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Canon Digital SLR Cameras oe DISCOVER THE REAL JOY OF PHOTOGRAPRY— 4 PART 1| PART 2 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | frome REPLICATIONS) GAAeailevNt 5 Controlli ears of Field aa Controlli aie th of field and background blur bo hace ee ena) Narrower depth of field Wider depth of field. (3B) Only she is in focus while the background is PALS Objects are in focus trom near to far blurrec, making her stand out mare Lets compare the two pictures above. The left picture Larger aperture (hole) has only limited partin sharp focus, while the right 0 picture is in sharp focus from the foreground to the background. The difference between the two pictures Lower f-number was the aperture seting. The left picture was taken with a large aperture (low Fnumber), and the right picture was, taken with a small aperture (high Faumber). Thus, £/2.8 (Example) changing the aperture affects the range of acceptable focus (depth of feld)in the picture. F-number and depth of field. ‘The anerture in the lens controls the amountof light passing through the lens, ‘The lower the Frumber, the bigger the aperture hole. And the higher the Fnumber, the smaller the aperture hole will be Lea eae tr Standard Enumbers are shown below. The Enumber Increments are called "staps. By setting an adjacent fnumber on the left or right below, you can increase or decrease the tnumber by one stop, <= Lower F-number a) Higher F-number —> Fl Fl.G If you turn the camera dial, Sn ERs [nme na ensves, ° Change POE aT ue enue mi Rea ured es ‘The narrower the depth of field, the more blurry it gets Wide depth of field Higher number By changing the aperture, yau can adjust the depth of field, When the depth of field is narrow, the foreground and background will look more blurry. This Is emfective when you want to photograph a person or @ flower in sharp focus while keeping everything else blurry. It makes the subject stand out mare. On the ather hand, ifyou want both the person and background to look sharp, use a higher Fnumbet forthe aperture (smaller hoe). ~@ e- [PART 1 | PART2| PART 3] PART 4] TERMINOLOGY | Guan Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| PART 2 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | Home - BAY Geet =| BETTER PHOTOS (PRAGTIGAL APPLICATIONS) Controlling the Exposure S Manual Set the shutter speed and aperture yourself exposure When the Mode Dialis setto M(Menual exposure), you set both the shutter speed and aperture manually. ‘You can checkthe emposure by lacking at the exposure level indicator in the viewfinder or take a test shot and view the image an the LCD monitor. Manual exposure prevents the exposure from changing even with slight changes in the composition. “al Itean be diffcultto shoot backlit scenes ‘when the auta exposure setting changes significantly as you move around to change the camera angle Selling the aperture anu shuller speed manually is effective in such cases. eee) Flags are flutering in the wind against the sun in the sky. ‘The light changes when the flags flutter. ‘With manual exposure, the right exposure is obtained, ‘When a bright light source enters the picture, the exposure changes significantly ifthe subject maves or ifthe light source changes posttion In such cases, use manual exposure. Setting the shutter speed and aperture yourself ight be a litle troublesome, but ance ycu set it, you can obtain the same exposure even ifthe subject moves or ifthe light changes direction, Manual exposure can be used for many cifferent subjects: Portraits, sports, moving vehicles, backlit scenery, night sky, etc. Fst take a test shot and check the image on the LCD manitor. Set the exposure setting until you obtain the image you want. Using manual exposure is also @ eaming experience. Digital SLR Cameras EXC DISCOVER THE REAL JOY OF PHOTOGRAPHY. BY, WSS = PART 1| | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Meteringmodes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | a aaa et) the Metering Normally ‘use evaluative metering, but switch to centerweighted average or partial metering when necessary Evaluative metering Standard metering mode for most cameras, General-purpose metering mode effective for mast subjects, Partial metering Meters a small area at the viewfinder center. Efective when the scene has oright and dar« areas such as backlit scenes, Centerweighted average metering The metering is weighted at the viewfinder center and averaged with the rest ofthe scene. Spot metering Meters a smaller area than partial metering atthe viewfinder center. TJevauotive metering GS] aratmeering CI Serigeiones, ~~ (5) | erauatve metering Normally, use this mode. Good for most scenes. i © Partial metering Use this for scenes having both bright and dark areas. when evaluative metering might ml Use this when the main subject occupies the center. josure is obtain Inthe Full Auto, Program AE or any shooting mode, the correct e by megsuring the brightness of the light entering the camera. Measuring that brightness is called metering, and the camera has multiple metering modes. The most commonly-used metering mode Is evaluative metering. The camera detects the subject's position, overall brightness, background brightness, etc., and take all of these into account to determine the correct exposure. This met mode is good for most subjects and scenes. Centerweighted average metering is weighted at he center. Partial metering limits most of the metering to a small target area, Often usedin backlit scenes where there are very bright and dark areas. And spet metering, usually found on professional cameras, measures an even smaller area ofthe scene for pinpoint metering ~@ Ee © « [PART 2 | PART 2| PART 4 | TERMINOLOGY | wna Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| PART 2 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | White Balance for Various Lighting Setting White Balance for Different Lighting (WB) MB» Deviht Tungsten ight HAE Fluorescentugnt CS ainniny Daviont Tungsten ight 3K Ftuorescenttignt re Tungsten light Tungsen ight ARG Fluneszent ight Auto White Balance The white balance is set automatically to obtain the best color reproduction, Set this made for normal use. Daylight Colors as perceived under the midday sun serve as the standard far calor repraducton. Shooting in this made will make the colors look the waythey are under the midday sun. Shade Secause of the blue sky, there is a bluish color castin the shade in daylight, This made removes this bluish color when you shaat inthe shade Cloudy Under overcast skies, itis slightly more blue than when itis sunny. This made adds a slight yelw tinge to compensate forthe bluish tinge, ‘@< Tungsten light FBZ normal ighttutb emits a yellow-orange calor cast This made corre:ts this watm :olor cast JIN NAIZZ | Auorescent ight CR) the hurnan eye, the colors under fluorescent light Inok normal ZIANS However. to the camera, itioaks greenish This made compensates forthe greenish tone Flash Although flashis similar to daylight, it does have a slight bluish tint. This made corrects i. Ifyou see how colors in photographs are affected oy different types of light, you can understand why white balance is necessary. you use the daylight mode to shoot under different ypes of light, you can see haw the colors come out differently ‘The daylight mode is designed to obtain the same daylight color reproduction as with slide fim. Auto white balance is very good for obtaining natural-looking colors under anytype of lighting, However, you can also setthe white balance made manually to obiain more accurate colors orto obtain special color effects. OQ aD O« [PART 1 | PART2| PART 3 PART 4] TERMINOLOGY | Digital SLR Cameras |X" = DISCOVER THE REAL JOY OF PHOTOGRAPHY 4 (® TS part 1 | 2 | PART3 | PART4 | TERMINOLOGY = | Exposure | Exposure compensation | LCD monitor | Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | © Brightness of the picture is not optimum. ‘Auto exposure ofthe camera is not foolproof. When the subject is white, the exposure might turn out a litte dark ‘Ancwhen the subjectis dark ar black, it may look too light in the picture The camera tries to prevent overexposure or underexposure by alming for a standard exposure However, for whita subjects or alack subjects, this standard exposure may be too dark or toc bright, so you should Increase or decrease the exposure compensation amount by yourselt Too dark Too bright @ Use exposure compensation When shcoting dark subjects, decrease the exposure compensation When shooting bright subjects, increase the exposure cornpensation. To make dark subjects look dark, decrease the exposure compensation, re =e so ieee ain MbiEA IE Increase the exposurecompensation _ Decrease the exposure compensation Let's seethe samnles of exnasure compensation Go to"Expocure Campensatian" page! [PART 1 | PART 2| PART 3 | PART 4 TERMINOLOGY | Canon Digital SLR Cameras O DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART 2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering modes | HOME | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | NVisiy\ [Flay aia) i=niaie lene TICAMAPELICATIONS) AN Controling the Depth of Field Controlling tt h_of field and background blur er hee a eee ned Tal Narrower depth of field Wider depth of field. (aie) Only sheis in focus while the background is PALS Objects arein focus tromnear to far blurred, making her stand out mare. s Lets compare the two pictures above. The left picture Larger aperture (hole) jas oniya limited partin sharp focus, while the right, 1 picture is in sharp fecus from the foreground to the background. The difference between the two pictures Lower f-number was the aperture setting. The left picture was taken with large aperture (low fnumben), and the right picture was taken with a small aperture (nigh tnumber). Thus, £/2.8 (Example) changing the aperture affects the range of acceptable focus (depth of field) in the picture. F-number and depth of field. ‘The anerture in the lens cantra's the amountof light passing through the lens, ‘The lower the Fnumber, the bigger the aperture hole. And the higher the tnumber, the smaller the aperture hole will be eee eee Standard numbers are shown below. The Frumbr inotemnents are called"stops"” 8y seting an adjacent fnumber on the left or right below, you can increase or decrease the tnumber by one stop. 1 stop <= Lower F-number Higher F-number => Fl FL.G F2 IF you turn the camera dial, an intermediate f-number is also displayed. Cie aren een ee Pee ie eg ees Cae eaua en a Wide depth of field Higher f-number By changing the aperture, you can adjust the deoth offielc. When the depth of feld is narrow, the foreground and background will ook more blurry. This is effective when you want to photograph aperson ora flower in sharp focus while keeping everything else blury. It makes the subject stand aut mare. On the other hand, ifyou want both the person and background to look sharp, use a higher Frumber for the aperture (smaller hele). | PART 1 | PART2| PART 3 PART 4] TERMINOLOGY | Digital SLR Cameras ays DISCOVER THE REAL JOY OF PHOTOGRAPHY: 37; ‘ PART 4 | | PART3 | PART 4 | TERMINOLOGY : | Exposure | Exposure compensation | LCD monitor | Histogram /Highlight Warning | ISO speed settings | Meteringmodes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | Digital SLR cameras have many AF paints, you can select the AF point, use focus lack, and capture the shot, Inthere’s something in ant of the target subject, he camera might focus on that instead. Irthis happens, select the AF point manually ta focus the target subject, 2| PART 3] PART 4 | TERMINO Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART2 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | Using Manual focus S If AF does not work, switch to MF © Manual focus for targeted focusing, Atthe zoo, the camera tended to putin focus the cage in front of the bird. The camera was switched to manual focus to put the bird's eyes in focus, Autofocus might not work properly wih single-colar scenes such as the blue sky and very low-contrast seenes. TAF does notwork, switch to MF, On the lens, setthe lens focus mode switch ta MF. Some lenses allow youto turn the focusing ring and focus manually ‘without switching to MF once Sy) PAGETOB Oe DF - Vy Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| PART 2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering moses | | AF mode| White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Triped | MHone Setting the Shutter Speed Freeze or blur the action Tv Use the Tv mode (shutter speed: priority AE) to either freeze or blur the Subject motion. You can freeze the action for sports shots or deliberately blur the motion. In the Ty mode, you can select the shutter speed regardless of the {brightness level Dolphin's leap frozen in time Besides the dolphin, he water splash is also nicely frozen Possitle only with avery fast shuter speed Inthe shutter-priorty AE mode, you set the shutter speed ‘You can freeze the action with a fast shutter speed or bluritwith a slow shutter speed (1/30 see. or slower). Just remember thet you cannat use very fast shutter speeds for dark scenes. In such case, just increase the ISO speed or use a brighter lens having large maximum aperture Blurring the motion makes it impressive ‘The flowers blown by the wind were intentionally blurred with a slow shutter speed, A nice depiction of he wind blowing the flowers. A slow shutter speed can blur the movement or scene on purpose. Itis yetanother way to be creative. Even for sporls shots, using a slow shutter speed like 1/30 sec. of 1/15 sec. can blurthe athiete to emphasize movernent. Also, inthe manual expasure (M) mode, you can use bulb exposures to photograph stars in the night sky. [PART 2| PART Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGR:! PART 1| PART2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | MHOME ~ we | \" 7am) USING CAMERA FEATURES FOR BETTER PHOTOS (PRAGTIGAL APPLICATIONS) Three Gateways for Aight Shutter, The same in be obtained with a bigger aperture and S faster shutter speed or a smaller aperture and slower shutter speed spend Rue ese onae as Pe) & To capture a picture, camera must record the light coming through the lens. There are three gateways that control the amount of light that the camera records, Apicture is captured when light reaches the sensor, Wee bs Butif there's too much fight. —s- ait eat . L Lightis detected fr = iz Too light =a NO lite ight, ight Lens ; ‘Sensor (or film) 2 —> Image ‘Subject Too dark! @ Torecord the correct amount of light, the camera has three gateways or methods to control the amount of light. eo @ & ‘The size of the diaphragm or hole By opening the shutter curtains, The sensar's sensitivity to light through which the light passes can the length of imeto allow the light to can be changed. be adjusted. The amount of ight can pass through is controlled be varied for the settime it passes through be eR a ay + ‘The more we open the aperture, The cup fills up in the more water will law, short time (fast shutter speed) © Aperture and shutter speed 6 r ‘The less we open the aperture, @ u ‘The cup tkes longerto the less water will flow. {ill up (slower shutter speed), ‘Sample aperture and shutter sneed combinations obtaining the same exposure + Larger Salter Fe = Lareer Smaller > Wore about aperture and shutter spsec'cambinations Water ows oA Low sensitvity= Large cun Slow shutter speed = Takes longer for cup toll up Water fows High sensitivity = Small cup Fast shuter speed = Faster or cup toll up pee ea ki eit tis ‘The camera has three gateways to adjust the amount of light Ifs like adjusting the amount of water flowing from a faucet Ifyou open the faucet all the way, more water will flow and the cup wil fil up faster. However, if you open the faucet only alte, less water will flow and itwill take longer to fl the cup, This faucet adjustmentis like the camera's aperture. And the length of time to allow the water to flow is the like the shutter speed The size of the cup is like the sensor's sensitivity. The bigger the cup, the longer it will take to fill twith water (lower sensitiy). The smaller the cup, the faster it wll ake to fll it (higher sensilivit). The amount of light recehed by the camera is, also called the “exposure. PAGE TOP. [PART | PART2| PART $| PART 4] TERMINOLOGY | non Sete Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY WS = PART 1 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | ar NMS Useful information on LCD monitor while shooting and playbacking Images When you prepare fortaking picture useful information is displayed ona LCD monitor, shutter speed, aperture, ISO speed, metering mode, shooting mode, drive made, and so on Aner taking a photo, the camera will display it momentarily on the LCD manitor. You can see the photo youve just taken by pressing the playback button. Aside from showing the entire photo on the screen, cameras offer several convenient display modes for confirming the focus, expasure, and blurring, Basic information display ‘This made displays a minimum amount ofinformation, such as the shutter speed and aperture, alongside the photo. You can also display the photo by itsett Detailed information display ‘This made displays more detailed shooting information as well as a histogram, Other functions far confirming the exposure, such as highlight warnings, are available, Index displays of muttiple photos ‘The index display made arranges multiple photos on the LCD monitor, making iteasier to find and select a particular photo, ‘You usually shoot with SLRs while looking through the viewfinder, However, same SLR madels now came with a Live View function that allows you shoot while looking at the LCD monitor. ‘The advantage of Live View shooting over the viewfinder is the ability to take photos in many diferent positions and angles, such as from tripods or frorn close to the ground a ¢E | PART 2| PART ; Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" TINS Part 1 | | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | Poa eS Say noe ae fi aimed pete Try [ Try actively controlling the brightness of your photos to capture colors the way you remember them © When shooting white subjects: Tasstotcoralyeomesautaa date hnereavethe exposure compensation, ILE 2108001682 Fs swans and snow nowlock white © When shooting dark subjects Deacon monroe IID Je82_ Her clothes look darker © Tomake dark subjects look dark, decrease the exposure compensation. Increasing the exposure for white subjects brings better results So what about dark subjects? The answer is simple. itis the opposite for white subjects. Decrease th exposure amount Since the camera thinks that a dark subject will be underexposed, it increases the exposure amount, making the subject too light When shooting dark subjects, decrease the expesure amount by one stop. © When shooting dark subjects Aseria onodlielocis (oda luau Increase the exposure compensation. © For bright colors, increase the exposure amount. Even colors can lookbright or dark When you use the camera's auta eposure to shoot bright colors, the colors mayturn out too dark as with white subjects. Increase the exposure amount by 1 stop to cbtain brighter colors. For darker colors, decrease the exposure amount. Ooiaie « a e nee | ) \wthou e=pasure compensation bm = < so eS Exposure increased ay 0.6 stop Exposure increased by 1.0 stop Exoosure decreased by 0.6 ston © Purple Decreased exposure Standard exposure Increased exposure ‘With AEB, the same shat is taken three times at different exposures, Besides the standard exposure, there ate slightly darker and lighter exposures Ifyou dont have time to check and adjustthe exposure while shooting, using AEB enables you to selectthe best exposure later. - ~@ Gam” O- AT 1] PART 2| PART 3 RT 4 | TERMINOLOG' Guae Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| PART 2 | PART3 | PART4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | Home ™ Changing the ISO Speed Set the ISO speed to suit the brightness or image settings ‘You can change the ISO speedo suit the particular scene whether itis outdoors or indoors, or bright or dark, ‘The ISO speed is indicated by these figures. 100 | 200 |400 | 800 [1600 | 3200 A sunny blue siy does not nead a high ISO speed Use the lowestIS0 100 to obtain high-quality image with no noise. The hibiscus in bloom in the shade of the trees. Although itis a bit dark and the blur is likely io occur, by setting the ISO speed to I80 200, 8 shutter speed faster by one stop can be used than with [80 100. So the image loaks quite sharp a pet faster sh 0 Since itwas dark, ISO 400 was set faster shutter speed could be used without a tripod and the picture carne out good Atripod cannot be used when there are many people around, 180 800 and a fastenough shutter speed was set for this shot Minirnal noise for finer image quality ee? More noise resulting in rougher image quality Changing the aperture affects the depth of field, while changing the shutter speed affects the f changing the ISO speed affects the picture quality. See photos atove, the ISO speed affects th higher the ISO speed, the grainier the picture will bok. Lower ISO speeds produce less grain. This grain is called noise. High ISO speeds result in more noisein the image. The latest digital SLR cameras us technologies to reduce this noise, so the image qualitys stil quite good even at very high ISO speeds. ng or blurring of motion. And the image. The exnau Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART 2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode| White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | HOME Nala e4 4 yy USING CAMERA FEA =m dae eee) (yon gl ey\ oe GN Aero Ereezing or Blurring Motion eine a Freeze the action or blur the motion Freezes mation By blurring the motion, it looks like movement and gives a Even a fastmoving action can be frozen in the picture different impression from when you actually saw t The mation is blurred ‘A moment of motion that even the human eye cannot see can be captured by the camera ‘The picture above on the right froze the mation, while the picture on the left hes blurred mation. The difference between the twa pictures was the shutter speed. The lef picture wes taken with « shutter speed having a higher number, freezing the subject's movernent. Ifthe shutter speed had a lower number, itwould blur he subject 8y changing the shutter speed, you can cantral how wellthe subject movement is frazen or blurred Selectable shutter speeds look like this. |fyou see "1000" displayed for the v1P2 IP4 108 lf 45 If a0 1[ 60 | stutter speea, it means 111000 sec. One seconds written as 1” 125 || 250 || 500 | | 1000] | 2000 || 4000 Standard shutter speeds are shown above, The increments are called “stops” By setting an adjacent shutter speed on the left or right atave, you can increase or dacrease the shutter speed ty ane ston. <— Faster shutter speed == Slower shutter speed=—> 1/4000} 1/2000) 1/1000) 1/500) 1/250] 1/125) 1/60) 1/30) 1/15) 1/8 Wa) 12 1 sec. | sec. | sec. | ‘sec: | sec, || sec: ||MseCr ie Sena |mSeC al MSeCin mseCns/NSECININGEC: <= Freezed action As withthe aperture settings, |__ intermediate shutter speeds between these standard sppeds can also be displayed by the camera. For blurred motion rey ey ey 1 BB a es 171000 sec. Tho shutior speed can bo sotto obtsin various effects dopicting motion. At vory high shuttor spades like 1/1000 sec. or slow speeds lke 1/8 sec., the results totally diferent. You can create images which cannot he ceen by the hurnan eye So the shutter speed can nat only control the amount of light, but also the effect af motion. This is something that can be obtained only with photography, At slow shutter speeds, he aware that camera shake can alsa blur the picture. So keep your hands steady. Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART 2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor | Histogram / Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | HOME Part 02 we f USING CAMERA Slag (PRACTICA APPLICATI ey ~ Controlling the Background Blur (Aperture) Change the aperture to make the background look sharp or blurry ‘The Av made (anerture-priorty AE) enables youto control the background blur and depth of field. Thisis useful when you wantto klur the background for portraits or keep everything in focus for landscape shots. ‘You can change the aperture regardless of the existing light level @ A blurred hacks Atelenhato lens is good at blurring the background, Using a large aperture like 15.6 also creates a rice, blurry background, Inthe aperture-priority AE mode, you set the aperture and the camera sets the shutter speed automatically. With a large aperture like 12.8 (ower Fnumber), the depth of eld ‘will becorne narrow. This will create a very blury background ‘which can look impressive when there is a subject inthe foreground, For example, a portrait or flower against ¢ blurred background stands aut more. A larger enerture also allows you to use a faster shutter speed if necessary. @ . At1I5.6, the nearest and the furthest trees lack somewhat blurs When the aperture is #22, the depth offield becomes wider so that foreground and background appear in facus. ‘The entire picture thereby looks sharp. The smallest apertures (higher Fnumbers) can do tis, This is great for group photos and landscapes, ‘The denth-offeld preview button stops down the aperture so you can check the depth of field for that shot. Normally, ‘when you look through the viewinder, the aperture is fully open to make the scene look bright. Butwhile you press the depth-ottield prevew buttan, twill stop downthe aperture, decreasing the amount of ight passing through the lens ‘The scene in the viewnnder will therefore look darker. While you press the depth-oFfield preview button, you can tur the Main Dial to change the aperture and see howit changes the depth offield SSS. FUSEFILM ica Products © WhereToBuy | Support News AboutUs Home FinePix S1800 : Specifications : FINEPIX Sisc Overview | Features Specifications Product Views Accessories ‘Sample images Specifications Model FinePix $1600 / 51880 Number of effective pieis"t 12.2 megerinels oD sensor 1v2.2nen cen Storagemedia + Internal memory (Apprex. 23MB) + SD memory card ‘+ SDHC memory card'2 File format Stitimage: Movie: AVI (hoton JPEG) wan sound Audio WAVE format, Monaural sound (Design rue for Camera Fie system compliant / DPOF- compatible) Number of recorded pels Stilimage 4,000 x2,000 (4:3) / 4,000 x 2,664 (3:2) 4,000 x2,248 as) M: 2.816 x2.112 (4:3) 2816 x 1,884 (8:2) 2.816 x 1.584 (19) S: 2,048 x 1,896 (4:3) 12,048 x 1,260 (3:2) / 1,920 x 1,080 (1s) Lens Fujinon 18 optical zoom lens, F3.1 (Wide) -FS.6 (Telepheto) Lens focal length 26.0 - 90.0mm, equivalent to 28 -S04mmon a 35mm camera Digta zoom ‘Approx. 63x up to 113.4x with optical zoom Aperture Wide: F3.1/ 76.6, Telephoto: F5.6 (11.0 with ND fier Focus dstance Normat (fromiens surface) ‘+ Wide: Approx. 40em/ 1.39 to infinity ‘+ Telephoto: Approx. 2.6m / 8.27. to infty Macro: ‘+ Wide: Approx. Sem-20m/0.2ft - 9. + Telephoto: Approx. 1.8m-3.0m/5.9f.-9.8ft Super Macro ‘* Approx. 2em-1.0m/0.1ft.- 3.3 Senstvty ‘Auto / Equivalent to 1SO 64 / 100/200 / 400 / 800 / 1600/3200" 16400" (Standard Output Senstivity) "3M pixels or lower Exposure control ‘TTL256-zones metering, spot, mut Exposure mode Programmed AE, Shutter Priorty AE, Aperture Priory AE, Manual Shooting modes Mode Dia SR AUTO, Auto, P, S, A, M, Custom, Movie, Panorama, SP SP: Portral, Landscape, Sport, Night, Night (Tripod), Fireworks, Sunset, Snow, NaturalLight, Natural Lght & with Flast, Beach, Party, Flower, Text, Smile, Zoom Braketing Image Siabiizer CCD-shiftype Shutter speed (Auto mode) 14sec. to 1/2000sec. (Allother modes) &sec. to 1/2000sec., (with mechanical shutter) Continuous shooting ++ Top-3 (Upto 1.3fps; max. 3 frames) ‘+ Top-10 (Up to 3.3fps; max. 10 frames; size (M)) ‘+ Top-20 (Up to fps; mex. 20 frames; sze (S)) ‘+ Last-3:(Up to 1.3fps; last 3 frames recorded) + Long-period (Up to 1.2; maximum number of frames varies with image size and available memory) Focus Single AF, Continuous AF White belance ‘Automatic scene recooniton Preset: Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent ight (CooiWhite), Incandescent light, Custom olf timer Approx. 10800. /2eec. delay Flash ‘Auto fash Effective range (ISO AUTO): Normat ‘+ Wide: Approx. 400m- 8m/1.3ft -26.2ft + Telephoto: Approx. 2.6m-4.4m/8.2f.- 14.4f Macro: ‘+ Wide: Approx. 300m-3m/ ft -9.8ft + Telephoto: Approx. 1.8m-3m/ 1ft.- 59 Flash modes Red-eye removal OFF: Auto, Forced Flash, Off, Slow Synchro. Red-eye removal ON: Auto with Red-eye removal, Forced Flash with Red-eye Removal, Of, Slow Sync wilh Red-eye Removal Electronic viewtinder (EVF) 0.2-in,, Agprox. 200,000 cots color LCD viewfinder Approx. 99% (shoxting), 100% (playback) LED monitor 7.62 em, Approx. 220,000 deta, color LCD monitor, Approx: 197% coverage for shooting, and 100% coverage for playoack Movie recoraing 1,280 x 720 pixels (20 framesisec.) /640x 480 pixels /320x 240 pixels (30 frames/sec.) with monaurel sound Photography functions Instant zoom, inteligent Face Detection wth red-eye removal, High-speed shooting, Bes: framing, Frame number memory, Histogramdisplay, Silent node Playbact functions Inteligent Face Detection, Red-eye removal, Micrethumbral, Mutt-frame playback, Sort-by-date, Cropring, Resize, Slideshow, Image Rotation, Voice memo, Histogram display, Exposure warning Video output NTSC/PAL selectable Digtal interface USB 2.0 High-speed Power supply" “4x Ad type alkaline batteres (included) “4x AA type NlIH rechargeable batteries (sold separately) “4x AA type ithium batteries (sola separately) DC coupler CP-04 with AC power adapter AC-SVX (sold separately) Dimensions 110.2 (W)x73.4 (H) x 81 4(D) mm/ 4.3 (W) x29 (H) x22 0) in, (excluding accessories and attachments) Weight Approx. 2379/11.902. (excluding accessories, tattery and memory card) *1 Number of effective pixels: The number of pixels on the image senscr which receive Input light through the optical lens, and which are effectively reflected in the final output data of the stil image. *2Ploaso soo the Fujifilm wodsite to check memory card compatibility *3 Exif2.2is a cigital camera le format that contains a variety of shooting information for optimal printing *4 Manganese dry, nickel-cadium and lithium AA batteries cannot be used with this product Memory Card Capacity and Image Quality / Size Number of images Modes Stilimage Number of recorded 4,003,000 (12M, 4,002,664 (11M, 4,000 2,248 (aM, pixels 43) 32) 169) JPEG PEG JPEG Qusity JPEGEINE ARG, JPEGFINE AES.) JPEGFINE nya Internel memory 5 (epprox. 2348) ‘i # i ee * 2» 512MB 80 160 90 180 ‘100 210 so memory 1B 480 310 470 340 200 400 card 208 320 630 360 710 20 0 soc 64GB 40 12m 720 14060 1680 mmemary card 868 1300 © «286014802870 170 380 Modes Stitimage Number of recorded su 32) 2816 1.586 (0, Les 2e16x212(6u,43) 2816x1964 6u,32) 785° Pee ec JPEG Quaity JPEGRINE JS.,, JPEGFINE FEC.) JPEGFINE Ha Interne! memory 5 poetnd 1s 9 8 10 a s12MB 160 310 180 210 400 so memory 1B 310 600 380 670 400 770 card 20n 640 1240 720 140080 1620 sore 44GB 1280 249014802800 160 280 emery card acs 2880 «000» 2810820» 34008520, Modes Stilimage Number of recorded . x 420° 1,080 (2, ae 220481596 (2U, 43) 2.0681,960 2M, 3:2) 15) JPEG JPEG JPEG Quaity JPEGFINE Yintya, JPEGFINE {G1 JPESFINE eye Interne memory 1s s " 2 2 a“ (epprex. 2348) si2Me 300 560 330 20 20 800 so memory 1B 570 1070640 ‘1030 1520 card 208 8022901320 2480 170 3200 soe 6 «4GBS«(2360 4460 2880970 3480400 memary card 8GB 474089608320 sero eed 12850 Recording time Modes Movie Number of reecriea pets Movie recording time Qusity HO (20fps) \V@A (30fps) VGA (20fps) Internal memory sso sec see (epprox. 2305) * 7” Ni S12MB Amin mn 14min so memory 1GB — 3min ‘2m 26min card 268 7min 26rin sérin SoHE 46GB 18min. s3nin 112m memory card «8B 3Imin 07min 226m Actual number of frames and recording time varies depending on the type of memory card or shooting conditions, Inthe case of extended movie shooting, recording will automatically stoo when 2GB of data is recorded. In order to continue movie shooting after automatic termination, please press the shutter button again. Maximum recording time shown in the table is calculated based nthe file size Iimit of approx. 2GB. When shooting HD movies, please use a memory card rated SD Speed Class 4 or higher to ensure minimum sustained data writes of 4MB/sec Career » Sitem ( on see Digital SLR Cameras y : 5 = DISCOVER THE REAL JOY OF PHOTOGRAPHY iar N PART 1| PART2 | | PART 4 | TERMINOLOGY | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness |IS lenses | Lens hood | Lens Name | The adjustable focal length of zoom lenses make them srightn convenient, but single focal-length lenses are brighter Depth ef field (the breadth of the in-iocus area) varias tremendously with the tnumber of the aperture, Compared to a typical ff3.5— 5.6 normal zoom, an f1 4 single focal-lenath lens can take pictures with much deeper background defacusing effects (shallower depth of field). Of course the sincle focal-lenat lens can be stopped downto ave the sane degree of defocus as a normal zoom. What lenses with lower fnumbers offer is a greater range of defocusing effects and, therefore, a broader extent of expressions F5.6 Fla ae ae X fi Soy Se ¥ ld we r é iw it soi r iat i ~ & — “et The background is only slight blued » The backoround is blurted considerably and allows faster shutter speeds to he set. Irthe shutter speed is kept constant, bright lenses peimit lower 180 speeds, which means less noise and higher image quality. In shor, bright lenses are advantageous ‘when shooting in dark locations ‘The maximum apertures of ypical zoom lenses range between 1135 and 1.6 and even brightzooms for professionals or prasumers reach only about 2.8. Single focal-length lenses, however, have maximum apertures as low as 11.8 or ff1.2. although they lack the flexibility af the zoom's adjustable focal length, primes win out in brightness. Zoom lens Single focal-length lens Maximum aperture is the state when the aperture is opened as wide as possible (when the smallest f-number possible is sel). The smaller the maximum aperture value, tne greater the amount of light hat passes nrougn the lens (tne Image seen in the viewfinder also becomes brighter Bright lenses let you use faster shutter speeds, even in dark lenses are advantageous for shootng sports where fast shutter speeds are needed to freeze the motion of the athletes. Another bonofit of shooting at a small Frumbor is tho groator dofocusing offects on oither cide of the focus point More control over the depth of defocusing is a major part of the attraction to bright lense: ons, making it easier to reduce camera shake. Bright [PART 1 | PART 2] PART 3 PART 4 | TERMINOI Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART2 | PART3 | PART 4 | TERMINOLOGY Angle of view | Angle of view and perspective | Focal length and perspective | ood | Lens Name | Avowe | Types of lenses | Lenst | Lenses: Brightness | IS lenses | Let DIFFERENT KINDSSGE (NTERCHANGEARIE Reading the;Lens Name Vers Warnes Learn how to tecognize lens characteristics at a glance from the lens’s name "EF" indivates a Canon lens. itis "EF-8," it means itis ERS dedicated to Canon digital SLR cameras having an APS-C-size sensor. This is the focal length. This is a zocm lens with afocal ‘ip agre length from 17mm to 85mm. Indicates the maximum aperture of the lens. It tells Aen you how bright or fast the lens is. * stands for Image Stabilizer. the lens is equipped with an Image Stabilizer, "IS" will be indicated "USM" indicates Ultrasonic Mator. usm This is a high-performance, built-in motar for fast and quiet autofacusing. Casi Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY PART 1| PART2 | PART3 | PART4 | TERMINOLOGY | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness | IS lenses | Lens hood | Lens Name | i! An iM PART O3 CHOOSING LENSES FOR Pg ee ee (INTERGHANGEABLE LENS) S How the Lens Changes the Picture Ingle on visear Totally different effects even from the same position and perspective Adjust the perspective with the focal length Each lens has a focal lanath in milimeters (mm). This indicates the angle of view or picture coverage of the lens. The sharter the focal length, the wider the coverage will ke ‘And the longer itis, the smaller the coverage will be. Let's see how the focal length affects the picture. © The angle of view depends on the lens ‘The photos above were taken from the same position. Only the lens was changed. The focal length is indicated below the photo. The shatter the focal length, the wider the picture caverage. And the longer the focal length, the smallar the coverage as you can see. When the focal lenath is twice as long, the subjectwill also looktwice as large © See what happens when we photograph the subject atthe same size but wit different lenses. 17mm © Same-size subject, but the background changes Again we used different lenses, butkept the subject at the same size. You can see how the background coverage changes. The shatter the focal length, the move perspective you see inthe background. And the longer the focal length the closer the background seems to be to the subject. By changing lenses (o1 the focal length), you can change the angle of view as well as the background perspective |PART 1 | PART 2| PART 31 PART 4 | TERMINOLOGY | Canon Digital SLR Cameras Co DISCOVER THE REAL JOY OF PHOTOGRAPRY ‘B17; PART 1| PART2 | PART3 | PART4 | TERMINOLOGY Lae | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | : Brightness |IS lenses | Lens hood | Lens Name | Avoid DirectSunlight S / Lens hood Shooting toward the sun can cause ha: Hezy photo The sun entered the lens Lens without a hood Seu ‘The sun did not enter the lens. Lens with hood To prevent direct suntighttrom entering the lens, attaching a lens hood is effective. The lens head can block out the sun's rays, Even ifthe subjects in focus and there's no camera shake, the picture can sill ook washed out ifthe sun shines into he lens. This is caused by internal light reflections within the camera and lens. tts like the sun striking a dir windshield of a car. You may also find strange shapes or patterns in the picture. To prevent this, point the camera in a different direction or use a lens hood [PART 1 | PART | PART 3| PART 4| TERMINOLOGY | XS” PART 1| PART2 | Digital SLR Cameras (Ql E DISCOVER THE REAL JOY OF PHOTOGRAPHY: Was | PART 4 | TERMINOLOGY | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness | IS lenses | Lens hood | Lens Name | CHOOSING LENSES FOR DIFFERENT KINDS OF PHOTOS (INTERGHANGEABLE LENS) ‘You can broaden your world of photography by becoming proficient with different lenses: telephoto lenses that make tistant objects look huge, wide-angle lenses that portray the enormity ofthe world, and macro lensesthat draw you inta the tiny world of fowers and insects. Thisis the main adventage and the mostenjoyable pat of SLR photography. Normal zoom lenses @ Easy to use and offer natural renditions of what you see ‘The normal zoom lens is probably the most frequently used lens because it covers angles of view from wide angle to mediur-telephoto wit the normal angle of view at the center The normal zoom works well in many. situations — casual srapshats, vacation phatos, and everyday events, Also its relatively lightweight and compact size makes ft easy to carry around, Capture broad vistas by zooming out Although called a"nermal"zoom, the angle of view it can cover is quite wide when zoomed outto the wide-angle end. The wide-angle end Is great fr shooting lendscapes and alsa simplifies craup photos. Casual snaps of familiar scenery MY The normalzoomn is the most nvenient lens for snapshots, easy to pull in your subject and fil the frame by shooting at the telepnato end of the lens. Coverage of normal zoom lenses ‘The advantage ofthe normal mom, ‘which can cover a large range of angles of view from wide-angle to telephoto, is the ability to photograph many diferent situations ‘with just one lens. Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| PART2 | PART3 | PART 4 | TERMINOLOGY | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Meteringmodes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | When to Use Flash for Dark Subjects Flash illuminates everything clearly Without flash, you can capture the mood © Flash — Using flash results in asharp and clear image w I the subject is darker than the background, use flasht ‘Although the built-in fash is not as powerful as an external Sneedlite, itis still dependable when needed ‘The light fram the built in flash illuminates the subject straight on, Use itwhen there is not enough light. GES co eos © Ambient ight - To capture the mood, turn offthe flash. Digital cameras are great for shooting indoors! Using fast results in clear and bright mages. However, you mightlose the ambient lighting effect that creates the mood. ithe indoor lighting provides a nice mood, dont use flash Since a slower shutter speed will be required, set a higher ISO speed like 800 or 1600. You can then shoot indoors with a suitable shutter speed (ast enough ta prevent camera shake). Digital SLR cemeras nowadays can take beautiful pictures even at high ISO speeds, @ Youcan use flash even in daviiaht outdoors. Fillflash —If the background is brighter than the object, use flash Flash is not only for dark scenes. ‘When the background is brighter than the object arwhen the object's backlit fll Nash assists better shot. S Ss a An external Speealite has advantages not found in the builtin flash. Ithas a longer flash range, and same models have a bounce capability to eliminate background shadows. Ifyou often take pictures indoors, having a Speeulite is very convenient, @ Other Flash Techniques © Bounce Flash —Bounce the flash off the ceiling or wall to create softer lighting effects. © With a white wall or ceiling, create soft lighting effects! When you use flash indoors, harsh shadows are usually created behind the subject on the wall, etc. Ifyou use an external Speealite, you can change the angle of the flash head and bounce the flash on the ‘wal or celling, This indirect fash results in a sof lighting effect, ‘The shadows lock soft and pleasing. Note that bounce flash wont wark on, 2 coiling orwall tat is too far away. eS Dai i Ui eect ‘The efective range of the builtin fash is much shorier than the distance that the human eye can see. ‘At 180 400, the builtin flash can reach up to about § meters Subjects farther awey will lok dark ifthis happens, increase the [80 speed and turn off the flash Oruse an exteinal Speedlite Canon Digital SLR Cameras ((Q.&C> DISCOVER THE REAL JOY OF PHOTOGRAPHY 2 ; - PART 1| PART2 | PART3 | PART4 | TERMINOLOGY te) ‘| | Types of enses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness |S lenses | Lens hood | Lens Name | Home Avoid Direct,Sunlight Shooting toward the sun can cause haziness Lens hood sshadiblisn, The sun entered the lens Lens without a hood ‘The sun did not enter the lens. Lens with hood To prevent cirect suntight from entering the lens, attaching a lens hood is effective. The lens head can block out the sun's rays, Even ifthe subjects in focus and there's no camera shake, the picture can stll look washed out ifthe sun shines into the lens, This is caused by internal lightreflections within the camera and lens. Its like the sun striking a diry windshield of a car. You mayalso find strange shapes or patterns in the picture. To prevent this, point the camera in a different direction or use a lens hood 1 ye Digital SLR Cameras e DISCOVER THE REAL JOY OF PHOTOGRAPHY" PART 1| | PARTS | ART 4 | TER MINOLOG | Exposure | Exposure compensation | LCD monitor| Histogram /Highlight Warning | ISO speed settings | Metering modes | | AF mode | White Balance | Picture Style | RAW | Shooting Movies | Enjoying Movies | Flash | Tripod | a Set it up so that the camera is stable © Night view The camera must be held steady Camera shake blurred the shot. aes © Three items to Prevent Camera Shake Whon itis cloudy, almost evaning, or at night, a clowor shutta }o0d bocomnas nocoscary, but it may recult in a blurry camers shake. You can avoid camara shake to same degree by holding the camera steady and pressing the shutter button gently. You can also use an Image Stabilizer ('S) lens for added protection against camera shake. However, for very slow shutter speeds, camera shake can still blurthe shot, This is when a tripod and a remote switch save the day. meen (iis . « Using a tripod is the most effective Using a cable release with a With the Image Stabilizer tuined on, vay to prevent camera shake. tripad-mounted camera ensures no ihe shutter sp2ed will give the same camera shake when you press affect as a shutter speed faster the shutter button. oy twa orthree stops, od = iy © Using a tripod correctly @ Ifyou cannot use atripod: Use a remote switch Extend the tripod legs completely Lean against something | | Put the camera an something Putit on solid - od ground Ifyou danthave a tipod keep the camera steady with your body or ather oaject. Setting up a Tripod Increasing the ISO speed allows a faster shutter speed Camera shake can be prevented with a tripod or a ‘aster shutter speed 4 Ahigher IGO speed can also prevent blur 4, Mount the camera, of a moving subject Canon Digital SLR Cameras DISCOVER THE REAL JOY OF PHOTOGR TERMINOLOGY een ere Cor ® aperture, aperture value ‘The amount of light passing through the lens is controlled by the aperture hole. The aperture value indicates how much light can pass through. Since itis expressed as 2.8, /16, etc, itis also called the "F-number. The 1/1 aperture value represent the maximum diameter of the aperture. When the aperture is half the size, itis called f2, and whan a quarter ofthe fullsize, itis 1/4 ‘The Enumberis therefore the denominator of the fractional size. ‘The largerthe denominator or f-number, the smaller the aperture size and the less light can pass through Note that although 2 is halfthe diameter of fit, the total area ofthe hole is only one-fourth of the full-size hole (1/2. 1/2 = 1/4). And so the amount of light passing through is only 1/4 that of the full-size hole. When the Frumber is doubled, the amount of light shrinks to 1/4 of amount, \g shutter speed The shutter controls the amount of time that the light can strike the imaging sensor. Along with the aperture that controls the amount oflight, he shutter speed works in combination to control the total amount of light the imaging sensor receives. With the same aperture, using a shutter speed of 112 sec. decreases the amount of light by half compared to a shutter speed of 1 sec. And a shulter speed of 1/4 sec. yields one-fourth the amount of light. Uniike the aperture, he difference in the shutter speed readily corresponds to the difference in the amount flight. The shutter speed is indicated by the denominator. For example, "500 means 1/500 sec. Since the sensor can record an image only while the shutter is open, it can freeze (with a fast shutter speed) or blur (with a slow shutter speed) a moving subject. @ exposure This is the amount of light received by the imaging sensor as determined by the aperture and shutter speed. The ISO speedis alsa a factor in the exposure so sometimes it is incuded as part of the exposure equation. “correct exposure” refers to an image which has about the same colors and brightness as seen by the human eye. itrepresents the correct combination of the shutter speed, aperture, and ISO saeed. the image looks too bright, itis overexposed. And ifit looks too dark, itis underexposed, To obtain the correct brightness, the camera's shutter speed, aperture, and/or ISO speedis adiusted au ©« PART 4 | TERMINOLOGY | [PART 1 | PART NING, ALL RIGHTS RESERVE! non sere Digital SLR Cameras as DISCOVER THE REAL JOY OF PHOTOGRAPHY * Le & y PART 1| PART 2 | | PART 4 | TERMINOLOGY | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness | IS lenses | Lens hood | Lens Name | 2 a Nato Tele NEL] oe IS lenses limit camera shake, enabling stable shutter releases In conditions where a slow shutter speed is ikely to cause camera shake with a normal lens, an IS lens can take clear, sharp photos with a minimurn of camera shake when Its image stabilization mechanismis enabled, 1S lenses read the camera shake trom two gyroscope sensors and move a lens element vertically and horizontally a8 necessary according to this information to counter the camera shake. ‘The viewfinder image on the camera is always free of blurring with IS lenses because the image stabilization is done within the lens. Shooting is more comfortable because you can spot the subject cleerly and accurately. A second benefit of in-lens image stabilization Is siable and more accurate autofocus because the IS lens provides a clear image tothe AF sensor frorn ‘which the aulofecus mechanism determines the focus point, Cross section of EF4o0mm 14 DO IS USM Note: Animation i simulated forlustation purpoees Viewfinder image with IS off Irthe camara is shaken as the shutter is released, the captured image will show streaks as ifn motion. This phenamenon is called camera shake (or camera blu. I$ lenses reduce carers shake with their internal optical imaae-stabilization mechanism. The IS lens reads the camera's vibrations from two gyroscope sensors. A special CPU calculates the camection needed and drives in real time a moveable lens (corrective optical system) to compensate for the vibrations, This operation in effect cancels out the camera shake in the phctagraph. IS lenses excel in conditions where slow shutter speeds are common, such as indoors ar at night, as well as in telephoto photography where camera shake is often a orablem. ‘The in-lens image stabilization is a big advantage vecause a stable, sharp viewfinder image is obtained and the subject can be pinpointed exactly hited canon jovimaginaftensindex hr aa ‘ Digital SLR Cameras a E DISCOVER THE REAL JOY OF PHOTOGRAPHY TASS PART 1| PART2 | | PART 4 | TERMINOLOGY | Types of lenses | Lenses: Angle of view | Angle of view and perspective | Focal length and perspective | | Lenses: Brightness | IS lenses | Lens hood | Lens Name | Part 03 CHOOSING LENSES FOR DIFFERENT KINDS OF PHOTOS (INTERGHANGEABLE LENS) © Angle of view expresses the area depicted in the photo as an angle seen from camera ‘The angle of view changes according to the focal length ofthe lens, The longer the focal length (the largerthe lens number = telephoto), the narrower the angle of view, the shorter the focal length (wide angle), the wider the angle of view. Therefore, when shooting from the same position, a wide-angle lens (with a wide angle of view) will capture a larger area, making the subject seem smaller in the photo, whereas a telephoto lens (wih a narrow angle of view) will depict a smaller area, making the su em larger. < Short focal length Long focal length Eu can capture a wide ares can make a distant object appear large in tre photo ‘There are three sizes of E08 DIGITAL imaging sensors (devices that conver lightinto electrical signals): fullfrare—which ithe same size as 36mm lm, APS-H size, and APS-C size, The angle ofvieweven with the same interchangeable lens changes according ta the size ofthe imaging sensor: the smaller the imaging sensor, the narrower te angle of view. | — Full frame sensor APS-H size sensor APS-C size sensor The angle of views the area that can be portrayed within the photo. Lens catalogs usually list the angle ofview as the diagonal angle across the photo. The angle of view of a 50 mm lens, which is considered the closest to the perspective of the human eye, is about 4 degrees (when using a 36mm sensor). Generally speaking, lenses with angles of view wider than this are called wide-angle lenses and lenses with angles of view narrower than this are called telephoto lenses. ‘The size of the imaging sensor changes the angle of view ofa lens. The smaller the imaging sensor, the narrower the anale of view. For example, the angle of view of a 0 mm lens on a camera with a 35mm full-frame sensor is about 46 degrees. But the angle of ew through the same lens on a camera with the smaller APS-H size sensor is about 37 degrees and only about 30 fees on a camera with the even smaller APS-C size sensor. The 37-degree angle of view on the APS-H sensoris equivalent to a 65 mm focal length lens on a 36mm sensor; the 30-degree angle of view onthe APS-C sensor is equivalentto an 80 mm focal length on a 36mm sensor. Thus, the normal 50 mm lens on afull-trame camera (angle of view, approxmately 46 degrees) functions ike an 80 mm medium telephoto lens when attached to an APS-C camera [PART 1 | PART 3 [PART 4 | TERMINOLOGY |