DIGITAL PHOTOGRAPHY

An introduction to the camera

 Where does the word
photography come from?
From the Greek words:
photos = light
graphs = draw or write
 PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

phrase camera obscura comes from the Latin

• The
words meaning darkened chamber.
• The device consists of a room with a hole in one side.
Light from an external scene passes through the hole
and strikes a surface inside, where it is reproduced,
rotated 180 degrees (thus upside-down), but with color
and perspective preserved. The image can be projected
onto paper and then traced to produce a highly
accurate representation.
 PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

• One of the earliest records of the camera obscura

principle goes back to Ancient Greece (approximately
330bc), when Aristotle noticed how light passing
through a small hole into a darkened room produces
an image on the wall opposite.

• 16th century: became an invaluable aid to artists who

used them to create drawings with perfect perspective
and accurate detail. Portable camera obscuras were
made for this purpose.
PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

Camera Obscura
becomes portable
 PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

• Victorian times (1837-1901): much larger public camera

obscuras became popular seaside attractions, where spying
on courting couples became a popular pastime.

• Aberystwyth, Wales, United Kingdom: home to the biggest

Camera Obscura in the world. The huge 14 inch lens takes
a birds eye view of more than 1000 square miles of land
and seascape in a 360 degree sweep around Aberystwyth,
a view reflected onto the circular screen in the darkened
viewing gallery below. (Original 1880-1920s; rebuilt 1985.)
PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

Camera Obscura - Constitution Hill, Aberystwyth, Wales, United Kingdom

 PHOTOGRAPHY’S PRE-HISTORY
CAMERA OBSCURA

Camera Obscura - The Photographers’ Gallery London, England, United Kingdom

 Abelardo Morell

Manhattan View Looking South in Large Room, 1996

 John Chiara

Echo Lake at Meyers Grade, Far Right, 2010

 SINGLE LENS REFLEX CAMERA [SLR]
HOW IT WORKS
( R E F E R TO PAG E 2 4 O F YO U R T E X T B O O K )

Through-the-lens viewing and focusing. You see what the lens sees!

When you look through the viewfinder, light passes through the lens and onto a mirror which
bounces the image to your eye.

When you press the shutter release to take the picture, the camera body flips up the mirror
and opens the SHUTTER (like curtains), exposing the light sensitive surface [film or image
sensor].

MIRROR

LENS
YOUR EYE
VIEW FINDER

MIRROR
SHUTTER
SUBJECT LIGHT
SENSOR

MIRROR
 DIGITAL SINGLE LENS REFLEX CAMERA [DSLR]
PROS & CONS

• Compose and focus through the lens

• Interchangeable lens which means more control of the
sharpness in a photograph
• Built for manual capture
• Better design - quick and rugged
• Bigger image sensor and better image processors
• High quality image files

• Can get pricey

• Can be bulky
• Can be complex
 DIGITAL SINGLE LENS REFLEX CAMERA [DSLR]
RECORDING THE IMAGE

Secure Digital (SD) Compact Flash (CF)

[Link]
 IMAGE SIZE
RAW VS. JPEG
( R E F E R TO PAG E S 1 4 , 3 5 - 3 6 O F YO U R T E X T B O O K )

Your camera is able to save images in two different ways...

RAW JPEG
(Joint Photographic Experts Group)

Lossless Compression Compressed

More Editing Capability Digital Deterioration

Larger File Size Smaller File Size

Ability to revert to original -

Must be processed with software Readily Accessible

Compression: reducing the size of an image file for more efficient storage and use
 MEMORY CARD TIP: REFORMAT OFTEN
( R E F E R TO PAG E 4 3 O F YO U R T E X T B O O K )

What to do:

Get into the habit of reformatting your memory card every time you transfer the
images to your computer. Reformat from your camera (not from the computer): navigate
through your camera’s menu options and select reformat.

Why reformat?

1. Ensures that the data on the memory card and the file structure are clean, which
will help you avoid error messages or missing images.

2. The longer you go without reformatting a memory card, the better the chances that
it will become corrupted.

3. Over time, your memory card will hold fewer images if you never reformat. So
while it may stow 100 photos today, in 6 months that number could drop to 90.

4. Format your memory card in the camera you will be shooting with. If you’re using a
memory card in a borrowed camera, you might encounter errors if you don’t
reformat in that camera. That’s because each camera will format memory cards in a
way that is optimal for that particular model or brand.
 EXPOSURE MODES
3 C AT E G O R I E S : A U TO, S C E N E , A N D P / S / A / M
( R E F E R TO PAG E 1 5 , 1 0 4 - 1 0 9 O F YO U R T E X T B O O K )

• In auto and scene modes the camera controls shutter speed and aperture
• Scenes include Portrait, Landscape, Child, Sports/Motion, Close-Up/Macro, Night
Portrait, etc.
• Programmed Auto (P), Shutter-Priority Auto (Nikon: S / Canon: Tv),
Aperture-
Priority Auto (Nikon: A / Canon: Av), and M (Manual) modes are known as exposure
modes and give photographers a choice as to which elements of exposure—aperture
or shutter speed—they wish to control.
 DSLR CAMERA
FRONT VIEW
Mode Dial
Pop-up Flash
Shutter Release

Focus Assist Light Lens

 DSLR CAMERA
TO P V I E W

Shutter Release

Pop-up Flash

Camera Strap Mode Dial

Attachment

Camera Strap
Attachment

View Finder Hot Shoe Adjustment Dial

 DSLR CAMERA
REAR VIEW
View Finder
Adjustment
Dial
Delete Button

Inputs
Memory Card
Compartment

Battery Compartment
LCD Display (usually on bottom)
 LIGHT + TIME = EXPOSURE

The amount of light recorded by the image sensor

while taking a photo is known as the exposure.

YOU control how much light reaches the sensor by

adjusting the following three settings:

1. ISO: measure of sensitivity of the image sensor

2. SHUTTER SPEED: length of time a camera’s

shutter is open

3. APERTURE: the opening in the lens; f-stops

indicate the size of the opening

When all these factors are properly balanced one

receives a ‘normal’ or ‘correct’ exposure.
 ISO: INTERNATIONAL STANDARDS ORGANIZATION
S E N S I T I V I T Y O F I M AG E S E N S O R TO L I G H T
( R E F E R TO PAG E 1 0 0 - 1 0 1 O F YO U R T E X T B O O K )

The ISO settings on your camera dictate how sensitive your camera’s image sensor is to light.

In the days of film, ISO was referred to as ASA, or film speed, describing how quickly the film
reacts to light. Likewise, you can think of ISO as how quickly the image sensor reacts to light.

• The higher the value of the ISO, the more light sensitive the image sensor is and the
more ‘noise’ occurs in the image.

• The lower the value of the ISO, the less light sensitive the image sensor is and the less
‘noise’ occurs in the image.

LESS SENSITIVE/SLOWER MORE SENSITIVE/FASTER

100 125 160 200 250 400 800 1600

LESS NOISE MORE NOISE
 ISO
S E N S I T I V I T Y O F I M AG E S E N S O R TO L I G H T

LESS SENSITIVE/SLOWER MORE SENSITIVE/FASTER

100 125 160 200 250 400 800 1600

LESS NOISE MORE NOISE
 ISO
S E N S I T I V I T Y O F I M AG E S E N S O R TO L I G H T

ISO 200 ISO 1600

LESS SENSITIVE/SLOWER MORE SENSITIVE/FASTER

100 125 160 200 250 400 800 1600

LESS NOISE MORE NOISE
 SHUTTER SPEEDS
By intentionally choosing a fast or a slow shutter speed, you can choose to
render moving objects in your scene razor sharp or smear them blurry.
 THE SHUTTER
A F U N C T I O N O F T H E C A M E R A B O DY

The SHUTTER in your camera works as a shield to protect the image sensor from light until you
depress the shutter release button.

The duration of time that the shutter remains open is called SHUTTER SPEED.

SHUTTER SPEED is measured in seconds and fractions of seconds.

Generally, 1/60th of a second is the slowest shutter speed at which one can hold the camera in
hand without causing camera shake/blur. ANYTHING SLOWER THAN 1/60th of a second should
be shot with a tripod if blur is not desired.

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER

Note: the quotation mark in the slower shutter speeds indicates whole seconds (for example, 1” = 1 second).
 ON SHUTTER SPEED: MOTION
C A P T U R I N G A N D F R E E Z I N G M OT I O N

The SHUTTER affects the amount of MOVEMENT rendered in an image.

• The FASTER the SHUTTER SPEED, the better we are able to FREEZE MOTION
• The SLOWER the SHUTTER SPEED, the better we are able to CAPTURE MOTION
Depending on your specific subject, you have to judge the most appropriate shutter speed for the
occasion.

• 1/500th of a second or faster, in most cases, will begin to freeze motion

• 1/125th of a second or slower, in most cases, will produce motion blur
Say for instance you are photographing a car that is moving at 55 mph. In order to freeze its motion,
you have to go very fast with your shutter speed. On the other hand, if you are photographing
someone running at 5mph, you can get away with a much slower shutter speed yet still freeze the
motion. Selecting speeds comes with practice, there is no specific rule that can apply to all situations.

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 SHUTTER/TIME
C O N T R O L L I N G M OT I O N

FAST SHUTTER SPEEDS

• Let in LESS light

• Used to stop or “freeze” motion

• The faster your shutter, the sharper

the lines of the moving subject will be.

EFFECTS

• Compensate with a BIG aperture =

SMALL/SHALLOW depth of field

• May have to compensate with

HIGHER ISO = greater risk of noise

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 SHUTTER/TIME
C O N T R O L L I N G M OT I O N

SLOW SHUTTER SPEEDS

• Let in MORE light

• Motion is blurred whether by subject or

camera

• Used to show movement

EFFECTS

• Compensate with SMALL aperture = BIG/

DEEP depth of field

• May have to compensate with LOWER ISO

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
DIRECT COMPARISON: SHUTTER/TIME
C O N T R O L L I N G M OT I O N
 SHUTTER/TIME
C O N T R O L L I N G M OT I O N

FAST SHUTTER
• f 2.0 @ 1/400

RELATED TO THE SHUTTER

Which characteristics can we see related directly to
the shutter?

• Bubbles in glass are distinct

• The liquid pour is crisp
EFFECTS
Which characteristics can we see that can be considered
effects or consequences of our shutter choice?

• Large Aperture
• Shallow Depth of Field
• Limited/Selective Focus

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 SHUTTER/TIME
QUICK LOOK

SLOW SHUTTER
• f 16 @ 1/2

RELATED TO THE SHUTTER

Which characteristics can we see related directly to
the shutter?

• Bubbles in glass are blurred

• The liquid pour is blurred
EFFECTS
Which characteristics can we see that can be considered
effects or consequences of our shutter choice?

• Small Aperture
• Greater Depth of Field
• Increased/Distributed Focus

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 ON SHUTTER SPEED: MOTION
C A P T U R I N G A N D F R E E Z I N G M OT I O N

1/2 sec 1/8 sec 1/30 sec

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 ON SHUTTER SPEED: MOTION
C A P T U R I N G A N D F R E E Z I N G M OT I O N

1/125 sec 1/500 sec 1/2000 sec

MORE LIGHT LESS LIGHT

1” 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000

SLOWER FASTER
 SHUTTER SPEED
C O N T R O L L I N G M OT I O N

Three Factors Affecting Stopping the Motion of a Moving Object:

1. Speed of the moving object. The faster the moving object, the
faster the shutter speed must be to stop the motion.

2. Direction of the moving object. Objects moving across the

camera’s field of vision must be stopped with a faster shutter
than those moving toward the camera. (image page 89 of your textbook)

3. Distance of the camera to the moving object. The closer the

moving object is to the camera, the faster the shutter speed must
be to stop the action.
FROZEN MOTION
DEPTH OF FIELD
 APERTURE
A FUNCTION OF THE LENS

APERTURE is a function of the lens that allows a certain amount of light to pass in order to make an exposure.

The APERTURE in your camera functions similarly to the HUMAN EYE. When there is little light, our pupils
dilate in order to allow the maximum amount of light to enter. When there is much light, our pupils shrink to
accommodate the amount of light.

APERTURE is measured in F-STOPS which correspond to the size of the lens openings.

• The LOWER [or smaller] the number on your f-stop scale the BIGGER the APERTURE

• The HIGHER [or bigger] the number the SMALLER the APERTURE

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
 ON APERTURE: DEPTH OF FIELD
H OW TO C O N T R O L T H E A M O U N T O F F O C U S

APERTURE affects the DEPTH OF FIELD in an image meaning how much in front of and behind the subject is in focus.

• As we OPEN UP the APERTURE (lower values) we are reducing the amount of DOF in the image
(commonly called shallow DOF, little DOF, or selective focus):
o SHALLOW DOF can be recognized by the amount of ‘blur’ that is in front of or behind the subject
in the image
o SHALLOW DOF can create focus on a subject, isolating it from a distracting or undesirable
background

• As we CLOSE DOWN the APERTURE (higher values) we are increasing the amount of DOF in the
image (commonly called long DOF, deep DOF, or a lot of DOF):
o DEEP DOF can be recognized by the amount of ‘sharpness’ that is throughout the image
o DEEP DOF can aid in providing more detail and information in an image

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
 DEPTH OF FIELD
APERTURE Exposure Info : f 1.4 @ 1/320 - ISO 100

BIG APERTURES

• Big aperture is lower number

• Let in MORE light

• Shallow DOF / Soft focus

• The bigger the aperture, the softer the feel

KNOCK-ON EFFECTS

• May have to compensate with FASTER shutter

• May have to compensate with a LOWER ISO

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
DEPTH OF FIELD
APERTURE
 DEPTH OF FIELD
APERTURE Exposure Info : f 16 @ 1/125 - ISO 100

SMALL APERTURES

• Small aperture is higher number

• Let in LESS light

• Deep DOF / Sharp focus

• The smaller the aperture, the sharper the feel

KNOCK-ON EFFECTS

• May have to compensate with SLOWER shutter

• May have to compensate with HIGHER ISO

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
DEPTH OF FIELD
APERTURE
 DIRECT COMPARISON
APERTURE/DEPTH OF FIELD QUICK LOOK
 DEPTH OF FIELD
APERTURE

BIG APERTURE
• f 1.8 @ 1/320

RELATED TO APERTURE
• Isolation of subject

• Foreground and background blur

• Vignetting

• Soft feel

KNOCK-ON EFFECT
• Fast shutter

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
 DEPTH OF FIELD
APERTURE

SMALL APERTURE
• f 16 @ 1/4

RELATED TO APERTURE
• Everything is sharp

• Fine detail

• Hard / crisp feel

KNOCK-ON EFFECTS
• Slow Shutter

• Subject may get “lost”

MORE LIGHT LESS LIGHT

f2 f2.8 f4 f5.6 f8 f11 f16

LESS DEPTH MORE DEPTH
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 1.4 @ 1/1000
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 2.8 @ 1/250
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 4 @ 1/60
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 5.6 @ 1/30
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 8 @ 1/15
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 11 @ 1/8
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 16 @ 1/4
 DEPTH OF FIELD
APERTURES ACROSS THE SC ALE

f 1.4 @ 1/1000
SHALLOW DEPTH OF FIELD
SHALLOW DEPTH OF FIELD
SHALLOW DEPTH OF FIELD
SHALLOW DEPTH OF FIELD
SHALLOW DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
LONG DEPTH OF FIELD
 LIGHT METER
H OW TO M E A S U R E E X P O S U R E

When you look through the viewfinder of your camera, you will see a small illuminated indicator
called a LIGHT METER.

The LIGHT METER takes APERTURE, SHUTTER SPEED, and ISO into consideration and creates a
‘reading’ of the light situation in order to judge where adjustments need to be made.

Once the LIGHT METER has given you a reading, you will know whether you need to increase or
decrease one of the three vital functions.

Depending on the scene you are shooting you must make a judgement call on WHICH of the
three settings to adjust.

UNDER EXPOSED CORRECTLY EXPOSED OVER EXPOSED

 LIGHT METER
UNDER AND OVER EXPOSURE

UNDER EXPOSED CORRECTLY EXPOSED OVER EXPOSED

Good Exposure = the sensor received enough light to capture detail in shadow areas of the image,
but not so much that the light areas are washed out.
 SETTING UP YOUR CAMERA
R E F E R TO PAG E S 1 4 - 1 8 O F YO U R T E X T B O O K

1. If your memory card is blank or can be cleared of any images

currently on it, then reformat your memory card
2. Select RAW file format
3. Set your mode dial to Manual
4. Identify your Exposure Controls (aperture, shutter speed, ISO)
5. Set your lens to autofocus (AF)
6. Check that the camera is set to auto white balance (AWB)
7. Make sure correct date and time is set on your camera
8. Pressing the shutter release button halfway down locks-in focus
and activates the light meter