Exposure

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• Exposure

Letting in light.
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Both the shutter and aperture control the amount
of light let into the camera.
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The shutter controls the amount of light let into
the camera by the length of time it is open.
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The shutter controls the amount of light let into
the camera by the length of time it is open.
shutter speed
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The shutter controls the amount of light let into
the camera by the length of time it is open.
1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250
1/500 1/1000
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The shutter controls the amount of light let into
the camera by the length of time it is open.
1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250
1/500 1/1000
Between each speed is a full stop.
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A full stop doubles or cuts in half the amount of
light that reaches the film. Ex 4 sec.
doubles the time of 2 sec. It is twice as long.
Twice as much light.
1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250
1/500 1/1000
Between each speed is a full stop.
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A full stop doubles or cuts in half the amount of
light that reaches the film.
1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250
1/500 1/1000
full stops
1/3 stops
1 08 06 05 04
03 1/4 1/5 1/6 1/8
1/10 1/13 1/15 1/20 1/25 1/30
1/40 1/50
Shutter Speed settings.
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15 11/2 sec 05 5 1/2 sec 4 1/4
sec 90 1/90 sec
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less intense
The aperture controls the intensity of the flow
of light.
more intense
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less intense
The aperture controls the intensity of the flow
of light.
more intense
Aperture scale is divided into f-stops.
Between each f-stop number is a full stop.
1.4 2 2.8 4 5.6 8
11 16 22
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less intense
The aperture controls the intensity of the flow
of light.
more intense
A full stop doubles or cuts in half the amount of
light that reaches the film. Ex f2.8
doubles the size of f4. It is twice as large.
Twice as much light.
1.4 2 2.8 4 5.6 8
11 16 22
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A full stop doubles or cuts in half the amount of
light that reaches the film.
1.4 2 2.8 4 5.6 8
11 16 22
full stops
1.4 1.6 1.7 2 2.2 2.5 2.8 3.2 3.5
4 4.5 5.0 5.6 6.3 7.1 8
1/3 stops
Aperture settings.
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Both the shutter and aperture control the amount
of light let into the camera. Together they
control exposure.
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When you have control over exposure you
get Predictable results Proper exposure
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WHAT IS PROPER EXPOSURE? A photograph
that is properly exposed reproduces the subject
in all of its proper tones and/or colors. Details
are neither too dark nor too light.
Underexposed
Proper exposure is essential to taking good
pictures.
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WHAT IS PROPER EXPOSURE? A photograph
that is properly exposed reproduces the subject
in all of its proper tones and/or colors. Details
are neither too dark nor too light.
Proper exposure is essential to taking good
pictures.
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Exposure is determined by using a lightmeter on
the portion of the scene that must be properly
exposed.
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Exposure is determined by using a lightmeter on
the portion of the scene that must be properly
exposed.
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A lightmeter provides the exposure equation to
get proper exposure. shutter speed aperture
EV
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A lightmeter provides the exposure equation to
get proper exposure. shutter speed aperture
EV Example 1/500 _at_ 2.8 EV
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1/500 _at_ f/2.8
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1/500 _at_ f/4
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aperture too small. equation out of balance.
1/500 _at_ f/4
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1/500 _at_ f/2.8
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shutter speed too long. equation out of balance.
1/250 _at_ f/2.8
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1/500 _at_ f/2.8
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Shutter Speed longer
Aperture smaller
1/250 _at_ f/4
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Shutter Speed 2x longer
Aperture cut by 1/2
1/125 _at_ f/5.6
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Shutter Speed no change
Aperture cut by 1/2
1/125 _at_ f/8
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OUT OF BALANCE
Shutter Speed no change
Aperture cut by 1/2
1/125 _at_ f/8
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Aperture no change
Shutter Speed 2x longer
1/60 _at_ f/8
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Shutter Speed 2x longer
Aperture cut by 1/2
1/30 _at_ f/11
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Whats next?
Shutter Speed 2x longer
Aperture cut by 1/2
1/30 _at_ f/11
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1/15 _at_ f/16
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All of these settings
have the same Exposure Value
1/500 _at_ f/2.8
1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_ f/8 1/30 _at_
f/11 1/15 _at_ f/16
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Equivalent Exposures
All of these settings
have the same Exposure Value
1/500 _at_ f/2.8
1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_ f/8 1/30 _at_
f/11 1/15 _at_ f/16
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Whats wrong with this picture?
1/15 _at_ f/16
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Whats wrong with this picture?
1/15 _at_ f/16
clue
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1/15 _at_ f/16
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Same EV - different results!
1/500 _at_ f/2.8
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Same EV - different results!
1/15 _at_ f/16
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gtgtgt Law of Reciprocity ltltlt
Exposure Value
1/500 _at_ f/2.8
1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_ f/8 1/30 _at_
f/11 1/15 _at_ f/16
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Law of Reciprocity
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Predictable results
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Predictable results
slow shutter speed
fast shutter speed
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Predictable results
slow shutter speed small aperture
fast shutter speed large aperture
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Predictable results
slow shutter speed small aperture
fast shutter speed large aperture
depth of field
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Predictable results Reciprocity Failure Failure
of film to follow the Law of Reciprocity. This
happens in very low light situations shooting at
night and in very high light situations using
intense flash
Digital does not have this problem. Instead,
noise is a potential problem.
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Exposure Value
Provides a basis.
Light meter reading
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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Exposure Value
1/500 _at_ f/4 1/250 _at_ f/5.6 1/125 _at_ f/8 1/60
_at_ f/11 1/30 _at_ f/16 1/15 _at_ f/22
Provides a basis.
Light meter reading
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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Exposure Value
1/500 _at_ f/4 1/250 _at_
f/5.6 1/125 _at_ f/8 1/60 _at_ f/11 1/30 _at_
f/16 1/15 _at_ f/22
1/500 _at_ f/1.4 1/250 _at_ f/2 1/125 _at_ f/2.8 1/60
_at_ f/4 1/30 _at_ f/5.6 1/15 _at_ f/8
Light meter reading
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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1/125 _at_ f/2 1/60 _at_ f/2.8 1/30 _at_
f/4 1/15 _at_ f/5.6 1/8 _at_ f/8 1/4 _at_ f/11
Exposure Value
1/500 _at_ f/4 1/250 _at_ f/5.6 1/125 _at_ f/8 1/60
_at_ f/11 1/30 _at_ f/16 1/15 _at_ f/22
1/500 _at_ f/1.4 1/250 _at_ f/2 1/125 _at_ f/2.8 1/60
_at_ f/4 1/30 _at_ f/5.6 1/15 _at_ f/8
Light meter reading
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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Exposure
Based on Film Speed
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Film Speed
A films sensitivity to light. faster
more sensitive.
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Film Speed
A films sensitivity to light. faster more
sensitive. Reacts faster. The unit is ISO
25, 50, 100, 200, 400, 800, 1600 Higher ISO
number faster film.
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Like shutter speed and aperture
each ISO number represents a full stop.
Using an ISO 100 film instead of an ISO 50 film
buys you 1 stop.
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For example
1/30 _at_ f/2.8 ISO 50
1/30 _at_ f/2.8 ISO 100
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Film Speed properties
Sharper, more detailed
Higher contrast and grain
Use High Speed Film for Low Light Situations.
Use the slowest film you possibly can for most
detail.
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Based on Film Speed
Set the camera / lightmeter for the ISO !!!!
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POP QUIZ !!!
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ISO 25 50 100 200 400 800 1600
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Camera sets shutter and aperture.
Automatic
Point and shoot
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Camera sets shutter and aperture.
Program
Medium aperture matched with medium shutter
speed. Control over flash. /- EV control
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You set shutter, camera sets aperture.
Shutter Priority
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You set aperture, camera sets shutter.
Aperture Priority
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You set shutter and aperture.
Manual
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Camera sets shutter and aperture.
Night Scene
slow shutter plus flash
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Camera sets shutter and aperture.
Night Scene
slow shutter no flash
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Camera sets shutter and aperture.
Action
fast shutter
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Camera sets shutter and aperture.
Close Ups Macro Mode
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Camera sets shutter and aperture.
Landscape
small aperture
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Camera sets shutter and aperture.
Portraits
wide aperture
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A camera with automatic exposure control has a
built-in TTL lightmeter. (TTL through the
lens)
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Brightness Meter
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1/30 _at_ f/4 1/15 _at_ f/5.6 1/8 _at_ f/8 1/4 _at_
f/11
1/60 _at_ f/2.8
1/1000 _at_ f2.8
1/500 _at_ f/4 1/250 _at_ f/5.6 1/125 _at_ f/8 1/60 _at_
f/11
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Spot
Center Weighted
Average
Average w/Center Weighted
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Sampling of several small areas in a Matrix
Evaluative
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Manually Setting Exposure Center Weighted and
Spot Meters
Reading background
Compose and expose
Reframe take reading from subject.
Adjust aperture and shutter speed according to
reading. LOCK
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Automatic Exposure Center Weighted
Reading background
Compose and expose
Reframe - center subject Press trigger half
way to LOCK ( hold the trigger )
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Exposed for shadows
Exposed for highlights
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Exposed for highlights
Exposed for shadows
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Our eyes see this.
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Exposed for highlights
Exposed for shadows
Our eyes see this.
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Exposed for highlights
Exposed for shadows
Our eyes see this. High Dynamic Range
Our eyes have a very great sensitivity to
light. We can see details in both deep shadows
and strong highlights, simultaneously.
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Our eyes see this. We can get this by adding
light
More Light
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Available Light
good sky
too bright
too dark
Keep in mind the contrast between lightest and
darkest areas the highlights and the
shadows. Decide which part of the composition
you want to properly expose.
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Controlled Light
too dark
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
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A lightmeter averages the tones in a scene. It
sees only the overall light level.
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Brightness Meter
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Brightness Meter
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
Black Card
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
White Card
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
Black Card
White Card
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
Black Card
White Card
Gray Card
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Lightmeter designers assume that most scenes,
which consist of a variety of colors and tones
including very dark, medium, and very light
values, average out to a medium gray. Most
scenes, in fact, do come quite close to that.
Shoot below reading.
Shoot above reading.
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Focus
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Focus
A lens can only focus accurately at one distance
at a time plane of focus
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Focus
A lens can only focus accurately at one distance
at a time plane of focus
adjusting lens - moves plane of focus
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Focus
A lens can only focus accurately at one distance
at a time plane of focus
adjusting lens - moves plane of focus
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Focus
A lens can only focus accurately at one distance
at a time plane of focus
adjusting lens - moves plane of focus
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To the back and front of the plane of focus
is a range of acceptable focus.
out of focus
out of focus
in focus
plane of focus
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This range of acceptable focus is called the
depth of field.
out of focus
out of focus
depth of field
plane of focus
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Put the subject on the plane of focus.
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Put the subject on the plane of focus.
Manual Focus
Focused on background
Zoom in - focus on subject
Zoom out compose and expose
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Put the subject on the plane of focus.
Using Auto Focus
Camera auto-focuses at the center of frame.
Center subject press trigger half way to lock
Compose and expose
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How to take a picture.
Diane Arbus
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When taking a photograph you have to do 3 things.
Lock Compose Expose
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Shooting in automatic
Center subject press trigger half way to
read and lock.
Compose and Expose
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Lock the focus and exposure on the subject (1)
then compose (2) and expose (2).
without locking focus and exposure
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Shooting manually Set the focus (1) Take a
meter reading (1) Set (lock) aperture shutter
speed Then compose (2) and expose (2)
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Bracketing

• Taking the same photograph at 3 exposures.
• Typically, plus and minus 1 stop from reading.
• Covers meter inaccuracies.
• Provides a choice.

overexposed at reading
underexposed
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Bracketing

• Vary shutter speed or aperture settings.

shutter speed
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Bracketing

• Vary shutter speed or aperture settings.

aperture
1/60 meter reads f4
1/60 Bracket f2.8
1/60 Bracket f5.6
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Compose
Arrange all of the elements of your picture.
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Compose
Arrange all of the elements of your picture.
2 basic ways
Move elements relative to each other.
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Robert Freeman
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Doisneau
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Compose
Arrange all of the elements of your picture.
2 basic ways
Move elements relative to each other. (still life)
Alter your viewpoint.
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When Composing Your Photograph
Make sure your subject fills the frame.
Often the best way to do this is to move closer.

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When Composing Your Photograph
Make sure your subject fills the frame.
Often the best way to do this is to move closer.

Look around the edges behind your subject.
Check for 'stuff' intruding into your
masterpiece. Notice any possible
distractions. Use the entire frame.
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When Exposing the Film
Hold the camera steady. Use a tripod.
Use something as a brace.
Press firmly on the button.
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last
A word on EXPOSURE
Proper exposure produces accurate colors and
tones. However, exposure can be manipulated to
produce creative results.
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What should I photograph?
Give yourself an assignment Go out with an idea
in mind theme a day at the park, rainy day,
doors, textures, store windows, signs, trees,
hats, students at school, hallways, cars,
trains. This gives purpose and reason to
shooting. Change the idea if a better one comes
along. Dont ignore a shot because it doesnt fit
the theme.
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Assignment 1 Shoot 36 photographs with
circles in mind. Print the best 3.
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END
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1/125 _at_ f/2 1/60 _at_ f/2.8 1/30 _at_
f/4 1/15 _at_ f/5.6 1/8 _at_ f/8 1/4 _at_ f/11
Exposure Value
1/500 _at_ f/4 1/250 _at_ f/5.6 1/125 _at_ f/8 1/60
_at_ f/11 1/30 _at_ f/16 1/15 _at_ f/22
1/500 _at_ f/1.4 1/250 _at_ f/2 1/125 _at_ f/2.8 1/60
_at_ f/4 1/30 _at_ f/5.6 1/15 _at_ f/8
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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1/125 _at_ f/2 1/60 _at_ f/2.8 1/30 _at_
f/4 1/15 _at_ f/5.6 1/8 _at_ f/8 1/4 _at_ f/11
Exposure Value
1/500 _at_ f/4 1/250 _at_ f/5.6 1/125 _at_ f/8 1/60
_at_ f/11 1/30 _at_ f/16 1/15 _at_ f/22
1/500 _at_ f/1.4 1/250 _at_ f/2 1/125 _at_ f/2.8 1/60
_at_ f/4 1/30 _at_ f/5.6 1/15 _at_ f/8
?
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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1/125 _at_ f/2 1/60 _at_ f/2.8 1/30 _at_
f/4 1/15 _at_ f/5.6 1/8 _at_ f/8 1/4 _at_ f/11
1/1000 _at_ f2.8 1/500 _at_ f/4 1/250 _at_ f/5.6 1/125
_at_ f/8 1/60 _at_ f/11 1/30 _at_ f/16 1/15 _at_ f/22
1/500 _at_ f/1.4 1/250 _at_ f/2 1/125 _at_ f/2.8 1/60
_at_ f/4 1/30 _at_ f/5.6 1/15 _at_ f/8
1/500 _at_ f/2.8 1/250 _at_ f/4 1/125 _at_ f/5.6 1/60 _at_
f/8 1/30 _at_ f/11 1/15 _at_ f/16
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METER LOCK
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Exposure
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METER LOCK
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METER LOCK
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Exposure
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