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This is a one day course aimed at helping you to use your camera
to get better pictures, a guide to what to photograph and how.
We will cover basic camera functions, and help you understand
your camera better with the aid of the manual that comes with it.
Other areas we hope to help you with are exposure, use of light,
composition, use of flash, tripods, filters and lenses.
All that you need to begin with is a film or digital SLR camera and
lens, and time to practise. Later an additional lens, a tripod, a
flashgun and a few filters will help improve your pictures. Please
remember that cameras do not take pictures, people do. You do
not need top of the range equipment.
We can show you quite a lot throughout the day, some information
may take time to comprehend fully but practice will soon make
you more confident and give you much better pictures. Techniques
can be learnt by referring to these basic notes in conjunction with
your cameras handbook, but we also hope to help you to look
and see where better pictures might be taken.
a) Composition
b) Light Direction
c) Time of Day
Boring subject
Distance between you and subject
Camera shake
Poor exposure Over / Under
Poor techniques
Poor arrangement of picture elements
Lack of self in picture personal input
Lack of drive, direction or motivation
Tilted horizons
Poor focus, subject too close
Un-needed elements clutter & jumble
Chopping off heads, hands etc when you dont mean it
Wrong file size use large j peg or raw files
Wrong conditions time of day, lighting etc
Lack of involvement
COMPOSING PICTURES
This is to do with picture structure and is as important as technical
ability. The idea is to organise the picture elements in the strongest
and most striking way for visual impact.
Decide on what lens to use i.e. telephoto or wide angle.
Decide how to frame the picture i.e. what you leave in and what
you leave out. Avoid confusion; keep the balance and purpose of
the picture. Be aware of the edges of the image and any
distractions. Move to get the best vantage point so that you
include what you want without compromising your original
intention.
Use leading lines perspective and areas of colour and tone
Use height look up and down at the scene as well as the straight
What the eyes see shot. E.g. try lying down or crouch or gain
height by using something to climb on.
Use symmetry and geometry. Look and look again taking account
of shape, shadows, dimensions, angles and complimentary
shapes. Keep the eye as you did as a child, e.g. be amazed and
wonder what you see, because composing a picture is not only
about physical aspects but also crafted from your own concerns
and ideas
Emphasise, select, simplify and omit
VISUAL AWARENESS, A GUIDE LIST TO HELP YOU
DEPTH OF FIELD
Distance between the nearest and farthest parts of the picture
which are in focus or sharp.
Focus relies on 2 things the photographers eye hand coordination to manually set the lens to the correct distance and the
size of the aperture used on the camera lens.
E.G.
F 2.8 Gives a very shallow depth of field
F 22 Gives a greater depth of field
Also relates to type of Lens - e.g. a wide angle Lens of focal length
28mm gives better depth than a telephoto Lens 300mm, which
compresses the image, bringing distance closer but dramatically
shortening the perspective and depth of field
As an example most Landscapes need maximum depth of field
sharp focus from foreground to infinity so F16 or F22 and a slow
shutter speed, camera on a tripod are needed, coupled with a slow
speed film to get maximum quality.
Or a portrait where you need the person critically sharp but dont
need the background to appear sharp, so use F4 or F5.6 and a
faster shutter speed, and you can hand hold if theres enough light.
SHUTTER SPEEDS
This the speed at which the shutter blind travels across the film
plane to let light onto the film at a given aperture.
Shutter speeds range from B (time exposure) to 1/4000 of a
second, although nobody needs 1/4000 of a second!
B This the setting for time exposure, for example, when you are
taking pictures at night using exposures of one second or more.
The camera needs to be used on a tripod.
Fast moving subjects need fast shutter speeds e.g. The Red
Arrows are best photographed at 1/1000 of a second.
You cannot hold a camera and lens without some element of shake
the longer the lens used, the more chance of camera shake causing
blurred pictures so the following rule applies
Always use twice the focal length of the lens you are using to dictate
the shutter speed you need to set e.g.
If using a 50mm lens use at least 1/125 of a second
If using a 300mm lens use at least 1/500 of a second
If using a 70 200 zoom lens use 1/500 of a second
If in any doubt set the camera on a tripod or lean on
something solid.
FOCUS
You need to practise focusing your camera, both automatically and
manually. Setting the AF or MF switch on the lens. Auto focus is
not always the best option for some subjects as it will focus on the
first object in the light path so for a portrait it could by a persons
nose and its the eyes you need sharp. so manual focus is the
answer. (Automatic settings on the cameras command dial does
not mean the same as Auto Focus)
APERTURES
The aperture is the hole in the lens through which the light travels
and is allowed onto the film. By controlling the size of this aperture
we can govern the depth of field in the picture, e.g. the area of the
picture which is sharply in focus
Apertures are usually called F stops. They range from F2.8 to
F22 depending on the lens you are using. A typical sequence of
apertures on a standard 50mm lens is
F2.8, F4, F5.6, F8, F11, F16, F22
F2.8 being the largest hole and F22 the smallest, so that F1.8 lets
in a lot more light than F22. The smaller the hole the more in focus
everything in your picture will be, so for maximum depth of field
you need to use F22
By using a combination of Apertures and Shutter Speed you can
govern the amount of light that gets onto the film or camera
sensor, the image depth of focus and the brightness of the final
picture
Too much light gives over exposure e.g. a picture which is too light
Too little light gives under exposure e.g. a picture which is too dark
The idea is to get exposure as exact as you can use either the incamera meter or a hand held meter to tell you what the exposure
should be. By using the camera shutter speed and the lens
aperture manually e.g. setting them yourself rather than letting
the automatic camera decide, you can control more exactly how
light or how dark the picture will be
EXPOSURE MODES
Most 35mm single lens reflex (SLR) cameras have a wide range of
aperture and shutter speed settings, but also a number of
exposure mode options.
Its worth outlining what they do and how they work.
PROGRAM MODE This is fully automatic, setting both
aperture and shutter speeds, making all the exposure
decisions for you, but offering little creative control. The
settings the camera chooses are displayed for you, either in
the viewfinder or on the top display window. The combination
of aperture/shutter speed may not be suitable for the subject
youve chosen how can the camera decide at what speed
something is moving, or what depth of field you would
prefer? most do offer a program shift control so you can
change the combination without to much trouble. This mode
of operation has the obvious advantage of being quick and
simple to use, and is brilliant if youve never handled a
camera before
SPECIAL PROGRAM MODES/PROGRAM BIAS. Many SLR
cameras offer special modes of operation geared to more
specific use. Depth of field mode is designed to give you a
smallest practicable aperture in the lighting conditions
available.
PICTOGRAMS. These modes are specialist in their
application-setting the apertures and or shutter speeds with
a specific subject in mind e.g. sport mode where it will offer a
faster shutter speed, or portrait mode where it will offer a
shallow depth of field/focus such as F4, which gives limited
sharpness to the face, but throws the background right out of
focus.
Other options are for landscapes, action, close up, bulb (for
long exposures at night etc)