Photo 1 midterm review 2014

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Photo 1 midterm review 2014

  1. 1. PHOTO 1 MIDTERM REVIEW!
  2. 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. 3. parts of the camera
  4. 4. 1. 3. 5. 6. 2. 4.
  5. 5. 1. film advance lever 3. 5. 6. 2. 4.
  6. 6. 1. film advance lever 3. 5. 6. 2. shutter speed dial 4.
  7. 7. 1. film advance lever shutter release 3. button 5. 6. 2. shutter speed dial 4.
  8. 8. 1. film advance lever shutter release 3. button 5. 6. 2. shutter speed dial film 4. rewind
  9. 9. 1. film advance lever shutter release 3. button aperture 5. ring 6. 2. shutter speed dial film 4. rewind
  10. 10. 1. film advance lever shutter release 3. button aperture 5. ring 6. lens 2. shutter speed dial film 4. rewind
  11. 11. 8. 9. 7. 12. 11. 10.
  12. 12. 8. 9. viewfinder 7. 12. 11. 10.
  13. 13. 8. take up spool 9. viewfinder 7. 12. 11. 10.
  14. 14. 8. take up spool 9. camera back viewfinder 7. 12. 11. 10.
  15. 15. 8. take up spool 9. camera back viewfinder 7. 12. 11. 10. shutter
  16. 16. 8. take up spool 9. camera back viewfinder 7. 12. 11. tripod mount 10. shutter
  17. 17. 8. take up spool 9. camera back viewfinder 7. rewind release 12. button 11. tripod mount 10. shutter
  18. 18. shutter speed
  19. 19. What is this?
  20. 20. What is this? shutter speed dial
  21. 21. What is this? shutter speed dial What does it do?
  22. 22. What is this? shutter speed dial What does it do? controls how long the shutter is open - in fractions of a second
  23. 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. 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. 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. 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. 27. What does the “B” stand for?
  28. 28. What does the “B” stand for? “bulb”
  29. 29. What does the “B” stand for? “bulb” What does it do?
  30. 30. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed
  31. 31. What does the “B” stand for? “bulb” What does it do? lets you have complete control over shutter speed How?
  32. 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. 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. 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. 35. What is this?
  36. 36. What is this? a tripod
  37. 37. What is this? a tripod When do you use this?
  38. 38. What is this? a tripod When do you use this? at shutter speeds of 1/60 or below
  39. 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. 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. 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. 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. 43. What if you wanted to “show movement” - how would you do that?
  44. 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. 45. You can also show movement using “panning” - what is panning?
  46. 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. 47. aperture
  48. 48. What is this?
  49. 49. What is this? aperture ring
  50. 50. What is this? aperture ring What does it do?
  51. 51. What is this? aperture ring What does it do? controls the size of the aperture, measured in ƒ-stops
  52. 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. 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. 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. 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. 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. 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. 58. depth of field
  59. 59. Depth of Field ƒ/2 ƒ/8 ƒ/16
  60. 60. Depth of Field • the “wall of focus” ƒ/2 ƒ/8 ƒ/16
  61. 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. 62. Depth of Field
  63. 63. Depth of Field
  64. 64. Depth of Field If you want a great depth of field, what size aperture should you use?
  65. 65. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL
  66. 66. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as?
  67. 67. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  68. 68. Depth of Field If you want a great depth of field, what size aperture should you use? SMALL Such as? ƒ/16
  69. 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. 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. 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. 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. 73. light metering
  74. 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. 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. 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. 77. bracketing
  78. 78. What is bracketing?
  79. 79. What is bracketing? taking the same photograph at different exposures
  80. 80. What is bracketing? taking the same photograph at different exposures Why would you do this?
  81. 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. 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. 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. 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. 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. 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. 87. How do you bracket?
  88. 88. How do you bracket?
  89. 89. How do you bracket? 1. light meter
  90. 90. How do you bracket? 1. light meter 250 ƒ/8
  91. 91. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  92. 92. How do you bracket? 1. light meter 2. choose which setting you want to “keep” (aperture or shutter speed) 250 ƒ/8
  93. 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. 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. 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. 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. 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. 98. equivalent exposures
  99. 99. Equivalent Exposures
  100. 100. Equivalent Exposures What are “equivalent exposures”?
  101. 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. 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. 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. 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. 105. USING Equivalent Exposures
  106. 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. 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. 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. 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. 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. 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. 112. USING Equivalent Exposures
  113. 113. USING Equivalent Exposures ƒ/2 and 1/500 sec
  114. 114. USING Equivalent Exposures What setting was responsible for “freezing” the motion of the moving pinwheel? ƒ/2 and 1/500 sec
  115. 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. 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. 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. 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. 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. 120. USING Equivalent Exposures
  121. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 152. the easels
  153. 153. Easels
  154. 154. Easels This is a ________ easel.
  155. 155. Easels This is a ________ easel. CONTACT
  156. 156. Easels This is a ________ easel. CONTACT It is used when making:
  157. 157. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets
  158. 158. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives
  159. 159. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives
  160. 160. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  161. 161. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms
  162. 162. Easels This is a ________ easel. CONTACT It is used when making: • contact sheets • pinhole positives • collage negatives • photograms This is a __________________ easel.
  163. 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. 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. 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. 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. 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. 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. 169. parts of the enlarger
  170. 170. Parts of the Enlarger
  171. 171. Parts of the Enlarger
  172. 172. lamphouse Parts of the Enlarger {
  173. 173. lamphouse Parts of the Enlarger {
  174. 174. lamphouse Parts of the Enlarger {
  175. 175. lamphouse { bellows { Parts of the Enlarger
  176. 176. lamphouse { bellows { Parts of the Enlarger
  177. 177. lamphouse { bellows { Parts of the Enlarger
  178. 178. lamphouse { bellows { lens Parts of the Enlarger
  179. 179. lamphouse { bellows { lens Parts of the Enlarger
  180. 180. lamphouse negative carrier goes here bellows lens Parts of the Enlarger { {
  181. 181. lamphouse negative carrier goes here bellows lens easel goes here Parts of the Enlarger { {
  182. 182. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { {
  183. 183. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { {
  184. 184. lamphouse negative carrier goes here bellows lens easel goes here (but which easel??) Parts of the Enlarger { { height adjustment knob
  185. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 197. processing film
  198. 198. Loading Your Film: What goes into the changing bag?
  199. 199. Loading Your Film: What goes into the changing bag? • tank (including lid & post)
  200. 200. Loading Your Film: What goes into the changing bag? • tank (including lid & post)
  201. 201. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels
  202. 202. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels
  203. 203. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener
  204. 204. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener
  205. 205. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener • your film
  206. 206. Loading Your Film: What goes into the changing bag? • tank (including lid & post) • 2 reels • can opener • your film
  207. 207. Processing Your Film (the SUPER condensed version)
  208. 208. Processing Your Film (the SUPER condensed version) 1. Water Rinse
  209. 209. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer
  210. 210. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath
  211. 211. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer
  212. 212. Processing Your Film (the SUPER condensed version) 1. Water Rinse 2. Developer 3. Stop Bath 4. Fixer 5. Water Rinse
  213. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 224. darkroom chemistry
  225. 225. sink
  226. 226. sink
  227. 227. developer sink
  228. 228. developer sink
  229. 229. stop bath sink developer
  230. 230. stop bath sink developer
  231. 231. fixer sink stop bath developer
  232. 232. fixer sink stop bath developer
  233. 233. water sink fixer stop bath developer
  234. 234. water what do I do? sink fixer stop bath developer
  235. 235. water what do I do? fixer stop bath developer develops the paper (oxidizes silver) (pH 11 or 12 = base) sink
  236. 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. 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. 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. 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. 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. 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. 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. 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. 244. snapshot vs. composed and principles of composition
  245. 245. What is the difference between a snapshot and a composed photograph?
  246. 246. What is the difference between a snapshot and a composed photograph? Snapshot
  247. 247. What is the difference between a snapshot and a composed photograph? Snapshot • A casual record of some event, person, object or place.
  248. 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. 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. 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. 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. 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. 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. 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. 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. 256. Principles of Photographic Composition
  257. 257. Principles of Photographic Composition 1. Light
  258. 258. Principles of Photographic Composition 1. Light 2. Rule of Thirds
  259. 259. Principles of Photographic Composition 1. Light 2. Rule of Thirds 3. Using the Edges of the Frame
  260. 260. Principles of Photographic Composition 1. 2. 3. 4. Light Rule of Thirds Using the Edges of the Frame Frame Within a Frame
  261. 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. 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. 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. 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. 265. Principles of Photographic Composition: LIGHT
  266. 266. Principles of Photographic Composition: RULE OF THIRDS
  267. 267. Principles of Photographic Composition: RULE OF THIRDS
  268. 268. Principles of Photographic Composition: USING THE EDGES OF THE FRAME
  269. 269. Principles of Photographic Composition: FRAME WITHIN A FRAME
  270. 270. Principles of Photographic Composition: LINE
  271. 271. Principles of Photographic Composition: POINT OF VIEW
  272. 272. Principles of Photographic Composition: FILL THE FRAME / CROPPING
  273. 273. Principles of Photographic Composition: PATTERN / TEXTURE
  274. 274. THE END! email me with any questions you might have! caroline_appel@hcpss.org

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