photography workshop basics

8/13/2019 Photography Workshop basics

1/51

14/11/10 7:12 AMCourse Outline

Page 1 of 51file:///Users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm

Basic and Advanced Photography/Digital WorkflowWorkshop

Course Outline MODULE 1: SHUTTER, APERTURE AND THEIR RELATIONSHIPShutter Speed.F/ stop explained.The aperture / shu tter speed relationship.Reciprocity.Sharpness.What h appens to the performance of the lens at various f/ stops?Depth of f ield explained.Wo rking with depth of field.The depth of f ield scale.Hyperfocal di stance.Depth of field preview.How to select the correct aperture & shutter speed for the job.Why use Aperture Pri ority, Shutter Priority or Program Mode?How to put i t all together. MODULE 2: EXPOSURE AND METERINGDifferent types of light meter s.Reflective and incident metering.Spot metering.In-camera lig ht meters.

Different metho ds of metering.ISO and expos ure compensation control.The 18% grey card and its uses.Dynam ic Range.What is ISO a nd what does it do?Brief description of the zone system.Practical exposure methods.Same time same weather same exposure.Automatic Exposure Bracketing (AEB).Autoexposu re. MODULE 3: CAM ERAS, LENSES AND TRIPODSIntrod uction to the different types of cameras and their uses.The SLR in depth.What is the best camera to use?Focal length explained.Introducing different types of lenses and their uses.Lens Faults -Aberrations and distortion.What does MACRO mean?Extension rings and their uses.How to care for your lenses and camera body.How to pick the right lens for the job.Teleconverters.Tripods and Tripod Heads. MODULE 4: HOW TO TAKE BETTER PHOTOSA mental shooting checklist.What is important in the shot?What am I trying to achieve?Auto Focus Modes.LightingWorking on a SubjectVertical or Horizontal.

Framing and placement.Pre-visualising.Adobe RGB 1998 and SRGB explained.Using the cameras preview tools.Working tethered.Things to look out for and to avoid.Make a portfolio of shots you love.How to develop a style of your own. MODULE 5: DIGITAL WORKFLOW / POSTPROCESSINGColour Management Policies (Colour Settings, Working Space, ICC Profiles etc.)Working with RAW filesTools for Post Processing (DPP, Capture One, Capture NX, Photoshop CS, Irfanview,

Neatimage etc.)Converting/working on 16 bit tiff / JPEG images.Cropping and Image EditingLevels, Curves, Contrast, Saturation adjustmentsImage Sharpening, Digital Blending, Cloning, Selective Sharpening, Dodge and Burn

Noise ReductionAdding copyright text, Framing / Presenting your imagesSaving for Web/printing
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%205:%20DIGITAL%20WORKFLOW%20/%20POSTPROCESSINGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20develop%20a%20style%20of%20your%20own.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Things%20to%20look%20out%20for%20and%20to%20avoid.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Using%20the%20camera%92s%20preview%20tools.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Pre-visualising.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Vertical%20or%20Horizontal.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Lightinghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20am%20I%20trying%20to%20achievehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#A%20mental%20shooting%20checklist.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Teleconverters.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20care%20for%20your%20lenses%20and%20camera%20body.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20does%20MACRO%20meanhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Introduction%20to%20the%20different%20types%20of%20cameras%20and%20their%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20is%20the%20best%20camera%20to%20usehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Introduction%20to%20the%20different%20types%20of%20cameras%20and%20their%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Automatic%20Exposure%20Bracketing%20(AEB).http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Practical%20exposure%20methods.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20is%20ISO%20and%20what%20does%20it%20dohttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%2018%25%20grey%20card%20and%20its%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Different%20methods%20of%20metering.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Spot%20metering.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Different%20types%20of%20light%20meters.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Why%20use%20Aperture%20Priority,%20Shutter%20Priority%20or%20Program%20Modehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Depth%20of%20field%20preview.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%20depth%20of%20field%20scale.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Depth%20of%20field%20explained.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Sharpness.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%20aperture%20/%20shutter%20speed%20relationship.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Shutter%20Speed.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%205:%20DIGITAL%20WORKFLOW%20/%20POSTPROCESSINGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20develop%20a%20style%20of%20your%20own.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Make%20a%20portfolio%20of%20shots%20you%20love.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Things%20to%20look%20out%20for%20and%20to%20avoid.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Working%20tetheredhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Using%20the%20camera%92s%20preview%20tools.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Adobe%20RGB%201998%20and%20SRGB%20explained.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Pre-visualising.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Framing%20and%20placement.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Vertical%20or%20Horizontal.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Working%20on%20a%20Subjecthttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Lightinghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Auto%20Focus%20Modeshttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20am%20I%20trying%20to%20achievehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20is%20important%20in%20the%20shothttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#A%20mental%20shooting%20checklist.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%204:%20HOW%20TO%20TAKE%20BETTER%20PHOTOShttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Tripods%20and%20Tripod%20Heads.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Teleconverters.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20pick%20the%20right%20lens%20for%20the%20job.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20care%20for%20your%20lenses%20and%20camera%20body.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Extension%20rings%20and%20their%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20does%20MACRO%20meanhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Lens%20Faults%20-Aberrations%20and%20distortion.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Introduction%20to%20the%20different%20types%20of%20cameras%20and%20their%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Focal%20length%20explained.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20is%20the%20best%20camera%20to%20usehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%20SLR%20in%20depth.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Introduction%20to%20the%20different%20types%20of%20cameras%20and%20their%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%203:%20CAMERAS,%20LENSES%20AND%20TRIPODShttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Autoexposure.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Automatic%20Exposure%20Bracketing%20(AEB).http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Same%20time%20same%20weather%20same%20exposure.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Practical%20exposure%20methods.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Brief%20description%20of%20the%20zone%20system.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20is%20ISO%20and%20what%20does%20it%20dohttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Dynamic%20range.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%2018%25%20grey%20card%20and%20its%20uses.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#ISO%20and%20exposure%20compensation%20control.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Different%20methods%20of%20metering.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#In-camera%20light%20meters.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Spot%20metering.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Reflective%20and%20Incident%20metering.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Different%20types%20of%20light%20meters.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%202:%20EXPOSURE%20AND%20METERINGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20put%20it%20all%20together.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Why%20use%20Aperture%20Priority,%20Shutter%20Priority%20or%20Program%20Modehttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#How%20to%20select%20the%20correct%20aperture%20&%20shutter%20speed%20for%20the%20job.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Depth%20of%20field%20preview.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Hyperfocal%20distance.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%20depth%20of%20field%20scale.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Working%20with%20depth%20of%20field.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Depth%20of%20field%20explained.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#What%20happens%20to%20the%20performance%20of%20the%20lens%20at%20various%20f/%20stopshttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Sharpness.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Reciprocityhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#The%20aperture%20/%20shutter%20speed%20relationship.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#F/%20stop%20explained.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#Shutter%20Speed.http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Digital%20Photography%20Tutorial.htm#MODULE%201:%20SHUTTER,%20APERTURE%20AND%20THEIR%20RELATIONSHIP


2/51



MODULE 1: SHUTTER, APERTURE AND THEIR RELATIONSHIPShutter Speed.

Length of time camera shutter blades are open allowing light to fall on the film.The number refers to the duration of time (in seconds) that light can affect thefilm.

1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1.250, 1/500, 1/1000

Slower shutter speeds are often selected to suggest movement in a stillphotograph of a moving subject.

Excessively fast shutter speeds can cause a moving subject to appear unnaturallyfrozen.

For instance, a running animal may be caught with all feet in the air with allindication of movement lost in the frozen moment.


3/51



When a slower shutter speed is selected, a longer time passes from the momentthe shutter opens till the moment it closes.More time is available for movement in the subject to be recorded by the camera.When slower shutter speeds, in excess of about half a second, are used onrunning water, the photo will have a ghostly white appearance reminiscent of fog.This effect can be used in landscape photography.

F/ stop explained.

Measurement of size of the lens opening, the hole through which lightpasses to strike the film when the shutter is open. Expressed in f-stopnumbers.f/1, f/1.4, f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22, f/32Each is 1.4 times the previous and not actually double. Area of circle = (pi) (r)^2 2 (pi) (r)^2 = (pi) (x)^2 x = sq.rt(2) = 1.4


4/51



Standard full-stop f-number scaleAV - 2 -1 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14

f/ # 0.5 0.7 1.0 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64 90 128 Typical one-half-stop f-number scale f/ # 1.0 1 .2 1 .4 1 .7 2 2.4 2.8 3.4 4 4.8 5.6 6.7 8 9.5 1113 16 19 22 Typical one-third-stop f-number scale f/ # 1.0 1 .1 1 .2 1 .4 1 .6 1.82 2.2 2.5 2 .8 3 .3 3 .5 4 4.5 5.0 5.6 6.3 7 8 9 10 11 12.514 16 18 2022

The aperture / shutter speed relationship.

Opening up - Going to a larger apertureStopping Down - Going to a smaller aperture

Reciprocity

The above two variables works in doubles and halves progression of stopincrements and are related to each other.Shutter Speed and Aperture work together to control the amount of light hittingthe file/sensor.They both work in stop values and are related to each other by what is called as"Reciprocity"

1/15 sec @ f/11 1/8 sec @ f/16


5/51



Sharpness.

Sharpness describes the clarity of detail in a photo, and can be a valuablecreative tool for emphasizing texture.Proper photographic and post-processing technique can go a long way towardsimproving sharpness, although sharpness is ultimately limited by your cameraequipment, image magnification and viewing distance.

Two fundamental factors contribute to the perceived sharpness of animage: resolution and acutance.

Acutance Resolution

High Low High LowAcutance describes how quickly image informationtransitions at an edge, and so high acutance results insharp transitions and detail with clearly definedborders.

Resolution describes the camera's ability todistinguish between closely spaced elements of detail, such as the two sets of lines shown above.

For digital cameras, resolution is limited by your digital sensor, whereas acutancedepends on both the quality of your lens and the type of post-processing.Acutance is the only aspect of sharpness which is still under your control after theshot has been taken, so acutance is what is enhanced when you digitally sharpenan image (see Sharpening using an "Unsharp Mask").Photos require both high acutance and resolution to be perceived as criticallysharp.

The following example is designed to give you a feel for how each influencesyour image:

Acutance: High Resolution: Low

Acutance: Low Resolution: High


6/51



Acutance: High Resolution: High

Sharpness also depends on other factors which influence ourperception of resolution and acutance.Image Noise (or film grain) is usually detrimental to an image,

however small amounts can actually increase the appearance of sharpness.

Consider the following example:

Low Noise, Soft High Noise, Sharp

What happens to the performance of the lens at various f/ stops?

Canon EF 500mm Canon EF 500mm Canon EF 500mm700mm, f5.6 700mm, f7.1 700mm, f11

Here are some rule of thumb for reading a chart MTF chart:

the higher up the chart the 10 LP/mm line is (the thick lines), the higherthe contrast reproduction capability of the lens will be.

the higher up the chart the 30 LP/mm line is (the thin lines), the higherthe resolving power and thus subjective sharpness of the lens will be.

keep in mind that the black lines show the lens wide open while the bluelines show the lens stopped down to f/8, so the closer these sets of lines areto each other the better the performance of the lens when used wide open.The very best lenses will have the black and the blue lines close together.

generally speaking a lens whose thick lines (10 LP/mm) are above .8 onthe chart should be regarded as having excellent image quality. Above .6 isregarded as satisfactory. Below .6 is, well, below.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Images/_MG_4523-sharpness.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Images/_MG_4519-Sharpness.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/Images/_MG_4517-sharpness1.jpg


7/51




8/51



Canon EF 800mm f/5.6 L IS

Depth of field explained.

Working with depth of field.

The actual size of this zone of sharpness (DOF) is controlled by 4 factors:


9/51



The actual f stop at which the picture is taken.The focal length of the lens being used.The size of the subject being photographed.Distance between the camera and the subject.

1. Actual f-stop:

When you stop down to a smaller aperture, you get greater DOF.When you open up to a larger aperture, the DOF decreases.Aperture such as f/16, f/22, f/32 yields greater DOF.Aperture such as f/2, f/2.8, f/4 yields a shallow DOF.

The smaller the hole - Greater DOF The larger the hole - Shallow DOF.

Canon 100mm f2.8 Macro on Canon 10DISO 100, 0.6 secs @ f22, Center Weighted Average at Zero

Canon 100mm f2.8 Macro on Canon 10DISO 100, 1/60 @ f3.5, Center Weighted Average at Zero

2. Lens being used:

If you shoot a subject several times without changing thedistance, the DOF decreases at any f-stop as you increase thefocal length of the lens.

Ex: From 28mm lens to 200mm lens - You lose DOF for the samedistance/f-stop.

3. Size of subject:

When you change the focal length, you are changing the size of the subject as it appears in the view finder. So if you gainmagnification, you lose DOF.

4. Distance:

At any given f-stop on any lens, you decrease DOF as you

decrease the distance b/w lens and subject. Ex: If you are shooting an entire mountain side of trees - DOF isin yards.

If you move close and shoot only trees - DOF is in feet.


10/51



If you move closer and shoot only branch of a tree - DOF is ininches.

Now move closer and shoot a leaf on the branch - DOF is fractionof an inch.

The depth of field scale.

Hyperfocal distance.

Definition: "The closest point of focus at a given aperture, at which infinityfalls within the Depth of Field."

For landscape photographers this is a critical number.This is the point at which you would focus the camera so that everything fromthat point out to Infinity is in focus.You should note that at the other end, the closest point that is in focus is at half the hyperfocal distance.

Using the example we had above of a 50mm lens, set to f/16, the hyperfocaldistance is 22.53 feet. Half that is 11.26 feet. So, by focusing the lens at a point22.5 feet away everything will be in focus from roughly 11 feet to Infinity.

The advent of autofocus, and the increased popularity of zooms over prime lenseshas lead to the almost total demise of DOF scales on lenses. This makes themanual setting of hyperfocal distance impossible. But Canon has a solution theDEP mode. Here's how the manual says to use it.

Set the camera to DEP mode

Point at either the nearest or farthest object in the scene that you wish to be infocus and lightly press the shutter release

Next, point the camera at the other extreme and once again half press therelease.

The camera will now autofocus the lens to the hyperfocal distance and willdisplay the aperture that it has selected to achieve optimum depth of field

Reframe the scene and press the shutter release to take the photograph.

Depth of field preview.


11/51



The depth of field preview button, gives you a preview of the overall depthof field you can expect to see in the final photograph before you've takenthe actual shot. In other words, it will show you how much of yourphotograph will be in sharp focus and how much will be blurred.

How to select the correct aperture & shutter speed for the job.Combination of Shutter Field/Aperture depends on

Photographing Landscape or Action.If Wind is moving the Subject.How long a lens you are using.The Magnification at which you are working.

Most basic decision is what Shutter Speed/Aperture combination youneed to use.Do you need to stop the action or want greater DOF.

Why use Aperture Priority, Shutter Priority or Program Mode?

Aperture PriorityWhen using aperture-priority, also known as Av mode, you manually select

the aperture and the camera automatically sets the shutter speed.

The aperture is the opening in a lens that admits light onto the camerasensor and is varied by changing the size of the opening. It's diameter isstated as an f-stop. Aperture-priority mode is used when you want tocontrol depth-of-field. Shutter PriorityShutter speed relates to how long the camera's shutter stays open after youdepress the shutter-release button. Shutter speed is measured in seconds,such as 1/125th. A slow shutter speed produces a longer exposure time.

For shutter-priority mode (Tv), select the shutter speed and the apertureadjusts automatically. Use shutter-priority mode when you want to controlaction in a photo either to freeze the action of fast moving subjects or tocreate a sense of movement. Program ModeUnder the program mode, the camera selects both the aperture and shutterspeed. Consequently, you do not have to worry about exposure at all.

How to put it all together.

Shutter SpeedFast shutter speed - Freeze action, Sharp Images.Slow Shutter speed - Blurred background during panning, silky flow of water. A long shutter speed can be set at night to record carheadlights as trails. ApertureLarge f number (f16, f22 etc) - Greater DOFSmall f number (f2.8, f4 etc) - Shallow DOF Reciprocity1/15 sec @ f/11 1/8 sec @ f/16


12/51



Everything in photography works in halves and doubles.

MODULE 2: EXPOSURE AND METERING Different types of light meters.

A light meter is a device used to measure the amount of light. Inphotography, a light meter is often used to determine the proper exposurefor a photograph. Typically a light meter will include a computer, eitherdigital or analogue, which allows the photographer to determine whichshutter speed and f-number should be selected for an optimum exposure,given a certain lighting situation and film speed. There are two types of Light Meters: Reflective and Incident light meters.

Reflective and Incident metering.

Incident meters read the light falling on the subjectutilizing a hemispherical dome. Its the half Ping-Pong ball looking thing you see on incident metersthat integrates the light readings. Reflective meters measure the light reflecting off thesubject. Reflective metering is the metering type built into all

current cameras as it is the only feasible option formetering at a distance. You can have center-weightedor spot metering (or matrix metering forcomputerized cameras), all of which attempt todetermine the proper exposure.

Spot metering.

With spot metering, the camera will only measure a very small area of thescene (between 1-5% of the viewfinder area). This will typically be the verycentre of the scene, but some cameras allow the user to select a differentoff-center spot, or to recompose by moving the camera after metering. Spot metering is very accurate and is not influenced by other areas in theframe. It is commonly used to shoot very high contrast scenes.

In-camera light meters.

The primary metering type for most cameras today is an overall meter.Meaning, it will take readings from different parts of the scene to covermost, if not all, of the viewfinder. All in-camera light meters have a fundamental flaw: they can only measurereflected light. This means the best they can do is guess how much light is


13/51



actually hitting the subject.

Different methods of metering.

A Camera meter only gives a suggested exposure, which may not be thecorrect exposure.

To be in charge of the photographic process, you need to think what youare doing.

All TTL meters are reflected light meters. They measure the light reflectedfrom any subject at which they are pointed to, and suggest the exposurevalues.

Most current Cameras offer a choice of built in metering patterns:- Spot Metering- Center-Weighted metering- Partial metering- Multi Segment matrix or Evaluative metering.

Center-Weighted Partial Metering Spot Metering

The name indicates how much or how little the frame is actually read.

Spot Meter - Reads a small spot with in the frame, disregarding the rest of the image. They are extremely useful when you want to meter one areaonly.

Center-weighted metering - It places a strong emphasis on the center

portion of the image.

Matrix/Evaluative metering - Subdivides the entire frame into smallsections, then runs a s/w program to evaluate the results.

You can use any of the metering modes in either auto exposure or Manualexposure.


14/51



ISO and exposure compensation control.

ISO fiddling and exposure compensation can be used to accomplish thesame task. All exposure compensation does is make the scene brighter ordarker relative to the camera meter's exposure setting. ISO - shutter speed- and aperture are all directly related in a linear fashion. Exposure compensation is ideal for correcting in-camera metering errorscaused by the subject's reflectivity. No matter what metering mode is used,an in-camera light meter will always mistakenly under-expose a subject

which has over cast sky as background.

Let's say the meter reading says F4 at 1/60 and you are shooting at ISO 200in manual mode.


15/51



Then setting the ISO to 400 is the same as plus 1 stop exposurecompensation. You can do either and get the same result.

The 18% grey card and its uses.

An 18 Percent Gray Card is a simple gray-coloured card which uniformlyreflects 18% of the light which falls upon it. Gray cards can be used as areference to set the camera exposure or to calibrate a light meter (lightmeters are used to determine which exposure setting is required to producea medium gray tone). To set your exposure with a gray card, first make sure the camera is inmanual mode or is able to hold its settings when you half-depress theshutter button.

Position the card immediately in front of the subject, ensuring that thelighting on the card is exactly the same as the lighting on the subject. If youare using a light meter, take your reading now. Otherwise, half-depress thecamera shutter button to save the exposure setting until you fully depressthe button (and take the picture).

Here are several situations that benefit greatly by the use of a gray card tocheck the exposure.

Whenever there is any sort of back lighting such as a bright sky orwindow behind the subject.When there is a light source such as bulb or light fixture in front of your camera.When there is any type of back light such as a bright sky or windowbehind the subject.When a large part of the scene has a fairly dark tone like a close up of a big black car.When a large part of the scene has a fairly light tone like a snowscene.

Dynamic range.

In image processing, computer graphics and photography, high dynamicrange imaging (HDRI) is a set of techniques that allows a greater dynamicrange of exposures (the range of values between light and dark areas) thannormal digital imaging techniques. The intention of HDRI is to accurately


16/51



represent the wide range of intensity levels found in real scenes rangingfrom direct sunlight to shadows.

CCD - High Dynamic RangeCMOS - Moderate Dynamic Range

What is ISO and what does it do?

In traditional (film) photography ISO (or ASA) was the indication of howsensitive a film was to light. It was measured in numbers (youve probablyseen them on films - 100, 200, 400, 800 etc). The lower the number the lowerthe sensitivity of the film and the finer the grain in the shots youre taking.

In Digital Photography ISO measures the sensitivity of the image sensor.The same principles apply as in film photography - the lower the numberthe less sensitive your camera is to light and the finer the grain. Higher ISOsettings are generally used in darker situations to get faster shutter speeds

When you do override your camera and choose a specific ISO youll noticethat it impacts the aperture and shutter speed needed for a well exposedshot. For example - if you bumped your ISO up from 100 to 400 youllnotice that you can shoot at higher shutter speeds and/or smaller apertures.


17/51



When choosing the ISO setting I generally ask myself the followingquestions:

1. Light - Is the subject well lit?2. What is the corresponding shutter speed I get?3. Grain - Is it acceptable and can I remove it in Noise removal tool?4. Tripod - Am I use a tripod?5. Moving Subject - Is my subject moving or stationary?

The trade off of this increase in ISO will be noisier shots.

Situations where you might need to push ISO to higher settings include:Indoor Sports Events - where your subject is moving fast yet you mayhave limited light available.Concerts - also low in light and often no-flash zonesArt Galleries, Churches etc- many galleries have rules against using aflash and of course being indoors are not well lit.Birthday Parties - blowing out the candles in a dark room can giveyou a nice moody shot which would be ruined by a bright flash.Increasing the ISO can help capture the scene.Wildlife Photography in sholas or in forest patch with less light.

Experiment with different settings and how they impact your images today.

Brief description of the zone system.

Zone System, a system of exposure determination and development controlfor black-and-white. It was devised by Ansel Adams in the late 1940s. It ispartly a system of visualization. The visualization is based on print zones, originally nine in number,symmetrical about Zone V:

1 2 3 4 5 6 7 8 9

ZONE 1 = This is the threshold or the area where film begins to see an

image. There is no visible texture here and nothing will print on paper.ZONE 2 = First suggestion of texture in the shadow area of a subject(darkest part of black hair).

ZONE 3 = In most prints this is where the shadow detail becomes visible. Innormal film this is just barely visible with normal development andexposure. Dark clothes, black hair are zone 3 examples. This will be 2 stopsless than the zone 5 exposure.

ZONE 4 = This is average dark leaves on trees, blue jeans, brown hair ora dark stone or a shadow on a landscape (grass). A meter reading of thisshadow in a scene will be 1.5 to 2 stops more light than is needed. Exposureon the camera would be set to 1 to 1.5 f stops less exposure (example, if f4is normal then expose at f5.6).

ZONE 5 = This is the middle gray between black and white. This would be

dark tan skin, average grass, or the north sky on a clear day. This is thenormal value to be used in exposure metering. A neutral gray test card isthis value and this is what the light meter is designed to reproduce on film.This is the one shade that is the same tone on the film and in real life.

ZONE 6 = Average Caucasian skin, light hair, normal concrete, shadows onsnow or sand. This is the high end of the mid tones. A spot readingincreased 1 stop for this zone.

ZONE 7 = Bright - Very light skin or snow in full sun, white concrete. Thisspot meter exposure is increased by 2 stops for this zone.

ZONE 8 = Very white - Whites with faint texture - this is direct noon sunon a clear day on a white reflective surface, something that hurts the eyes tolook at as snow or sand or white clothes. Exposure is increased by 3 stops.

ZONE 9 = Glaring white surfaces that will show up without a texture on

print. This is a reflection on metal of bright light....called a highlight.Thisshould only be a small area on a print...a reflection. All other values abovethis are light sources such as the sun or a flood light. This represents thehighlights on a print and have no texture. Exposure should not be set for


18/51



this area on a subject.

Practical exposure methods.

You may have the worlds best equipment, but without understanding thebasics of exposure, your chances of getting a good photograph are limited. Iwould like to provide some useful tips in different situations for exposingyour subject properly.

The below tips are for spot metering technique:

For a middle tone bird (what we call as the 18% grey), meter the birdif possible and use that exposure.For large extremely white birds (egrets) meter the white part andopen up 1 1/3 stop.For lighter white birds, meter the bird and open up around 2/3 stop.For dark birds (coots, crows), meter the bird and stop down 1 or 1 1/3stop.

The below tips are for Center-Weighted technique:

For a middle toned subject with a middle toned background, shoot asper the meter reading.For a dark subject with a middle toned background use +1/2 or +2/3stop.For a dark subject with a light background use +1 or + 1 1/3 stop.For a dark subject with a fairly dark background use -1/3 or -1/2

stop.For a light/white subject with a light background use + 2/3 or +1 stop.For a light/white subject with a medium tones background, shoot asper the meter reading.For a light/white subject with dark background use -1/3 or -1/2 stop.

Whether you spot meter the subject or use Center-Weighted technique, theidea is to place your subject at the tonality you want it to be.

Same time same weather same exposure.


19/51



The exposure reading in over cast conditions or after rains remainsalmost flat with very little variations.Take the exposure reading in these conditions, compensate for thetonal value and set that in your camera.The above exposure once set, can be used for any kind of subject, aslong as it is in the same lighting condition.

Automatic Exposure Bracketing (AEB).

Bracketing is the general technique of taking several shots of the samesubject using different camera settings. Autoexposure Bracketing is automatic bracketing by using a setting on thecamera to take several bracketed shots (in contrast to the photographeraltering the settings by hand between each shot).


20/51



Autoexposure.

Almost all cameras has several built in autoexposure modes.

Icon Basic zone mode AFmodeDrivemode

Flashmode

PictureStyle

Fully AutomaticExposure

Camera has completecontrol over exposure,point-and-shoot operation.

AI Focus Single Self-Timer

Auto Red-eye Standard

PortraitApertures are kept as largeas possible (small Fnumber) to produce ashallow Depth of Field(blurred background).

One Shot

Continuous Self-Timer

Auto Red-eye Portrait

Landscape

Apertures as small aspossible (large F numbers)for the largest depth of field.

One Shot Single Self-Timer

Off Landscape

Close-up (Macro)

Aperture is kept to amedium setting to ensurethe subject DOF is deepenough but the backgroundis blurred.



Sports

Shutter speed is kept as

Continuous


21/51



high as possible to ensurecapture of fast movingobjects.

AI Servo Self-Timer

Off Standard

Night Scene

Allows for slow shutterspeeds combined withflash to illuminateforeground andbackground.



Flash off

Disables internal andexternal flash for takingautomatic slow exposures.

AI Focus

Single

Self-Timer Off Standard

MODULE 3: CAMERAS, LENSES AND TRIPODS Introduction to the different types of cameras and their uses.

Small format cameras:Medium format cameras:

Medium format has traditionally referred to a film format instill photography and the related cameras and equipment whichuse this film. Generally, the term applies to film and camerasused to produce images larger than the 24 by 36 mm of 135film, but smaller than the 4" ! 5" size, which is considered to be

large format. Types:Single-lens reflexTwin-lens reflexRangefinderFolding camerasMonorail view camerasFolding-bed field cameras

Large camera formats:

Large format describes large photographic films, large cameras,view cameras (including pinhole cameras) and processes thatuse a film or digital sensor, generally 4 x 5 inches or larger.

The SLR in depth.

The single-lens reflex (SLR) camera uses an automatic moving mirrorsystem which permits the photographer to see exactly what will be capturedby the film or digital imaging system, as opposed to non-SLR cameraswhere the view through the viewfinder could be significantly different fromwhat was captured on film.


22/51



What is the best camera to use?

Once you have graduate from a basic P&S camera, you will most likelypurchase a 35mm Single-lens-reflex (SLR/DSLR) camera.

You can use SLR to photograph everything from a mountain to a mosquitoand everything in between.It has TTL viewing.

Don't rush in and buy a camera. Answer these basic questions:

What do you want to photograph.

How often will you use the equipment.How serious are you about photography.Do you think your photography interest will grow in time and you'llwant to shoot a wider variety of subjects.

Its not the camera which takes the pictures - Its YOU.

In reality, the quality of lens mounted in front of the camera has far moreto do with the quality of the resulting photograph than the camera bodydoes. And the way in which the lens is used by you, and the way youproceed in taking the pictures, is the ultimate factor.

Purchase good equipment and learn to use the equipment in the bestpossible manner.

Proper photographing technique is by far the most important factor inproducing great pictures.

You always tend to say, "If I had better equipment, even I can take photoslike that."

Use what ever camera and lens you already own and use them to the fullest,then consider purchasing new equipment's.

Focal length explained.

Focal Length:The two most basic characteristics of any lens are its focal length and itsmaximum aperture, which is generally referred to as its speed.

- Focal length is defined as the distance between the optical centre of thelens and the film, when the lens is focused on infinity. There is a direct relationship between the focal length of the lens and thesize of the subject's image on the film.

The shorter the focal length, the shorter the image size. The longer the focallength, the larger the subject will appear on the film/sensor

The size of the image on the film also works in terms of halves and doublesas you switch from 50mm to 100mm and vice-versa.

Introducing different types of lenses and their uses.

What Lenses Do:One of the greatest strengths of the 35mm SLR camera is that it allows theuser to change lenses with a minimum of difficulty.

- 50mm lens - Standard lens

< 50mm - Wide angle lens> 50mm Telephoto lens - The speed of the lens refers to its maximum aperture, its widest f-stop.


23/51



- fast lenses - max aperture (f/2.8); slow lens - smaller openings (f/5.6)- They are numerically equal to the lens focal length divided by the opticaldiameter of its aperture hole.- If the optical diameter of a 100mm lens is 50mm, then themax f number it can have ismax f = 100mm/500mm = f/2.

- An f-stop permits the same amount of light to pass through thediaphragm to hit the film, regardless of the lens's focal length. f/4 on 50mm,100mm, or 400mm lens, all transmit the same amount of light.

- If you use a wide angle lens, you can effectively change the relationshipbetween foreground and background elements, and expand the scene toencompass more within your view. If on the other hand, you select atelephoto lens, you can pluck out one area of the viewer and effectivelycondense the scene.

- The choice is yours to make, as long as you have a selection of lenses fromwhich to pick. Zoom Lens v/s Fixed Focal Lens

- Fixed focal length lens are supposed to be optically best in qualitycompared to zoom lenses.

- Zoom lens has the flexibility - All together in one lens, instead of carryinga number of lenses.

- Cost of lens depends on the max f- stop of a lens.

- Most zoom lenses cannot focus as close as their counterpart in fixedlengths. Minimum focusing distance also matters depending on what youwant to shoot.

Wide Angle Lenses

- When you aim any wide-angle lens upwards, weather its zoom or a fixedfocal-length, all vertical lines appear to converge or tip, towards the topcentre of the frame. - wide angle convergence or keystoning.

- One word of caution when using wide-angle lens. Frame your subjectcarefully. Unwanted objects appear in your frame as you tend toconcentrate on the centre most portion of a composition.

- Wide angle is extremely useful in taking the entire scene. But this is also aproblem, the temptation is to include everything you see in front of you, inthe image frame.

Normal Lens - 50mm


24/51



- Also available are the 35-70mm f/2.8 zoom lenses.

- For a multipurpose lens, consider purchasing the 50mm macro lens, whichoffers a very close focusing distance.

- You can photographs subjects ranging from vast landscape to tight close-ups.

Short Telephoto Lenses : 80-200MM

The 80-200mm is probably the most popular lenses today.

- Zooms in the short telephoto range are some of the best available,maintaining high image quality across their entire focal length range.

- Its better to have a fast short telephoto lens in this range. Both applicableto photojournalists and shooting with polarizers.

- Canon's 70-200 f/2.8 is one of the best. Note that the aperture does notchange as you zoom.

- Lenses in this range are great for shooting "portraits" of the landscape -sections of the entire scene.

Telephoto Lenses: 300MM / 400mm

- Long focal length lenses are a mixed blessing. They are wonderful whenyou want to isolate a small section of a landscape or photograph a mammal

without disturbing it.- How long a lens you need is primarily determined by three factors:1. The subjects you want to photograph.2. The amount of lens weight and bulk you're willing carry in the field.3. How much money you are willing to spend on the lens.

- The larger the subject, the shorter the focal length needed.

Super Telephoto Lenses: 500mm / 600mm / 800mm / 1200mm


25/51



- 50mm used at 10ft yields the same image size on film as a 500mm from100ft.

- Selecting a long lens always involves some kind of compromise. speed, sizeand cost.

- Faster lenses are considerably easier to focus as they let in so much morelight.

- Another advantage of fast long lenses is the ability to use teleconverters.

- Autofocus works best with fast apertures, useful for photographing birdsand mammals and action.

Lens Faults -Aberrations and distortion.

Chromatic aberration or "color fringing" is caused by the camera lens notfocusing different wavelengths of light onto the exact same focal plane (thefocal length for different wavelengths is different) and/or by the lensmagnifying different wavelengths differently.

Barrel distortion is a lens effect which causes images to look spherical or"inflated". Barrel distortion is associated with wide angle lenses andtypically occurs at the wide end of a zoom lens.


26/51



What does MACRO mean?

The term macro has been used in marketing material to mean being able tofocus on a subject close enough so that when a regular 6 ! 4 inch (15 ! 10 cm)print is made, the image is life-size or larger. Macro photography is close-up photography; the classical definition is thatthe image projected on the "film plane" (i.e., film or a digital sensor) isclose to the same size as the subject. There are different categories of macro lenses, depending on the focallength:

5060mm range typically used for product photography and smallobjects.90105mm range the standard focal range used for insects, flowers,small objects.150200mm range gives more working distance typically used forinsects and small animals.a few zooms provide a macro option, but they generally do not allow a1:1 magnification.


27/51


28/51



How to care for your lenses and camera body.

There are four main types of external damage sources to be concernedabout.

DirtScratchesShock Water

Camera Care

Changing lens on DSLR indoors or in a car will help cut down on theamount of dirt and dust that may blow into the camera chamberwhen the back door is open.Never attempt to clean your Sensor. It is very easily scratched.Clean the mirror of your SLR using only a soft brush. A camel's hairbrush is best.Clean your camera and lens case periodically.When traveling with your camera always keep your cameraequipment with you as a carry-on item.Never travel with your flash mounted on your SLR. You risk breaking the shoe base and-or the top cover of the camera.Always remember to turn off your camera when you are doneshooting pictures.Save any major brand name battery that leaks in your cameraequipment.

Never, ever, put any oil on your camera or lens.It is recommended that you keep your rear lens caps & body capsextra clean in order to avoid contributing dust to your CMOS / CCDsensor.Never blow air from your mouth to remove dust on the mirror or onthe sensor.

Lens Care

It is important to keep your lens away from excessive heat (i.e., hotcar in summertime or a heat source in a home). This will help preventthe greases, used in most lens barrels, from breaking down into an oilthat can run inside your lens.Use rear element lens caps on your lenses when they are not on thebody.Always use a filter or lens shade (hood) to protect the front element.But make sure to use high quality filters.

Never, ever, oil your lens. A minute amount of oil on the diaphragmblades will cause them to operate slowly.Never keep your equipment bag in the rare of the vehicle.Use a lens cleaning kit (available in all photographic stores) to cleanyour lens.Watch this video to see on how to clean the lens.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/videos/How%20to%20Clean%20a%20Personal%20Camera%20Lens.flv


29/51



How to pick the right lens for the job.

- Slow 300mm lenses: Good for landscape photography. Not for wildlife.

- 300mm f/4: Good compromise lens in terms of focal length, speed andweight. Good for walking with the lens for long distance.

- 300mm f/2.8: A great fast lens, fast AF, usable with teleconverters.

- 400mm f/5.6: Good focal length for large mammals and birds in flight.

- 400mm f/2.8: Heavy. Fast AF, very good with TCs. Excellent for wildlife.

- 500mm f/4: For a very long focal length, best compromise in size, weightand cost. Good for all-round multipurpose bird and mammal photography.1.4TC - 700mm f/5.6 and 2XTC - 1000mm f/8.

- 600mm f/4: Specializing in bird photography. - 800mm f/5.6: Well-suited for a wide variety of long-range photoapplications such as wildlife and nature photography as well as sports anddocumentary photojournalism.

Teleconverters.


30/51


31/51



Tripod Heads

Every tripod must have a head. You can add a three way pan/tilt head or aBall-and-socket head.

While there are major operational differences between these two heads,

choose the one best suited for your need.

Pan/Tilt heads offer precise movements in each axis of adjustment. Tiltingforward and backwards, tipping left and right, swiveling around, are allgoverned by seperate controls.

You get precision control for each of the movements. But the price you payfor this is the operational speed.

Pan/Tils Heads - From Bogen are quite good.


32/51



Ball-and-socket heads are general called as "Ball heads"

Has only one knob which controls all operational movements. Loosen it andthe ball is free to travel in any direction.

The ease and speed of operation makes ball heads great for normalphotography and for action work.

The best ball heads are the ones which have a tension control to set theamount of drag on the ball's movement.


33/51



Gimbal Heads

Gimbal Heads are recommended for super telephoto lens like 500mm,600mm or 800mm.


34/51



MODULE 4: HOW TO TAKE BETTER PHOTOS A mental shooting checklist.

Here's a pre-shoot checklist to help you get the best out of your camera:

Is Your Battery charged?Format Your Memory Card.

Check the ISO Setting.Select the Correct File type.Choose the right White Balance.Set the correct exposure mode.Check the exposure compensation.Make sure to carry extra memory cards and batteries.

What is important in the shot?

Composition is the art of clearly presenting your creative vision in anappealing manner. - Any portion of the frame, anything in the picture, that dilutes or distractsfrom your creative vision adds visual confusion and should be eliminated if at all possible.

- Choose a subject and choose only that. While photographing a flower,they include everything.Avoid that.

- It takes several paragraphs to describe a bad photograph, a few sentencesfor a mediocre photo, one sentence for a good photograph and just a phrasefor a great photograph. - What I like about this scene is _________ so I will use (this equipment)and (these photographic techniques) to make this image.

What am I trying to achieve?

What do you want to photograph ?What do you find appealing in that ?What do you want to convey to the viewers ?

Auto Focus Modes

Depending on camera specifications, there are certain number of AF points.You can select any one of the AF point (or all) to match your composition. You can also select the AF mode (One Shot, AI Servo) to match theshooting condition and the subject and select the best drive mode.

One Shot Auto Focus Suited for still subjects. When you press the shutterbutton halfway, the camera will focus only once.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_5224-falls.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_4290-Jerdons-Bushlark.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_4168-Macaque-Baby.JPG


35/51



When focus is achieved, the AF point which achieved focus will flashand the focus confirmation light in the viewfinder will also light.With evaluating metering, the exposure setting will be set at the sametime focus is achieved.While you hold down the shutter button halfway, the focus will belocked. You can then reompose the shot if desired.

AI Servo Auto Focus This AF mode is for moving subjects when thefocusing distance keeps changing. While you hold down the shutter buttonhalfway, the subject will be focused continuously.

The exposure is set the moment the picture is taken.

Lighting

Light is what makes photograph possible. - In fact photography means "Painting with Light"

Direction of light:- How it falls on the subject. Front lighting, backlighting and side lighting.Front lighting - Mammals + BirdsSide Lighting - Landscape photography, shadows caused by side lightingadds to the 3D feeling of a photograph.Backlighting - Silhouetting.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/all-points.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_3777-single-point.JPG


36/51



"Photograph early, photograph late, take a nap during the day"

Light Character - Hard (high) or soft (over cast).

Working on a Subject

- I see people take one photograph of a subject then declare that they havecaptured that subject.

- Walk around the subject (depends on situation) and choose the bestlocation to shoot.

- Don't get satisfied too quickly. Try out new things.

Vertical or Horizontal.

One of the most basic composition decisions is whether the picture frameshould have vertical or a horizontal orientation.

- Most pictures are taken in horizontal format. If you check your collection,the number of horizontal photographs exceeds the number of verticalphotos.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6560-Barn-Swallow-vertical.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6560-Barn-Swallow.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6652-Oriental-Skylark.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6656-Oriental-Skylark.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/CRW_3786-Morning-Fog.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_7790-Common-Hoopoe.jpg


37/51



Framing and placement.

Once you have chosen a subject to photograph and decided whether to takevertical or horizontal picture, you have two other major decisions to make.First, how tightly or loosely should you frame your subject ? And then,where within your rectangle image frame do you locate your subject.

- Don't position your subject to the edge of your frame.

- One of the biggest advantage of using a good tripod is that it allows you tocompose with precision.

- In case of auto focus, choose the focusing point appropriately.

- Good composition is very subjective, and you want to please yourself.

Pre-visualising.

Pre-visualising how something will look as a photo is one skill thatdistinguishes a serious amateur from a snap shooter.

Pre-visualising the shot is very necessary.You visualise the event to be covered and plan the shots to be taken.You plan the angles, distance and choose an area and place yourself.You also need to take into account the lens you are using, the lightingand the exposure you need to be using.

Adobe RGB 1998 and SRGB explained.

Adobe RGB 1998 and sRGB IEC61966-2.1 (sRGB) are two of the mostcommon working spaces used in digital photography

The following color gamut comparison aims to give you a better qualitativeunderstanding of where the gamut of Adobe RGB 1998 extends beyondsRGB for shadow (~25%), midtone (~50%), and highlight colors (~75%).

sRGB IEC61966-2.1 Adobe RGB 1998

25% Luminance 50% Luminance 75% Luminance

Using the cameras preview tools. Evaluating Images using Histogram
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/CRW_2921-Little-Grebe.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/CRW_2842-Rhesus-Macaque.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_3811-CattleEgret.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_1459-Elephant.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_2106-Spotted-Deer.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6632-Oriental-Skylark-side.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_6632-Oriental-Skylark-center.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_0370-Cattle-Egret.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_1478-Grey-Bellied-Cuckoo.jpg


38/51




39/51




40/51


41/51



Better preview capabilities More disk space (no need to rely on memory card availability) Easy file management Ability for clients and creative directors to observe the images directlyas they are shot Usually you can connect a camera to a computer using the appropriatecable for Ethernet, USB 2.0 or FireWire ports.

Both Nikon and Canon provide solutions for tethered operation. Nikon usesits own Camera Control Pro, while Canon uses its File Transmission Utility.

Things to look out for and to avoid.

Composition.Distractions on the Edge.Background of the Subject.Kissing Edges / Cut subjects in Photographs. How to avoid the above mistakes:

Change the Angle.Modify the SceneUse Digital Image Processing
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_9477-Elephant-exposure-correction.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_9477-Elephant-Bad-exposure.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_0493-Common-Hawk-Cuckoo.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/CRW_2550-badsky-underexpose.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_1120-Asian-Koel.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_1583-Common-Iora.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_2895-Short-Toed-Snake-Eagle.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_1878-Common-Myna.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_9231-halo-bad-bg.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_9016-Nocatchlight.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_9023-catchlight.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/High-Res-Images/_MG_4440-CHE-tailcut.JPG


42/51



Make a portfolio of shots you love. Create a portfolio of photographs (your best) either on your blog, your website or inprints. This serves multiple purpose:

Portrays your best shot to viewers.Gives a perspective of your choice and taste for photography.Business of photography - "If it were easy, everyone would do it."

How to develop a style of your own.

This is very subjective.This goes in hand with the above subject.This needs time, patience and practice.Choose a theme and work on it.What makes you different from the photographer beside you ?

MODULE 5: DIGITAL WORKFLOW / POSTPROCESSING COLOUR MANAGEMENT Colour Wheel / Primary Colours

Magenta + Yellow = Red

Cyan + Yellow = Green

Cyan + Magenta = Blue

Blue + Green = Cyan

Red + Green = Yellow

Blue + Red = Magenta

Colour Settings, Working Space and ICC Profiles


43/51



SRGB / Adobe RGB / Pro photo RGB

DIGITAL WORKFLOWThis is how the camera has captured the image in RAW format:

RAW PROCESSING

Step 1: Set the White balance to match the actual scene

Step 2: Adjust the levels, increase saturation and sharpness
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow5.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow4.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow2.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow3.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow1.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/_MG_2083-Crested-Serpant-Eagle.JPG


44/51



Step 3: Compose and Crop the image

Step 4: Convert the RAW and save it as jpeg image

IMP: Keep resolution as 72 DPI for web and 250 or 300 DPI forprint (depending on what the printer takes). Set the image dimensionduring save.

Here is the RAW to JPEG converted image:

Note: During the above conversion, you can change the image type to 16 bit

tiff (helpful for print purpose)

JPEG / TIFF PROCESSING The steps need not be followed in specific order:

Step 1: Evaluate the jpg image using levels for any kind of colour cast.

Step 2: Levels adjustment - Check the start / end of curve and make levels

adjustments.Hold the key and pull in the curve till the first set of changes arevisible. Stop there.

Step 3: Increase the saturation to an acceptable level.

Step 4: The famous "S" curve. This increases the saturation depth of the

image.Place two points on the vertical line as shown and make adjustments tomake it a small S curve.

Step 5: Run your noise removal tool if required.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow19.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow18.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow17.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow15.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow14.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow13.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow12.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow11.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/_MG_2083-Crested-Serpant-Eagle-convert.JPGhttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow10.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow9.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow8.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow7.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow6.jpg


45/51



Step 5: Run unsharp mask with Radius=0.3 (1.3 for print), Threshold=3

and amount = what ever is suitable.Note: You need to run unsharp mask as the last step of correction inphotoshop. Step 6: Finally, we need to convert the the profile to sRGB for web posting

and save the image.

Here is the comparison of the original RAW image and the final processedimage.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow26.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow25.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow24.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow23.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow22.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow21.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow20.jpg


46/51



Need based correctionsThe below mentioned steps are need based depending on the situation. Colour Correction:In the above image, in case we feel the yellow cast is strong, we can correct

that using Image->Adjustments->Colour Balance option.

CloningCloning tool is used to remove unwanted distractions in the image.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow27.jpg


47/51


48/51



corrected in the RAW file by under exposing it by 1 stop (and changing thewhite balance if required)

Noise ReductionThis step can be used in images where the noise is quite visible. This works

best for clean out of focus areas in the image.

Digital Blending
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow31.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow30.jpghttp://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow29.jpg


49/51



We have faced issues with using neatimage where the details in the subjectare also taken out and the image looks very soft. Here, I describe the simplemethod of digital blending to overcome those issues.

At this point I have already adjusted my image for white balance, levels,saturation and all other corrections as necessary. I now do UnsharpMask and save the image as image-name-ps.jpg

Open the above saved image in your noise removal tool. I use neatimagePro+ edition which can process 16 bit tiff images. Follow your procedure toremove the noise from the image. Don't worry if the details in the subjectare taken away. Save it as a different file (image-name-ni.jpg). Check thebelow image on how the details in the black are gone:

In case the details in the subject are taken away due to noise removal, thenwe need to digitally blend both the sharpened image (using PS) and theneatimage processed image to get the details back in the subject. Thatswhy we need to save each image in a different name.

Open the above saved image (image-name-ni.jpg) in PS and assign colourprofile if its missing. Open the original image which was sharpened in PS(image-name-ps.jpg).

Now, copy and paste the NI processed image (image-name-ni.jpg) on top of sharpened image in PS. (Do Ctrl A, Crtl C on NI image and then a Ctrl Von the sharpened image) Now the sharpened image looks like the NIprocessed image. Obviously, the NI image has been placed on top of this.

Now use the eraser tool in PS to erase on the subject and get back theunder laying image, which is the PS sharpened image. Hence you get back the details in the subject while removing the noise around the subject.Study the image to make sure it looks pleasing and make any adjustment


50/51



required.

Burn and Dodge ToolThis is one of the most used tool in nature photography to selectively bringout highlights or details in shadow areas or to under expose a subjectselectively.
http://users/sudhirshivaram/Desktop/Digital-Photography-Workshop/digital-workflow/workflow32.jpg


51/51


photography workshop basics

Documents