Photography workshop
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Photography workshop for ESO - Escola Betúlia - Badalona (Barcelona) Rules of composition, exposure, portrait, measuring light, white balance, aperture, shutter, ISO
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Photography workshop
- 2. DIGITAL CAMERAS The CCD (charged couple device) consist of a microscopic grid of millions of pixels on a circuit flat board. RGB (Red, Green, Blue) Each pixel received the light and it is transformed to digital numbers so they can be stored into a removal memory CARD.
- 3. ISO (International Standardization Organization): Film speed o light sensitive Shutter speed: Exposure time o Time value Tv, is the length of time a camera’s shutter is open when taking a photograph. Aperture: Aperture value Av, the size of the hole where the light travels White Balance (Color Balance): global adjustment of the intensities of the colors (typically: the red, green and blue - primary colors) CAMARA SETTINGS ISO
- 4. THE LIGHT
- 5. Check up the camara settings WHITE BALANCE to find out where you can change the Light settings White Balance
- 6. Do you think the white balance of this image is correct?
- 7. Which one is now the correct one?
- 8. Aperture
- 9. Aperture
- 10. Aperture: 2.8 Shallow Depth of Field
- 11. Time value / Shutter speed Use a tripod
- 12. Time value / Shutter speed More motion blur image Less motion blur image
- 13. ISO 100 ISO 6400 Less noise More noise
- 15. If an image is correctly exposed at 1/250, f/4 and ISO 100 Then it is also correctly exposed at 1/500, f/2.8 and ISO 100 And also at 1/500, f/2 and ISO 100 Shutter speed (measured in seconds) 1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000 Aperture (measured in f/x) 1 1.4 2 2.8 4 5.6 8 11 16 22 ISO 3200 1600 800 400 200 100 50 For a fix ISO = 100 Remember these settings are connected, so if one element goes up a stop, another has to go down to get a correct exposure.
- 16. If the image is correctly exposed at 1/250, f/4 and ISO 100 Then is also correctly exposed at 1/500, f/5.6 and ISO 400 And also at 1/1000, f/1.4 and ISO 50 Shutter speed (measured in seconds) 1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000 Aperture (measured in f/x) 1 1.4 2 2.8 4 5.6 8 11 16 22 ISO 3200 1600 800 400 200 100 50 In case we change 2 elements To get the exposure right, you must place the line in
- 17. Aperture: 11 Time value: 1/125 ISO: 200 Aperture: 22 (-1 stop) Time value: 1/125 ISO: 200 Aperture: 8 (1 stop) Time value: 1/125 ISO: 200 Aperture: 11 Time value: 1/60 (1 stop) ISO: 200 Aperture: 11 Time value: 1/250 (-1 stop) ISO: 200 Option 1: Option 2: Option 1: Option 2: Exposure +1: Exposure -1: Aperture: 11 Time value: 1/125 ISO: 400 (1 stop) Option 3: Aperture: 11 Time value: 125 ISO: 100 (-1 stop) Option 3:
- 18. 10 COMPOSITION PHOTOGRAPHY RULES It is said there are no rules in photography, but it is good to know some basic compositions to get started! 1. RULE OF THIRDS You should position the most important elements in your scene along these lines, or at the points where they intersect. Doing so will add balance and interest to your photo. Some cameras even offer an option to superimpose a rule of thirds grid over the LCD screen, making it even easier to use.
- 19. 10 COMPOSITION PHOTOGRAPHY RULES Placing your main subject off-centre, as with the rule of thirds, creates a more interesting photo, but it can leave a void in the scene which can make it feel empty. You should balance the "weight" of your subject by including another object of lesser importance to fill the space. 2. BALANCING ELEMENTS
- 20. 10 COMPOSITION PHOTOGRAPHY RULES When we look at a photo our eye is naturally drawn along lines. By thinking about how you place lines in your composition, you can affect the way we view the image, pulling us into the picture, towards the subject, or on a journey "through" the scene. There are many different types of line - straight, diagonal, curvy, zigzag, radial etc - and each can be used to enhance our photo's composition. 3. LEADING LINES
- 21. 10 COMPOSITION PHOTOGRAPHY RULES We are surrounded by symmetry and patterns, both natural and man-made. Another great way to use them is to break the symmetry or pattern in some way, introducing tension and a focal point to the scene. 4. SYMMETRY AND PATTERNS
- 22. 10 COMPOSITION PHOTOGRAPHY RULES Rather than just shooting from eye level, consider photographing from high above, down at ground level, from the side, from the back, from a long way away, from very close up, and so on. 5. VIEWPOINT
- 23. 10 COMPOSITION PHOTOGRAPHY RULES Look around for a plain and unobtrusive background and compose your shot so that it doesn't distract or detract from the subject. 6. BACKGROUND
- 24. 10 COMPOSITION PHOTOGRAPHY RULES You can create depth in a photo by including objects in the foreground, middle ground and background. Another useful composition technique is overlapping, where you deliberately partially obscure one object with another. The human eye naturally recognizes these layers and mentally separates them out, creating an image with more depth. 7. DEPTH
- 25. 10 COMPOSITION PHOTOGRAPHY RULES The world is full of objects which make perfect natural frames, such as trees, archways and holes. By placing these around the edge of the composition you help to isolate the main subject from the outside world. The result is a more focused image which draws your eye naturally to the main point of interest. 8. FRAMING
- 26. 10 COMPOSITION PHOTOGRAPHY RULES Often a photo will lack impact because the main subject is so small it becomes lost among the clutter of its surroundings. By cropping tight around the subject you eliminate the background "noise", ensuring the subject gets the viewer's undivided attention. 9. CROPPING
- 27. 10 COMPOSITION PHOTOGRAPHY RULES With the dawn of the digital age in photography we no longer have to worry about film processing costs or running out of shots. As a result, experimenting with our photos' composition has become a real possibility; we can fire off tons of shots and delete the unwanted ones later at absolutely no extra cost. Take advantage of this fact and experiment with your composition - you never know whether an idea will work until you try it. 10. EXPERIMENT
- 28. PORTRAITS Avoid direct sunlight Use the shade Use window light Use indirect light
- 29. CAMERA ANGLE AND PSYCOLOGICAL EFFECT Where the camera is placed in relation to the subject, it affects the way the viewer perceives the subject. High angle shot: when the camera is located high (often above head height) Low angle shot: when the camera is positioned low (often a knee height), looking up. It makes the subject look powerful or threatening. Bird-eye shot: refers to a shot looking directly down) on the subject. It can be used to emphasise the smallness or insignificance of the subjects. Horizontal plain: when your scene is set horizontally, everything seems peaceful.
- 30. Basic Camera Shot types: FS: Full shot (or LS: Long shot o WS: Wide shot): shows subject in location MS: Medium shot: Shows what subject is doing CU: Close-up: shows a particular part of the subject MCU: Medium close up: shows subject in more detail ECU: Extremely Close-up: shows a detail of the subject
- 31. Let’s go outside and take some pictures! Pictures: @Joan Sèculi (except slide: 4, 13, 25 and 29)
Editor's Notes
- Photos: wikipedia The CCD (charged couple device) consists of a microscopic grid of millions of pixels on a circuit flat board. RGB mode (Red, Green, Blue): Each pixel received the light and it is transformed to digital numbers so they can be stored into a removal memory CARD. There are 2 green pixels, 1 blue and 1 red (this is because the eye is more sensitive to green color).
- ISO (International Standardization Organization): Film speed o light sensitive Shutter speed: Exposure time o Time value Tv, is the length of time a camera’s shutter is open when taking a photograph. Aperture: Aperture value Av, the size of the hole where the light travels White Balance (Color Balance): global adjustment of the intensities of the colors (typically: the red, green and blue - primary colors)
- Task for everyone: Check up the camera settings WHITE BALANCE to find out where you can change the light settings. The color temperature in the Kelvin scale shows the color light for each type of light. A picture lit with a candle light will have an orange color overall (between 1000 and 2000 Kelvin), an image taken with a flash will show a white color (around 5000 Kelvin) and an image taken using shade light will have a bluish color.
- It includes an image taken with automatic white balance. Ask students if they think the color light is ok.
- Show the same image than slide 5 that has been taken with all diferent types of light settings. Which one is now the correct one? Only our eye and personal criteria can decide the correct one.
- Aperture setting. Relation Aperture and Depth of Field. The smaller the aperture (f/22) the greatest depth of field, the bigger the aperture (f/2.8) the most shallow depth of field.
- Aperture setting: Relation Aperture and light conditions. A large aperture (f/2.8) can be convinient for heavy overcast and open shade. Instead, a small aperture (f/22) can be convinient for a bright day, hazy, sunny, light on sand or snow.
- This slide includes an image has been taken with a large Aperture f/2.8 (large lens hole)
- Time value setting: Relation Time value and Speed. A slow time value (for example 8 seconds) means more time exposing the film or sensor, the images can show movement. If we want to froze a still object, we should use a tripod for time value under 1/30. A fast time value (for example 1/2000 sec) means less time exposing the film, we can get frozen images like the ones are shown in this slide.
- Time value setting: Relation Time value and light conditions. A slow time value can be used for overcast or open shade. A fast time value can be used for bright day, hazy, sun, light on sand or snow.
- ISO scale, small number means less sensitive to light, will capture less light, more light needed for good exposure, less image noise or grain. A big ISO number means more sensitive to light, will capture more light, less light needed for good exposure, more image noise or grain.
- ISO setting: Relation with ISO setting and light conditions. Small ISO number can be used for a bright light, hazy or sunny day, light on sand or snow. A big ISO number can be used for a heavy overcast or open shade.
- ISO, Aperture, Time value settings are connected, so if one element goes up a stop, another has to go down to get a correct exposure. If the image is correctly exposed at 1/250, f/4 and ISO 100 Then it is also correctly exposed at 1/500, f/2.8 and ISO 100 And also at 1/500, f/2 and ISO 100 If an image is correctly exposed at 1/250, f/4 and ISO 100 Then is also correctly exposed at 1/500, f/5.6 and ISO 400 And also at 1/1000, f/1.4 and ISO 50
- To get the exposure right, you must place the line in the middle where there is a zero.
- Example of an image that has been taking with a +1 stop and -1 stop. Good exposure: Aperture: 11, Time value: 1/125. ISO: 200 Exposure + 1: just one setting must be changed one value +1,for example Aperture: 16 and Time and ISO values must remain the same, or Time value: 1/60 and Aperture and ISO values must remain the same, or ISO: 400 and Aperture and Time value must remain the same.
- http://www.photographymad.com/pages/view/10-top-photography-composition-rules
- drawn along = atret a
- We are surrounded by symmetry and patterns, both natural and man-made. They can make for very eye-catching compositions, particularly in situations where they are not expected. Another great way to use them is to break the symmetry or pattern in some way, introducing tension and a focal point to the scene.
- Convey = transmetre Before photographing your subject, take time to think about where you will shoot it from. Our viewpoint has a massive impact on the composition of our photo, and as a result it can greatly affect the message that the shot conveys. Rather than just shooting from eye level, consider photographing from high above, down at ground level, from the side, from the back, from a long way away, from very close up, and so on.
- How many times have you taken what you thought would be a great shot, only to find that the final image lacks impact because the subject blends into a busy background? The human eye is excellent at distinguishing between different elements in a scene, whereas a camera has a tendency to flatten the foreground and background, and this can often ruin an otherwise great photo. Thankfully this problem is usually easy to overcome at the time of shooting - look around for a plain and unobtrusive background and compose your shot so that it doesn't distract or detract from the subject.
- Because photography is a two-dimensional medium, we have to choose our composition carefully to convey the sense of depth that was present in the actual scene. You can create depth in a photo by including objects in the foreground, middle ground and background. Another useful composition technique is overlapping, where you deliberately partially obscure one object with another. The human eye naturally recognises these layers and mentally separates them out, creating an image with more depth.
- Photo: Here, the surrounding hills form a natural frame, and the piece of wood provides a focal point. Image by Sally Crossthwaite. https://www.flickr.com/photos/sally_monster/1202068770/
- Undivided = full, whole
- Dawn = naixament, començament
- This slide shows 3 types of Portraits: Avoid direct sunlight, use the shade Use window light Use indirect light
- This slide shows 3 types of Portraits: Avoid direct sunlight, use the shade Use window light Use indirect light
- Basic Camera Shot types: Extreme Wide Shots (EWS) act to establish the area. Wide Shots (WS) o Full shot (FS) or Long shot (LS) show the entire person or area. They’re great for establishing the scene and allow for good action of the characters. Sometimes this is known as the long shot. Medium Shots (MS) frame the subject from the waste up. This is the most common shot and allows for hand gestures and motion. Medium Close Ups (MCU) shots show the subject in more detail and are often framed from just below the shoulders to the top of the head. Close Ups (CU) show a particular part of your subject. For people this usually means the shot frames just the head! Extreme Close Ups (ECU) are much tighter close-up shots in which you get detail greater than the human eye might be able to normally perceive. An example of this shot might be of the mouth and eyes together