The instructor offer material on depth of field, focal length, point of view and composition.

1. PERSPECTIVE OR
HOW TO MAKE OR
BREAK YOUR SHOTS
…. A QUICK LESSON

2. “just as
photo-
graphy can,
the physical
structure of
the eye does
explain the
perspective
(and to
some
extent, the
angle of
view) that
we see”
http://www.donferrario.com/ruether/seeing_and_perspective.htm

3. SO, WHERE WE
STAND, AND TAKE
THE SHOT IS IN
EFFECT NOT ONLY
DETERMINING
ITS SUCCESS, BUT
ALSO ITS INTENT.
THE
PHOTOGRAPHER
MUST RELAY
THAT INTENT
CREATIVELY
UPON THE
VIEWER
OH YEAH… WE CALL THAT ART

4. KEY INGREDIENTS IN PERSPECTIVE IMAGES
• FOCAL LENGTH, DETERMINED BY
– APERTURE/FSTOP
– LENSES
– LENGTH OF MULLET (just making sure you’re paying
attention)
The focal length of an optical system is a measure of
how strongly it converges (focuses) or diverges
(diffuses) light. A system with a shorter focal length
has greater optical power than one with a long focal
length.

5. MORE ON APERTURE & FOCAL LENGTH
• Since the F-number system is based on the ratio between the
aperture diameter and the focal length of the lens, in theory, a given
F-stop transmits the same amount of light on any focal length lens.
For example, F/8 on a 100mm lens theoretically transmits the same
amount of light as F/8 on a 1000 mm lens. Of course, F/8 on the
1000mm lens means an aperture diameter of 125mm, while F/8 on
the 100mm lens means a diameter of 12.5.
• The larger the lens, the larger the aperture diameter required to
attain the desired F-stop. Large diameter lenses, for this reason,
don’t have f-stops as small as F/1.4 (smaller number=wider
opening) they would need an aperture opening of 357mm or 14
inches!!

6. COMPARE
THIS IMAGE
TO THE
FOLLOWING
ONE

7. WHICH WAS SHOT
CLOSER, AND WHICH
USED A ZOOM LENS?:
The difference in scale should be
fairly clear. Things like texture
will often change depending on
not only the light present at the
time of the exposure and camera
settings, but the type of lens and
angle between the photographer
and subject.
There are many things that can
affect the depth of field.

8. CAPTURE SEVERAL IMAGES IN A SERIES:

11. OR PERHAPS TRY A UNIQUE
VANTAGE POINT:

12. OR SEVERAL WITH JUST
SUBTLE VARIATIONS:

13. ALWAYS MAKING SURE TO
NOT ONLY FOCUS:

14. BUT COMPOSE YOUR SHOT ACCORDING TO
THE RULE OF THIRDS & SUPPLY A SENSE OF
URGENCY OR INTEREST:

15. TRY LOOKING FOR VARIED OR DIVERSE
SUBJECT MATTER WITH UNIQUE TEXTURES:

16. MAKE SURE THE PROCESS IS DOCUMENTED, USE A
SHOOTING LOG SO YOU MAY BE ABLE TO REPEAT
CRUCIAL STEPS… ALWAYS DOCUMENT SETTINGS!

17. MOST IMPORTANTLY HAVE FUN …AND FIND
SOME SCENERY YOU MAY NOT NORMALLY
THINK TO PHOTOGRAPH

18. PHOTOGRAPHY & SNAPSHOTS ARE OFTEN NOT
THE SAME

19. EFFECTIVE COMPOSITION IN PHOTOGRAPHY
COMES FROM SKILL & KNOWLEDGE
DEVELOPED THROUGH CAREFUL PRACTICE
AND ARTISTIC CONSIDERATION

20. BUT THEN AGAIN, YOU ALREADY KNEW ALL
THIS… RIGHT?

21. SO ENJOY THE KEY
THE
TO
PROCESS,
GETTING
BUT RE-
WHAT YOU
MEMBER
REALLY
WANT

22. COMES SKILL
FROM A WITH
DIVERSE LIGHT
SUBJECT AND
AMOUNT CAMERA
OF SETT-
SUBJECT INGS,
MATTER, SKILL IN
USUALLY A THE
TRIPOD, DARK
ROOM

23. AND ENOUGH FLEXIBILITY AND
EXCITEMENT FOR THE
PROCESS TO SEE BEYOND
WHAT’S PREDICTED

24. CITATIONS:
• TEXT:
• Stensvold, Mike. The Complete Idiot's Guide to
Photography Like a Pro . 3rd Edition. New York,
NY: Penguin Group, 2007.
• http://www.donferrario.com/ruether/seeing_and
_perspective.htm
• IMAGES:
• http://kittykati727-stock.deviantart.com/
• http://mihraystock.deviantart.com/
• http://safarisyd.deviantart.com/