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.

1. Introduction to Photography
Sreekanth Jayanti

2. 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

3. Know Your Camera
Introduction
1

4. 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

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 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

7. 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

8. Exposure to Exposure
Introduction
2

9. 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

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 : 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

12. 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

13. 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

14. 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

15. 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

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 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

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
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

21. Metering Modes
Introduction
3

22. 


  



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

23. 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

24. 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

25. Framing & Composition
Introduction
4

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 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

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
• 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

30. End of presentation.
Click Happy
Email | Facebook | LinkedIn | Twitter