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Introduction to Photography

This document provides an introduction to photography concepts including camera parts, lenses, exposure fundamentals involving aperture, shutter speed, and ISO. It discusses different types of lenses and their uses. It explains aperture in terms of f-numbers and its effect on depth of field. It also covers shutter speed and how it can be used to freeze motion or blur it. Film/sensor speed and sensitivity are explained. The exposure value chart shows typical lighting conditions.

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Introduction to Photography Sreekanth Jayanti
Contents • Know Your Gear • Exposure to Exposure • Aperture • Shutter • Sensitivity • Mastering Modes • Light Metering Modes • Auto Focus Modes • White Balance • Framing • Portraits & Landscapes • Rule of Thirds • Point of View • Gestalt Principles Introduction to Photography - Sreekanth Jayanti 2
Know Your Camera Introduction 1
Camera View Finder Image Processor Image Sensor Battery Pack Lens Release Shutter Penta Prism Compound Lens Flash Shoe Shutter Release Mode Dial Mirror Condenser Focusing Screen Introduction to Photography - Sreekanth Jayanti 4
Lenses • Front glass: Light enters here. Keep the front glass clean. • Focus ring: Use this ring to focus manually. • Zoom ring: On zoom lenses, the zoom ring changes the focal length, allowing you to zoom in and out. • Aperture ring: Older lenses (some newer) have an aperture ring on the lens. In newer, computerized lenses you have to set the aperture in-camera. • Mount: The rear of the lens is the mount, which locks into the camera. Keep the rear cover on lenses when not in use. • CPU contacts: These little knobs send computerized data to the camera from the lens. Keep them covered. • Distance or depth-of-field scale: A scale that shows you the focal plane distance and sometimes the depth of field. Rare in dSLRs. • Switches: You may see switches that switch from manual to autofocus, limit or expand the focus range, or switch on vibration reduction. Introduction to Photography - Sreekanth Jayanti 5
Different Types of Lenses 18 – 140 mm 4 mm 10 mm 35 mm 50 mm 70 mm 100 mm 135 mm 200 mm 300 mm 17 mm 50 mm 100 mm 200 mm 300 mm Fish Eye Wide Angle Normal (how we see) Medium Telephoto Telephoto 800 mm • Landscapes • (Distortion) • Indoor Parties • Architecture • Outdoors • People, Groups • Portraits • Street Photography • Macros • Games & Sports • Zoo • Wildlife • Birds • Astronomy Introduction to Photography - Sreekanth Jayanti 6
Lenses : Angle/Field of View 11 mm 18 mm 28 mm 35 mm 50 mm 85 mm 105 mm 135 mm 200 mm 300 mm 400 mm600 mm 900 mm 3°4° 6°8° 12° 18° 23°28° 46° 62° 74°100°180° Fish Eye Wide Angle Normal (how we see) Medium Telephoto Telephoto AOV (Angle of View) FOV (Field of View) Focal Length (F) Lens Sensor 𝐴𝑂𝑉 𝛼 = 2 arctan ℎ 2𝐹 𝛼𝛼ℎ Distance to Object (S) 𝐻 F𝑂𝑉 𝐻 = 𝑆 ℎ 𝐹 Introduction to Photography - Sreekanth Jayanti 7
Exposure to Exposure Introduction 2
Exposure 3. Sensor Sensitivity How much can be captured? 2. Shutter Speed How long is the exposure? 1. Lens Aperture How much light coming in? 3 Factors Affecting Exposure What we SEE! Introduction to Photography - Sreekanth Jayanti 9
Aperture : f/numbers 𝑓/𝑛𝑢𝑚𝑏𝑒𝑟 = 𝐹 𝐷 Focal Length (mm) f Stops 11 24 35 50 70 85 105 135 200 300 1 11.00 24.00 35.00 50.00 70.00 85.00 105.00 135.00 200.00 300.00 1.4 7.86 17.14 25.00 35.71 50.00 60.71 75.00 96.43 142.86 214.29 2 5.50 12.00 17.50 25.00 35.00 42.50 52.50 67.50 100.00 150.00 2.8 3.93 8.57 12.50 17.86 25.00 30.36 37.50 48.21 71.43 107.14 4 2.75 6.00 8.75 12.50 17.50 21.25 26.25 33.75 50.00 75.00 5.6 1.96 4.29 6.25 8.93 12.50 15.18 18.75 24.11 35.71 53.57 8 1.38 3.00 4.38 6.25 8.75 10.63 13.13 16.88 25.00 37.50 11 1.00 2.18 3.18 4.55 6.36 7.73 9.55 12.27 18.18 27.27 16 0.69 1.50 2.19 3.13 4.38 5.31 6.56 8.44 12.50 18.75 22 0.50 1.09 1.59 2.27 3.18 3.86 4.77 6.14 9.09 13.64 Focal Length (F) Lens Sensor 𝐷 Lens D d Aperture Diameter= D Aperture Area = A = 𝜋 𝐷2 4 Aperture Dia= d = D/ 2 Aperture Area = a = 𝜋 𝑑2 4 = 𝐴/2 To reduce the light by half aperture diameter has to be divided by 2 Aperture Aperture Aperture Diameter (mm) Introduction to Photography - Sreekanth Jayanti 10
Aperture : Depth of Field – Varying Aperture 50 mm f/2.8 50 mm f/5.6 50 mm f/11 Focus DOF Focus DOF Focus DOF Introduction to Photography - Sreekanth Jayanti 11
Aperture : Depth of Field – Varying Focal Length Focus DOF Focus DOF Focus DOF 24 mm f/8 50 mm f/8 400 mm f/8 Introduction to Photography - Sreekanth Jayanti 12
Aperture f/32f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 Small ApertureLarge Aperture f/1.6 f/1.8 f/2.2 f/2.5 f/3.2 f/3.5 f/4.5 f/5 f/6.3 f/7.1 f/9 f/10 f/13 f/14 f/18 f/20 f/25 f/28 Full Stops 1/3 Stop Open up.. Stop/Step down.. • More light • Low Depth of Field (Bokeh) • Vignette Effect • Good for portraits, people • Less light • Long Depth of Field • Diffraction Blur • Good for Landscapes • Each f/stop halves or doubles the amount of light going through the lens because it halves or doubles the open area. • Lower f/stops have larger apertures Introduction to Photography - Sreekanth Jayanti 13
Shutter Speed 1/21/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 Full Stops Slow ShutterFast Shutter 1/800 1/640 1/400 1/320 1/200 1/160 1/100 1/80 1/50 1/40 1/25 1/20 1/12 1/10 1/6.4 1/5.0 1/3.2 1/2.5 1/3 Stop • Less Light • Motion Freeze • Action (Sports/Games) • Can be handheld • More Light • Motion Blur • Static Objects • Need Tripod • Camera Shake • Each stop of shutter speed halves or doubles the amount of light that reaches the camera • Use pan and track moving objects to use slower speeds • Use tripod to use slower speeds (> 1/60 sec) Introduction to Photography - Sreekanth Jayanti 14
Film/Sensor Speed/Sensitivity 2560050 100 200 400 800 1600 3200 6400 12800 Full Stops High SensitivityLow Sensitivity 64 80 125 160 250 320 500 640 1000 1250 2000 2500 4000 5000 8000 10000 16000 20000 1/3 Stop • Low sensitivity to lights • Smooth or low grain • High sensitivity to light • More grain • Bright Light • Day Time • Outdoors • Low light • Night, Shadows • Indoors • Each stop of ISO doubles or halves the sensor’s sensitivity to light. So, ISO 200 twice sensitive compared to ISO 100. • Use Aperture and Shutter to get right exposure, only as a last resort raise ISO. • Use flash lighting (bounce/soft) to increase the light and reduce the need to increase ISO! Introduction to Photography - Sreekanth Jayanti 15
Exposure Triad – Aperture, Shutter and ISO ISOShutterAperture low sensitivity fast shutterspeed small aperture large aperture slow shutterspeed high sensitivity ƒ/32 ƒ/22 ƒ/16 ƒ/11 ƒ/8 ƒ/5.6 ƒ/4 ƒ/2.8 ƒ/2 ƒ/1.4 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 ISO 50 ISO 100 ISO 200 ISO 400 ISO 800 ISO 1600 ISO 3200 ISO 6400 ISO 12800 ISO 25600 Introduction to Photography - Sreekanth Jayanti 16
Exposure Value – Typical Lighting Conditions -6 -4 -2 0 2 4 6 8 10 12 14 16 -5 -3 -1 1 3 5 7 9 11 13 15 Star Light Crescent Moon Half Moon Full Moon Full Moon Snowscape Dim Ambient Artificial Light Low Ambient Artificial Light Lighted Skyline Lightning Fireworks Candle Light Floodlit Buildings Interiors Avg Light Interiors Bright Light Shaded Outdoors Day Light Lighted Outdoors Night Outdoors Golden Hours Outdoors Dawn/Dusk Sun Rise/Set Half Moon Light (Long Lens) Gibbous Moon Shady Outdoors Full Moon Light (Long Lens) Brazy/Hazy Sun Bright Day Light Sand/Snow Sunny 16 Rule : Exposure for frontal lighting in bright sun is f/16 at 1/ISO seconds. i.e. for ISO 100 f/16 at 1/100 sec. Introduction to Photography - Sreekanth Jayanti 17
f Stops ISO100 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 60 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 30 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 7 15 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 8 -3 -2 -1 0 1 2 3 4 5 6 7 8 9 4 -2 -1 0 1 2 3 4 5 6 7 8 9 10 2 -1 0 1 2 3 4 5 6 7 8 9 10 11 1 0 1 2 3 4 5 6 7 8 9 10 11 12 1/2 1 2 3 4 5 6 7 8 9 10 11 12 13 1/4 2 3 4 5 6 7 8 9 10 11 12 13 14 1/8 3 4 5 6 7 8 9 10 11 12 13 14 15 1/15 4 5 6 7 8 9 10 11 12 13 14 15 16 1/30 5 6 7 8 9 10 11 12 13 14 15 16 17 1/60 6 7 8 9 10 11 12 13 14 15 16 17 18 1/125 7 8 9 10 11 12 13 14 15 16 17 18 19 1/250 8 9 10 11 12 13 14 15 16 17 18 19 20 1/500 9 10 11 12 13 14 15 16 17 18 19 20 21 1/1000 10 11 12 13 14 15 16 17 18 19 20 21 22 1/2000 11 12 13 14 15 16 17 18 19 20 21 22 23 1/4000 12 13 14 15 16 17 18 19 20 21 22 23 24 1/8000 13 14 15 16 17 18 19 20 21 22 23 24 25 f Stops ISO200 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 60 -7 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 30 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 15 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 4 -3 -2 -1 0 1 2 3 4 5 6 7 8 9 2 -2 -1 0 1 2 3 4 5 6 7 8 9 10 1 -1 0 1 2 3 4 5 6 7 8 9 10 11 1/2 0 1 2 3 4 5 6 7 8 9 10 11 12 1/4 1 2 3 4 5 6 7 8 9 10 11 12 13 1/8 2 3 4 5 6 7 8 9 10 11 12 13 14 1/15 3 4 5 6 7 8 9 10 11 12 13 14 15 1/30 4 5 6 7 8 9 10 11 12 13 14 15 16 1/60 5 6 7 8 9 10 11 12 13 14 15 16 17 1/125 6 7 8 9 10 11 12 13 14 15 16 17 18 1/250 7 8 9 10 11 12 13 14 15 16 17 18 19 1/500 8 9 10 11 12 13 14 15 16 17 18 19 20 1/1000 9 10 11 12 13 14 15 16 17 18 19 20 21 1/2000 10 11 12 13 14 15 16 17 18 19 20 21 22 1/4000 11 12 13 14 15 16 17 18 19 20 21 22 23 1/8000 12 13 14 15 16 17 18 19 20 21 22 23 24 • The Sunny 16 rule says that the exposure for frontal lighting in bright sun is f/16 at 1/ISO seconds. i.e. for ISO 100 f/16 at 1/100 sec. • For a given ISO, for same exposure, you can step up f-stop, step down shutter or vice versa depending on motion/DOF constraints. ISO 100 ISO 200 f/stop f/stop ShutterSpeed(sec) Exposure Value (EV) Introduction to Photography - Sreekanth Jayanti 18
Exposure Cuboid ISO 𝐸𝑉 = log2 𝑓/𝑠𝑡𝑜𝑝2 𝑠ℎ𝑢𝑡𝑡𝑒𝑟 𝑠𝑝𝑒𝑒𝑑 − 𝐼𝑆𝑂 100 Introduction to Photography - Sreekanth Jayanti 19 EV LIGHTING SITUATION -6 Night, away from city lights, subject under starlight only. -5 Night, away from city lights, subject under crescent moon. -4 Night, away from city lights, subject under half moon. Meteors (during showers, with time exposure). -3 Night, away from city lights, subject under full moon. -2 Night, away from city lights, snowscape under full moon. -1 Subjects lit by dim ambient artificial light. 0 Subjects lit by dim ambient artificial light. 1 Distant View of lighted skyline. 2 Lightning (with time exposure). Total eclipse of moon. 3 Fireworks (with time exposure). 4 Candle lit close-ups. Christmas lights, floodlit buildings, fountains, and monuments. Subjects under bright street lamps. 5 Night home interiors, average light. school or church auditoriums. subjects lit by campfires or bonfires. 6 Brightly lit home interiors at night. Fairs, amusement parks. 7 Bottom of rainforest canopy. Brightly lighted nighttime streets. Indoor sports. Stage shows, circuses. 8 Las Vegas or Times Square at night. Store windows. Campfires, bonfires, burning buildings. Ice shows, football, baseball etc. at night. Interiors with bright florescent lights. 9 Landscapes, City skylines 10 minutes after sunset. Neon lights, spotlighted subjects. 10 Landscapes and skylines immediately after sunset. Crescent moon (long lens). 11 Sunsets. Subjects in open shade. 12 Half-moon (long lens). Subject in heavy overcast. 13 Gibbous moon (long lens). subjects in cloudy-bright light (no shadows). 14 Full moon (long lens). Subjects in weak, hazy sun. 15 Subjects in bright or hazy sun (Sunny 16 rule - t = 1/1SO @ f/16). 16 Subjects in bright daylight on sand or snow.
ISO Values f/stops 25600 12800 6400 3200 1600 800 400 200 100 50 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 -5 -6 -7 -8 -9 -10 -11 -12 -13 -14 2 h -4 -5 -6 -7 -8 -9 -10 -11 -12 -13 60 m -3 -4 -5 -6 -7 -8 -9 -10 -11 -12 30 m 60 m -2 -3 -4 -5 -6 -7 -8 -9 -10 -11 15 m 30 m 60 m -1 -2 -3 -4 -5 -6 -7 -8 -9 -10 8 m 15 m 30 m 60 m 0 -1 -2 -3 -4 -5 -6 -7 -8 -9 4 m 8 m 15 m 30 m 60 m 1 0 -1 -2 -3 -4 -5 -6 -7 -8 2 m 4 m 8 m 15 m 30 m 60 m 2 1 0 -1 -2 -3 -4 -5 -6 -7 1 m 2 m 4 m 8 m 15 m 30 m 60 m 3 2 1 0 -1 -2 -3 -4 -5 -6 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 4 3 2 1 0 -1 -2 -3 -4 -5 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 5 4 3 2 1 0 -1 -2 -3 -4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 6 5 4 3 2 1 0 -1 -2 -3 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 7 6 5 4 3 2 1 0 -1 -2 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 8 7 6 5 4 3 2 1 0 -1 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 9 8 7 6 5 4 3 2 1 0 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 10 9 8 7 6 5 4 3 2 1 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 11 10 9 8 7 6 5 4 3 2 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 12 11 10 9 8 7 6 5 4 3 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 13 12 11 10 9 8 7 6 5 4 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 14 13 12 11 10 9 8 7 6 5 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 15 14 13 12 11 10 9 8 7 6 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 16 15 14 13 12 11 10 9 8 7 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 17 16 15 14 13 12 11 10 9 8 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 18 17 16 15 14 13 12 11 10 9 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 19 18 17 16 15 14 13 12 11 10 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 20 19 18 17 16 15 14 13 12 11 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 21 20 19 18 17 16 15 14 13 12 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 22 21 20 19 18 17 16 15 14 13 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 23 22 21 20 19 18 17 16 15 14 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 24 23 22 21 20 19 18 17 16 15 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 25 24 23 22 21 20 19 18 17 16 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 26 25 24 23 22 21 20 19 18 17 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 27 26 25 24 23 22 21 20 19 18 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 28 27 26 25 24 23 22 21 20 19 1/8000 1/4000 1/2000 1/1000 1/500 1/250 29 28 27 26 25 24 23 22 21 20 1/8000 1/4000 1/2000 1/1000 1/500 30 29 28 27 26 25 24 23 22 21 1/8000 1/4000 1/2000 1/1000 31 30 29 28 27 26 25 24 23 22 1/8000 1/4000 1/2000 32 31 30 29 28 27 26 25 24 23 1/8000 1/4000 33 32 31 30 29 28 27 26 25 24 1/8000 Exposure Calculations Shutter Speed • To get the same Exposure you can fix one of the below and vary the rest. • f/stop • Shutter Speed • ISO • For e.g. to get EV 15 with ISO 200 you can use f/1.4 with 1/8000 or f/2 with 1/4000 etc. Introduction to Photography - Sreekanth Jayanti 20
Metering Modes Introduction 3
         Light Metering Spot Metering • Covers 3-5% area • Getting precise exposure on the main subject • Bright subject with dark background • Dark subject with bright background                            Partial Metering (Canon Only) • Covers 10% of the area • Getting precise exposure on the main subject • Bright subject with dark background • Dark subject with bright background Center-weighted Metering • Averages brightness of the entire scene with maximum weightage to the center • Scenes where light is well distributed and diffused • Scenes where the main subject is framed in the center (portrait) Matrix/Evaluative Metering • Measures light around the active focus point and compares it against the brightness of rest of the points to come up with accurate exposure. • Default metering mode for general purpose. Introduction to Photography - Sreekanth Jayanti 22
Auto Focus Area Modes Single-Point AF-Area Mode Dynamic AF-Area Mode (9 pt) Auto-Area AF Mode Group-area AF Mode Dynamic AF-Area Mode (21 pt) Dynamic AF-Area Mode (51 pt) 3D-tracking mode • Vertical sensors are one dimensional and they only detect contrast on a vertical line. • Cross-type sensors are two dimensional and they can detect contrast both on vertical and horizontal lines (more accurate). • More AF sensor better, more cross type sensors even better. • Ref: https://photographylife.com/dslr-autofocus-modes-explained Introduction to Photography - Sreekanth Jayanti 23
White Balance Color Temp Light Source 1000k Candles, some flashlights 2000k Pre-sunrise 2500k Household bulb, used 3000k Household bulb, new / some studio lights 3000-4000k Sunrise / sunset (without the influence of heavy smog/smoke) 4000-5000k Fluorescent bulbs, cool white - "daylight" balances 5000-5500k Electronic Flash, portable (new bulb) 5500-6000k Studio Electronic Flash (new bulb) 6000-7000k Sunlight, bright day 7000-8000k "slight" overcast skies at lower elevations 8000-9000k Heavy overcast / slight shade 9000-11000k Rain at lower elevations / clear day at higher elevations (above 8000 feet) 11000-18000k Overcast to snowy days at higher elevations (above 8000 feet) • Color temperature is amount of blue light to red light (green is ignored) measure in Kelvin. • In different lighting conditions Cameras cannot interpret the “White”. White balancing is the hint to shift the colors accordingly. • Setting white balance incorrectly may cause a color shift in the image – color cast (yellow/blue). Introduction to Photography - Sreekanth Jayanti 24
Framing & Composition Introduction 4
Portrait vs Landscape • Landscape Mode • Create effect of breadth • Subject wider than high. • E.g. mountains, nature scape, beaches etc. • Portrait Mode • Creates effect of depth & focus • Subjects higher than wide • E.g. Portraits, vertically oriented buildings etc. • Fit your subject into the entire frame and to do it in a way that is visually interesting. Landscape Mode Portrait Mode Introduction to Photography - Sreekanth Jayanti 26
Guideline: Rule of Thirds • An image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. • Important compositional elements should be placed along these lines or their intersections. • Aligning a subject with these lines or points creates more tension, energy and interest in the composition than simply centering the subject. • Remember, this is a guideline – blindly following can result is monotony – use your creativity also. Central Placing Rule of Thirds Introduction to Photography - Sreekanth Jayanti 27
Point of View (PoV) • Find a view point to make the frame interesting, get below, above, in-side, knee length, ground level .. You get the idea! • Experiment, but don’t over do any one angle. Introduction to Photography - Sreekanth Jayanti 28
Gestalt Principles • Gestalt Principles can be used for composing various elements in an image. • Law of Proximity: When an individual perceives an assortment of objects they perceive objects that are close to each other as forming a group. • Law of Similarity: Elements within an assortment of objects are perceptually grouped together if they are similar to each other. This similarity can occur in the form of shape, colour, shading or other qualities. • Law of Closure: Individuals perceive objects such as shapes, letters, pictures, etc., as being whole even when they are not complete. Specifically, when parts of a whole picture are missing, our perception fills in the visual gap. • Law of Symmetry: The mind perceives objects as being symmetrical and forming around a center point. It is perceptually pleasing to divide objects into an even number of symmetrical parts. • Law of Common Fate: Objects are perceived as lines that move along the smoothest path - grouping together of objects that have the same trend of motion and are therefore on the same path. • Law of Continuity: Elements of objects tend to be grouped together, and therefore integrated into perceptual wholes if they are aligned within an object. Law of Proximity Law of Similarity Law of SymmetryLaw of Closure Law of Common Fate Law of Continuity Introduction to Photography - Sreekanth Jayanti 29
End of presentation. Click Happy Email | Facebook | LinkedIn | Twitter

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Introduction to Photography

  • 1.
  • 2.
    Contents • Know YourGear • Exposure to Exposure • Aperture • Shutter • Sensitivity • Mastering Modes • Light Metering Modes • Auto Focus Modes • White Balance • Framing • Portraits & Landscapes • Rule of Thirds • Point of View • Gestalt Principles Introduction to Photography - Sreekanth Jayanti 2
  • 3.
  • 4.
    Camera View Finder Image Processor ImageSensor Battery Pack Lens Release Shutter Penta Prism Compound Lens Flash Shoe Shutter Release Mode Dial Mirror Condenser Focusing Screen Introduction to Photography - Sreekanth Jayanti 4
  • 5.
    Lenses • Front glass:Light enters here. Keep the front glass clean. • Focus ring: Use this ring to focus manually. • Zoom ring: On zoom lenses, the zoom ring changes the focal length, allowing you to zoom in and out. • Aperture ring: Older lenses (some newer) have an aperture ring on the lens. In newer, computerized lenses you have to set the aperture in-camera. • Mount: The rear of the lens is the mount, which locks into the camera. Keep the rear cover on lenses when not in use. • CPU contacts: These little knobs send computerized data to the camera from the lens. Keep them covered. • Distance or depth-of-field scale: A scale that shows you the focal plane distance and sometimes the depth of field. Rare in dSLRs. • Switches: You may see switches that switch from manual to autofocus, limit or expand the focus range, or switch on vibration reduction. Introduction to Photography - Sreekanth Jayanti 5
  • 6.
    Different Types ofLenses 18 – 140 mm 4 mm 10 mm 35 mm 50 mm 70 mm 100 mm 135 mm 200 mm 300 mm 17 mm 50 mm 100 mm 200 mm 300 mm Fish Eye Wide Angle Normal (how we see) Medium Telephoto Telephoto 800 mm • Landscapes • (Distortion) • Indoor Parties • Architecture • Outdoors • People, Groups • Portraits • Street Photography • Macros • Games & Sports • Zoo • Wildlife • Birds • Astronomy Introduction to Photography - Sreekanth Jayanti 6
  • 7.
    Lenses : Angle/Fieldof View 11 mm 18 mm 28 mm 35 mm 50 mm 85 mm 105 mm 135 mm 200 mm 300 mm 400 mm600 mm 900 mm 3°4° 6°8° 12° 18° 23°28° 46° 62° 74°100°180° Fish Eye Wide Angle Normal (how we see) Medium Telephoto Telephoto AOV (Angle of View) FOV (Field of View) Focal Length (F) Lens Sensor 𝐴𝑂𝑉 𝛼 = 2 arctan ℎ 2𝐹 𝛼𝛼ℎ Distance to Object (S) 𝐻 F𝑂𝑉 𝐻 = 𝑆 ℎ 𝐹 Introduction to Photography - Sreekanth Jayanti 7
  • 8.
  • 9.
    Exposure 3. Sensor Sensitivity Howmuch can be captured? 2. Shutter Speed How long is the exposure? 1. Lens Aperture How much light coming in? 3 Factors Affecting Exposure What we SEE! Introduction to Photography - Sreekanth Jayanti 9
  • 10.
    Aperture : f/numbers 𝑓/𝑛𝑢𝑚𝑏𝑒𝑟= 𝐹 𝐷 Focal Length (mm) f Stops 11 24 35 50 70 85 105 135 200 300 1 11.00 24.00 35.00 50.00 70.00 85.00 105.00 135.00 200.00 300.00 1.4 7.86 17.14 25.00 35.71 50.00 60.71 75.00 96.43 142.86 214.29 2 5.50 12.00 17.50 25.00 35.00 42.50 52.50 67.50 100.00 150.00 2.8 3.93 8.57 12.50 17.86 25.00 30.36 37.50 48.21 71.43 107.14 4 2.75 6.00 8.75 12.50 17.50 21.25 26.25 33.75 50.00 75.00 5.6 1.96 4.29 6.25 8.93 12.50 15.18 18.75 24.11 35.71 53.57 8 1.38 3.00 4.38 6.25 8.75 10.63 13.13 16.88 25.00 37.50 11 1.00 2.18 3.18 4.55 6.36 7.73 9.55 12.27 18.18 27.27 16 0.69 1.50 2.19 3.13 4.38 5.31 6.56 8.44 12.50 18.75 22 0.50 1.09 1.59 2.27 3.18 3.86 4.77 6.14 9.09 13.64 Focal Length (F) Lens Sensor 𝐷 Lens D d Aperture Diameter= D Aperture Area = A = 𝜋 𝐷2 4 Aperture Dia= d = D/ 2 Aperture Area = a = 𝜋 𝑑2 4 = 𝐴/2 To reduce the light by half aperture diameter has to be divided by 2 Aperture Aperture Aperture Diameter (mm) Introduction to Photography - Sreekanth Jayanti 10
  • 11.
    Aperture : Depthof Field – Varying Aperture 50 mm f/2.8 50 mm f/5.6 50 mm f/11 Focus DOF Focus DOF Focus DOF Introduction to Photography - Sreekanth Jayanti 11
  • 12.
    Aperture : Depthof Field – Varying Focal Length Focus DOF Focus DOF Focus DOF 24 mm f/8 50 mm f/8 400 mm f/8 Introduction to Photography - Sreekanth Jayanti 12
  • 13.
    Aperture f/32f/1.4 f/2 f/2.8f/4 f/5.6 f/8 f/11 f/16 f/22 Small ApertureLarge Aperture f/1.6 f/1.8 f/2.2 f/2.5 f/3.2 f/3.5 f/4.5 f/5 f/6.3 f/7.1 f/9 f/10 f/13 f/14 f/18 f/20 f/25 f/28 Full Stops 1/3 Stop Open up.. Stop/Step down.. • More light • Low Depth of Field (Bokeh) • Vignette Effect • Good for portraits, people • Less light • Long Depth of Field • Diffraction Blur • Good for Landscapes • Each f/stop halves or doubles the amount of light going through the lens because it halves or doubles the open area. • Lower f/stops have larger apertures Introduction to Photography - Sreekanth Jayanti 13
  • 14.
    Shutter Speed 1/21/1000 1/5001/250 1/125 1/60 1/30 1/15 1/8 1/4 Full Stops Slow ShutterFast Shutter 1/800 1/640 1/400 1/320 1/200 1/160 1/100 1/80 1/50 1/40 1/25 1/20 1/12 1/10 1/6.4 1/5.0 1/3.2 1/2.5 1/3 Stop • Less Light • Motion Freeze • Action (Sports/Games) • Can be handheld • More Light • Motion Blur • Static Objects • Need Tripod • Camera Shake • Each stop of shutter speed halves or doubles the amount of light that reaches the camera • Use pan and track moving objects to use slower speeds • Use tripod to use slower speeds (> 1/60 sec) Introduction to Photography - Sreekanth Jayanti 14
  • 15.
    Film/Sensor Speed/Sensitivity 2560050 100200 400 800 1600 3200 6400 12800 Full Stops High SensitivityLow Sensitivity 64 80 125 160 250 320 500 640 1000 1250 2000 2500 4000 5000 8000 10000 16000 20000 1/3 Stop • Low sensitivity to lights • Smooth or low grain • High sensitivity to light • More grain • Bright Light • Day Time • Outdoors • Low light • Night, Shadows • Indoors • Each stop of ISO doubles or halves the sensor’s sensitivity to light. So, ISO 200 twice sensitive compared to ISO 100. • Use Aperture and Shutter to get right exposure, only as a last resort raise ISO. • Use flash lighting (bounce/soft) to increase the light and reduce the need to increase ISO! Introduction to Photography - Sreekanth Jayanti 15
  • 16.
    Exposure Triad –Aperture, Shutter and ISO ISOShutterAperture low sensitivity fast shutterspeed small aperture large aperture slow shutterspeed high sensitivity ƒ/32 ƒ/22 ƒ/16 ƒ/11 ƒ/8 ƒ/5.6 ƒ/4 ƒ/2.8 ƒ/2 ƒ/1.4 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 ISO 50 ISO 100 ISO 200 ISO 400 ISO 800 ISO 1600 ISO 3200 ISO 6400 ISO 12800 ISO 25600 Introduction to Photography - Sreekanth Jayanti 16
  • 17.
    Exposure Value –Typical Lighting Conditions -6 -4 -2 0 2 4 6 8 10 12 14 16 -5 -3 -1 1 3 5 7 9 11 13 15 Star Light Crescent Moon Half Moon Full Moon Full Moon Snowscape Dim Ambient Artificial Light Low Ambient Artificial Light Lighted Skyline Lightning Fireworks Candle Light Floodlit Buildings Interiors Avg Light Interiors Bright Light Shaded Outdoors Day Light Lighted Outdoors Night Outdoors Golden Hours Outdoors Dawn/Dusk Sun Rise/Set Half Moon Light (Long Lens) Gibbous Moon Shady Outdoors Full Moon Light (Long Lens) Brazy/Hazy Sun Bright Day Light Sand/Snow Sunny 16 Rule : Exposure for frontal lighting in bright sun is f/16 at 1/ISO seconds. i.e. for ISO 100 f/16 at 1/100 sec. Introduction to Photography - Sreekanth Jayanti 17
  • 18.
    f Stops ISO100 11.4 2 2.8 4 5.6 8 11 16 22 32 45 64 60 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 30 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 7 15 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 8 -3 -2 -1 0 1 2 3 4 5 6 7 8 9 4 -2 -1 0 1 2 3 4 5 6 7 8 9 10 2 -1 0 1 2 3 4 5 6 7 8 9 10 11 1 0 1 2 3 4 5 6 7 8 9 10 11 12 1/2 1 2 3 4 5 6 7 8 9 10 11 12 13 1/4 2 3 4 5 6 7 8 9 10 11 12 13 14 1/8 3 4 5 6 7 8 9 10 11 12 13 14 15 1/15 4 5 6 7 8 9 10 11 12 13 14 15 16 1/30 5 6 7 8 9 10 11 12 13 14 15 16 17 1/60 6 7 8 9 10 11 12 13 14 15 16 17 18 1/125 7 8 9 10 11 12 13 14 15 16 17 18 19 1/250 8 9 10 11 12 13 14 15 16 17 18 19 20 1/500 9 10 11 12 13 14 15 16 17 18 19 20 21 1/1000 10 11 12 13 14 15 16 17 18 19 20 21 22 1/2000 11 12 13 14 15 16 17 18 19 20 21 22 23 1/4000 12 13 14 15 16 17 18 19 20 21 22 23 24 1/8000 13 14 15 16 17 18 19 20 21 22 23 24 25 f Stops ISO200 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 60 -7 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 30 -6 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 15 -5 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 -4 -3 -2 -1 0 1 2 3 4 5 6 7 8 4 -3 -2 -1 0 1 2 3 4 5 6 7 8 9 2 -2 -1 0 1 2 3 4 5 6 7 8 9 10 1 -1 0 1 2 3 4 5 6 7 8 9 10 11 1/2 0 1 2 3 4 5 6 7 8 9 10 11 12 1/4 1 2 3 4 5 6 7 8 9 10 11 12 13 1/8 2 3 4 5 6 7 8 9 10 11 12 13 14 1/15 3 4 5 6 7 8 9 10 11 12 13 14 15 1/30 4 5 6 7 8 9 10 11 12 13 14 15 16 1/60 5 6 7 8 9 10 11 12 13 14 15 16 17 1/125 6 7 8 9 10 11 12 13 14 15 16 17 18 1/250 7 8 9 10 11 12 13 14 15 16 17 18 19 1/500 8 9 10 11 12 13 14 15 16 17 18 19 20 1/1000 9 10 11 12 13 14 15 16 17 18 19 20 21 1/2000 10 11 12 13 14 15 16 17 18 19 20 21 22 1/4000 11 12 13 14 15 16 17 18 19 20 21 22 23 1/8000 12 13 14 15 16 17 18 19 20 21 22 23 24 • The Sunny 16 rule says that the exposure for frontal lighting in bright sun is f/16 at 1/ISO seconds. i.e. for ISO 100 f/16 at 1/100 sec. • For a given ISO, for same exposure, you can step up f-stop, step down shutter or vice versa depending on motion/DOF constraints. ISO 100 ISO 200 f/stop f/stop ShutterSpeed(sec) Exposure Value (EV) Introduction to Photography - Sreekanth Jayanti 18
  • 19.
    Exposure Cuboid ISO 𝐸𝑉 =log2 𝑓/𝑠𝑡𝑜𝑝2 𝑠ℎ𝑢𝑡𝑡𝑒𝑟 𝑠𝑝𝑒𝑒𝑑 − 𝐼𝑆𝑂 100 Introduction to Photography - Sreekanth Jayanti 19 EV LIGHTING SITUATION -6 Night, away from city lights, subject under starlight only. -5 Night, away from city lights, subject under crescent moon. -4 Night, away from city lights, subject under half moon. Meteors (during showers, with time exposure). -3 Night, away from city lights, subject under full moon. -2 Night, away from city lights, snowscape under full moon. -1 Subjects lit by dim ambient artificial light. 0 Subjects lit by dim ambient artificial light. 1 Distant View of lighted skyline. 2 Lightning (with time exposure). Total eclipse of moon. 3 Fireworks (with time exposure). 4 Candle lit close-ups. Christmas lights, floodlit buildings, fountains, and monuments. Subjects under bright street lamps. 5 Night home interiors, average light. school or church auditoriums. subjects lit by campfires or bonfires. 6 Brightly lit home interiors at night. Fairs, amusement parks. 7 Bottom of rainforest canopy. Brightly lighted nighttime streets. Indoor sports. Stage shows, circuses. 8 Las Vegas or Times Square at night. Store windows. Campfires, bonfires, burning buildings. Ice shows, football, baseball etc. at night. Interiors with bright florescent lights. 9 Landscapes, City skylines 10 minutes after sunset. Neon lights, spotlighted subjects. 10 Landscapes and skylines immediately after sunset. Crescent moon (long lens). 11 Sunsets. Subjects in open shade. 12 Half-moon (long lens). Subject in heavy overcast. 13 Gibbous moon (long lens). subjects in cloudy-bright light (no shadows). 14 Full moon (long lens). Subjects in weak, hazy sun. 15 Subjects in bright or hazy sun (Sunny 16 rule - t = 1/1SO @ f/16). 16 Subjects in bright daylight on sand or snow.
  • 20.
    ISO Values f/stops 2560012800 6400 3200 1600 800 400 200 100 50 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 -5 -6 -7 -8 -9 -10 -11 -12 -13 -14 2 h -4 -5 -6 -7 -8 -9 -10 -11 -12 -13 60 m -3 -4 -5 -6 -7 -8 -9 -10 -11 -12 30 m 60 m -2 -3 -4 -5 -6 -7 -8 -9 -10 -11 15 m 30 m 60 m -1 -2 -3 -4 -5 -6 -7 -8 -9 -10 8 m 15 m 30 m 60 m 0 -1 -2 -3 -4 -5 -6 -7 -8 -9 4 m 8 m 15 m 30 m 60 m 1 0 -1 -2 -3 -4 -5 -6 -7 -8 2 m 4 m 8 m 15 m 30 m 60 m 2 1 0 -1 -2 -3 -4 -5 -6 -7 1 m 2 m 4 m 8 m 15 m 30 m 60 m 3 2 1 0 -1 -2 -3 -4 -5 -6 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 4 3 2 1 0 -1 -2 -3 -4 -5 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 5 4 3 2 1 0 -1 -2 -3 -4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 6 5 4 3 2 1 0 -1 -2 -3 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 7 6 5 4 3 2 1 0 -1 -2 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 8 7 6 5 4 3 2 1 0 -1 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 60 m 9 8 7 6 5 4 3 2 1 0 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 30 m 10 9 8 7 6 5 4 3 2 1 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 15 m 11 10 9 8 7 6 5 4 3 2 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 8 m 12 11 10 9 8 7 6 5 4 3 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 4 m 13 12 11 10 9 8 7 6 5 4 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 2 m 14 13 12 11 10 9 8 7 6 5 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 1 m 15 14 13 12 11 10 9 8 7 6 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 16 15 14 13 12 11 10 9 8 7 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 17 16 15 14 13 12 11 10 9 8 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 18 17 16 15 14 13 12 11 10 9 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 19 18 17 16 15 14 13 12 11 10 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 20 19 18 17 16 15 14 13 12 11 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 21 20 19 18 17 16 15 14 13 12 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 22 21 20 19 18 17 16 15 14 13 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 23 22 21 20 19 18 17 16 15 14 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 24 23 22 21 20 19 18 17 16 15 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 25 24 23 22 21 20 19 18 17 16 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 26 25 24 23 22 21 20 19 18 17 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 27 26 25 24 23 22 21 20 19 18 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 28 27 26 25 24 23 22 21 20 19 1/8000 1/4000 1/2000 1/1000 1/500 1/250 29 28 27 26 25 24 23 22 21 20 1/8000 1/4000 1/2000 1/1000 1/500 30 29 28 27 26 25 24 23 22 21 1/8000 1/4000 1/2000 1/1000 31 30 29 28 27 26 25 24 23 22 1/8000 1/4000 1/2000 32 31 30 29 28 27 26 25 24 23 1/8000 1/4000 33 32 31 30 29 28 27 26 25 24 1/8000 Exposure Calculations Shutter Speed • To get the same Exposure you can fix one of the below and vary the rest. • f/stop • Shutter Speed • ISO • For e.g. to get EV 15 with ISO 200 you can use f/1.4 with 1/8000 or f/2 with 1/4000 etc. Introduction to Photography - Sreekanth Jayanti 20
  • 21.
  • 22.
             LightMetering Spot Metering • Covers 3-5% area • Getting precise exposure on the main subject • Bright subject with dark background • Dark subject with bright background                            Partial Metering (Canon Only) • Covers 10% of the area • Getting precise exposure on the main subject • Bright subject with dark background • Dark subject with bright background Center-weighted Metering • Averages brightness of the entire scene with maximum weightage to the center • Scenes where light is well distributed and diffused • Scenes where the main subject is framed in the center (portrait) Matrix/Evaluative Metering • Measures light around the active focus point and compares it against the brightness of rest of the points to come up with accurate exposure. • Default metering mode for general purpose. Introduction to Photography - Sreekanth Jayanti 22
  • 23.
    Auto Focus AreaModes Single-Point AF-Area Mode Dynamic AF-Area Mode (9 pt) Auto-Area AF Mode Group-area AF Mode Dynamic AF-Area Mode (21 pt) Dynamic AF-Area Mode (51 pt) 3D-tracking mode • Vertical sensors are one dimensional and they only detect contrast on a vertical line. • Cross-type sensors are two dimensional and they can detect contrast both on vertical and horizontal lines (more accurate). • More AF sensor better, more cross type sensors even better. • Ref: https://photographylife.com/dslr-autofocus-modes-explained Introduction to Photography - Sreekanth Jayanti 23
  • 24.
    White Balance Color TempLight Source 1000k Candles, some flashlights 2000k Pre-sunrise 2500k Household bulb, used 3000k Household bulb, new / some studio lights 3000-4000k Sunrise / sunset (without the influence of heavy smog/smoke) 4000-5000k Fluorescent bulbs, cool white - "daylight" balances 5000-5500k Electronic Flash, portable (new bulb) 5500-6000k Studio Electronic Flash (new bulb) 6000-7000k Sunlight, bright day 7000-8000k "slight" overcast skies at lower elevations 8000-9000k Heavy overcast / slight shade 9000-11000k Rain at lower elevations / clear day at higher elevations (above 8000 feet) 11000-18000k Overcast to snowy days at higher elevations (above 8000 feet) • Color temperature is amount of blue light to red light (green is ignored) measure in Kelvin. • In different lighting conditions Cameras cannot interpret the “White”. White balancing is the hint to shift the colors accordingly. • Setting white balance incorrectly may cause a color shift in the image – color cast (yellow/blue). Introduction to Photography - Sreekanth Jayanti 24
  • 25.
  • 26.
    Portrait vs Landscape •Landscape Mode • Create effect of breadth • Subject wider than high. • E.g. mountains, nature scape, beaches etc. • Portrait Mode • Creates effect of depth & focus • Subjects higher than wide • E.g. Portraits, vertically oriented buildings etc. • Fit your subject into the entire frame and to do it in a way that is visually interesting. Landscape Mode Portrait Mode Introduction to Photography - Sreekanth Jayanti 26
  • 27.
    Guideline: Rule ofThirds • An image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines. • Important compositional elements should be placed along these lines or their intersections. • Aligning a subject with these lines or points creates more tension, energy and interest in the composition than simply centering the subject. • Remember, this is a guideline – blindly following can result is monotony – use your creativity also. Central Placing Rule of Thirds Introduction to Photography - Sreekanth Jayanti 27
  • 28.
    Point of View(PoV) • Find a view point to make the frame interesting, get below, above, in-side, knee length, ground level .. You get the idea! • Experiment, but don’t over do any one angle. Introduction to Photography - Sreekanth Jayanti 28
  • 29.
    Gestalt Principles • GestaltPrinciples can be used for composing various elements in an image. • Law of Proximity: When an individual perceives an assortment of objects they perceive objects that are close to each other as forming a group. • Law of Similarity: Elements within an assortment of objects are perceptually grouped together if they are similar to each other. This similarity can occur in the form of shape, colour, shading or other qualities. • Law of Closure: Individuals perceive objects such as shapes, letters, pictures, etc., as being whole even when they are not complete. Specifically, when parts of a whole picture are missing, our perception fills in the visual gap. • Law of Symmetry: The mind perceives objects as being symmetrical and forming around a center point. It is perceptually pleasing to divide objects into an even number of symmetrical parts. • Law of Common Fate: Objects are perceived as lines that move along the smoothest path - grouping together of objects that have the same trend of motion and are therefore on the same path. • Law of Continuity: Elements of objects tend to be grouped together, and therefore integrated into perceptual wholes if they are aligned within an object. Law of Proximity Law of Similarity Law of SymmetryLaw of Closure Law of Common Fate Law of Continuity Introduction to Photography - Sreekanth Jayanti 29
  • 30.
    End of presentation. ClickHappy Email | Facebook | LinkedIn | Twitter