141 midterm review FILM EXPOSURE View camera lenses: Exposure is controlled by: a. Are slower. 1. f/stop (or aperture) located in the lens b. Stop down more (f45 or f64). 2. Shutter speed. The shutter is: a. located in the camera body on a Enlargements should be made using the same 35mm single-lens reflex focal length as the normal lens for that film b. located in the lens on a 4x5 view camera format. The B setting holds the shutter open for as long as the shutter release is held. Wide Angle (short lenses) : The X setting on the shutter is for electronic 1. Common wide angle lenses for a 4x5 view flash synchronization. camera are: 90mm and 75 mm The T setting is for long exposures. Pressing 2. Common wide angle lenses for a 35mm the shutter once on T opens the shutter, camera: 19mm, 21mm, 24mm, 28mm, pressing it again closes the shutter. 35mm 3. Give a wider angle of view than a normal Thin negatives (light) have been lens. under-exposed. 4. Have more depth of field than longer lenses. Dense negatives (dark) have been 5. Have a proportionately smaller image size. over-exposed. (an object is half as large on a negative with a 50mm lens as on a 100mm lens). Equivalent exposures are adjustments made 6. Increased feeling of space. to shutter speeds or f/stops which change a visual effect without altering film or print density. Long lenses: Example: changing from f8 at 1/125 to 1. Common long lenses for a 4x5: 210, 300 f11 at 1/60, increases the depth of field in the 2. Common long lenses for 35mm cameras: scene while maintaining equal exposure. 105, 135, 200, and 500mm 3. Give a narrow angle of view. FILM CHARACTERISTICS 4. Are slower than wide lenses. 1. a. sensitivity b. contrast 5. Heavier than wide lenses. c. resolution d. grain 6. Less depth of field than shorter lenses. 2. Doubling or halving the ISO requires 7. Have a proportionately larger image size a one stop change in exposure. (an object is twice as large on a negative made 3. High speed films (ISO 400, 3200) have: with more grain and sensitivity, less contrast and a 100mm lens as one made with a 50mm lens) a lower resolution. High speed films can be 8. Compress distance. used in low light settings. 4. Medium speed films (ISO 100, 125 ) have: less grain and sensitivity and higher resolution DEPTH OF FIELD- The area of the image and contrast than high speed films. in front and back point of focus, that falls within 5. Low speed films (ISO 50) have: less grain acceptable focus. and sensitivity than higher speed films, but Depth of field is determined by: more contrast and a higher resolution than 1. F/stop (smaller apertures increase DOF) faster films. Low speed films require more light i.e. f 11 gives more depth of field than f8. than medium or high speed films. 2. Camera subject distance. 3. Lens focal length ( the shorter the lens the lenses greater the DOF -- i.e. a 28mm lens offers Lenses vary in both focal length and speed. more DOF than a 105mm lens). A fast lens opens to a wider aperture. 4. On a view camera the depth of field can be Normal lens for a 35mm camera-50mm. controlled with the camera's swings and tilts. Normal lens for a 4x5 view camera-135-150 DOF can be estimated by stopping down the mm. lens to the selected f/stop. This is often referred to in inches, i.e. a normal lens on a 4x5 is a 6" lens. Cameras THE ZONE SYSTEM is an approach to film small format cameras -- 35mm, SLR cameras exposure and development which offers more Advantages precise control of each negative. 1. Correct viewing (right/left correct, right side up). 1. Exposure determines low values. To increase 2. Faster focal plane shutters, in camera body. detail in shadows, increase exposure. To maintain 3. Light, fast, good for intuitive work. texture and detail in a low value place that area 4. Through the lens metering. no lower than Zone III. Density of low values Disadvantages remains constant after first 50% of film 1. Small negative size -- 35mm negatives require developing time. That is, the shadows of a given 8x enlargement for 8x10 print, resulting in more scene will have approximately the same density grain, lower resolution and lower contrast than whether the film is developed for 3.5 or 6 minutes. larger negatives. Developing film for a longer period does little to 2. Lack of camera movements for depth of field increase overall negative density. and perspective control. 2. High values are determined by film development. View cameras To make whites whiter in a print, time in the film 1. Swinging and tilting the lens board on developer should be increased. To maintain a view camera controls depth of field. detail in high values, whites should fall no higher 2. Swinging and tilting the back of a view camera than Zone VII. controls perspective. 3. With sheet film, low values should be Advantages placed and high values should be allowed to fall. 1. Large negative size 4. With roll film, high values should be placed (4x5's require only 2x enlargement for 8x10 print). and low values should be allowed to fall. 2. Depth of field and perspective control. 3. Leaf shutters synch. with flash at all speeds. Pyro / PMK 4. Less grain & better resolution than 35 or 21/4 In Gordon Hutching's PMK formula 5. Each negative can be developed individually P = Pyrogallol, M = Metol, K = Kodalk Disadvantages Pyrogallo and Metol are developers. 1. View cameras have longer & slower normal Kodalk is the accelerator. focal length lenses (150mm) than 35mm cameras. advantages 2. Require a tripod. 1. The characteristic green stain masks film grain. 3. Less spontaneous seeing. 2. Greater high value detail and separation. 4. Upside down viewing. 3. Edge effect enhances sharpness, tactile and 5. Use leaf shutters-- slower and increases cost three dimensional quality of the print. of each lens. 4. Allows for more generous exposure in low values -- the most critical areas. Black & White Filtration disadvantages When shooting, filters darken the values of their 1. Toxicity and ease of skin absorption. color compliment and lighten their own color. 2. Careful agitation is critical (Prone to streaking). 1. Filters block light. Compensate for the filter Ezra Stoller large format, black & white factor and increase exposure. architectural photographer 2. Either a yellow or red filter will make blue and cyan values darker & yellow & red values lighter. Photographers 3. Green filters make magenta and red values Minor White exploration of Zone System, darker and lighten green values. influential East & West Coast photographer. 40's -70's Selenium Toner William Garnett: large format aerial photographs. Metal attaches to low values (dark tones) and Olivia Parker constructs photographs in the studio. increases both contrast and dark tones. Generally still life images of collected objects. Selenium toner can also be used to intensify Nicholas Nixon large format portraits. most negatives.

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