Fundamentals Workshop in Photography

Fundamentals Workshop In Photography

Jeff McDonald Everett Long Whitewater Arts Alliance May 4, 2019 whitewaterarts.org/photography-workshop On Photography...

“A good photograph is one that communicates a fact, “Most things in life are moments of pleasure and a touches the heart and leaves the viewer a changed lifetime of embarrassment; photography is a moment person for having seen it. It is, in a word, eﬀective.” – of embarrassment and a lifetime of pleasure.” - Tony Irving Penn Benn “It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who “Great photography is about depth of feeling, not they are.” - Paul Caponigro depth of field.” - Peter Adams

“Taking pictures is like tiptoeing into the kitchen late “Once photography enters your bloodstream, it is like at night and stealing Oreo cookies.” - Diane Arbus a disease.” - Anonymous

“When people ask me what equipment I use – I tell “Don’t pack up your camera until you’ve left the them my eyes.” - Anonymous location.” - Joe McNally “The best thing about a picture is that it never changes, even when the people in it do.” - Andy Warhol “Your first 1,000 photographs are your worst.” - Henri Cartier-Bresson Welcome

● Fundamentals Steps to Great Photography: ○ Cameras and Lenses ○ Learn the fundamentals ○ Focus ○ Exposure (Aperture, f/stops, Shutter ○ Learn how to operate your camera Speed, ISO, Metering, Exposure Modes ● Other Camera Settings ○ Learn to see like a photographer ● Getting Sharp Images ○ Learn the field skills for your type(s) of ● Care and maintenance of gear photography ● Light and Shadow and how they matter in ○ Practice, shoot, edit, review, repeat... photography ● Composition: how the use of light, point of

view, subject placement, rule of thirds, “The most diﬀicult thing is what is thought to be diagonals, leading lines, etc. contribute to the simplest, to really see the things that are eﬀective images before your eyes.” - Goethe

● Hands On Exercises Whitewater Arts Alliance

We have many events coming up in 2019 and we want you to join us! Learn more at www.whitewaterarts.org

● May: Karolyn Alexander ● June: Wisconsin Regional Art Program ● June/July: Savory Sounds ● July: Fran Achen Photography Show ● August: Mixed Media ● September: The Road Less Traveled The mission of the Whitewater Arts Alliance, Inc. is to ● October: Cambridge Artists promote the visual and performing arts through an ● October: Bjorn Bernstrom Watercolor alliance of artists, individuals, educational resources, Workshop and organizations to promote creativity and diversity ● November/December: Members' Show that will serve to educate and enrich the lives of the residents of the Whitewater community and surrounding areas. 10th Annual Fran Achen Photography Show

Benefits: ● Opportunity for your work to be seen by the public ● Build your confidence as an artist ● Grow as an artist by viewing the work of others ● Meet and talk to people with similar interests

The Whitewater Arts Alliance has a number of opportunities throughout the year for displaying your work. Photography is welcomed and encouraged in a number of WAA shows, including the Member Show, the WRAP Show, and, of course, in the Fran Achen Photography Show. Photography Groups

Photographic Society of America (PSA) East Troy Viewfinders Camera Club ● psa-photo.org ● etvcameraclub.org ● Worldwide organization for anyone with an ● Meets once or twice monthly, except during the interest in photography, from casual shutterbugs, months of June, July and August, downstairs at to serious amateurs, to professional the East Troy library located at 3094 Graydon photographers. Est. 1934. Avenue. Check website for meeting dates/times. PSA Wisconsin Chapter Janesville Camera Club ● www.psawisconsin.org ● www.janesvillecameraclub.org Wisconsin Area Camera Clubs Organization (WACCO) ● Meets on the 2nd Thursday of every month, ● www.wicameraclubs.org September through May, 7 pm, in the lower level ● WACCO promotes the art and science of of Premier Bank, 1400 Black Bridge Road in photography and oﬀer various programs Janesville. including seminars given by nationally recognized PhotoMidwest (Madison) professional photographers, workshops, ● www.photomidwest.org exhibition opportunities, and competitions. ● Photo courses, interest groups, lectures & programming, and exhibits. Digital Camera

● Lens ○ optical device that refracts incoming light to form an image on the image plane ● Aperture/Iris Diaphragm ○ the size of the opening (in the lens) through which light enters the camera ● Shutter ○ the mechanical or electronic means by which the image plane is exposed to light ● Image Plane ○ the light-sensitive surface (sensor or film) where the image is captured ● Viewfinder ○ the means by which the camera provides a view of the scene for the photographer to use in composing the image DSLR

● Digital ○ Digital version of 70+ year old SLR ● Single Lens ○ Light enters the camera through a single lens ● Reflex ○ A mirror reflects the light through a prism into the eyepiece viewfinder ○ The mirror then moves up and out of the way to expose sensor ● Sharp viewing image ● Good in low light ● Fast, accurate AF system for action ● Vibrations caused by mirror DSLR Alternatives

● Point and Shoot/Phone Cameras ○ No interchangeable lenses ○ Often no viewfinder other than LCD ○ Phone cameras rapidly displacing true point and shoot cameras ● Mirrorless Cameras ○ Interchangeable lenses ○ Electronic viewfinder on mid- to high-end mirrorless ○ AF system uses contrast detection (somewhat slower) instead of the phase detection system of DSLRs ○ Rapidly evolving, most new camera development is currently in mirrorless Sensor

● Full Frame: same size as 35mm film, used in many pro DSLRs ● Every pixel requires a physical location (photosite) on the sensor to collect photons ● The larger the photosite, the more accurate the information: greater dynamic range, lower noise, better color, better low-light performance ● Sensor size: a far better quality indicator than megapixels, the spec most often cited ● 1 /2.5” is used in iPhone XS Crop Factor ● A full frame lens produces an image this size and projects it on the sensor ● A full frame camera captures the entire image ● A crop factor camera can only use the portion of the image that will fit on its sensor ● A 24mm f.f. lens mounted on a 1.5 crop factor camera is the equivalent of a 36mm lens, a disadvantage on the wide end ● A 300mm f.f. lens mounted on a 1.5 crop factor camera is the equivalent of a 450mm lens, an advantage on the long end Shutter

● Leaf Shutter (small blades meshed together) ● Focal Plane Shutter (2 synced curtains) ○ Used on some point-and-shoot ○ Proven technology cameras for cost reasons ○ Very fast shutter speeds available ○ Used on some medium and large ○ Limited flash sync speeds format cameras because of physical ○ Vibration size and some studio flash ○ Very fast frame rate limitations considerations ● Electronic Shutter ○ Typically not used in DSLR cameras ○ Quiet ○ Simple ○ No vibrations ○ Quiet, low vibration ○ Very fast shutter speeds ○ Flash sync at all shutter speeds ○ Moving objects distorted ○ High shutter speeds not available ○ Limited flash sync ○ Requires a shutter in every lens ○ Flash use may not be possible in some cases Focal Plane Shutter Lens

● Usually contains multiple precisely manufactured glass or plastic elements ● Elements work together to direct path of light as accurately as possible to the image plane ● Aberrations occur when points in the image do not re-form to corresponding points after passing through the lens ○ Chromatic aberration (misalignment of colors) ○ Loss of contrast ○ Vignetting Focal Length Image Formation

● Light is directional but travels in waves ● Cones (beams) of light reflected from each point in the scene diverge (expand) ● Light changes direction (refracts) when passing into or out of glass with non-parallel surfaces ● A piece of glass which is thicker in the center than on the edges will cause ● The Inverse Square Law holds that doubling diverging beams of light to converge the light source distance quarters the ● Details are only sharply resolved (focused) illumination at one optimal distance from the image ● Therefore, a 100mm focal length forms an plane image a quarter as bright as a 50mm focal ● A lens focused at infinity will form an length image at one focal length from the lens ● Further, doubling the diameter of the opening quadruples the brightness Focus

● Fixed Focus ○ Some simple cameras have focus-free lenses which are preset to always focus at about 2-½ meters (a little over 8 feet) ● Adjustable focus ○ Most lenses have element(s) which move to bring the image into focus ○ Closer to image plane to focus more distant subjects ○ Further from image plane to focus closer subjects ● Infinity focus ○ When the lens is focused on infinity (more than a few dozen meters away) ● Minimum focusing distance ○ Varies by lens Autofocus Modes

● Single subject autofocus (One-Shot AF on Canon; AF-S on Nikon) ○ Focuses on subject when shutter button pressed halfway; takes shot with full press ○ Good when subject doesn’t move such as landscape or people if shot is taken quickly ○ If focus point cannot be moved point to subject and get focus, keep button half pressed, recompose and shoot ○ Not well-suited for moving subjects, photos will be blurry or camera won’t shoot because it can’t acquire focus ● Continuous autofocus (AI Servo AF on Canon; AF-C on Nikon) ○ Acquires subject when button is pressed and continues to track it as it moves until button is pressed rest of way ○ Good for whenever subject is in motion while being photographed ○ Not good whenever subject is outside focus area because scene may not be recomposed without focus changing ● Single/continuous hybrid mode (AI Focus AF on Canon; AF-A on Nikon) ○ Acquires subject when button is half pressed and decides if subject is in motion then picks autofocus mode ○ Less desirable than other modes as it leaves focus control to camera Autofocus Points

● Autofocus Points ○ All cameras with autofocus have at least one autofocus point, usually more than one ○ Many cameras allow photographer to choose the autofocus points to use and the ability to activate diﬀerent points using camera controls ○ Selecting and moving autofocus points is very camera-specific ○ The camera manual should discuss the options. ● All Bracket Focus ○ Uses all available autofocus points ○ Could range from 1 to over 100, depending on camera ● Single Point Focus ○ Uses the focus point in the center ○ Use with stationary subject with precise point of focus ● Wide Point ○ Somewhere in between all bracket and single point ○ Use with subject in motion or less precise point of focus Manual Focus

● Basic Manual Focus ○ Put lens in manual focus (sometimes a camera switch needs to be set as well) ○ Rotate focus ring slightly past and then return to focus point quickly – move fairly quickly so your eyes don’t keep readjusting ● Manual Focus Using Live View (must support magnification and moving focus point on LCD) ○ Put lens in manual focus (sometimes a camera switch needs to be set as well) ○ Move LCD magnification point if possible over focus point ○ Magnify the maximum amount, often 10x ○ Rotate focus ring ● Manual Focus using hyperfocal/distance scale focusing (only if lens has these markings) ○ Hyperfocal distance: Minimum focus distance where the far focus extends to infinity ○ Range of acceptable focus will begin in front of the hyperfocal distance and extend to infinity ○ Look up hyperfocal distance using selected aperture and estimated distance to frontmost subject ○ Rotate focus ring until distance scale on lens lines up with hyperfocal distance Exposure Modes

● Auto ● Manual (M) ○ Camera makes all decisions ○ Photographer: all settings, aperture, ● Program (P) shutter speed, and ISO, regardless of ○ Photographer: ISO*, exposure whether this will create a properly compensation exposed image ○ Camera: aperture, shutter speed ● Manual (M) with Auto-ISO (some cameras) ● Aperture Priority (Av or A) ○ Photographer: aperture, shutter speed ○ Photographer: aperture, ISO*, exposure ○ Camera: ISO compensation ● Bulb (B) ○ Camera: shutter speed ○ Same as manual mode except that the ● Shutter Priority (Tv or S) shutter remains open for as long as it is ○ Photographer: shutter speed, ISO*, pressed exposure compensation ○ Normally used with a remote shutter ○ Camera: aperture release and/or intervalometer

* Unless using Auto-ISO mode Exposure

● Exposure = Total Absorbed Light Energy

= Intensity X Time [@ sensitivity]

● Proper Exposure ○ The “right” amount of light for a particular image ○ Generally means detail is recorded in both highlight and shadow areas with good distribution of tonalities Terms

Plugged shadows (shadow clipping) Stop ● shadow detail has been lost ● An increment of half or twice the previous exposure ● results from underexposure value Underexposure Blown highlights (highlight clipping) ● too little light captured ● highlight detail has been lost ● shadow detail is lost or overly compressed (plugged) ● results from over-exposure ● limited in the fixing you can do in post because of noise in shadows Exposure Value (EV) Overexposure ● Each increasing integer represents twice as ● too much light captured much light as the previous number ● highlight detail is lost or overly compressed (blown) ● Computed by the camera's computer using ● when too far overexposed the highlight detail is gone readings from its built in light meter ● if shooting raw might recover 1 to 1-1/2 stops in post; if jpeg -- game over Controls

Exposure = Intensity X Time [@ sensitivity]

Intensity

Controlled by aperture

Time Controlled by shutter speed

Sensitivity Controlled by ISO in digital cameras or film speed in film cameras Aperture

● Size of the opening in the lens through which light enters the camera ● Stop down ○ Use a smaller aperture, for example move from f/8 to f/11 ● Open up ○ Use a larger aperture, for example move from f/11 to f/8 ● Wide open ○ Use the largest available aperture on the lens

● Aperture is a key factor in determining an image’s depth of field Aperture

● Usually a set of overlapping black metal ● Each successively larger f-number allows in blades called an iris diaphragm located ½ the light (1 less stop), i.e. f/8 to f/11 midway between front and back lens ● Each successively smaller f-number allows elements in 2x the light (1 more stop), i.e. f/11 to f/8 ● Controlled by a manual ring on lens or ● Most DSLRs and mirrorless cameras allow through controls in camera body changes in ⅓ stop increments ● Usually remains at its widest opening ● In f/stop, f = focal length of the lens so a until the shutter is released which allows 50mm lens at f/4 would have an opening of maximum light into the viewfinder to 12.5mm (50/4=12.5); likewise, a 100mm lens make focusing easier at f/4 would have an opening of 25mm ● Controlled with relative aperture settings (100/4=25); the brightness is the same since called f-stops, where the smaller the the change in focal length is oﬀset by the f-number the larger the opening (f/1, f/1.4, change in diameter of the opening f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, etc.) ● Any lens set to the same f-number should have the same brightness, regardless of lens or camera Depth of Field

● Distance between nearest and furthest parts of the image that are considered sharp or focused ● Widest apertures (lowest f-numbers) give the shallowest depth of field ● Smaller apertures (higher f-numbers) give the deepest depth of field ● Distance to subject is also a key factor in depth of field ○ The closer to the subject the shallower the depth of field ○ The further from the subject the deeper the depth of field ● Depth of field preview Shutter Speed

● Aﬀects capture of motion ● Rules of thumb to freeze motion: ● Length of time for which the shutter stays open, ○ Still subject: 1/focal length measured in seconds or fractions of seconds ○ Subject in motion: 1/(focal length x 2) ● Standard shutter speeds are: 30, 15, 8, 4, 2, ○ Subject and photographer in motion: 1,½,¼,1/8,1/15,1/30,1/60,1/125,1/250,1/500,1/1 1/(focal length x 3) 000, 1/2000,1/4000 ○ Sports/fast moving action: no slower than ● Many cameras oﬀer “Bulb” mode which keeps 1/800 second, preferably 1/1000 or the shutter open as long as the shutter control 1/1250 which generally requires is pressed, generally with a cable or wireless wide-open or nearly wide-open apertures shutter release and elevated ISO settings ● Each doubling in time translates to a one stop increase in exposure value (going from 1 second to 2 seconds doubles the amount of light entering the camera) Sensitivity: ISO

● Sensitivity to light of film or sensor, measured on an index scale that was originally based on ASA/ISO film speeds ● Film cameras change film when lighting conditions change significantly ● Digital cameras have a setting that can be changed ● Controls the amount of signal amplification applied during capture ● Each doubling of iso number makes the sensor or film twice as sensitive to light (50,100,200,400,800,1600,3200,etc.), and thus increases the exposure by one stop ● Some digital cameras have usable iso sensitivities well beyond film. ● The trade oﬀ for increased iso sensitivity is higher levels of image noise (random variations in luminance or color information), particularly in dark areas of the image Equivalence

● Various combinations of aperture (f/stop), shutter speed, and ISO may be used to achieve the same exposure value ● Photos captured at the various combinations will have equivalent exposures but will have diﬀerences in motion, depth of field, and noise. ● Exposure equivalence does not equal artistic equivalence. In-Camera Tools

Histogram ● Distribution of luminance values in an image ● Summarizes values at all sensor locations ● Scale of 0 - 255

Highlight (Clipping) Warning ● Shows overexposed areas of image ● LCD blinks in the clipped sections

136mm; f/11; 1/100 sec; ISO 200 “Winter Morning on Cold Spring Road” © Jeff McDonald Histogram

24mm; f/4; 1/125 sec; ISO 3200 “Manitoba Arrives” © Jeff McDonald 67mm; f/18; 1/40 sec; ISO 400 “Cattail Marsh in Fresh Snow” © Jeff McDonald Metering

● Cameras use built-in light meters to evaluate ● Spot Metering exposure ○ Pin-point metering ● Some cameras display exposure on a scale, ○ Small central area of average brightness some display it numerically ○ Good for smaller subjects on dark or light background ● Medium gray (18% gray) used as target value ○ Useful in evaluating scenes with wide ● Very light or dark subjects or backgrounds can dynamic range make it diﬀicult to obtain good exposure ● Exposure compensation (manually increasing ● Multi-Segment Metering or decreasing the desired exposure value) may ○ Canon: Evaluative be required ○ Nikon: Matrix ○ Available in Program, Aperture Priority, ○ Sony: Multi-Segment and Shutter Priority Modes ○ Algorithm reviews numerous areas in ● Center-Weighted Metering frame and attempts to optimize ○ Traditional system ○ Multiple metering zones ○ Scenes with average brightness ○ Mixed lighting ○ Subjects in center of frame ○ Appropriate for most situations Exposure Modes [Revisited]

* Unless using Auto-ISO mode Exposure Settings

Tradeoﬀ between depth of field, handling motion, and noise

Recommendations: ● Keep ISO as lowest native setting as possible, raise if necessary ○ Set ISO first based on conditions (sunny day: ISO 100-200, outside at midnight with no moon ISO 1600-6400, depending on camera’s low-ISO capabilities) ○ Re-evaluate after setting aperture and shutter speed ● Is motion a factor in the composition? ○ If Yes: Prioritize Shutter Speed (1), Depth of Field (2), ISO (3) ○ If No: Prioritize Depth of Field (1), Shutter Speed (2), ISO (3) ● Remember: changes to one require oﬀsetting changes in one or both of the others White Balance

The adjustment necessary to make colors appear natural in given lighting conditions ● Human eyes normally do this automatically ● Camera sensors need point of reference ● Removal of color cast In-Camera Choices ● Auto (AWB) ● White Fluorescent Light (4000K) ● Daylight (5200K) ● Flash (5400K-6000K) ● Shade (7000K) ● Custom (set with reference image) ● Cloudy (6000K) ● K (set to specific Kelvin value) ● Tungsten Light (3200K)

RAW files: Setting is easily adjusted in post. JPEG files: Diﬀicult to get good results adjusting this setting in post.

Recommendation: Adjust to corresponding setting when lighting conditions change. Use Auto if necessary but avoid Auto if batch-adjustment in post is desired. It is important to get this setting right in-camera when shooting JPEG. A white reference target may be useful when shooting RAW. Drive

● Single Shot ● 10-Second Self-Timer ○ Single frame per shutter press ○ Compose ● High-Speed Continuous ○ Focus ○ Multiple frames as long as shutter ○ Press shutter release is pressed until buﬀer fills ○ Camera will open shutter when timer ○ Memory card R/W speed is a factor expires ● Low-Speed Continuous ○ Useful for when photographer needs to ○ Similar to High-Speed Continuous but be in the photograph at a slower rate ● 2-Second Self-Timer ● Silent Single Shot ○ Same as 10-Second Self-Timer but with ○ Quiet version of Single Shot shorter timer ● Silent Continuous ○ Useful substitute for remote shutter ○ Quiet version of Low-Speed Continuous release JPEG vs. RAW

JPEG advantages (vs RAW) JPEG disadvantages (vs RAW) ● the default ● compression is [re-]applied every time an ● quickest way to get photo image is saved. Saving and re-saving during ● makes use of camera's software for white post-processing eventually will visibly balance, exposure, brightness, sharpening, degrade the file. saturation, color space, etc. ● 8-bit file format which limits the maximum ● fewer steps number of possible colors to about 16 ● no special software required to view, widely million. supported by software and devices ● Less dynamic range (1 to 2 stops, potentially) ● smaller file size ● Camera settings such as white balance and ● faster write to memory card (due to smaller amount of sharpening are "baked into" the file size) file, greatly limiting the potential for ● faster backups (smaller file size) adjustments in post-processing ● no lens profile corrections JPEG vs. RAW

RAW advantages (vs JPEG) RAW disadvantages (vs JPEG) ● 12-bit (68 billion) color or 14-bit (4 trillion) ● RAW images MUST be post-processed, even color (depending on camera model) to simply get an image ● greater dynamic range (potentially more ● software is required recoverable highlight and shadow detail, ● consumes more space on card and disk depending on image) ● diﬀer between camera manufacturers and ● camera settings are stored to the file as cameras of a manufacturer metadata, allowing non-destructive editing ● must be converted to JPEG, GIF, PNG to ● compression is "loss-less" publish or share ● no adjustments are made by camera ● slower backups (larger file size) ● lens correction using profiles available ● acquiring a new camera may force you into a ● better, more flexible, and non-destructive software upgrade to get the new camera tools for sharpening and noise reduction are definitions available in post processing software Camera Settings: Picture Style

Presets that control amounts of

● Sharpness ● Color Tone ● Contrast ● Filter Effect (Monochrome) ● Saturation ● Toning Effect (Monochrome)

Names of presets varies between camera manufacturers. Camera’s manual should describe each style and its characteristics.

Setting aﬀects JPEG files (and JPEG previews embedded in RAW files)

Recommendation: Choose whichever picture style you prefer and change it if your preference changes or the type of subject changes. Avoid Auto styles that change automatically depending on conditions as it will be diﬀicult to develop a feel for what to expect. If you will be post-processing your images, avoid the monochrome modes because far better monochrome conversions are possible in post-processing than in-camera. However, if you are shooting RAW, the RAW files will contain all the color information and you may want to consider a monochrome mode because it will give you a monochrome preview that you might find useful in the field. Camera Settings: Image Recording Quality

Size of the captured file(s) and file format(s)

● Large ● JPEG ● Medium ● RAW ● Small ● RAW + JPEG

● Large size captures all of the available image data ● Smaller files discard some image data to reduce file size, similar to reducing 8x12 to 4x6 ● RAW files take much more space than JPEG files

Recommendation - File Format: If you will post-process the image, choose RAW or RAW+JPEG; if you will NOT post-process the image, choose JPEG.

Recommendation - File Size: Always choose large unless you have a specific reason to choose a smaller size. An example of when to choose a small JPEG would be if you are shooting images for an online auction and want to minimize the post-processing. Camera Settings: Color Space

The reproducible range of colors

sRGB ● Most monitors and printers ● Web ● Photo print services

AdobeRGB ● More colors ● Commercial printing ● Specialized industrial applications

Setting aﬀects JPEG files (and JPEG previews embedded in RAW files)

Recommendation: sRGB unless there is a specific reason to choose AdobeRGB Aspect Ratios

● Ratio of width to height ● Standard SLR, DSLR, 35mm format is 3:2 ● Large format film cameras of the 20th century used many diﬀerent aspect ratios: 5:4, 7:5, 14:11, 6:5, others ● Traditional TVs use 4:3 ● Modern TVs use 16:9 Resolution

Which is higher quality, 72dpi or 300dpi? Answer: Neither

● Where will the image be used? photo print, website, etc. ● What is the desired final size? ● What is the recommended resolution for the destination? 72dpi, 96dpi, 240dpi, 300dpi, 600dpi, etc.? ● How many pixels are available in the image? ● Now, which is better for the chosen final size and destination? ● Copy and resize image ● Save image copy Key Camera Controls/Settings Overview ● Tier 1 (Essential) ● Tier 2 (Intermediate) ○ Exposure mode ○ Focusing Method ○ Shutter Speed ○ Live View/Mirror Lockup ○ Aperture ○ Exposure Bracketing ○ ISO ○ Focus Points ○ White Balance ○ Depth of Field Preview ○ Histogram ○ Exposure Simulation ○ Highlight Warning ○ Metering Mode ○ Exposure Compensation ○ Picture Style ○ Date/Time ○ Color Space ○ Format Card ○ Auto-ISO Setup Parameters ○ Drive Mode/Self-Timer ● Tier 3 (Advanced) ○ Image Quality ○ Aspect Ratio ○ Image Playback ○ External Flash Controls ○ Zoom ○ Multiple Exposure Settings ○ Diopter Adjustment ○ Long Exposure/High ISO NR ○ Numerous camera-specific settings Getting Sharp Images

● Strategy ○ Subject in motion ○ Photographer in motion ○ Shutter Speed ○ Choice of autofocus mode ● Technique ○ Focus ○ Camera Holding Technique ● Gear ○ Tripod ○ Remote shutter release ○ Live View/Mirror lockup ● Lens Capability (some lenses) ○ Image Stabilization/Vibration Reduction Camera Holding Technique

● A proper stance will provide a proper, steady ● The camera eyepiece (viewfinder) should be hand-held camera position. gently but firmly held to the ridge above your ● Your back should be straight and neck eye. It will act as another stable point but upright. allow you to see comfortably through the ● Tuck your elbows in to your body to create a eyepiece. triangle-of-support for your camera. ● Keep your breathing smooth and under ● Your right hand should hold the camera control. hand-grip. ● Roll the finger onto the button. It’s only a tiny ● The right index finger should be poised movement. lightly on the shutter button. ● Count to two before taking your camera away ● Your left hand should be palm-up under the from your face. lens supporting its weight. Your left-hand ● Leaning against a tree or other solid object can fingers should be free to focus without add a great deal of stability shifting support from the lens in your palm. Care and Maintenance

● Materials ● Considerations ○ Hurricane blower ○ Clean when necessary but don’t ○ Microfiber lens cloth over-clean ○ Lens (NOT facial) tissue (single use) ○ Be cautious handling lenses, they scratch ○ High quality (camel hair) soft lens brush easily and are expensive to replace; their ○ Lens cleaning solution designed for optical coatings may also be damaged cleaning precision glass with optical ○ Check lens cloth for debris which may coatings cause scratches before use ○ Cotton swabs ○ Lens cloths may be washed but avoid ○ Separate microfiber cleaning cloth for fabric softeners cleaning electrical contacts and lens ○ Apply lens cleaning solution to tissue or mounts that is never used on lens glass cloth, NEVER directly to the lens; wipe in surfaces concentric circles from center to edge ○ Do not touch the front or rear glass lens elements with your fingers Checklists

● Pre-Shoot ○ Charge and install the battery ○ Install and format the memory card ○ Check/set date and time ○ Reset ISO to native (100 or 200) or your preferred baseline ○ Reset white balance to Auto or your preferred baseline ○ Reset drive setting to Single or your preferred baseline ○ Reset autofocus mode to One Shot or your preferred baseline ○ Reset autofocus points to camera default or your preferred baseline ○ Clean lenses ○ Check that quick release plates and tripod collars are securely fastened ● Post-Shoot ○ Wipe down outside of camera and lenses if wet or dirty ○ Download card(s) to hard drive ○ Make an additional copy of images to a diﬀerent hard drive ○ Refer to Backup & Organization for more information On Photography...

“I often painted fragments of things because itseemed “In photography there is a reality so subtle that it to make my statement as well as or better than the becomes more real than reality.” - Alfred Stieglitz whole could.” - Georgia O’Keeffe “There are no bad pictures; that’s just how your face “The camera doesn’t make a bit of difference. All of looks sometimes.” - Abraham Lincoln them can record what you are seeing. But, you have to see.” - Ernst Haas “If your pictures aren’t good enough, you’re not close enough.” – Robert Capa “What we see is not identical with what is imprinted upon the eye.” - Rudolf Arnheim “If I could tell the story in words, I wouldn’t need to lug around a camera.” – Lewis Hine “The camera is much more than a recording apparatus, it is a medium via which messages reach us “To consult the rules of composition before making a from another world.” – Orson Welles picture is a little like consulting the law of gravitation before going for a walk.” – Edward Weston “If you want to be a better photographer, stand in front of more interesting stuff.” - Jim Richardson “A good photograph is knowing where to stand.” - Ansel Adams Properties of Light

Light illuminates a subject, shadows define its shape.

Properties of Light

● Hardness ● Intensity ● Angle and Direction ● Color ● Polarization Light: Hardness Hard Light is produced by a small light source close to the subject or by a large light source far away, like the sun. Shadows are deep with hard, well-defined edges.

102mm; f/9; 1/500 sec; ISO 100 “Nice Pool” © Jeff McDonald Light: Hardness Soft Light is produced by a light source that is large and close to the subject or when a hard light has been diﬀused in some way. Shadows are not as deep and have softer, less well-defined edges. Sunlight diﬀused through clouds will strike the subject from multiple angles. This will partially illuminate some of the shadow areas, softening them. 400mm; f/22; 1/10 sec; ISO 800 “Frogging Egret” © Jeff McDonald Light: Hardness

Shade exists where there is direct sunlight but none of it is directly illuminating the subject. Its qualities are similar to that of overcast light.

Mixed Light

Open Shade exists just inside the shadow cast by hard light but near to its edge. In some ways it is similar to the light on an overcast day.

Dappled Light where hot spots or patches of the hard light mixed with the open shade, presents challenges. Light: Angle

& Direction Front Light falls evenly across the front of the subject. Gives accurate color and overall shape but lacks depth because of the lack of defining shadows and low contrast. Shadows cast by the subject fall behind the subject.

& Direction Back Light falls from behind the subject, producing shadows between the subject and the photographer. Very dramatic light which is good for producing silhouettes. Rim light around the edges of a backlit subject reveals texture and adds to the drama.

& Direction Side Light falls from the side of a subject, casting shadows which define the depth of the subject, create texture and add drama.

277mm; f/11; 1/1000 sec; ISO 1250

& Direction Top Light falls from above the subject, casting short shadows. This can be high-contrast, harsh light that overwhelms and washes out colors. With the right subject it can make for very interesting and eﬀective black and white images.

Composition

● Formal Elements (Raw Materials) All images are composed of these: ○ Line: Straight, curved, wavy, intersecting, diagonal ○ Shape: Size, complexity, geometry ○ Color: Many/few, contrasting, saturated, complementary ○ Texture: Smooth/coarse, organic/artificial ○ Tone: Dark/light ● Organization How the formal elements are organized: ○ Symmetry: Same on both sides, mirror image ○ Asymmetry: Diﬀerent on each side ○ Balance: Visual weight, bright balancing dark, tall balancing short and wide ○ Rhythm/Pattern: Repeated lines, perspectives ○ Negative Space: Shapes created by edges of objects ○ Contrast: Dark/light, opposing shapes, textures, colors, lines Composition

Structure: Interdependent factors where changes in one aﬀect the others: ● Position ○ Distance to subject: establishing shot, hero shot, detail shot ○ Focal length: how space is portrayed; wide angles expand depth and exaggerate shape and relative size of objects near edges; narrow angles compress depth ○ Camera height: perspective; view at eye level, down from high above, or up from below ○ Viewpoint/angle of view: one-point, two-point, three-point perspectives ● Frame ○ Sets the contents of the image ○ Proportion: horizontal or vertical orientation, aspect ratio ○ Objects that touch, cross, or are near the perimeter can increase or decrease tension and should receive careful consideration ● Time ○ Shutter speed decisions aﬀect the portrayal of motion in the image ○ The Decisive Moment Composition

Successful compositions engage the viewer and guide their eyes through the frame. Visual language has developed over hundreds of years as generations of image makers and viewers have been influenced by their predecessors. These cultural conventions, while frequently effective, are best used to inform compositions, not dictate them: ● Rule of Thirds: dividing the frame into horizontal and vertical thirds. Moving a central subject off-center to one of the intersection points can, in some situations, add interest. Placing the horizon at the top or bottom third division can strengthen the composition and clarify the relative importance of foreground or sky. ● Centering: placing the subject in the center of the frame. While this should not be used as the default composition, as it often is by beginners, it is often a powerful arrangement, particularly if the scene would become unbalanced by off-center placement or if perspective lines or other formal elements contribute. ● Depth: geometrical shapes such as leading lines, s-curves, and c-curves can add depth and lead the eye into and around the image. Multiple parallel planes in the image can also add the appearance of depth. ● Diagonal lines can add tension while horizontal and vertical lines can add calm. ● Perspective: 1-point, 2-point, and 3-point perspectives represent parallel lines produce very differently. ● Simplification: excluding less-important elements can add visual impact by highlighting the important. Composition

● Rule of Odds: odd numbers of elements are often more eﬀective then even numbers of the same elements. ● Depth of field: the area of the image in sharp focus as opposed to the area in less-sharp focus. This is often used to emphasize the subject and to create separation from the background or other elements. ● Framing: using elements within the image to frame other parts of the image, such as the use ot two trees on opposite sides with a house picture between them. ● Filling the frame: moving in close to the subject so that it fills all or nearly all of the frame, sometimes omitting parts of the subject. ● Lead room and active space: allowing space for a directional action to complete before the reaching the edge of the frame can make for a more pleasing image. On Photography...

“We don’t learn from our good images; we learn from “I think of photography like therapy.” - Harry Gruyaert the ones that can be improved on.” - Jen Rozenbaum “Photography has nothing to do with cameras.” - Lucas “There are no rules for good photographs, there are Gentry only good photographs.” - Ansel Adams “Photography is the simplest thing in the world, but it “I didn’t choose photography, photography chose is incredibly complicated to make it really work.” - me.” - Gerardo Suter Martin Parr

“Photography is not about cameras, gadgets and “Skill in photography is acquired by practice and not gizmos. Photography is about photographers. A by purchase.” - Percy W. Harris camera didn’t make a great picture any more than a typewriter wrote a great novel.” – Peter Adams “When you photograph a face… you photograph the soul behind it.” - Jean-Luc Godard “The more you photograph, the more you realize what can and what can’t be photographed. You just have to “Photography is an immediate reaction, drawing is a keep doing it.” - Eliot Porter meditation.” - Henri Cartier-Bresson Backup and Organization

● Primary storage: external drive ● Place all photos in a single location ○ Large enough to hold all images ● On the primary storage, create a top level ○ Allow room for growth folder called “Photos” or similar ○ Could use internal if large enough ● Turn off the automatic import options of your ● Backup storage: external drive software. ○ Same size as primary ● ○ Sync to primary periodically (weekly or Within Photos folder, create a folder for each monthly) new group of images, such as ○ Store off-site after sync (relative’s house,bank “2019-05-04-Whitewater-CAC”. Use vault, etc.) descriptive names. ● Second backup: external drive (optional) ● Select all of the images on the card and copy ○ Keep attached and sync to primary frequently them to the new folder (continuous, daily, weekly) ● Remove the card ○ Rotate with the other backup drive ● ● Cloud Sync to backup ○ Store all images (if practical) ● Format the card in the camera to prepare it ○ Otherwise store the most important images for next use Post-Processing Workflows

Which to use? Basic Workflow (no post-processing) ● Organize your image storage on ● Do you want to post-process your images? computer ○ No: Shoot JPEG, your life will be simpler. ● Copy images from camera/memory Refer to previous recommendations to get card to computer the best possible images. ○ Yes: Shoot RAW + JPEG, you will get better ● Backup images once you have developed some ● Review/cull facility with a post-processing workflow. ● Generally 8-bit JPEG images in the Shoot the JPEG to keep your options open. sRGB color space (refer to previous ○ Maybe/Sometimes: Shoot RAW + JPEG. recommendations) Keep your options open. ● Files handed oﬀ to lab for printing or ● Process RAW/DNG not JPEG whenever non-photo application used for DIY possible printing Post-Processing Workﬂows

Intermediate Workflow Advanced Workflow ● Same steps as basic workflow ● Same steps as intermediate workflow ● Keep original untouched; make adjustments to a ● More sophisticated backup capabilities copy so that you can always start over ● More organizational capabilities in ● Use software to adjust exposure, contrast, white software balance, etc., as well as any desired cropping and ● More software features/plugins in use resizing ● Generally use 12- or 14-bit RAW/DNG ● May use 12- or 14-bit RAW/DNG images in images AdobeRGB or ProphotoRGB color spaces ● Generally use calibrated monitor and ● May use calibrated monitor and color-managed color-managed process process ● Generally use photo-specific printer for ● May use photo-specific printer for making own making own prints/proofs prints/proofs ● May send out to professional lab for ● May send out to professional (non-mass-market) printing lab for printing Post-Processing Software

Software

● Subscription-based ● Perpetual License ○ Adobe Lightroom (Catalog, Editor) ○ Photoshop Elements (Catalog, Editor) ○ Adobe Photoshop (Editor) ○ ON1 PhotoRAW (Catalog, Editor, Plug-in) ○ Adobe Camera RAW (Editor) ○ Topaz Studio (Editor, Plug-in) ○ Adobe Bridge (File Browser) ○ DxO PhotoLab (Editor, Plug-in) ○ Corel PaintShop Pro (Editor) ○ GIMP (GNU Image Manipulation Program) free, open source (Editor) ○ Camera manufacturer supplied RAW editors (Editors) Adobe Lightroom

What is Lightroom?

● A Lightroom Catalog is a database where each ● Image organization (Library Module) entry contains a record for each photo, NOT the ● Image editing (Develop Module) actual photo; it is NOT a managed photo system ● Other tasks such as printing ● For each image, the catalog contains: ● Desktop-based ○ the location of each image on the file system ● Some mobile capabilities ○ instructions for how to process the image ● Local storage ○ metadata (ratings, keywords, etc.) ● Supports plug-ins ○ all edits made to the image which are stored IN THE CATALOG as metadata ● Subscription-based ● Does not change the original images on disk ● Perpetual license version no longer available (as (non-destructive) of October 2017) ● Images must be “exported” or printed to include ● Renamed Lightroom Classic CC (Oct 2017) edits Adobe Lightroom

Lightroom Tips

● Place the Lightroom Catalog inside the Photos ● Relocating images directly using the operating folder you created to store your images system utilities will BREAK LINKS to images in ● Decide on a folder location for the catalog Lightroom backups. This may also be stored in the Photos ● If you need to move folders and images, do so folder AS LONG AS replication to backup from within Lightroom. happens frequently. Otherwise it should be ● If Lightroom cannot handle RAW files from your stored on another disk. camera use software bundled with your camera ● Backing up the catalog does NOT backup the until the update becomes available. images. Both catalog AND images must be ● Stay “non-destructive” as far into the process as backed up. possible ● Use a single catalog (there is no upper size limit). RAW/DNG Files

RAW Files DNG Files ● Camera manufacturer proprietary file ● Adobe-developed standardized RAW format format ● Vary by camera model/sensor ● Full support in Adobe RAW processing combination software ● New camera models often have new ● Inconsistent support in non-Adobe RAW RAW file formats processing software ● Manufacturer usually provides software ● Adopted by camera manufacturers such that will read their RAW format and as Leica, Hasselblad, Pentax, Samsung allow adjustments and saving to TIFF ● Not adopted by Canon, Nikon, Sony, and/or JPEG Olympus, Fuji, others ● 3rd party software (Lightroom, ON1, ● Adobe DNG Converter etc.) must receive update to directly ● Lightroom built-in “Copy As DNG” handle newly released RAW formats import option ● May be converted to DNG format Lightroom Library Module Workﬂow

● Turn OFF auto-import ● Add to collection(s) (optional) ● Copy photos to hard disk (refer to previous ● Review and identify images with potential recommendations) (optional) ● Import to Lightroom ○ Pick flags ○ Source: folder from above ○ Star ratings ○ Method: Add ● Filter for flagged images ○ File Handling ● Process in Develop Module ■ Build Previews: Standard ■ Don’t import suspected duplicates ■ Add to collection: (newer LR versions oﬀer this here) ○ Apply During Import ■ Develop settings: None ■ Metadata: copyright or other from template ■ Keywords: if desired Lightroom Develop Module Workﬂow

● Open photo in Develop Module ● Adjust contrast ● Make a snapshot: Before ○ Contrast slider (overall contrast) ● Establish starting point ○ Clarity slider (midtone contrast) ○ ○ Apply lens corrections/transforms/crop Dehaze ○ Test out profiles (picture styles) ● Local adjustments ● Set Before/After view (optional) ○ Spot removal ○ ○ toggle with Y/y Graduated filter ○ Radial filter ● Set white balance/adjust color/remove cast ○ Adjustment brush ○ Preset drop down (RAW) ● Finishing ○ Temperature/Tint Sliders (RAW or JPEG) ○ ○ WB eyedropper on neutral Sharpening ○ Noise reduction ● Adjust exposure ○ Vibrance ○ White slider (set white point) ○ Saturation ○ Black slider (set black point) ○ Vignetting ○ Exposure slider (adjust overall exposure) ● Make a snapshot: V1 ● Recover clipping in highlights and shadows ● Open in Photoshop (optional) ○ Highlights slider ○ Shadows slider Resources

Books and In-Depth Training

● Matt Kloskowski ● Rocky Mountain School of Photography ○ mattk.com ○ rmsp.com ○ Ultimate Lightroom Course ○ Lightroom classes ○ Photoshop System ○ Workshops ● KelbyOne ● Creative Live ○ kelbyone.com ○ Creativelive.com ○ Lightroom, Photoshop, Photography ○ Photography, Photoshop, online training Lightroom online training ○ Lightroom Magazine ○ Photoshop User Magazine ● Authors ● David Marx ○ Victoria Bampton ○ Martin Evening ○ davidmarx.com ○ Scott Kelby ○ Lightroom video training ○ Jeﬀ Schewe