setting: A focal length of by their focal length or how "long" they are. 45mm to 55mm which approximates nor- The lens focal length or the lens setting is mal human vision. always in millimeters. Telephoto lens setting: A focal length But before we look at the categories, you longer than 55mm and is used to pull dis- need to understand that almost since the tant objects in close. start of digital photography, focal lengths have been stated in terms of a "35mm Digital Photography Lesson 3: How Lenses Work

How Lenses Work Comparison Activity Compare the different lens views (wide-angle, normal, and telephoto zoom) below.

Lens Length dSLRs, have auto focus. This means that the lens will automatically focus on whatev- Most camera makers don't tell you the ex- er it is being "aimed" at. act length of the lens on your camera. You have to look at the specifications to get the There are two auto focus modes that you numbers. Instead they will tell you that the can chose. The first is the "one-shot" mode, camera has a 3x, 6x, or 10x zoom. What meaning the camera only focuses on your this means is that the longest setting of the subject when the shutter button is pushed. lens is three or six or 10 times as long as The second is the "continuous focus" mode, the shortest. If the shortest lens setting has meaning the camera is constantly focusing a 35mm equivalent of say 28mm, which is a even when you are not getting ready to pretty standard wide-angle lens, the 3x take a photograph. length or the longest length setting is 84mm. If the same lens is a 6x, the longest setting is 168mm. Then, obviously, the 10x setting would be 280mm. Focal lengths for lenses designed for dSLR cameras are usually stated in millimeters. Focus All digital cameras, from compacts to

Digital Photography Lesson 3: How Lenses Work

Linear Distortion

There are a couple of potential problems you need to be aware of regarding lenses... or more accurately with certain lens settings for your zoom lens. When you have your lens set to wide angle, especially as the setting gets closer to the widest setting, or when you are using a wide-angle lens, you need to be careful of linear distortion. This kind of distortion makes straight lines, especially straight lines that are closer to the camera, look like they are curved. Linear Distortion Example

Linear distortion can be corrected using photo editing software. The trick is to spot the linear distortion either when you take the picture, or later when you view it.

Linear distortion; note the vertical lines bending No Linear distortion; photo corrected in photo outward editing software so the lines look straighter Perspective

The other thing you have to be aware of is perspective distortion or looming. In this kind of distortion, elements on the scene closer to the lens seem unnaturally large while elements farther away from the lens seem unnaturally small. Again, this kind of distortion is more of a problem as the lens approaches the widest setting. This is not the fault of the lens or the designer. It is just the result of the laws of optics and physics. The way to correct this kind of distortion is simply to move back from the subject, if you can, and zoom in a little bit. Even a little bit of zooming in can go a long way to correcting this problem. Digital Photography Lesson 3: How Lenses Work

Looming/Perspective Distortion Example

The first photograph was taken with a wide-angle lens setting. The foot of the bridge dominates the image and the background looks unnaturally far away. By taking a few steps back (literally) and using a short telephoto lens setting, the foot of the bridge is still large, but the background looks more natural. Note About Telephoto Lenses

The thing you have to be aware of with telephoto lenses is that as you zoom in on a subject, especially Wide angle in low light, you may get to a point where you don't have enough light to hold the camera by hand. When you get to this point, the shutter speed is slow enough that you will get camera shake. This is where the picture will be blurry because the camera wasn't held still enough. Most cameras have some kind of an indication that you have gone past the point where you have enough light to continue to hold the camera by hand. You'll have to look in the owner's manual to see how your Short telephoto camera shows you this. One solution to this problem is to zoom out a bit, getting back to a setting where you can hold the camera by hand. The other solution is to put the camera on a tripod or some firm surface that can brace it.

Lesson Tasks

Digital Photography Lesson 4: Handling The Camera

Handling the camera...this may seem like keen perception of Key Terms the obvious, but there are a few things you need to know. More photographs are ruined because the camera was not Viewfinder held appropriately, what the photographer was seeing in the Optical Viewfinder viewfinder was misinterpreted, etc. A little bit of work now can Parallax save a lot of bad photographs later. Electronic Viewfinder We'll look at the different kinds of viewfinders and how to use Reflex Viewfinder them, orienting the camera so it matches your subject, and Orientation holding the camera so you don't get shaky images. Portrait Mode The Viewfinder Landscape Mode

The viewfinder lets you frame the photograph before you take it. It's what lets you aim the camera at the scene you want to take. In most compact cameras, there is an optical viewfinder. This is the little "hole" you can look through. It will zoom in and out with the lens setting you chose, but it does not let you look through the lens you will use to take the picture. One problem with optical viewfinders is they only show about 80% of the scene. This is not the fault of the camera maker. It is simply how the viewfinders have to be made. In the illustration, the box shows you the "safe" area for framing your photograph. Parallax

Another problem with optical viewfinders is that as you get closer to your subject the more "offset" it will be in the picture. Your subject will be lower in the photograph than you saw in the viewfinder and it will be shifted to one side. This offset is called parallax. The trick here is to know this will happen and adjust for it. Moving the subject down and to the right in the viewfinder should correct this. Remember that parallax gets worse the closer the subject is to the camera. If your subject is 10 feet away, there should be no problem. If your subject is 3 feet away, you will have to make adjustments. Digital Photography Lesson 4: Handling The Camera

The Viewfinder (cont.)

The second type of viewfinder is the electronic viewfinder. Here, part of the digital signal is sent to a very small screen in the viewfinder. You look into a viewfinder and see almost the same image that the lens taking the photograph will see. There is no problem with parallax here but, because the screen is electronic, it takes battery power. The other problem is that these viewfinders can be a bit "jerkry". The last type of viewfinder is the reflex viewfinder that is used in dSLR cameras. This viewfinder uses a mirror and a prism to show you what the lens taking the picture will see. Both the electronic and the reflex viewfinders will show you 95% the entire scene. Now for the big don't! You will see a lot of people using the display screen on the back of the camera as a viewfinder. It is a really easy habit to get into. It's a really big image and it's easy to see. Just remember these three words if you are tempted to do this: Buy More Batteries. Using the display will really reduce the battery life of your camera. It may cut it in half. So, unless you have an unlimited supply of batteries, don't use the display as your viewfinder. There is nothing more frustrating when you go to take a photograph than not having any power. The other problem with using the display is it can be very hard to see in bright light. Just a little bit of sunlight hitting the display can almost wash it out.

Holding the Camera This may seem a bit simple on the surface, but there is a lot to holding the camera. You have to make sure that when you hold the camera, you are giving it a firm base. If you didn't give it a firm base, you may have blurry pictures because the camera was shaky. Giving the camera a firm base starts with your feet. Stand with your feet shoulder-width apart. Keep your elbows tucked at your sides which minimizes movement while holding the camera. The next thing you want to do, if at all possible, is hold the camera with both hands. Do this even if you are only bracing the bottom of the camera with one hand. Digital Photography Lesson 4: Handling The Camera

Orienting the Camera One of the things that sets a good photographer apart from an average one is how they hold the camera to frame the subject or scene.

Image processing or editing: This software lets you change the size of the image, adjust the brightness, contrast, color, sharpness, etc., of the image. You need to

be really familiar with this software so you can work on your images efficiently. Image viewer: One thing that is very true but not very well known is that different software packages display photos differently. You need to have an image viewer or two to see how your photographs will look in different software. You can also check how your photographs will look in your web browser. If they don't look the way you want, you can go back into your image editing program and make the needed changes. Image organizer: This piece of software is really optional. If you are not familiar with folders and how to store your files, you can use this type of software to organ- How you holdize and the store camera your is images. typically determined by your subject. People standing up or even sitting are taller than wide so you would hold the camera vertically in portrait mode. Cars are wider than they are tall so you would hold the camera horizontally in landscape mode. You get the idea here. Hold the camera the way your subject oriented.

Digital Photography Lesson 4: Handling The Camera

Operating the Shutter After you have the scene or subject your are photographing framed in the viewfinder, you simply depress the shutter release button to tell the camera to take the picture. But even this is not really as simple as it sounds. Digital cameras have a lot to do when the shutter button is pushed. Setting the exposure and the focus are the biggies. These take time so there will be a little lag between the time the shutter button is pushed and the photograph is taken. The lag can be up to 1/2 second. You can almost eliminate this lag by using a technique called the "half-push." Pushing the shutter button half-way down on your camera sets the exposure and the focus. When you are ready to take the photograph, simply push the shutter button the rest of the way down. When you are pushing the shutter button, you want to be very smooth. It's really just squeezing the button. You don't want to stab or poke at the shutter button because this can cause the camera to shake which would give you a blurry photograph. The other thing that happens if you stab the shutter button is you can actually push that side of the camera down and end

up with crooked pictures. Alexjuve, iStockphoto/Thinkstock Alexjuve, Click the Flashcards to test your knowledge!

Lesson Tasks

Digital Photography Lesson 5: Digital Exposure

Digital cameras have come a long way. In the beginning they Key Terms were very finicky and often took photographs that were either way too light or way too dark. Now, they can be used in Digital Exposure almost any light and have very advanced ways to control the Overexposure amount of light exposing the sensor. However, understanding Underexposure how to judge the exposure of an image is still the key to tak- Programmed Mode ing good photographs. You also need to know how to adjust Exposure Compensation the exposure in case the subject or scene you are photographing needs it. Digital Exposure

Modern digital cameras give you choices when exposing your photographs. Remember, exposing the photograph means allowing light reflected by the scene to strike the sensor. While these options have their advantages and disad- vantages, the technology built into your camera is often the best way to control the exposure. The camera "looks" at a number of different areas in the image to determine how to Overexposure set the aperture and shutter. It can do this hundreds of times a second. This is called the programmed mode, and don't tell anybody, but there are a growing number of pro- fessionals who privately admit to using the programmed mode! So, most of the time, that is the mode to use. The two exposure problems to be aware of are:

 Overexposure Underexposure  Underexposure Overexposure happens when too much light strikes the sensor. This will make your photographs very light and washed out. Dark shadows that should be almost black will look gray. There will be no detail in the highlights and they will appear absolutely white. Underexposure happens when not enough light strikes the sensor. This will make your photographs very dark and heavy looking. A lot of the shadows that should be just a bit dark will be almost black. There will really be no highlights, they will all be gray. Digital Photography Lesson 5: Digital Exposure

Digital Exposure (cont.) There are several things you have to look at to see if the photograph you took has appro- priate exposure:

 The shadows, those dark areas of the image, must have some detail in them.

 The really light areas of the image, called the highlights, also must have some detail.

 The colors should look natural. They should- n’t appear washed out or overly deep. This means that reds should appear to be red and not pink (washed out). Pinks should appear to be pink and not red (overly deep).

 There shouldn’t be a color cast over the image. A color cast can look like a very light A good example of detail in the shadows fog all over the photograph. Sometimes it can be gray but it could also be magenta (a mix of red and blue) or some other color. Exposure Compensation

While the programmed exposure mode will meet your needs most of the time, there are those situations where you might have to give it a little help. This is where you can use a camera feature called "exposure compensation." This feature is usually in the camera's menu, so you might have to look for it a bit at first. The manual that comes with your camera is a great resource.

 Positive compensation will increase the exposure of your scene or subject by letting more light in.

 Negative compensation will decrease or darken the exposure.

Digital Photography Lesson 5: Digital Exposure

Exposure Compensation Example

Let's say your are taking a photograph of friends outside on a sunny day. You don't want them squinting into the sun so you turn them around so the sun is at their back. Now the problem is that the shadows are so deep you really can't see them very well. Adding positive exposure compensation of +1 will take care of that, lightening the shadow. Another example: Let's say you bought a car and you want to take a photograph of it to send to friends in an e-mail. The car is white and just overexposes in the photograph to the point that it really looks ugly. Adding a bit of negative exposure compensation will help. Using a setting of -1/2 or -1 can make the car look really good, showing all of the detail. You may have to experiment a bit with these settings, but in the end, knowing what they do and when to use them can really help your photography. What Does Exposure Compensation Look Like?

The below photos demonstrate how exposure compensation works. The photos were all taken at the same time of day with the same amount of natural lighting. The only difference between each photo is the amount of exposure compensation added to the image. Below each photo is the Exposure Value (EV) for the particular image. It is important to note that the adjustments made to your EV settings are not visible through the viewfinder. Through the viewfinder you will see the photo with natural exposure, EV 0. Once you take the photo, you are able to see the photo with the exposure compensation applied.

EV –2 EV –1 EV 0 EV +1 EV +2 Digital Photography Lesson 5: Digital Exposure

Digital Exposure Crossword Test your knowledge of terms introduced in this lesson.

Lesson Tasks

A Atmospheric Perspective Color The perception of depth in nature as An element of art with three properties: Abstract enhanced by haze in the atmosphere; (1) hue or tint, the color name, e.g., Artworks that do not attempt to repre- how the appearance of objects is altered red, yellow, blue, etc.: (2) intensity, the sent an accurate depiction of a visual over distance by the effects of the air purity and strength of a color, e.g., reality but instead use shapes, colours, between the viewer and the object. bright red or dull red; and (3) value, the forms and gestural marks to achieve its M3L3 lightness or darkness of a color. M2L2 effect. M3L3 Available Light Combination Printing Advertisements Any source of light that is not explicitly The technique of using the negatives of Any public notice, as a printed display in supplied by the photographer; refers to two or more photographic images in a newspaper, short film ontelevision, an the sources of light that are already conjunction with one another to create a nouncement on radio, etc, designed to s available naturally (ex. sun, moon, single image. M1L3 ell goods,publicize an event, etc. M4L2 etc.). M4L2 Commercial Photographer Aerial Photographers A photographer who takes pictures for A photographer who takes a pho- B commercial use: for example in adverts, togrgaph of the ground from an elevated merchandising, and product placement; position. M4L1 Background often paid for images rather than works Analog-to-Digital Converter The part of a picture or scene that ap- of art. M4L1 Any device that converts analog signals pears to be farthest away from the Composite Picture (continuous quantity) into digital signals viewer, usually nearest the horizon. A photograph formed by superimposing (discrete time digital representation). M2L2/M3L3 two or more separate photographs. M1L5 Brightness M1L3 Analysis The degree or intensity of lightness in a Context The detailed examination of the ele- color. M1L5 The varied circumstances in which a ments or structure of something, typi- work of art is (or was) produced and/or cally as a basis for discussion or inter- C interpreted. M1L3/M3L1 pretation. M1L3 Contrast Angle Calotype The difference in the color and bright- A viewpoint; standpoint from which a An early photographic process intro- ness of the object and other objects photograph is taken. M2L2 duced in 1841 by William Henry Fox within the same field of view. M1L5 Aperture Talbot, using paper coated with silver Creative Process iodide; often called a talbotype. M1L1 The adjustable opening—or f-stop—of a A form of problem solving in the crea- lens determines how much light passes Camera-Enabled Smartphone tion of an idea or work of art which in- through the lens on its way to the film A cellular phone with a camera built in cludes: preparation, incubation, illumi- plane, or nowadays, to the surface of that performs many of the functions of a nation, and implementation. M5L1 the camera's imaging sensor. “Faster” computer, typically having a Critical Viewing lenses have wider apertures, which in touchscreen interface, Internet access, Viewing by taking a closer look, not and an operating system capable of run- turn allow for faster shutter speeds. The being critical; considered an active, ra- wider the aperture is set, the shallower ning downloaded applications. M1L4 ther than passive process. M4L2 the depth of field of the image. M1L5 Camera Obscura Critique Artificial Light A darkened box with a convex lens or A careful judgment in which you give aperture for projecting the image of an Lighting which is man made, such as your opinion about the good and bad fluorescent, tungsten, mercury vapor, external object onto a screen inside. It parts of something (such as a photog- is important historically in the develop- sodium vapor, halogen, compact fluo- raphy or a work of art). M5L3 rescent, et cetera. It can be turned on ment of photography. M1L1 Cropping and off at a flick of a switch. M4L2 Collage The removal of the outer parts of an A piece of art made by sticking various image to improve framing, accentuate different materials such as photographs subject matter or change aspect ratio. and pieces of paper or fabric onto a M2L1 backing. M5L2

Glossary

D E Forensic Photographer A system of photographic methods and Daguerreotype Electronic Viewfinder equipment used to record material evi- An early photographic process, invented A camera viewfinder where the image dence during investigative and operative by Louis Daguerre, with the image made captured by the lens is projected elec- -search actions and for the purpose of on a light-sensitive silver-coated metal- tronically onto a miniature display. M2L4 expert examination of such evidence in lic plate. M1L1 Environmental Photojournalism court. M4L1 Decisive Moment A genre of photography where photo- Framing A concept made popular by the street graphs are taken in the subject's usual Using other objects in your photograph photographer, photojournalist, and Mag- environment, such as in their home or to frame the main subject; this is proba- num co-founder Henri Cartier-Bresson; workplace, and typically illuminates the bly one of the easier composition tech- refers to capturing an event that is subject's life and surroundings. M4L3 niques in photography. M2L1 ephemeral and spontaneous, where the Evaluation Freelance Photographer image is taken at the precise moment The making of a judgment about the A photographer who works independent- which defines or illustrates the entire amount, number, or value of something; ly on a contract basis. M4L1 story or action. M4L3 assessment. M5L3 Frontal View Depth Exposure A view of a person, in which the face The illusion of distance or a third dimen- The unit of measurement for the total and its expression is predominant. The sion. M2L2 amount of light permitted to reach the intent is to display the likeness, person- Depth of Field electronic sensor during the process of ality, and even the mood of the person. The focus range or effective focus range, taking a photograph. M1L5 M3L2 is the distance between the nearest and Exposure Compensation farthes objects in a scene that appear A technique for adjusting the exposure G acceptably sharp in an image. indicated by a photographic exposure Digital Camera meter, in consideration of factors that Genre A camera that produces digital images may cause the indicated exposure to A class or category of artistic endeavor that can be stored in a computer, dis- result in a less-than-optimal image. having a particular form, content, or played on a screen and printed. M1L4 M2L5 technique. M2L2 Digital Exposure The unit of measurement for the total F amount of light permitted to reach the H electronic sensor during the process of Features Photojournalism Hardware taking a photograph. M2L5 A segment of photojournalism where the The collection of physical parts of a Documentary Photography image stands alone; words are not computer system. M1L4 needed as the photography is admired A popular form of photography used to Horizon and appreciated by itself. M4L3 chronicle both significant and historical The line at which the earth's surface and events and everyday life. It is typically Fine Art Photographer the sky appear to meet. M3L3 covered in professional photojournalism, A photographer who takes a photograph or real life reportage, but it may also be with the vision of artist as photographer. an amateur, artistic, or academic pur- M4L1 suit. M1L2 Focus DSLR/Digital Single Lens Reflex The clarity of detail in a photograph. A digital camera combining the optics M2L1 and the mechanisms of a single-lens Foreground reflex camera with a digital imaging The part of a scene or picture that is sensor, as opposed to photographic film. nearest to and in front of the viewer. M1L4 M2L2/M3L3

Glossary

I Line N A compositional technique within an Impressionistic image that leads the eye to another Natural Light Denoting, of, or relating to impression- point in the image, or occasionally, out Light supplied by the sun, as opposed to ism or the exponents of this style which of the image. M2L2 artificial light from light bulbs. M4L2 represents overall impressions rather Linear Distortion Normal Lens than exact details. M3L3 Linear movement or force occurs where A lens that reproduces a field of view Input Device a straight line appears to be curved. that generally looks "natural" to a hu- Any machine that feeds data into a com- M2L3 man observer under normal viewing puter. M1L4 Looming conditions, as compared with lenses with longer or shorter focal lengths Inspiration A mirage in which objects below the which produce an expanded or contract- The process of being mentally stimulat- horizon seem to be raised above their ed to do or feel something, especially to true positions. M2L3 ed field of view that distorts the perspective when viewed from a normal do something creative. M5L1 viewing distance. M2L3 Interpretation M The action of explaining the meaning of something. M1L3 Media Card Reader O A peripheral device that reads and Opacity writes a memory card made of flash Often used in graphics software to de- J memory chips. M1L4 fine how "nontransparent" an image is. JPG/JPEG Medical Photographer In other words, the more transparent an A format for compressing image files. A photographer who focuses on the image or image layer is, the lower its M1L5 documentation of the clinical presenta- opacity. Adobe Photoshop and other Juxtaposition tion of patients, medical and surgical graphics editors provide an Opacity slid- "The fact of two things being seen or procedures, medical devices and speci- er that you can use to adjust the opacity placed close together with contrasting mens from autopsy. M4L1 of an image layer. M5L2 effect." M3L1 Megapixels Optical Viewfinder A unit of graphic resolution equivalent to The eyepiece that you look through to one million or (strictly) 1,048,576 (220) frame and focus your subject before L pixels. M1L5 taking the picture. M2L4 Landscape Metaphor Orientation All the visible features of an area of A thing regarded as representative or The way you take and display your pho- countryside or land, often considered in symbolic of something else, especially tographs; often used in conjuction with terms of their aesthetic appeal. M3L3 something abstract. M2L2 landscape orientation or portrait orienta- Landscape Mode Middleground tion. M2L4 A function of the digital camera that is The middle distance of a photograph. Overexposure used when you are taking photos of a M3L3 A term used to describe the process of scene, not a single object. M2L4 Montage exposing film to too much light, which Light The process or technique of selecting, results in the photograph being too The illumination of scenes to be photo- editing, and piecing together separate bright. M2L5 graphed. M2L1 sections of film to form a continuous Light Fall-Off whole. M5L2 Loss of illuminance in the corners of an Motion image as projected by a lens in e.g. a The action or process of moving or of camera or a projector. M4L2 changing place or position; movement. Light-Sensitive Receptors M2L1 An internal part of the camera sensor whichs responds to light. M1L5

Glossary

P Pictorial Photography R Refers to a style in which the photogra- Panorama pher has somehow manipulated what Reflect An unbroken view of the whole region would otherwise be a straightforward To think deeply or carefully about some- surrounding an observer. M3L3 photograph as a means of "creating" an thing. M5L3 Panoramic View image rather than simply recording it. Reflex Viewfinder An extended pictorial representation or M1L2 A viewfinder system with a mirror placed a cyclorama of a landscape or other Point of View behind a lens. The light passing through scene, often exhibited a part at a time The position from which something or the lens is reflected by the mirror to a and made to pass continuously before someone is observed. M2L1 focusing screen, usually ground glass. the spectators. M3L3 Portfolio M2L4 Parallax A curated collection of a photographer's Representational The apparent displacement of an ob- work; often the best work or a collection Photography or art that seeks to depict served object due to a change in the representing depth in one specific area the physical appearance of reality. M3L3 position of the observer. M2L4 of work. M4L3/M5L3 Review Pattern Portrait A formal assessment or examination of The repetition of lines, shapes, tones or A painting, drawing, photograph, or en- something with the possibility or inten- color can create interesting images. graving of a person, especially one de- tion of instituting change if necessary. M2L2 picting only the face or head and shoul- M5L3 Personal Aesthetic ders. M3L2 RGB A recognizable visual quality to an indi- Portrait Mode Red, Green, and Blue; refers to a sys- vidual's creative works. M5L1 A function of the digital camera that is tem for representing the colors to be Perspective used when you are taking photos of a used on a computer display. M1L5 The way real three-dimensional objects single subject. M2L4 Rule of Thirds are pictured in a photograph that has a Portrait Photographers A compositional technique where the two-dimensional plane. M1L1 Photographers who focus on capturing a subject is divided into thirds with two Perspective Distortion person or group of people that displays imaginary lines vertically and two lines horizontally making three columns, A warping or transformation of an object the expression, personality, and mood of and its surrounding area that differs the subject. M4L1 three rows, and nine sections in the significantly from what the object would Profile View images. Important compositional elements and leading lines are placed on or look like with a normal focal length, due A representation of something in out- near the imaginary lines and where the to the relative scale of nearby and dis- line; especially : a human head or face lines intersect. M2L2 tant features. M2L3 represented or seen in a side view.

Photojournalism M3L2

A particular form of journalism (the col- Programmed Mode lecting, editing, and presenting of news A mode for beginners to start to under- material for publication or broadcast) stand their cameras; program mode is that employs images in order to tell a similar to automatic in the way that it news story. M1L2 allows the camera to make the decision Photojournalist on which settings to use to correct the A journalist who presents a story pri- exposure. M2L5 marily through the use of photographs. Promotional Material M4L1 A message issued on behalf of some Photomontage product or cause or idea or person or A combination of several photographs institution. M4L2 joined together for artistic effect or to show more of the subject than can be shown in a single photograph. M5L2

Glossary

S Stock Photographer Terms of Service Professional photographer of common The rules a person or organization must Scientific Photographer places, landmarks, nature, events or observe in order to use a service. M4L1 Photographers who explore hidden as- people who sells these photographs to Three-Quarter View pects of the world around us; they take be used and reused for commercial de- A view of an object or person that is pictures of varied subject matter, using sign purposes. M4L1 midway between a front view and a side such techniques as aerial, close-up and Studio Owner view. M3L2 high-speed photography. M4L1 The person responsible for the business Time Self-Portrait and operations of a studio or gallery. An attribute that depicts a particular A pictorial or literary portrait of oneself, M4L1 moment. M2L1 created by oneself; today often referred Style Tone to as a 'selfie'. M3L2 The visual appearance of a photograph A quality of a color, arising from its sat- Sensor or work of art that relates it to other uration (purity and impurity), intensity The central component of a digital cam- works by the same artist or one from (brilliance and dimness), luminosity era; the 'chip' that collects the date for the same period, training, location, (brightness and dullness), and tempera- compiling the final digital image data. "school", or movement. M2L2 ture (warm and cool); or to create such M1L5 Subject a quality in a color. M2L2 Series The person, place or thing you show Topic A set of photographs that are intended when you take a photograph or create a A subject or theme of a speech, essay, to tell a story or evoke a series of emo- work of art. M3L1 book, etc. M3L1 tions in the viewer. M5L1 Supporting Details Transparency Shape A paragraph contains facts, statements, Something transparent, especially a A two-dimensional element basic to pic- examples-specifics which guide us to a picture, design, or the like on glass or ture composition and is usually the first full understanding of the main idea. some translucent substance, made visi- means by which a viewer identifies an They clarify, illuminate, explain, de- ble by light shining through from behind. object within the picture. M2L2 scribe, expand and illustrate the main (In Adobe Photoshop adjusting a layer's Shutter idea. M3L1 opacity creates transparent images.) A device that allows light to pass for a Surrealism M5L2 determined period of time, exposing A 20th-century avant-garde movement photographic film or a light-sensitive in art and literature that sought to re- electronic sensor to light in order to cap- lease the creative potential of the un- U ture a permanent image of a scene. conscious mind, for example by the irra- Underexposure M1L5 tional juxtaposition of images. M5L2 A condition in which too little light Software Symbol reaches the film, producing a thin nega- The programs and other operating infor- A thing that represents or stands for tive, a dark slide, or a muddy-looking mation used by a computer. M1L4 something else, especially a material print. M2L5 Sports Photojournalism object representing something abstract. USB M2L2 The genre of photojournalism that co- Universal Serial Bus; an external serial vers all types of sports. M4L3 bus interface standard for connecting Staff Photographer T peripheral devices to a computer. M1L4 A staff photographer is a member of a USB Port/Cord Technique newspaper or magazine staff; he or she A connecting device for peripheral devic- is an employee who gets a regular sala- A skillful or efficient way of doing or es with a USB. M1L4 achieving something. M2L1 ry and benefits, and who takes pictures as assigned by the editor. M4L1 Telephoto Lens

Straight Photography A camera lens that makes objects far Photography that attempts to depict a away look nearer and larger when they scene or subject in sharp focus and de- are photographed. M2L3 tail, commensurate with the qualities that distinguish photography from other visual media, particularly painting. M1L2 Glossary

V Vantage Point A position or place that affords a wide or advantageous perspective; viewpoint. M2L1 Viewfinder A device on a camera showing the field of view of the lens, used in framing and focusing the picture. M2L4

W Wide-Angle Lens A lens system on a camera that can cover an angle of view of 60° or more and therefore has a fairly small focal length; often referred to as a fisheye lens. M2L3

Misc. 35mm Equivalent A measure that indicates the angle of view of a particular combination of a camera lens and film or sensor size. The term is useful because most photographers experienced with inter- changeable lenses are most familiar with the 35 mm film format. M2L3

ngkaki, iStock/Thinkstock References & Image Credits

References Videos / Interactives Images Visual Arts: Grade 9. (n.d.) Retrieved (p. 7) http://vimeo.com/92688138 Page 1 from http://www.dodea.edu/Curriculum/ (p. 8) https://content.dodea.edu/vs/hs/ VisualArts/standards.cfm Thom_Morris, iStockphoto/Thinkstock aventa/digital_photography/IMGDESs-HS Visual Arts: Grade 10-12. (n.d.) Re- -A11/s/unit2/swf/page8-insert.swf [background] trieved from http://www.dodea.edu/ (p. 13) http://vimeo.com/28448318 Combination Image: Curriculum/VisualArts/standards.cfm (p. 15) https://content.dodea.edu/vs/hs/ Zoonar/N.Sorokin, Frames of film - na- Digital photography: Composition. aventa/digital_photography/IMGDESs-HS ture and travel (my photos), 162287026, (2007). © Aventa Learning -A11/s/unit2/swf/DPH01-143.59563.swf Thinkstock Digital photography: How lenses work. (p. 20) https://content.dodea.edu/vs/hs/ (2007). © Aventa Learning Aksakalko, Beautiful hipster girl shooting, aventa/digital_photography/IMGDESs-HS 453806311, iStockphoto/Thinkstock Digital photography: Handling the cam- -A11/s/unit2/swf/DPH01-143.59582.swf era. (2007). © Aventa Learning Wavebreakmedia Ltd, Young man with (p. 21) https://content.dodea.edu/vs/hs/ Digital photography: Digital exposure. aventa/digital_photography/IMGDESs-HS camera, 494376437, Thinkstock (2007). © Aventa Learning -A11/s/unit2/activities/ hitmanphoto, Man Taking Photo Of City activity_59960/2_1_12_flashcard.swf And River With Mobile Phone, (p. 25) https://content.dodea.edu/vs/hs/ 527484157, iStockphoto/Thinkstock aventa/digital_photography/IMGDESs-HS Dirima, Woman taking photo with -A11/s/unit2/activities/ activity_59591/2_2_6_crossword.swf smartphone camera on summer travel, 510948207, iStockphoto/Thinkstock Websites Cameron Whitman, Photographer, 164924376, iStockphoto/Thinkstock http://www.avedonfoundation.org/ fashion/ Fuse, Woman Looking at Digital Camera, 84473232, Thinkstock http://michaelavedon.com/ kieferpix, Young man using a professional http://www.magnumphotos.com/C.aspx? camera, 188117620, iStockphoto/ VP3= Thinkstock CMS3&VF=MAGO31_9_VForm&ERID=24K L535AWZ AntonioGuillem, Arab woman photographer holding a dslr camera, 461999241,

iStock/Thinkstock Kuzma, photographer, 153172184, iStockphoto/Thikstock

Izf, woman tourist taking photo outdoor, 509629305, iStockphoto/Thinkstock moodboard, Young man taking photo through digital camera over blue background, 159290038, Thinkstock

bevangoldswain, Pretty woman is a proffessional photographer with dslr camera, 178386554, iStockphoto/Thinkstock webphotography, Taking photo with

smart phone, 465992783, iStockphoto/

Thinkstock matt_benoit, iStock/thinkstock matt_benoit, Purestock, Teenage girl taking a picture with camera, 94788325, Thinkstock

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Image Credits

Images Pages 12—13 Page 26—27 Page 2—3 Michael Avedon, Emma Ferrer shot by matt_benoit, Stacked Books, 482044971, Michael Avedon for Harper’s Bazaar, Wiki- iStock/Thinkstock Scuddy Waggoner, Antique Box Camera, media Commons 146751076, iStockphoto/Thinkstock Nastco, Stack of instant photos with clip- Modified screen grab from video/vimeo ping path, 177228092, iStock/Thinkstock Marcel Ter bekke, vintage camera, URL: http://vimeo.com/28448318 100831636, Thinkstock

Page 28 Page 4—5 Page 14—15 See pg. 1 information. Screen grab, DPH01-143.59563, Aventa Rue St. Rustique, March 1922; cph 3c05725; Library of Congress (LOC) Flipping Book Benji Iguchi driving tractor, Manzanar Page 16—17 IvicaNS, natural wood background, Relocation Center, California; Digital ID - 60561, DPH01-143.60561, Aventa 491381083, iStock/Thinkstock ppprs 00320; LOC 60566, DPH01-143.60566, Aventa flukesamed, brick wall decoration texture DETAIL OF CIRCULAR STAIRS LOOKING 59567, DPH01-143_59567, Aventa background, 518526325, iStock/ UP FROM FIRST FLOOR - Isaac Franklin 59568, DPH01-143_59568, Aventa Thinkstock House, U.S. Route 25 East, White Pine, Jefferson County, TN;hhh tn0085.photos.153527p; LOC Page 18—19

Reverend Jessee [i.e., Jesse] Jackson's 59579, DPH01-143.59579, Aventa march for jobs -- around the White 59580, DPH01-143.59580, Aventa House; ppmsca 03420; LOC

Archway, Wolfgang Dietz, 2014, pixabay Page 20—21

Screen grab, DPH01-143.59582.swf, Page 6—7 Aventa

Animal Locomotion, Eadweard Muybridge, Screen grab, 59960, 2_1_12_flashcard,

1887; ds 01299; LOC Aventa

Part of the kitchen; cph 3g08198; LOC alexjuve, Cursor Set - arrow, hand, hour- Modified screen grab from video/vimeo glass, 184252157, iStockphoto/ URL: http://vimeo.com/92688138 Thinkstock

Page 8—9 Page 22—23 justinecottonphotography, Abandoned 59588, DPH01-143.59588, Aventa Desert Church, 468643199, iStockphoto/ 59589, DPH01-143.59589, Aventa Thinkstock 59587, DPH01-143.59587, Aventa 59646, DPH01-143.59646, Aventa IVYPHOTOS, Exposure compensation dial © Jorge Royan; Shoemaker workshop, on camera, 462001305, iStockphoto/ Capri, Italy; Capri - 7224; Wikimedia Thinkstock Commons

Page 24—25 Page 10—11 Rachel Boylan, IMG_1063up Stefan Schweihofer, Mountains, pixabay Rachel Boylan, IMG_1064up Suffragists demonstrating against Wood- Rachel Boylan, IMG_1065up row Wilson in Chicago, 1916; 276016r; Rachel Boylan, IMG_1066up LOC Rachel Boylan, IMG_1067up PublicDomainPictures, Michelangelo, pixabay Screen grab, 59591, 2_2_6_crossword, Aventa

Nastco, iStock/Thinkstock

Combination Image, see Image Credits (p.27)

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