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Photo 1 midterm review 2013

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PHOTO 1 MIDTERM REVIEW!
THESE TOPICS WILL BE ON THE EXAM & ARE COVERED IN THIS REVIEW 1. Parts of the Camera 9. Film speed 2. Shutter speed 10. Parts of the enlarger 3. Aperture 11. Easels 4. Depth of field 12. Dodging & burning 5. Point of departure 13. Processing film 6. Light metering 14. Darkroom chemistry 7. Bracketing 15. Principles of Composition 8. Equivalent exposures
parts of the camera
take-up spool
take-up spool camera back
take-up spool camera back sprockets
take-up spool camera back sprockets viewfinder
take-up spool camera back sprockets viewfinder film compartment
take-up spool camera back sprockets viewfinder film compartment pressure plate
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter film advance lever
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter film advance lever shutter button
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial shutter button
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind lens
take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 500 BULB
take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 500 1000 BULB
shutter speed
What is this?
What is this? shutter speed dial
What is this? shutter speed dial What does it do?
What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second
What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph?
What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in
What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in What does shutter speed CREATIVELY control in your photograph?
What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in What does shutter speed CREATIVELY control in your photograph? a sense of MOVEMENT or MOTION
What does the “B” stand for?
What does the “B” stand for? “bulb”
What does the “B” stand for? “bulb” What does it do?
What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed
What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How?
What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it
What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it When would you use this?
What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it When would you use this? if you want a REALLY long exposure time - maybe to show city lights at night, or the movement of water over a long period of time, etc.
What is this?
What is this? a tripod
What is this? a tripod When do you use this?
What is this? a tripod When do you use this? at shutter speeds of 1/60 or below
What is this? a tripod When do you use this? at shutter speeds of 1/60 or below What happens if you don’t?
What is this? a tripod When do you use this? at shutter speeds of 1/60 or below What happens if you don’t? it will be blurry and you will be disappointed. I promise.
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try?
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that?
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that? 1/30 (blur)
If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that? 1/30 (blur) 1/30 & panning (sharper subject, blurred background)
aperture
What is this?
What is this? aperture ring
What is this? aperture ring What does it do?
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops A low ƒ-stop number = a __________ aperture.
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture.
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph?
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in What does aperture size CREATIVELY control in your photograph?
What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in What does aperture size CREATIVELY control in your photograph? DEPTH OF FIELD
depth of field
Depth of Field ƒ/2 ƒ/8 ƒ/16
Depth of Field • the “wall of focus” ƒ/2 ƒ/8 ƒ/16
Depth of Field • the “wall of focus” • how much (forwards and backwards) of your image will be in focus ƒ/2 ƒ/8 ƒ/16
Depth of Field
Depth of Field
Depth of Field If you want a great depth of field, what size aperture should you use?
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as?
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use?
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE Such as?
Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE Such as? ƒ/2
point of departure
What are the settings for our “point of departure”?
What are the settings for our “point of departure”? ƒ/8
What are the settings for our “point of departure”? ƒ/8 125
What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure?
What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering
What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering Why are those settings our point of departure?
What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering Why are those settings our point of departure? they give you a lot of room to make changes in your aperture and/or shutter speed, in either direction
light metering
Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
HEY! I’m standing right here! Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
HEY! I’m standing right here! Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out. Meter directly from your subject. It’s a good idea to get REALLY CLOSE to your subject, meter, then back up and re-compose the frame. This is always important - but especially if your subject is backlit (has a strong source of light coming from behind it.)
bracketing
What is bracketing?
What is bracketing? taking the same photograph at different exposures
What is bracketing? taking the same photograph at different exposures Why would you do this?
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket?
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed)
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 4. take the three photographs
How do you bracket?
How do you bracket?
How do you bracket? 1. light meter
How do you bracket? 1. light meter 250 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 250 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8 4. take the three photographs
How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8 4. take the three photographs ƒ/8 at 1/500 ƒ/8 at 250 ƒ/8 at 125
equivalent exposures
Equivalent Exposures
Equivalent Exposures What are “equivalent exposures”?
Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter?
Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter? • to help you make use of your CREATIVE controls (depth of field and the sense of movement) while still getting a properly exposed image
Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter? • to help you make use of your CREATIVE controls (depth of field and the sense of movement) while still getting a properly exposed image • to help you NOT use a tripod but still get a clear and properly exposed image
USING Equivalent Exposures
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all.
USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all. What should you do?
USING Equivalent Exposures
USING Equivalent Exposures ƒ/2 and 1/500 sec
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? ƒ/2 and 1/500 sec
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed ƒ/2 and 1/500 sec
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph?
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use a lower shutter speed such as perhaps 1/30 sec.
USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use a lower shutter speed such as perhaps 1/30 sec. Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same EXPOSURE that you had with 1/500 sec.
USING Equivalent Exposures
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 60 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 60 30 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 ƒ/11 500 30
USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 USE A ƒ/11 500 TRIPOD 30
film speed
Film Speed
Film Speed refers to the level of light in which you can photograph
Film Speed refers to the level of light in which you can photograph What changes?
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO?
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed LOW speed film has _______ silver particles.
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles.
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles.
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles. BIG
Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles. BIG it can be used in situations that have LOWER levels of light
You can think about film speed like little light sponges. Or like pixels.
You can think about film speed like little light sponges. Or like pixels. LOW speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”)
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time HIGH speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.”
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast • high visibility of grain (“pixels”)
You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast • high visibility of grain (“pixels”) • needs less light or time
parts of the enlarger
Parts of the Enlarger
{ Parts of the Enlarger
lamphouse { Parts of the Enlarger
lamphouse { { Parts of the Enlarger
lamphouse { bellows { Parts of the Enlarger
lamphouse { bellows { Parts of the Enlarger
lamphouse { negative carrier goes here bellows { Parts of the Enlarger
lamphouse { negative carrier goes here bellows { Parts of the Enlarger
height adjustment knob lamphouse { negative carrier goes here bellows { Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down easel goes here Parts of the Enlarger
height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down easel goes here Parts of the Enlarger
the easels
Easels
Easels This is a ________ easel.
Easels This is a ________ easel. CONTACT
Easels This is a ________ easel. CONTACT It is used when making:
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms This is a __________________ easel.
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel.
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making:
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have:
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have: • neat, white borders
Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have: • neat, white borders • regular sizes
dodging & burning
Dodge & Burn
Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark
Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark To _________ is to “protect” an area from light while you further expose the rest of the image.
Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image.
Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image. To _________ is to further expose one specific area of an image to make it darker while you “protect” the rest of the image.
Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image. BURN To _________ is to further expose one specific area of an image to make it darker while you “protect” the rest of the image.
For example: Dodge & Burn
For example: Dodge & Burn
For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background.
For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background.
For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background. This is called __________
For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background. This is called DODGING __________
How to Dodge (a very basic tutorial)
How to Dodge (a very basic tutorial) 1. expose the image until you are happy with the arabber’s levels
How to Dodge (a very basic tutorial) 1. expose the image until you are happy with the arabber’s levels
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
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Photo 1 midterm review 2013

  • 2. THESE TOPICS WILL BE ON THE EXAM & ARE COVERED IN THIS REVIEW 1. Parts of the Camera 9. Film speed 2. Shutter speed 10. Parts of the enlarger 3. Aperture 11. Easels 4. Depth of field 12. Dodging & burning 5. Point of departure 13. Processing film 6. Light metering 14. Darkroom chemistry 7. Bracketing 15. Principles of Composition 8. Equivalent exposures
  • 3. parts of the camera
  • 4.
  • 5.
  • 7. take-up spool camera back
  • 8. take-up spool camera back sprockets
  • 9. take-up spool camera back sprockets viewfinder
  • 10. take-up spool camera back sprockets viewfinder film compartment
  • 11. take-up spool camera back sprockets viewfinder film compartment pressure plate
  • 12. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button
  • 13. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount
  • 14. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter
  • 15. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter film advance lever
  • 16. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter film advance lever shutter button
  • 17. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial shutter button
  • 18. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button
  • 19. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind
  • 20. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind lens
  • 21. take-up spool camera back sprockets viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
  • 22. take-up spool camera back sprockets viewfinder viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
  • 23. take-up spool camera back sprockets viewfinder prism viewfinder film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
  • 24. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial hot shoe shutter button film rewind aperture ring lens
  • 25. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter button film rewind aperture ring lens
  • 26. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter button film rewind aperture ring lens
  • 27. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring lens
  • 28. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 lens
  • 29. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 lens
  • 30. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 lens
  • 31. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 lens
  • 32. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 lens
  • 33. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 lens
  • 34. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 lens
  • 35. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens
  • 36. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens BULB
  • 37. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 BULB
  • 38. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 BULB
  • 39. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 BULB
  • 40. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 BULB
  • 41. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 BULB
  • 42. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 BULB
  • 43. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 BULB
  • 44. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 BULB
  • 45. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 BULB
  • 46. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 500 BULB
  • 47. take-up spool camera back sprockets viewfinder prism viewfinder aperture film compartment pressure plate rewind release button tripod mount shutter shutter speed film advance lever dial reflex mirror hot shoe shutter shutter film button film rewind aperture ring 2 2.8 4 5.6 8 11 16 22 lens 1 2 4 8 15 30 60 125 250 500 1000 BULB
  • 49.
  • 51. What is this? shutter speed dial
  • 52. What is this? shutter speed dial What does it do?
  • 53. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second
  • 54. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph?
  • 55. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in
  • 56. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in What does shutter speed CREATIVELY control in your photograph?
  • 57. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second What does shutter speed TECHNICALLY control in your photograph? how long the shutter is open - how much LIGHT gets in What does shutter speed CREATIVELY control in your photograph? a sense of MOVEMENT or MOTION
  • 58.
  • 59.
  • 60. What does the “B” stand for?
  • 61. What does the “B” stand for? “bulb”
  • 62. What does the “B” stand for? “bulb” What does it do?
  • 63. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed
  • 64. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How?
  • 65. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it
  • 66. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it When would you use this?
  • 67. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How? press the shutter release once to open the shutter, then a second time to close it When would you use this? if you want a REALLY long exposure time - maybe to show city lights at night, or the movement of water over a long period of time, etc.
  • 69. What is this? a tripod
  • 70. What is this? a tripod When do you use this?
  • 71. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below
  • 72. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below What happens if you don’t?
  • 73. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below What happens if you don’t? it will be blurry and you will be disappointed. I promise.
  • 74.
  • 75. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try?
  • 76. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000
  • 77. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that?
  • 78. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that? 1/30 (blur)
  • 79. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try? 1/1000 What if you wanted to “show movement” - how would you do that? 1/30 (blur) 1/30 & panning (sharper subject, blurred background)
  • 81.
  • 83. What is this? aperture ring
  • 84. What is this? aperture ring What does it do?
  • 85. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops
  • 86. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops A low ƒ-stop number = a __________ aperture.
  • 87. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture.
  • 88. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph?
  • 89. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in
  • 90. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in What does aperture size CREATIVELY control in your photograph?
  • 91. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops LARGE A low ƒ-stop number = a __________ aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in What does aperture size CREATIVELY control in your photograph? DEPTH OF FIELD
  • 93. Depth of Field ƒ/2 ƒ/8 ƒ/16
  • 94. Depth of Field • the “wall of focus” ƒ/2 ƒ/8 ƒ/16
  • 95. Depth of Field • the “wall of focus” • how much (forwards and backwards) of your image will be in focus ƒ/2 ƒ/8 ƒ/16
  • 98. Depth of Field If you want a great depth of field, what size aperture should you use?
  • 99. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL
  • 100. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as?
  • 101. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  • 102. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  • 103. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use?
  • 104. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE
  • 105. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE Such as?
  • 106. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16 If you want a shallow depth of field, what size aperture should you use? LARGE Such as? ƒ/2
  • 108. What are the settings for our “point of departure”?
  • 109. What are the settings for our “point of departure”? ƒ/8
  • 110. What are the settings for our “point of departure”? ƒ/8 125
  • 111. What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure?
  • 112. What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering
  • 113. What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering Why are those settings our point of departure?
  • 114. What are the settings for our “point of departure”? ƒ/8 125 How do we use point of departure? as a STARTING POINT for light metering Why are those settings our point of departure? they give you a lot of room to make changes in your aperture and/or shutter speed, in either direction
  • 116.
  • 117. Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
  • 118. HEY! I’m standing right here! Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out.
  • 119. HEY! I’m standing right here! Remember that your camera’s ROBOT EYE (a.k.a. the light meter/sensor) is not smart enough to guess how you want the picture to come out. Meter directly from your subject. It’s a good idea to get REALLY CLOSE to your subject, meter, then back up and re-compose the frame. This is always important - but especially if your subject is backlit (has a strong source of light coming from behind it.)
  • 122. What is bracketing? taking the same photograph at different exposures
  • 123. What is bracketing? taking the same photograph at different exposures Why would you do this?
  • 124. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you
  • 125. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket?
  • 126. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter
  • 127. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed)
  • 128. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.)
  • 129. What is bracketing? taking the same photograph at different exposures Why would you do this? to make sure you get a good exposure - especially in situations that are challenging to meter, or for photographs that are really important to you How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 4. take the three photographs
  • 130. How do you bracket?
  • 131. How do you bracket?
  • 132. How do you bracket? 1. light meter
  • 133. How do you bracket? 1. light meter 250 ƒ/8
  • 134. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  • 135. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  • 136. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 250 ƒ/8
  • 137. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 ƒ/8
  • 138. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8
  • 139. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8 4. take the three photographs
  • 140. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 3. identify the 3 settings you will use when bracketing (the one directly across from the “keep,” and also “one up” and “one down”.) 500 250 125 ƒ/8 4. take the three photographs ƒ/8 at 1/500 ƒ/8 at 250 ƒ/8 at 125
  • 143. Equivalent Exposures What are “equivalent exposures”?
  • 144. Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
  • 145. Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter?
  • 146. Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter? • to help you make use of your CREATIVE controls (depth of field and the sense of movement) while still getting a properly exposed image
  • 147. Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values) Why do they matter? • to help you make use of your CREATIVE controls (depth of field and the sense of movement) while still getting a properly exposed image • to help you NOT use a tripod but still get a clear and properly exposed image
  • 149. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine.
  • 150. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
  • 151. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get:
  • 152. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec
  • 153. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all.
  • 154. USING Equivalent Exposures Let’s say you are asked to shoot a photograph of a pinwheel in motion, for the “OMG it’s SPRING!!!” issue of a local magazine. You find a pinwheel that is moving, and your camera’s light meter tells you that you should use 1/500 and ƒ/2. This is the picture you get: ƒ/2 and 1/500 sec You’re really happy with the exposure (the range of light and dark values) but it totally doesn’t show motion. Like at all. What should you do?
  • 156. USING Equivalent Exposures ƒ/2 and 1/500 sec
  • 157. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? ƒ/2 and 1/500 sec
  • 158. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed ƒ/2 and 1/500 sec
  • 159. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph?
  • 160. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed
  • 161. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use a lower shutter speed such as perhaps 1/30 sec.
  • 162. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the ƒ/2 and sense of motion in your 1/500 sec photograph? lower the shutter speed Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use a lower shutter speed such as perhaps 1/30 sec. Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same EXPOSURE that you had with 1/500 sec.
  • 164. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
  • 165. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
  • 166. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec.
  • 167. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. ƒ/2 500
  • 168. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. ƒ/2 500
  • 169. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 ƒ/2 ƒ/2 500
  • 170. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 ƒ/2 ƒ/2 500
  • 171. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 ƒ/2 ƒ/2 500
  • 172. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 60 ƒ/2 ƒ/2 500
  • 173. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 500 250 125 60 30 ƒ/2 ƒ/2 500
  • 174. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 ƒ/2 ƒ/2 500
  • 175. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 ƒ/2 ƒ/2 500
  • 176. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/2 ƒ/2 500
  • 177. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/2 500
  • 178. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/2 500
  • 179. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/2 500
  • 180. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/2 500
  • 181. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/2 500
  • 182. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/2 500
  • 183. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 184. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 185. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 186. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
  • 187. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
  • 188. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
  • 189. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 ƒ/11 500 30
  • 190. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 ƒ/11 500 30
  • 191. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 ƒ/11 500 30
  • 192. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture to use with 1/30 sec so that you have the same exposure as with 1/500 sec. 1000 500 250 125 60 30 15 8 ƒ/1.4 ƒ/2 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 USE A ƒ/11 500 TRIPOD 30
  • 195. Film Speed refers to the level of light in which you can photograph
  • 196. Film Speed refers to the level of light in which you can photograph What changes?
  • 197. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles
  • 198. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO?
  • 199. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed
  • 200. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed LOW speed film has _______ silver particles.
  • 201. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles.
  • 202. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light
  • 203. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles.
  • 204. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles. BIG
  • 205. Film Speed refers to the level of light in which you can photograph What changes? the size of the silver particles What is ASA/ISO? scales we use to measure film speed SMALL LOW speed film has _______ silver particles. it can be only used in situations that have HIGH levels of light HIGH speed film has _______ silver particles. BIG it can be used in situations that have LOWER levels of light
  • 206. You can think about film speed like little light sponges. Or like pixels.
  • 207. You can think about film speed like little light sponges. Or like pixels. LOW speed film has _______ “pixels.”
  • 208. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.”
  • 209. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.”
  • 210. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity
  • 211. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast
  • 212. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”)
  • 213. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time
  • 214. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time HIGH speed film has _______ “pixels.”
  • 215. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.”
  • 216. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.”
  • 217. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity
  • 218. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast
  • 219. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast • high visibility of grain (“pixels”)
  • 220. You can think about film speed like little light sponges. Or like pixels. SMALL LOW speed film has _______ “pixels.” • low light-sensitivity • low contrast • low visibility of grain (“pixels”) • needs a lot of light or time BIG HIGH speed film has _______ “pixels.” • high light-sensitivity • high contrast • high visibility of grain (“pixels”) • needs less light or time
  • 221. parts of the enlarger
  • 222. Parts of the Enlarger
  • 223. { Parts of the Enlarger
  • 224. lamphouse { Parts of the Enlarger
  • 225. lamphouse { { Parts of the Enlarger
  • 226. lamphouse { bellows { Parts of the Enlarger
  • 227. lamphouse { bellows { Parts of the Enlarger
  • 228. lamphouse { negative carrier goes here bellows { Parts of the Enlarger
  • 229. lamphouse { negative carrier goes here bellows { Parts of the Enlarger
  • 230. height adjustment knob lamphouse { negative carrier goes here bellows { Parts of the Enlarger
  • 231. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { Parts of the Enlarger
  • 232. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { Parts of the Enlarger
  • 233. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus Parts of the Enlarger
  • 234. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down Parts of the Enlarger
  • 235. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down easel goes here Parts of the Enlarger
  • 236. height adjustment knob lamphouse { moves EVERYTHING up and down negative carrier goes here bellows { fine focus moves the bellows up and down easel goes here Parts of the Enlarger
  • 238. Easels
  • 239. Easels This is a ________ easel.
  • 240. Easels This is a ________ easel. CONTACT
  • 241. Easels This is a ________ easel. CONTACT It is used when making:
  • 242. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets
  • 243. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives
  • 244. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives
  • 245. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  • 246. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  • 247. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms This is a __________________ easel.
  • 248. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel.
  • 249. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making:
  • 250. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives
  • 251. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have:
  • 252. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have: • neat, white borders
  • 253. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel. It is used when making: • enlargements from negatives It helps your prints have: • neat, white borders • regular sizes
  • 256. Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark
  • 257. Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark To _________ is to “protect” an area from light while you further expose the rest of the image.
  • 258. Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image.
  • 259. Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image. To _________ is to further expose one specific area of an image to make it darker while you “protect” the rest of the image.
  • 260. Dodge & Burn Dodging and burning are darkroom (and Photoshop!) techniques used to change the exposure of PART of your image - when PART of an image is too light or too dark DODGE To _________ is to “protect” an area from light while you further expose the rest of the image. BURN To _________ is to further expose one specific area of an image to make it darker while you “protect” the rest of the image.
  • 261. For example: Dodge & Burn
  • 262. For example: Dodge & Burn
  • 263. For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background.
  • 264. For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background.
  • 265. For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background. This is called __________
  • 266. For example: Dodge & Burn The arabber (fruit merchant) is too dark because of incorrect metering; but reducing exposure to the whole image in the darkroom would also get rid of what little detail there is in the background. We should “protect” the arabber at a lower exposure, while further exposing the background. This is called DODGING __________
  • 267. How to Dodge (a very basic tutorial)
  • 268. How to Dodge (a very basic tutorial) 1. expose the image until you are happy with the arabber’s levels
  • 269. How to Dodge (a very basic tutorial) 1. expose the image until you are happy with the arabber’s levels
  • 270. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels
  • 271. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber
  • 272. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber
  • 273. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
  • 274. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
  • 275. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further
  • 276. How to Dodge (a very basic tutorial) but see how light the background is? 1. expose the image until you are happy with the arabber’s levels 2. cut out a cardboard “protector” that is about the same size as the arabber 3. move the “protector” up and down under the enlarger lamp while exposing the background further