DOCSLIB.ORG

Fiddling with Your Camera Fiddling with Your Camera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fiddling with Your Camera Fiddling with Your Camera Fiddling With Your Camera Fiddling With Your Camera or How I learned to stop worrying and just press the darn shutter release ... Technical Parameters Focal length Aperture Exposure time Sensitivity Technical Parameters Focal length (determines field of view) Aperture (determines depth of field) Exposure time (affects motion in your image) Sensitivity (affects film/sensor response level) Which parameters matter most? Which parameters matter most? Focal length: 50 mm Exposure time: 1 s Aperture: f/8 Sensitivity: ISO 200 Which parameters matter most? Which parameters matter most? Focal length: 100 mm Exposure time: 1/125 s Aperture: f/16 Sensitivity: ISO 200 Focal Length Focal Length Two types of lenses: prime (one focal length) zoom (many focal lengths) Focal Length Directly determines field of view Indirectly determines perspective 50 mm 135 mm Your position, not the lens, determines perspective! Wide Angle Lenses Roughly 35 mm and shorter Short focal length large field of view Wide Angle Lenses Wide Angle Lenses Focal length: 18 mm Wide Angle Lenses Challenge: organize the chaos! How does one image element relate to another? Hard to use effectively Wide Angle Lenses Creative possibilities: Get close! (exaggerates perspective) Drop your viewpoint Find a strong foreground element Focal length: 17 mm Focal length: 24 mm Focal length: 17 mm Telephoto Lenses Roughly 85 mm and longer Long focal length narrow field of view What are telephoto lenses good for? Focal length: 420 mm Pick Out Details Narrow field of view pick out distant details Focal length: 135 mm Focal length: 100 mm Compressed Perspective Telephoto lenses don’t compress However, distant objects appear closer together Compressed Perspective Compressed Perspective Focal length: 200 mm Focal length: 77 mm Focal length: 135 mm Control of Backgrounds Narrow field of view: Find a pleasing background for your subject Avoid distractions Focal length: 420 mm Focal length: 260 mm Focal length: 160 mm Focal length: 200 mm Avoid Distractions Two examples: Avoid undesirable patches of sky Keep verticals straight Focal length: 70 mm Focal length: 110 mm Aperture Aperture Refers to size of opening of the lens Expressed relative to the focal length of the lens f-number = focal length / lens diameter Aperture Denoted using f-numbers (f-stops): f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 large small Why the strange number sequence? Why The Strange Numbers? Denoted using f-numbers (f-stops): f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Each number is bigger than previous one by sqrt(2) Example: let’s change aperture from f/2.8 to f/4 lens diameter shrinks by sqrt(2) lens area decreases by factor of 2 Therefore, f/4 admits half the light of f/2.8 F-Stops f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 F-stop: refers to the doubling or halving of light Common language: stopping down (higher f-numbers) opening up (smaller f-numbers) wide open (maximum aperture) Example: stop down two f-stops from f/4 to f/8 Identifying Lenses Lenses are identified by: focal length (or range of focal lengths) maximum aperture Examples: 135 f/2 17-40 f/4 17-85 f/4-5.6 How To Change Aperture? Traditional mechanical aperture ring set aperture by touching lens Current: electronically-controlled diaphragm set aperture on camera Electronic Diaphragm Common usage: focus and compose at maximum aperture camera tells lens to stop down at shutter release can also stop down using depth of field preview Some nice benefits: bright viewfinder during composition helps autofocus Depth Of Field Main creative application of aperture Bigger aperture less depth of field 50 mm f/1.4 135 mm f/2 Why Shallow Depth of Field? Better subject-background separation Make the subject stand out 135 mm f/2 420 mm f/4 200 mm f/4 Why Shallow Depth of Field? Incorporate out-of-focus areas into the image Really big apertures lead to a dreamy background 85 mm f/1.2 85 mm f/1.2 300 mm f/2.8 Another Way To Lose Depth Of Field Closer focusing less depth of field 200 mm (+diopter) f/13 Stopping Down How far to stop down? Just enough to get the depth of field you need! 100 mm f/16 135 mm (+diopter) f/22 135 mm (+diopter) f/22 Exploiting Diffraction Light bends as it passes through small slits or holes 24 mm f/22 17 mm f/22 Aperture Summary Expressed in f-stops (e.g. f/2.8, f/4, f/5.6, ...) F-stop: a doubling or halving of light Stop down smaller aperture, more depth of field Open up bigger aperture, less depth of field Controlled electronically in modern lenses Lenses denoted by focal length and maximum aperture Exposure Time Exposure Time Controls amount of time the shutter is open More time more light Exposure Time Measured in seconds or fractions of a second Convenient to think in stops, too: 1/15 is one stop slower (longer) than 1/30 1/100 is one stop faster (shorter) than 1/50 1/2000 1/20 1/2000 1/20 same exposure f/4 f/32 Freeze Or Blur? More time more blur Affects the sense of motion in the image 300 mm f/3.5 1/640 300 mm f/3.2 1/400 145 mm f/5.6 1/2500 50 mm f/8 1/2 115 mm f/22 1 s 50 mm f/8 1/2 17 mm f/8 1/250 100 mm f/8 1/50 35 mm f/4 1 s 24 mm f/22 30 s Sensitivity Sensitivity Determines response of film/sensor to light More sensitivity more response Measured in ISO values: ISO 100, 200, 400, 800, 1600, 3200, ... ISO 200 provides 2x response of ISO 100 Sensitivity Tradeoff Higher ISO value: shorter exposure time (for same exposure level) more noise Current digital SLRs have excellent noise control use the necessary ISO to get the shot you want! ideal: 50 mm f/8 ISO 100 1/5 s 50 mm f/5.6 1/80 ISO 800 300 mm f/3.5 1/640 ISO 800 Which Parameter Values? 1. Find correct exposure 2. Figure out which parameters matter the most 3. This determines the rest of the parameters 100 mm f/16 1/125 ISO 200 85 mm f/1.2 1/100 ISO 1600 280 mm f/5 1/1000 ISO 400 130 mm f/22 1/8 50 mm f/16 1/2 75 mm f/5.6 1/1250 1/200 s 1/4 s 300 mm f/2.8 .
Load more

Recommended publications
  • Alternative Processes a Few Essentials Introduction
    Alternative Processes A Few Essentials Introduction Chapter 1. Capture Techniques From Alternative Photographic Processes: Crafting Handmade Images Chapter 2. Digital Negatives for Gum From Gum Printing: A Step-by-Step Manual, Highlighting Artists and Their Creative Practice Chapter 3. Fugitive and Not-So-Fugitive Printing From Jill Enfield?s Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques 2 Featured Books on Alternative Process Photography from Routledge | Focal Press Use discount code FLR40 to take 20% off all Routledge titles. Simply visit www.routledge.com/photography to browse and purchase books of interest. 3 Introduction A young art though it may be, photography already has a rich history. As media moves full steam ahead into the digital revolution and beyond, it is a natural instinct to look back at where we?ve come from. With more artists rediscovering photography?s historical processes, the practice of photography continually redefines and re-contextualizes itself. The creative possibilities of these historical processes are endless, spawning a growing arena of practice - alternative processes, which combines past, present and everything in between, in the creation of art. This collection is an introduction to and a sample of these processes and possibilities. With Alternative Photographic Processes, Brady Wilks demonstrates techniques for manipulating photographs, negatives and prints ? emphasizing the ?hand-made? touch. Bridging the gap between the simplest of processes to the most complex, Wilks? introduction demonstrates image-manipulation pre-capture, allowing the artist to get intimate with his or her images long before development. In the newly-released Gum Printing, leading gum expert Christina Z.
    [Show full text]
  • A N E W E R a I N O P T I
    A NEW ERA IN OPTICS EXPERIENCE AN UNPRECEDENTED LEVEL OF PERFORMANCE NIKKOR Z Lens Category Map New-dimensional S-Line Other lenses optical performance realized NIKKOR Z NIKKOR Z NIKKOR Z Lenses other than the with the Z mount 14-30mm f/4 S 24-70mm f/2.8 S 24-70mm f/4 S S-Line series will be announced at a later date. NIKKOR Z 58mm f/0.95 S Noct The title of the S-Line is reserved only for NIKKOR Z lenses that have cleared newly NIKKOR Z NIKKOR Z established standards in design principles and quality control that are even stricter 35mm f/1.8 S 50mm f/1.8 S than Nikon’s conventional standards. The “S” can be read as representing words such as “Superior”, “Special” and “Sophisticated.” Top of the S-Line model: the culmination Versatile lenses offering a new dimension Well-balanced, of the NIKKOR quest for groundbreaking in optical performance high-performance lenses Whichever model you choose, every S-Line lens achieves richly detailed image expression optical performance These lenses bring a higher level of These lenses strike an optimum delivering a sense of reality in both still shooting and movie creation. It offers a new This lens has the ability to depict subjects imaging power, achieving superior balance between advanced in ways that have never been seen reproduction with high resolution even at functionality, compactness dimension in optical performance, including overwhelming resolution, bringing fresh before, including by rendering them with the periphery of the image, and utilizing and cost effectiveness, while an extremely shallow depth of field.
    [Show full text]
  • Irix 45Mm F1.4
    Explore the magic of medium format photography with the Irix 45mm f/1.4 lens equipped with the native mount for Fujifilm GFX cameras! The Irix Lens brand introduces a standard 45mm wide-angle lens with a dedicated mount that can be used with Fujifilm GFX series cameras equipped with medium format sensors. Digital medium format is a nod to traditional analog photography and a return to the roots that defined the vividness and quality of the image captured in photos. Today, the Irix brand offers creators, who seek iconic image quality combined with mystical vividness, a tool that will allow them to realize their wildest creative visions - the Irix 45mm f / 1.4 G-mount lens. It is an innovative product because as a precursor, it paves the way for standard wide-angle lenses with low aperture, which are able to cope with medium format sensors. The maximum aperture value of f/1.4 and the sensor size of Fujifilm GFX series cameras ensure not only a shallow depth of field, but also smooth transitions between individual focus areas and a high dynamic range. The wide f/1.4 aperture enables you to capture a clear background separation and work in low light conditions, and thanks to the excellent optical performance, which consists of high sharpness, negligible amount of chromatic aberration and great microcontrast - this lens can successfully become the most commonly used accessory that will help you create picturesque shots. The Irix 45mm f / 1.4 GFX is a professional lens designed for FujiFilm GFX cameras. It has a high-quality construction, based on the knowledge of Irix Lens engineers gained during the design and production of full-frame lenses.
    [Show full text]
  • Basic View Camera
    PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs).
    [Show full text]
  • Lens Openings and Shutter Speeds
    Illustrations courtesy Life Magazine Encyclopedia of Photography Lens Openings & Shutter Speeds Controlling Exposure & the Rendering of Space and Time Equal Lens Openings/ Double Exposure Time Here is an analogy to photographic exposure. The timer in this illustration represents the shutter speed portion of the exposure. The faucet represents the lens openings. The beaker represents the complete "filling" of the sensor chip or the film, or full exposure. You can see that with equal "openings" of the "lens" (the faucet) the beaker on the left is half full (underexposed) in 2 seconds, and completely full in 4 seconds... Also note that the capacity of the beaker is analogous to the ISO or light sensitivity setting on the camera. A large beaker represents a "slow" or less light sensitive setting, like ISO 100. A small beaker is analogous to a "fast" or more light sensitive setting, like ISO 1200. Doubling or halving the ISO number doubles or halves the sensitivity, effectively the same scheme as for f/stops and shutter speeds. 200 ISO film is "one stop faster" than ISO 100. Equal Time One f/stop down In the second illustration, the example on the left, the faucet (lens opening, f-stop, or "aperture"- all the same meaning here) is opened twice as much as the example on the right- or one "stop." It passes twice as much light as the one on the right, in the same period of time. Thus by opening the faucet one "stop," the beaker will be filled in 2 seconds. In the right example, with the faucet "stopped down" the film is underexposed by half- or one "stop." On the left, the "lens" is "opened by one stop." Equivalent Exposure: Lens Open 1 f/stop more & 1/2 the Time In this illustration, we have achieved "equivalent exposure" by, on the left, "opening the lens" by one "stop" exposing the sensor chip fully in 2 seconds.
    [Show full text]
  • Big Bertha/Baby Bertha
    Big Bertha /Baby Bertha by Daniel W. Fromm Contents 1 Big Bertha As She Was Spoke 1 2 Dreaming of a Baby Bertha 5 3 Baby Bertha conceived 8 4 Baby Bertha’s gestation 8 5 Baby cuts her teeth - solve one problem, find another – and final catastrophe 17 6 Building Baby Bertha around a 2x3 Cambo SC reconsidered 23 7 Mistakes/good decisions 23 8 What was rescued from the wreckage: 24 1 Big Bertha As She Was Spoke American sports photographers used to shoot sporting events, e.g., baseball games, with specially made fixed lens Single Lens Reflex (SLR) cameras. These were made by fitting a Graflex SLR with a long lens - 20" to 60" - and a suitable focusing mechanism. They shot 4x5 or 5x7, were quite heavy. One such camera made by Graflex is figured in the first edition of Graphic Graflex Photography. Another, used by the Fort Worth, Texas, Star-Telegram, can be seen at http://www.lurvely.com/photo/6176270759/FWST_Big_Bertha_Graflex/ and http://www.flickr.com/photos/21211119@N03/6176270759 Long lens SLRs that incorporate a Graflex are often called "Big Berthas" but the name isn’t applied consistently. For example, there’s a 4x5 Bertha in the George Eastman House collection (http://geh.org/fm/mees/htmlsrc/mG736700011_ful.html) identified as a "Little Bertha." "Big Bertha" has also been applied to regular production Graflexes, e.g., a 5x7 Press Graflex (http://www.mcmahanphoto.com/lc380.html ) and a 4x5 Graflex that I can’t identify (http://www.avlispub.com/garage/apollo_1_launch.htm). These cameras lack the usual Bertha attributes of long lens, usually but not always a telephoto, and rapid focusing.
    [Show full text]
  • Aberration Invariant Optical/Digital Incoherent Optical Systems
    Imaging Systems Laboratory, Department of Electrical Engineering University of Colorado, Boulder, Colorado 80309 Aberration Invariant Optical/Digital Incoherent Optical Systems Edward R. Dowski, Jr., W. Thomas Cathey, and Joseph van der Gracht Abstract Control of optical aberrations is a principal objective of any optical design. High performance optical designs with well-corrected aberrations typically have a very low tolerance to fabrication and alignment errors and are composed of very specific optical materials. Such systems are almost always more costly than equivalent systems with less well-corrected aberrations. By optimum combination of optical pre-processing and digital post-processing, or optical coding and digital decoding of the image information, incoherent optical systems invariant to numerous aberrations can be formed. The theory of aberration invariance can also be used with low-cost, low-precision optics to produce systems that image with the performance of high-cost, high-precision, or near diffraction-limited, spatial resolution. We can show that the central aberration to be controlled is second order, or misfocus. Systems that are invariant to misfocus are also invariant to chromatic aberration, astigmatism, thermal effects, and spherical aberration. This paper therefore describes, with experimental evidence, a focus-invariant optical system. Research The most common approach to approximating a focus-invariant imaging system is to stop down the pupil aperture. Although stopping down the aperture does increase the amount of focus invariance, or depth of field, there is an attendant loss in optical power at the image plane, as well as a reduction of the diffraction-limited image resolution. The aperture can be viewed as a simple absorptive mask in the pupil plane of an optical imaging system; however, this absorptive nature results in a loss of light.
    [Show full text]
  • Digital Light Field Photography
    DIGITAL LIGHT FIELD PHOTOGRAPHY a dissertation submitted to the department of computer science and the committee on graduate studies of stanford university in partial fulfillment of the requirements for the degree of doctor of philosophy Ren Ng July © Copyright by Ren Ng All Rights Reserved ii IcertifythatIhavereadthisdissertationandthat,inmyopinion,itisfully adequateinscopeandqualityasadissertationforthedegreeofDoctorof Philosophy. Patrick Hanrahan Principal Adviser IcertifythatIhavereadthisdissertationandthat,inmyopinion,itisfully adequateinscopeandqualityasadissertationforthedegreeofDoctorof Philosophy. Marc Levoy IcertifythatIhavereadthisdissertationandthat,inmyopinion,itisfully adequateinscopeandqualityasadissertationforthedegreeofDoctorof Philosophy. Mark Horowitz Approved for the University Committee on Graduate Studies. iii iv Acknowledgments I feel tremendously lucky to have had the opportunity to work with Pat Hanrahan, Marc Levoy and Mark Horowitz on the ideas in this dissertation, and I would like to thank them for their support. Pat instilled in me a love for simulating the flow of light, agreed to take me on as a graduate student, and encouraged me to immerse myself in something I had a passion for.Icouldnothaveaskedforafinermentor.MarcLevoyistheonewhooriginallydrewme to computer graphics, has worked side by side with me at the optical bench, and is vigorously carrying these ideas to new frontiers in light field microscopy. Mark Horowitz inspired me to assemble my camera by sharing his love for dismantling old things and building new ones. I have never met a professor more generous with his time and experience. I am grateful to Brian Wandell and Dwight Nishimura for serving on my orals commit- tee. Dwight has been an unfailing source of encouragement during my time at Stanford. I would like to acknowledge the fine work of the other individuals who have contributed to this camera research. Mathieu Brédif worked closely with me in developing the simulation system, and he implemented the original lens correction software.
    [Show full text]
  • Hasselblad Evolution of Lenses1.Pdf
    10 2/2008 TECHNOLOGY LENSES THE EVOLUTION OF LENSES BY MICHAEL J. HUSSMANN C-type and HC lenses are separated by a turn of the millennium, changes electronically. HC lenses support PHOTOS: JÜRGEN automatic as well as manual focus: HOLZENLEUCHTER in the way lenses are designed, and shifting requirements to comply with rather than transmitting the torque modern camera designs. Still, a great 20th century lens design makes for a from a focusing motor in the body through to the lens using a clutch; fine lens even today, so what are the differences between C-type and HC the focusing motor is integrated into lenses, and how do comparable lenses fare head-to-head? the lens itself. The interface between the focusing motor in the lens and the auto-focus system in the body is Over the decades, Hasselblad has lenses is equal, if not superior to that tured to Hasselblad’s specifications, electrical, but a complex system of worked with a number of highly of the C-type lenses; seeing is believ- but their engineers played no part in gears allows for a manual override skilled partners for manufacturing ing – with an H System body, a pair the actual lens development. While – the photographer can intervene at lenses: Fujinon, Kodak, Rodenstock of old and new lenses, and the CF previously Carl Zeiss engineered any time without having to switch and Schneider. But if any lens manu- adapter, anyone can copy the test. everything including the shutter, from auto-focus to manual focus facturer is specifically associated with lens design today is a collaborative mode first.
    [Show full text]
  • The New Leica Summarit-M Family
    leica-camera.com +49(0)6442-208-0Telephone +49(0)6442-208-333 /Fax /D-35606 Solms / Oskar-Barnack-Straße11 Leica CameraAG Trademarks of Leica Camera Group “Leica” as well as product names = ®Registered trademark / © 2007 Leica Camera AG Subject to modifications in design, specification and offer Concept and design : Heine/Lenz/Zizka, Frankfurt am Main / Image indication : Product photography : Alexander Habermehl, Title / Alexander Göhr / Factory photography : Michael Agel / Brochure order number : German 92115 / English 92116 / French 92117 / Italian 92118 / Spanish 92119 / Dutch 92120 / Japanese 92121 / 10/07/ ELW/B Precision lenses for unsurpassed pictures – analog or digital unsurpassedpictures–analogordigital Precision lensesfor LeicaSummarit-Mfamily The new World-class lenses from our factory in Germany With its Summarit-M : Amazing quality plus outstanding value new Summarit-M lenses, Leica is opening up the challenging world of With four focal lengths of 35, 50, 75 and 90 mm, the new Summarit-M rangefinder photography to a wider target group. High-performance class covers all of the traditional applications in rangefinder photog- Summarit-M lenses are the culmination of decades of striving to achieve raphy. Our philosophy is to consistently reduce things to their absolute perfect optical and mechanical quality by using premium materials, essentials, and the new Summarit-M lenses represent the very best that precision production techniques, cutting-edge multi-coatings, and can be achieved today using traditional spherical lens design, for both in dividual hand adjustment. They are all produced at our factory in analog and digital Leica M photography. All are 6-bit coded for opti- Germany and carry the “Made in Germany” quality mark.
    [Show full text]
  • Exposure Basics
    Exposure Basics Exposure is governed by five related factors. You need to understand these factors and how they relate to each other to deal with difficult lighting problems. These factors are: The intensity of light falling on the scene, known as incident light. The intensity of light reflected by the scene, known as reflected light. The sensitivity of your camera's image sensor, known as the ISO value. The aperture of your lens, known as the f-stop. The duration that the shutter is open, known as the shutter speed. The good news is that despite many lighting variables, people have been taking well-exposed photos long before the first practical light meter was introduced in 1932. Click HERE to see what professional photogra- phers using vintage cameras were doing between 1905 and 1917. Incident Light Outdoors, the intensity of incident light falling on the scene can vary from 100,000 lux in full sunlight to 0.0001 lux in weak starlight. Lighting levels on an overcast day or stadium lighting for televised professional sports might run from 2,000 to 3,500 lux. Indoors, the intensity of light can vary from 0.0 lux in Carlsdbad Caverns with the lights out to 50 lux in a dim suburban living room to 600 lux in a well-lighted office or a television studio. Outdoors, the intensity of incident light can vary minute by minute as clouds move in front of the sun and the sun moves across the sky. Reflected Light We use reflected light to capture photographic images. The amount of incident light reaching the camera sensor via the lens depends on the scene's 18 reflectance.
    [Show full text]
  • Nikon's D800 Technical Guide
    Technical GuideTechnical Guide Introduction Table of Contents This “Technical Guide” details the principal techniques used IIntroductionntroduction ii to create two of the more technically advanced photographs in the D800/D800E catalog. Enjoy this opportunity to admire SShootinghooting TTechniquesechniques 1 the skills of professional photographers who have mastered the D800/D800E. Static Subjects ...........................................................................1 • Lesson 1: Use a Tripod ..................................................................2 While its high pixel count of 36 megapixels gives the D800/ D800E resolution unrivalled by previous digital SLR cameras, • Lesson 2: Use Live View ............................................................... 3 a side eff ect is that bokeh and blur are made that much more • Lesson 3: Don’t Stop Aperture Down Too Far ......................5 obvious. Realizing the full potential of a camera with over • Same Shot, No Live View .............................................................6 30 million pixels involves a thorough appreciation of bokeh Portrait Subjects........................................................................7 and blur, careful selection of settings and of tools (such as • Lesson 1: Choose the Right Focus Settings ..........................8 lenses and tripods), and working with the best possible sub- • Lesson 2: Choose the Right Exposure Settings ...................9 jects. • Learning from Failure: Same Shot, Diff erent Focus .........10 QQuickuick
    [Show full text]