Your SlideShare is downloading. ×
0
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Photo 1 midterm review 2014
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×
Saving this for later? Get the SlideShare app to save on your phone or tablet. Read anywhere, anytime – even offline.
Text the download link to your phone
Standard text messaging rates apply

Photo 1 midterm review 2014

525

Published on

Published in: Education, Technology, Business
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
525
On Slideshare
0
From Embeds
0
Number of Embeds
2
Actions
Shares
0
Downloads
6
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. PHOTO 1 MIDTERM REVIEW!
  • 2. THESE TOPICS WILL BE ON THE EXAM & ARE COVERED IN THIS REVIEW 1. Parts of the Camera 2. Shutter speed 3. Aperture 4. Depth of field 5. Light metering 6. Bracketing 7. 8. 9. 10. 11. 12. Equivalent exposures Easels Parts of the enlarger Processing film Darkroom chemistry Principles of Composition
  • 3. parts of the camera
  • 4. 1. 3. 5. 6. 2. 4.
  • 5. 1. film advance lever 3. 5. 6. 2. 4.
  • 6. 1. film advance lever 3. 5. 6. 2. shutter speed dial 4.
  • 7. 1. film advance lever shutter release 3. button 5. 6. 2. shutter speed dial 4.
  • 8. 1. film advance lever shutter release 3. button 5. 6. 2. shutter speed dial film 4. rewind
  • 9. 1. film advance lever shutter release 3. button aperture 5. ring 6. 2. shutter speed dial film 4. rewind
  • 10. 1. film advance lever shutter release 3. button aperture 5. ring 6. lens 2. shutter speed dial film 4. rewind
  • 11. 8. 9. 7. 12. 11. 10.
  • 12. 8. 9. viewfinder 7. 12. 11. 10.
  • 13. 8. take up spool 9. viewfinder 7. 12. 11. 10.
  • 14. 8. take up spool 9. camera back viewfinder 7. 12. 11. 10.
  • 15. 8. take up spool 9. camera back viewfinder 7. 12. 11. 10. shutter
  • 16. 8. take up spool 9. camera back viewfinder 7. 12. 11. tripod mount 10. shutter
  • 17. 8. take up spool 9. camera back viewfinder 7. rewind release 12. button 11. tripod mount 10. shutter
  • 18. shutter speed
  • 19. What is this?
  • 20. What is this? shutter speed dial
  • 21. What is this? shutter speed dial What does it do?
  • 22. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second
  • 23. 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?
  • 24. 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
  • 25. 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?
  • 26. 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
  • 27. What does the “B” stand for?
  • 28. What does the “B” stand for? “bulb”
  • 29. What does the “B” stand for? “bulb” What does it do?
  • 30. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed
  • 31. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How?
  • 32. 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
  • 33. 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?
  • 34. 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.
  • 35. What is this?
  • 36. What is this? a tripod
  • 37. What is this? a tripod When do you use this?
  • 38. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below
  • 39. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below What happens if you don’t?
  • 40. 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.
  • 41. If you wanted to take a picture of a running man so that the action would be “frozen” - what shutter speed might you try?
  • 42. 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
  • 43. What if you wanted to “show movement” - how would you do that?
  • 44. What if you wanted to “show movement” - how would you do that? the slower the better - try at least 1 second if possible (movement will look blurred)
  • 45. You can also show movement using “panning” - what is panning?
  • 46. You can also show movement using “panning” - what is panning? using a slow shutter speed (1/30 or below), move (“pan”) your camera to follow the moving subject as you take the picture
  • 47. aperture
  • 48. What is this?
  • 49. What is this? aperture ring
  • 50. What is this? aperture ring What does it do?
  • 51. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops
  • 52. 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 _______ size aperture.
  • 53. 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 _______ size aperture.
  • 54. 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 _______ size aperture. What does aperture size TECHNICALLY control in your photograph?
  • 55. 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 _______ size aperture. What does aperture size TECHNICALLY control in your photograph? how large an aperture - how much LIGHT gets in
  • 56. 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 _______ size 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?
  • 57. 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 _______ size 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
  • 58. depth of field
  • 59. Depth of Field ƒ/2 ƒ/8 ƒ/16
  • 60. Depth of Field • the “wall of focus” ƒ/2 ƒ/8 ƒ/16
  • 61. Depth of Field • the “wall of focus” • how much (forwards and backwards of your subject) of your image will be in focus ƒ/2 ƒ/8 ƒ/16
  • 62. Depth of Field
  • 63. Depth of Field
  • 64. Depth of Field If you want a great depth of field, what size aperture should you use?
  • 65. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL
  • 66. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as?
  • 67. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  • 68. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  • 69. 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?
  • 70. 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
  • 71. 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?
  • 72. 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
  • 73. light metering
  • 74. 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.
  • 75. 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.
  • 76. 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 UNCOMFORTABLY 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.)
  • 77. bracketing
  • 78. What is bracketing?
  • 79. What is bracketing? taking the same photograph at different exposures
  • 80. What is bracketing? taking the same photograph at different exposures Why would you do this?
  • 81. 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
  • 82. 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?
  • 83. 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
  • 84. 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)
  • 85. 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”.)
  • 86. 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
  • 87. How do you bracket?
  • 88. How do you bracket?
  • 89. How do you bracket? 1. light meter
  • 90. How do you bracket? 1. light meter 250 ƒ/8
  • 91. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  • 92. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  • 93. 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
  • 94. 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
  • 95. 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/8 125
  • 96. 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 4. take the three photographs 125
  • 97. 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
  • 98. equivalent exposures
  • 99. Equivalent Exposures
  • 100. Equivalent Exposures What are “equivalent exposures”?
  • 101. Equivalent Exposures What are “equivalent exposures”? different combinations of aperture/shutter speed settings that give you the same exposure (range of light/dark values)
  • 102. 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?
  • 103. 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
  • 104. 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
  • 105. USING Equivalent Exposures
  • 106. 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.
  • 107. 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:
  • 108. 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:
  • 109. 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
  • 110. 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.
  • 111. 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?
  • 112. USING Equivalent Exposures
  • 113. USING Equivalent Exposures ƒ/2 and 1/500 sec
  • 114. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? ƒ/2 and 1/500 sec
  • 115. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed ƒ/2 and 1/500 sec
  • 116. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the sense of motion in your photograph? ƒ/2 and 1/500 sec
  • 117. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the sense of motion in your photograph? lower the shutter speed ƒ/2 and 1/500 sec
  • 118. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the sense of motion in your photograph? lower the shutter speed ƒ/2 and 1/500 sec Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use the lowest possible shutter speed you can.
  • 119. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? shutter speed What could you do to create the sense of motion in your photograph? lower the shutter speed ƒ/2 and 1/500 sec Since you got the EXPOSURE right, that means you’re happy with the relationship between your settings, you just need to use the lowest possible shutter speed you can. Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
  • 120. USING Equivalent Exposures
  • 121. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
  • 122. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
  • 123. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed.
  • 124. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. ƒ/2 500
  • 125. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. ƒ/2 500
  • 126. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 ƒ/2 ƒ/2 500
  • 127. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500
  • 128. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125
  • 129. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125 60
  • 130. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125 60 30
  • 131. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125 60 30 15
  • 132. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125 60 30 15 8
  • 133. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 500 250 ƒ/2 ƒ/2 500 125 60 30 15 8 4
  • 134. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 ƒ/2 ƒ/2 500 125 60 30 15 8 4
  • 135. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 x ƒ/2 250 ƒ/2 500 125 60 30 15 8 4
  • 136. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 x ƒ/2 ƒ/2.8 ƒ/2 500 125 60 30 15 8 4
  • 137. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/2 500 60 30 15 8 4
  • 138. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/2 500 30 15 8 4
  • 139. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/2 500 15 8 4
  • 140. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/2 500 8 4
  • 141. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/2 500 4
  • 142. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 143. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 144. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500
  • 145. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500 ƒ/22 4
  • 146. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500 ƒ/22 4
  • 147. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500 ƒ/22 4
  • 148. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 ƒ/2 500 ƒ/22 4
  • 149. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 500 ƒ/22 4
  • 150. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 500 ƒ/22 4
  • 151. USING Equivalent Exposures Use an Equivalent Exposure chart to figure out what aperture and shutter speed pair you could use which would give you the same LIGHT as the original settings, but let you use the lowest possible shutter speed. 1000 500 250 125 60 30 15 8 4 x ƒ/2 ƒ/2.8 ƒ/4 ƒ/5.6 ƒ/8 ƒ/11 ƒ/16 ƒ/22 these images are equivalent exposures ƒ/2 500 USE A TRIPOD ƒ/22 4
  • 152. the easels
  • 153. Easels
  • 154. Easels This is a ________ easel.
  • 155. Easels This is a ________ easel. CONTACT
  • 156. Easels This is a ________ easel. CONTACT It is used when making:
  • 157. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets
  • 158. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives
  • 159. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives
  • 160. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  • 161. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  • 162. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms This is a __________________ easel.
  • 163. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms PRINTING / MASKING This is a __________________ easel.
  • 164. 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:
  • 165. 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
  • 166. 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:
  • 167. 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
  • 168. 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
  • 169. parts of the enlarger
  • 170. Parts of the Enlarger
  • 171. Parts of the Enlarger
  • 172. lamphouse Parts of the Enlarger {
  • 173. lamphouse Parts of the Enlarger {
  • 174. lamphouse Parts of the Enlarger {
  • 175. lamphouse { bellows { Parts of the Enlarger
  • 176. lamphouse { bellows { Parts of the Enlarger
  • 177. lamphouse { bellows { Parts of the Enlarger
  • 178. lamphouse { bellows { lens Parts of the Enlarger
  • 179. lamphouse { bellows { lens Parts of the Enlarger
  • 180. lamphouse negative carrier goes here bellows lens Parts of the Enlarger { {
  • 181. lamphouse negative carrier goes here bellows lens easel goes here Parts of the Enlarger { {
  • 182. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { {
  • 183. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { {
  • 184. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob
  • 185. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down
  • 186. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down
  • 187. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down
  • 188. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down fine focus
  • 189. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down
  • 190. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down
  • 191. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down
  • 192. lamphouse negative carrier goes here bellows lens { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down easel goes here (but which easel??) Parts of the Enlarger grain focuser
  • 193. lamphouse negative carrier goes here bellows lens { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down easel goes here (but which easel??) Parts of the Enlarger grain focuser
  • 194. lamphouse negative carrier goes here bellows lens { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down easel goes here (but which easel??) Parts of the Enlarger grain focuser used to get the sharpest possible print
  • 195. lamphouse negative carrier goes here bellows lens { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down easel goes here (but which easel??) Parts of the Enlarger grain focuser used to get the sharpest possible print
  • 196. lamphouse negative carrier goes here bellows lens { { height adjustment knob moves EVERYTHING up and down fine focus moves the bellows up and down easel goes here (but which easel??) Parts of the Enlarger grain focuser used to get the sharpest possible print
  • 197. processing film
  • 198. Loading Your Film: What goes into the changing bag?
  • 199. Loading Your Film: What goes into the changing bag? • tank (including lid & post)
  • 200. Loading Your Film: What goes into the changing bag? • tank (including lid & post)
  • 201. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels
  • 202. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels
  • 203. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener
  • 204. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener
  • 205. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener • your film
  • 206. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener • your film
  • 207. Processing Your Film (the SUPER condensed version)
  • 208. Processing Your Film (the SUPER condensed version) 1. Water Rinse
  • 209. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer
  • 210. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath
  • 211. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer
  • 212. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse
  • 213. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse 6. Perma Wash
  • 214. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse 6. Perma Wash 7. Water Rinse
  • 215. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo
  • 216. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo
  • 217. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE
  • 218. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo
  • 219. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer removes unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain! 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo
  • 220. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer removes unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain! 5. Water Rinse 6. Perma Wash 7. Water Rinse 8. Photo Flo cleans off chemicals
  • 221. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer removes unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain! 5. Water Rinse cleans off chemicals 6. Perma Wash cleans off fixer even more 7. Water Rinse 8. Photo Flo
  • 222. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer removes unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain! 5. Water Rinse cleans off chemicals 6. Perma Wash cleans off fixer even more 7. Water Rinse cleans off Perma Wash 8. Photo Flo
  • 223. Processing Your Film (the SUPER condensed version) 1. Water Rinse cleans off dust 2. Developer oxidizes the silver that got exposed to light (makes it dark!) - dependent on TIME and TEMPERATURE 3. Stop Bath stops the developing process 4. Fixer removes unexposed silver from the film (allows there to be clear / light areas in your negatives!) don’t pour it down the drain! 5. Water Rinse cleans off chemicals 6. Perma Wash cleans off fixer even more 7. Water Rinse cleans off Perma Wash prevents water spots, protects negatives 8. Photo Flo
  • 224. darkroom chemistry
  • 225. sink
  • 226. sink
  • 227. developer sink
  • 228. developer sink
  • 229. stop bath sink developer
  • 230. stop bath sink developer
  • 231. fixer sink stop bath developer
  • 232. fixer sink stop bath developer
  • 233. water sink fixer stop bath developer
  • 234. water what do I do? sink fixer stop bath developer
  • 235. water what do I do? fixer stop bath developer develops the paper (oxidizes silver) (pH 11 or 12 = base) sink
  • 236. water fixer stop bath developer sink stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) what do I do? (pH 11 or 12 = base)
  • 237. water what do I do? fixer stop bath stabilizes the image (removes unexposed silver from the paper) sink developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base)
  • 238. water what do I do? sink cleans the print (washes off all the chemicals) fixer stop bath stabilizes the image (removes unexposed silver from the paper) developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base)
  • 239. water what do I do? I should be replaced when... sink cleans the print (washes off all the chemicals) fixer stop bath stabilizes the image (removes unexposed silver from the paper) developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base)
  • 240. water what do I do? I should be replaced when... sink cleans the print (washes off all the chemicals) fixer stop bath stabilizes the image (removes unexposed silver from the paper) developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base) if I am starting to turn a red / orangish color
  • 241. water what do I do? I should be replaced when... sink cleans the print (washes off all the chemicals) fixer stop bath stabilizes the image (removes unexposed silver from the paper) developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base) if I am a dark purple color if I am starting to turn a red / orangish color
  • 242. water what do I do? I should be replaced when... sink cleans the print (washes off all the chemicals) fixer stop bath stabilizes the image (removes unexposed silver from the paper) if I get cloudy when you drip hypo check in developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base) if I am a dark purple color if I am starting to turn a red / orangish color
  • 243. water what do I do? I should be replaced when... sink cleans the print (washes off all the chemicals) N/A fixer stop bath stabilizes the image (removes unexposed silver from the paper) if I get cloudy when you drip hypo check in developer stops the developing develops the paper (oxidizes silver) (low pH = acid, neutralizes the developer) (pH 11 or 12 = base) if I am a dark purple color if I am starting to turn a red / orangish color
  • 244. snapshot vs. composed and principles of composition
  • 245. What is the difference between a snapshot and a composed photograph?
  • 246. What is the difference between a snapshot and a composed photograph? Snapshot
  • 247. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place.
  • 248. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation.
  • 249. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details.
  • 250. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo
  • 251. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo vs. Composed Photograph
  • 252. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo vs. Composed Photograph • An artistic interpretation of an event, person, object, or place.
  • 253. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo vs. Composed Photograph • An artistic interpretation of an event, person, object, or place. • A process where care is taken to consider the elements and principles that exist within the frame of the composition.
  • 254. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo vs. Composed Photograph • An artistic interpretation of an event, person, object, or place. • A process where care is taken to consider the elements and principles that exist within the frame of the composition. • Organized frame, where attention has been paid to expressing an emotion or telling the viewer something about its subject.
  • 255. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place. • Usually a very quick response to a situation. • Unorganized, no attention has been paid to details. • Only the photographer has an emotional connection to the photo vs. Composed Photograph • An artistic interpretation of an event, person, object, or place. • A process where care is taken to consider the elements and principles that exist within the frame of the composition. • Organized frame, where attention has been paid to expressing an emotion or telling the viewer something about its subject. • A universal appeal or sense of interest - ability to connect to many viewers
  • 256. Principles of Photographic Composition
  • 257. Principles of Photographic Composition 1. Light
  • 258. Principles of Photographic Composition 1. Light 2. Rule of Thirds
  • 259. Principles of Photographic Composition 1. Light 2. Rule of Thirds 3. Using the Edges of the Frame
  • 260. Principles of Photographic Composition 1. 2. 3. 4. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame
  • 261. Principles of Photographic Composition 1. 2. 3. 4. 5. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame Line
  • 262. Principles of Photographic Composition 1. 2. 3. 4. 5. 6. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame Line Point of View
  • 263. Principles of Photographic Composition 1. 2. 3. 4. 5. 6. 7. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame Line Point of View Fill the Frame / Cropping
  • 264. Principles of Photographic Composition 1. 2. 3. 4. 5. 6. 7. 8. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame Line Point of View Fill the Frame / Cropping Pattern / Texture
  • 265. Principles of Photographic Composition: LIGHT
  • 266. Principles of Photographic Composition: RULE OF THIRDS
  • 267. Principles of Photographic Composition: RULE OF THIRDS
  • 268. Principles of Photographic Composition: USING THE EDGES OF THE FRAME
  • 269. Principles of Photographic Composition: FRAME WITHIN A FRAME
  • 270. Principles of Photographic Composition: LINE
  • 271. Principles of Photographic Composition: POINT OF VIEW
  • 272. Principles of Photographic Composition: FILL THE FRAME / CROPPING
  • 273. Principles of Photographic Composition: PATTERN / TEXTURE
  • 274. THE END! email me with any questions you might have! caroline_appel@hcpss.org

×