Basic Photography Tutorials
Disusun oleh:
MUHAMMAD
WACHID A.L.
16213171
1EA22
UNIVERSITAS GUNADARMA
2014
Basic Photography Tutorials
Photography and painting are
the same. Each renders imagination in tangible form. The difference is that
painters can work completely from imagination, although most of us work from
life as a starting point. Both can take lifetimes to master the tools to render
imaginations exactly as we intend. With inkjet printing (giclée is the term
stolen from painting), they are identical in that each of us is using tools to
apply our imagination as physical colors to flat media, often canvas. (I still
prefer darkroom, chemically processed media.)
Whether you are a beginner
or more experienced with photography, there are some tips that will benefit you
and give you better results. Here are some common issues that you may have to
deal with and some tips on how you can use them to your advantage.
ISO, APERTURE, SHUTTER SPEED: EXPOSURE TRIANGLE
Apertures
and F-stops
Every camera has an
aperture. This is the opening that lets the light into the body. The aperture
can be anything as simple as a pinhole in a cardboard box, or as complex as an
automatic blade system that is in the modern lenses. But simple or complex,
they do the same thing.
If you’ve been around
cameras a bit, you’ll have noticed something called F-stops. For example, when
somebody says that they shot the image at “F8″, it means that their aperture
was set to an F-stop of 8. The great thing about this numbering system is that
it is a constant number and based upon the length of the lens you are using. In
general terms, this means that I can set any camera and lens to F8 and get the
same amount of light hitting the sensor.
The aperture also controls
what called the “Depth of Field” in an image. This is a photo term for the
amount of focus that you have in an image. It is dependent upon the aperture
and the distance from your sensor to the main point of focus (your subject).
Less depth of field means that you will not have much of the foreground and
background in focus. If you’ve ever seen a portrait and the background is all
blurry – this due to the F-stop used while taking the photo. Another example is
a landscape photo where everything looks.
Unit aperture is the
diameter of the aperture blades. Expressed in fractions, commonly written as f
/ X or 1 / X, where X is the number of aperture. Written on the camera
viewfinder often only X number only.
One stop multiplying factor
is √ 2 (square root), or trivial 1.4x; f/3.5 aperture means will 1EV brighter
than f/5.6 aperture. The greater the number, the darker the picture will be
more.
Shutter
Speed
This is an easier concept to
grasp. Shutter speed is simply the amount of time that the sensor is exposed to
light and is controlled by the shutter being opened and then closed. This can
range from 1/8000th of a second to 20 minutes or more.
Think of how you could use
the shutter speed to your advantage. If you are shooting a photo of a race
horse running to the finish line (and making you some money) – you can use a
fast shutter speed to freeze the horse in time. Capture the hair flying, the
jockey’s face and the tense muscles. Or you could put your camera on a tripod
and leave the shutter open for 10 seconds to capture a city scape at night.
This is all part of the creative process.
The greater the number, the
darker the picture will be more. One stop multiplying factor is 2x, for
example, shutter speed 1/100 to 1 EV brighter than shutter speed of 1/200 if
the scene and the other settings remain the same.
(EV is a unit of brightness,
which means that the difference in brightness 1EV difference caused a different
amount of light entering 2X. 1 EV is often referred to as one stop, the term
legacy of the first film camera era.)
ISO
ISO is the sensitivity of
the sensor. The higher the ISO, the less light it takes to reach a certain
brightness. Raising the ISO can be likened to incorporate rocks into the bucket
so that the amount of water needed less and less.
ISO ISO is a unit number.
One stop multiplying factor is 2x, where ISO 800 will 1EV brighter than ISO 400.
COLOR and WHITE BALANCE
Auto White
Balance (AWB)
Even the simplest digital
camera will have an Auto White Balance setting – or just have it built in and
not tell you. This is the setting that is the catch-all. It will do a good job
most of the time. Sometimes, it will even do a great job. Sometimes, it will
miss the mark entirely and then you have an off color image.
One thing that makes working
with artificial lights is that your eye and brain have built in White Balance
correction. If you are looking at a piece of white paper in the office, you’ll
see that it looks pretty much white. Your camera will see it a totally
different light.
Pre-set White Balance Settings
As you can see in this list, I have a
few pre-set options that I can choose from. If you are going to be
shooting in JPG, I recommend that you use the closest setting to the actual
light you are in. This will get you as close as possible. Each of
these settings should be self-explanatory.
Sometimes you will be a situation
where you get mixed lights. You could be inside during the day in a room
lit with fluorescent lights as well have daylight coming in through the
windows. Now what? In most cases, you will want to use Auto and
hope that the camera will figure it out for you. It might not be perfect,
but it will be close.
Always check your WB settings each
time you pick up the camera for a new session of shooting.
Custom White
Balance
A lot of newer DSLR’s will
have a Custom WB setting. This is a
great option to use, it’s easy to use and it the most accurate way of getting a
WB setting in your camera. This approach
allows you to take a WB reading which the camera will then use for the rest of
your photos. Check your camera’s manual to see if you have this option.
I opened these both in Photoshop and
did a simple Curves
correction to set the white point. This has given me good color
and exposure in one click. If you look at the concrete that surrounds the
card, there is a big difference. The one on the right is very accurate,
while the one on the left makes the concrete look warmer than it it.
I use a translucent white lens cover
to take my readings, then start shooting. This is the cheapest accessory
you can get to help your daily photography
In general use, you just take a
setting with the white balance cap over your lens and the camera will adjust
the WB based upon the color that it reads coming through the cap.
As you can see, cameras have advanced
to the point where they can take good photos automatically. It’s up to you as the photographer to take it
to the next level and create great images.
White Balance is important in getting the colors correct – even with a
perfect exposure, if your WB is off, your whole image is off.
You can also use the wrong WB on
purpose to create an effect. Try
shooting a daylight scene with a Tungsten WB to create a cold feel to your
image. Or use daylight settings under
Tungsten light to get a warm look.
Colors are subjective. Your eye might not see the same as mine, or
anyone else’s. You might think that you
have captured the correct colors when you’re actually quite far off. Take time to learn about the various WB settings
that your camera has and use them to your advantage.
HOW TO CHOOSE GOOD ANGLE
If you see something that is
interesting to be photographed, the first organ that is necessary to move the
feet, not the hands. Why? Because you may need to move around the object used
to get the maximum angle and composition. (Of course, this can be ignored if
the timing or sikonnya not allow us to move before the shooting.)
For me, the angle and
composition are key to getting a good photo. With good composition, a simple
object (or even trivial) can be presented with a beautiful. In contrast, the
composition or bad angle, the object will look incredible bear or less fit when
displayed on the wall.
First of all, I need
clarification first what I mean by angle and composition; my definition may be
different from other people or even the definition of common sense is used.
Actually, angle and
composition refer to the same thing: how a photograph taken / created. Angle
refers to the photographers and camera: the direction from which the photograph
was taken. While referring to the composition of the picture is: how elements
in the photo arranged / organized so as to produce the whole image or a strong
draw. Angle determines the composition; as well as to change the composition of
the necessary changes in angle.
In general, it can be said
the selection of the composition of the angle made before the election. Angle
options are numerous: a photographer can decide to surround an object 360
degrees, and sometimes there is an option to take the angle from above or from
below. After deciding on which direction he would take pictures, the
photographer then raised the camera to his eye, the target object, and
menggeser2 little camera to change the location of objects (and other objects,
including the foreground or background) to achieve the ideal composition.
(Although it did not rule out the photographer turned out to be shifted and
changed the angle a little longer to achieve a more ideal composition. Example,
because of the angle it turns out that he select the object will be less
contrast than the background.)
Well, as if it was a good
angle? Good Angle is the angle that can convey what you want to convey with the
best.
It might sound simple, but
there is an important message that is often forgotten: that you first have to
know first what you want to convey. So, the first step is: visualization. In
the case of bird photo above, for example, I had the option to take the photo
from the front or side (to varying degrees); other than that I was also able to
photograph the bird while standing (angle from top to bottom), or I could squat
and photographed from the side (parallel). Is it bad angle down? Is the angle
of the front of the ugly? I do not know, but that is clearly not what is in my
visualization :)
There are several things to
consider when choosing the angle.
From which direction the object needs to be photographed to convey what
I want to convey?
Imagine you see a homeless
person was sleeping on the sidewalk. You have the option to take a picture of
the perpendicular side (so that his body across the frame), or from the
direction of the head to the feet, or from the direction of the feet to the
head; You can shoot so well from top to bottom, or parallel (may need to squat?).
Which one is better able to convey what you want to say (the pity, admiration,
or just a snapshot of life?).
There are a few
"rules" that can be followed on making angle; for example, the angle
from top to bottom usually describe XXX, or the angle from the ground up to
give the impression of YYY, but I think this thing is not so important to be
memorized. We better try it yourself and see the results. I prefer not confine
your creativity by teaching that angle like this will produce an impression so.
Who knew you could find a use angle different from the effect that had been
used :)
What should be used as a background or foreground?
Angle choices affect what
goes in the frame, even if only as background out of focus though. In the case
of homeless above, if you take a perpendicular angle, then it may be included
in your frame is just the homeless and a piece of pavement and wall. If you
take a more oblique angle, then perhaps some of the views of the street will
also be recorded in your frame.
Background / foreground reinforce what photo?
Is the view of the street
will help strengthen your photos? It again depends on what you want to convey.
Would you prefer if the picture is simple and contains only the homeless,
sidewalks and walls alone? It's up to you :)
Whether the object is quite
a contrast with the background?
Photos tend to be stronger
if the object can be clearly identified; among others, by making a high enough
contrast between the background object.
SPECULATION AND TERMS DSLR CAMERA LENS
Focal length
(real and equivalent)
Focal length is the distance
of the focus point of the lens. This affects: the width of the field of view
lens (FL equivalent), thick sharp space (FL real), and a comparison of the size
of the objects are different distances from the lens (FL equivalent). The
greater the FL lens, it will be more narrow field of view (as if we approach
the object), the more space will sharply narrow (at the same distance and
aperture), and distant objects (background) would look more similar in size to
the object -close objects (foreground or main object). Size equation is also
known as the (effect) compression: because the objects in the back looks not
too different-sized objects in the front, they look as though is much closer to
each other.
In contrast to the commonly
used definition of a layman, lens "zoom" means the lens has a varied
FL. For example, in the example above, has a 17-50mm FL. Lens that can make us
as if approaching object called a telephoto lens (FFL), and telephoto lenses
usually have upwards 135mm FL. On the other hand, it could be also a telephoto
lens zoom lens, for example, a lens with a 150-500mm FL (large FLnya = tele,
FLnya vary = zoom). The opposite of a telephoto is wide (wide field of view,
small FL).
What does it mean FL real
and equivalent? FL real meaning of the figure refers to the focal length of the
lens itself. FL equivalent of a lens refers to the focal length of the lens
when mounted on the camera fullframe will have a field of view (field of view)
is the same as the lens (if installed in the camera).
For example: a 50mm lens
when mounted on the Olympus PEN cameras will have the same field of view with a
100mm lens on the camera fullframe. Thus, a 50mm lens is said to have the
equivalent of a 100mm FL on Olympus PEN cameras. Multiplier (2x) is called
"crop factor", which influenced the size of the camera sensor.
Not to be confused, as most
who write equivalent FL is a lens mounted on the camera pocket. If you see a
write FLnya 28mm pocket camera, FL real likely only around 5mm, and 28mm is
equivalent FL.
Not every lens is a zoom
lens. There was also a prime lens / fix, which only has one fixed FL. For
example, a 50mm lens. The advantages of this 50mm lens is a quality that is
(usually) better, and larger maximum aperture. What is the maximum aperture?
Aperture
maximum
Most lenses can write the
maximum aperture of the lens used. For example, the kit lens / DSLR standard
spec which usually have 18-55mm, f/3.5 - 5.6. This spec means, the lens has a range
of between 18mm to 55mm FL. In FL 18mm, the lens has a maximum aperture of
f/3.5; The FL 55mm lens has a maximum aperture of f/5.6 that.
If a zoom lens has only one
aperture numbers are written down, meaning the zoom lens has a maximum aperture
the same, regardless of the FL were used. For example, in the example earlier
17-50/2.8 lens, so the lens can be opened up to f/2.8, most of FL wide (17mm)
to the telephoto (55mm).
Crop factor
As described above, the
camera has a crop factor. For most brands of DSLR, there are only two types of
cameras: fullframe (no crop factor, or 1x crop factor) and APS-C 1.5x crop
factor which has (Nikon, Sony, Pentax), or 1.6x (Canon). Fullframe camera has a
sensor size that is larger than the APS-C. Therefore, the lens used will be
different.
Fullframe lens produces
images that are more extensive in the area of the sensor, while the APS-C
lens produces images that are more narrow, and only enough to cover the field
of sensors for APS-C alone. Therefore, fullframe lenses can be used on an APS-C
camera, but the lens APS-C cameras can not be used on fullframe. If the APS-C
lenses used in camera fullframe, then the result will be vignetting (no black
around the photo), because the lens only produces an image in the center of the
field of the fullframe sensor. This, too, not all APS-C lens can be mounted on
the camera fullframe. Some lenses can be indented too deep to be hit by the
movement of the lens in the camera, for example.
Lens crop factor APS-C vs.
fullframe is written as: EF-S vs. EF (Canon), DX vs. FX (Nikon), Di II vs. In
(Tamron), and so on.
Vibration
absorbers
Some lenses have a vibration
dampening mechanism. If we hold the camera by hand, the camera will inevitably
sway, albeit slightly. In a slow shutter speed, it will wobble visible in the
photo. This mechanism allows the lens elements to move against the direction of
oscillation / vibration of our hands, thus eliminating judder effect seen in
the photos.
Most vibration dampening
mechanism to reduce vibration up to 2 stops, which means the rocking effect
will be reduced so that it looks as if we shoot with 4x faster shutter speed
(equal to 2 stops).
This mechanism is called the
IS (Canon), VR (Nikon), VC (Tamron), OS (Sigma), OSS (Sony E), and so on.
Motor /
focusing mechanism
Many lens manufacturers are
using the motor / mechanism different focusing their lenses. If a lens using a
mechanism that is good, this will normally be included in the name of the lens.
Good mechanism usually means the lens will be faster when autofocusing, and his
voice was more subtle.
This mechanism is called the
USM (Canon), SWM (Nikon), USD / PZD (Tamron), HSM (Sigma), SSM (Sony), and so
on.
Internal
focusing
Lenses typically will rotate
and elongate / short during focusing. Internal focusing means the lens does not
extend / short or rotating during focusing. This is useful when you use a
filter that needs to be used with the same angle, for example, GND or CPL.
Rear
focusing
The term means the rear lens
in focusing on doing the focusing lens by moving the rear element. This
resulted in the focusing is faster and smoother.
Up to this point, virtually
all important spec lenses you already know. The next terms are only refers to
the technology used in optical elements. The technology affect the outcome
photograph, so that should have been listed in the reputation and results of a
review of the lens.
Aspherical
element
Aspherical lens element
indicates that the use of optical elements whose shape is not round (I also do
not know exactly). This reduces the effect of the convex on the images, and
also allows a more compact lens design and quality.
Low
dispersion
Have you ever seen a
purplish color (usually) on the edge of the bright regions / white in your
photos? This is called color fringing, or color aberration (CA). Low dispersion
indicates that the lens has a CA that is less than a lens that does not have a
low dispersion.
There are many other terms
that refer to various things. Please check each manufacturer's website to see
the list.
LANDSCAPE PHOTGRAPHY
Landscape photography has
been a popular subject since cameras were first invented. The early cameras
required a long shutter speed to expose the glass plates that were in use back
then. People often moved during the exposure, but mountains stayed still.
A landscape photograph can
be any outdoor scene that you shoot. It can have people in it, or any
combination of water, sky and land. Is a cityscape a landscape? Why not? It has
different elements, but the questions that I asked above would still apply to a
cityscape photo. Really, a landscape is just about any outdoor image that does
not ‘feature’ a person (that would be a portrait) and gives the viewer some
information about the environment.
Think about how far you have
to travel to take a landscape photograph. For me it’s about 1 mile or less. I
live in Jakarta and love to shoot landscapes out here. Jakarta isn’t a hot spot
for photographers like Papua with its amazing coastline or its majestic mountain views. In fact most
people that drive through Jakarta would call it ‘boring’. That’s my challenge.
I like to show people that the area around me can be beautiful and interesting.
Plan your image
Now that you’re ready to
shoot a landscape, and you’re out in the field: what are you going to shoot?
Look around you in all directions. What feature strikes you the most? Is it the
sky and clouds? An interesting rock formation? The pattern in the fields? The
mountains in the distance? It could be anything and everything. What do you
‘feel’ when you are there?
Like any kind of
photography, there are some rules that we can look at in landscape photography.
One of the most common and a great one to learn with is to think of the ‘depth’
of your image. Look for a foreground, something a little further back and a
background. Try using three layers to help you compose your image.
What the foreground
object(s) does is help bring your viewer into the image. This is not always
easy to find, but it is worth looking for. What is your foreground?
The Rule of Thirds
There are a few general
rules in Photography, but I like to think of them more as guidelines. You don’t have to follow these rules to get
great photos, but they can help you when you’re trying to figure out a
shot. I’ll use a few in these lessons,
and this is one of the most common.
The ‘Rule of Thirds’ is a
composition tool that tells you divided the scene into thirds both horizontally
and vertically. For example, if you
shoot a sunset, you could put the horizon line in the dead center of your
photo, or you could raise or lower it.
Try experimenting with different placements of your horizon and see what
works and what doesn’t.
May be useful :)