Camera Controls The basi controls on all cameras ar snl, Ialping you to perform the same actions rary te you take a pcre. You'll need 0 fee the scene you ae Photographing, decide how much of you want to ince, fous i shaply—where you want ito be sharp, and tse the Suter speed (the length of time the shutter remains epen) and aperture (he size ofthe lens opening) to expose the film or fesor fo the corret amoant of igh (One of the mst popula camera types is shown here—the sngle-lens refer. Other tase camera designs are described later in this chapter ‘As the cameras settings change, the ple- tere changes alo, What sil a sme look Tike at Taster shuter speed ora slower cone? How do you make ste the back round wl be sharp—o out of Toeus—it You want it tat way? Once you understand how the basic comers controls operate und what your choiges ae, you will be beter thle o get he results you want, rather than Simply pressing he baton and hoping for the best Shatter spo ‘alee Focusing tng 16 | Camera | a | ona UM CAMERA {eo monitor Dra CAMERA A aay of cont om this ingle en ref g- oe a erty he Sth sensThe Shutter The Shutter and Light ht thatthe shster wih one press ofthe release, ‘SHUTTER SPEEDSHAT YOU SEE AND WHAT YOU GET ences the senet rfl th shut, and close with ante. ese here, and the ape pes Elson coal shuts can | Canaan tie pnd oil te, Oe en 34-25) The combination of an apertr and perf at any speed, for example, 1/38 ec- | Hones eldny aia mt ae ets 2 aso a suer speeds en exposure whch must ond. These “aeples”spods are set by the | W bron Cass eye coe has as st tet orettone so your picture isnciter camera in aomatcexpoate operon: | Strips mbes Homtoner enone oe eon too ht nor too dark some camesaloy yoda hemin | Hazan emcane nied tonumeMechgshotog ‘Adjutng he length of time the hater ourself don Gh arene oar pc remoies open conta the amour of ght Some digtal cameras ue ashuner for | funy Penumbra oma Date str Porson thatrences the tse surface. exponur, Others se them only to lock | Hye sabe tat cll pps #82 Dear Doubling te anounceftime ts open gives light when the sesor needs darkness they | enue a antes te sap mare expose vice te umount conta exposure by turing he senso an | HOE: Dot ie 2 nonre id th 2 man 2s re alight Hating the amount of tie ges and off ora procilysimed duration adsense Seon don he stop les expan hal ts amet of NOTE The term “top Ia phetography ry Shc wat ve ep ie ering poopy De sane wh ape segs Tpke Exch flep she sein hallor refers tea change teins, whether | fay Ahuie) be tine of inetoneand th ste apend rte apertoree tare see Jommistr oor ar) of ehnaged teehee To ge one stop | Atel tine Shir speeds your camera mayo teteraoncfesccon! alte ume morecapoe means oan he secede trou op I(t ora second 2 (12 umount fight reaching the im ie by te ee | ‘Slouy,2is see) andcoon tough doubling te expose tne by doubling | P02 S0P_13 S0P_/2StoP_| '8, 15, 30, 60, 125, 250, 500, 1000 or higher. the size of the aperture (see page 25). To al 1 1 Sooccaveshae omen track’ ge one sop eu expo sino ot 13 5 T1000 ofa ston Bb sting) Kops! the ih aching he i in aby hal 16 the she open a ong asthe reese Du ing he exon ine o by halving he tree 2 = 2 toeibneld down T ime seting] opens suv of aperture as 3 tse 4 + ‘ {WHEE SWUTTE SPEED SETIGS ARE DISPLAYED OM VARIOUS CAMERAS 5 6 reed : : 5 . ‘0 f 3 1113s ers 8 » » 3 120s » 20 ° 5 Inthe come's wer onthe saerapet dal fh pel enn i. 1190 sc © © “ Forte sh nie sh ce nt » 2 Mata ae roma Sip oe to enon ter con ap eemmee a (ie ge t2e 1a a te = soe 8080 20 i 3 @ sos 500500 soo 18 | CamereThe Shutter _coninued “The Shutter and Motion ‘The faster the setter speed the sharper a moving subject wl be. A blirced image can ‘ocur we an objet moves daring an exposure, because its image projected onto ‘he seasor or film by the lens will move uring the tne the suter is open. Ite ‘objet moves swift or ithe shut is ‘open fora rlaively long ime this moving image wil bur and be indstint. But ‘you increase the shuter speed, you ean reduce or eliminate the blur. You can eon- ‘wo his effet and use ito your advan ‘fast shutter sped ean foeze 2 moving ‘objet, showing its positon atthe instant of exposure (se opposite page). You can uses Slower shut spend to increase blurring 4nd secentite the feling of motion (ee pages 22 and 23). Gonerl, the amount of ‘motion blur will double if you ierease the shufter speed by one stop toward a longer time), ‘Show below ae the eects of varying shutter speed movement. [nthe piotre a fa le, the bieyele moved noah during a relatively long exposure of 13D second oleae a broad be on the Fim. nthe nest photograph aa shater speed of 1/500 sBoond the bieyce is much Sharper A moving subject may vary in Speed and thus aft the shut speed eeded to sop motion Fr exarple ‘notion slows and sometimes stops at the peak ofa movement tat rovers, such as the pea ofa jump just before deseent (opposite page), aa even a relaively sow ‘Shute spood will record the action sharps ‘Other factors besides shutter and subject. speed alo affect the amount of Blartng in 2 ‘Photograph. What mats is bow faran mage setally travels acrss the fl or sensor during the exposure In the photo ‘op Below ofthe rider moving diecty toward the camera, the bicycle’ image remains in virtually the same positon in the frame, Ths there is fa less blurcing ‘ven at 1/30 second, subject close 1 the ‘camera thats moving slows, such asa ‘pei 1D fect ava, wl eros more ofthe film or sensor and pear to blur more than the same subject moving atthe sume speed buat farther avy ‘A long-focal-length lens magnifies DIRECTION OF A MOVING OBJECT AFFECTS THE AMOUNT OF BLUR 1130 second 11800 send 1130 second objets and makes them appear closer the camera, A moving subject wil appear sore blury when photographed with 3 Tong lens than it would #f photographed ‘with a normal lene used st the same distance In the pe {ure belo ight, the eamera was moved (panned in the Same diction the bicycle ‘as moving. Since the camera moved along ‘withthe beyele the rider appears sharp ‘while the motionless background appears Dred Sueessfol pain takes both practice and ack. Variables such a the ‘exact speed and direction ofthe moving objet make it dificult o predict exactly ow fas to pn. Decide where you want the object abe atthe moment af exposue, start moving the camera afew moments before the objet reaches that point, nd contnne the motion after the exposure (ollow-though) as you would with a golf for tenmis stoke The longer the focal length ‘ofthe lens, theless actual camera ave ‘ment will be necessry 1130 sean, mera paned When utes ne of he fo movement ies be ores the ha ter pee fast. 20 | Camera yh sates is mening recy endo Fro the camer teeta oe an tric, ove nthe same decom e the Subic Terentia oct snd bare actroandSHUTTER SPEEDS TO STOP ACTION PARALLEL TO THE IMAGE PLANE Tape ot Maton Speed amar Subjet Distance Chapter Two | 21 eee eee eee eee EeeThe Aperture The Aperture and Light ‘The aperture (the sae ofthe lens opening) contra the brightness ofthe ight that reaches the sensor or fil. The aperture ‘works lik the pupil of an eye, elaring or ‘contacting fo admit more ight oles, Ina ‘amera lens, the diphvagin—a rng of thin, ‘veriapping metal leaves Ieated inside the lene the mechanism that controls the size ofthe aperture, Its momable leaves ean be pena wie to let more light oF osed down t et in les (see opposite) The sie of an apertae is ndeated by ts ‘number or ftop. On early cameras the aperture was ade by individu metal “Sop” plates that had holes of diferent diameters. The teen sop i sill wed 0 refer tothe aperture size, and ens ssid tobe “stopp! down” when the size ofthe aperture is decreased, art of the standordae, fl stop seis of numbers onthe top scale is shown in the bo, ight The smailr numbers eorespond 19 thelrgr apres, ar dt the mos et Each ger aumbered fl stp (chown in ice) adits ha he i ofthe previous cme. ens that set at £4 ads al a5 rch ight as on set at 72.8 a nl qu tera much as one sta 2. (Noe that stops hve the same haf ee duble relation ‘Ship tat fll stop shuter speed setings do) 24 | Camera ‘The fallrtop numbers continue in bath rections. Wier apertures, for example 1 (910.7, are posible but such Jenses ae t00 expensive for gencral use. Smaller ones 132, 45, 68, 190—ae sen only on spe clalzed lenses, The change in ight over the fullange of tops is large: a lens whose aperture is stopped down to 4 admits less ‘han 1/400 ofthe light that comes throu fens set at Few lenses provide ange of apertures greater than eight stops. A general-purpose Tens fora singlelens reflex camera, for example might un fom 1.4 0 16. ‘camer lens designed fra large view eam. era might stop down to 164 but open up ‘only t0 £5.6. MOTE: The widest posible aperture on you lens may not be a standard fal stop. lens's Fstop may begin with a setting Such a8 17.2, 15, of 077, then proce fom the next fll op inthe stan ard sequence. Lenses are often detrbed as fast or slow “These terms rele to the width ofthe max sum aperture forthe lens. Tens hat opens to 1.4 opens wider ands sald to be faster ‘han one that opens only to £2. Fister lenses allow you to shoot more esl in lw light ‘rat higher ster speds. They also are ‘ore expensive than swe ens, Prep 18 A fot soe that sponta ene ape tre ac in ph sok a indoors nought yor don Ive tome ped deep th camer ey phatpmhig ect leg on thro Jas oa har STOPS: CONTROLUNG THE SIZE (OFTHE LENS APERTURE anes came wth nied rage of ape teres (stops) aly mae nal top Ineements Ei sop es amar Injse oe bere date ot oe tert [htt be alr eum ea {tthe cee} ostue we ens) ee nny sth ab sy Item tepals ma ‘rsa ne al ne sop ents The cit se erg tat spate oping era meas bee ‘operas ea a Show. your cme on pain cone manga wn at ‘hey epson Apertwres itl oe Stops stop wae 7 m tes Wn. ire us “ ne 58 1 18 Ws wo m3 we te ms wee te ‘erThe le of th es opeing—the apertare WHERE APERTURE SETTINGS ARE “ == a a mech gh as 8 Tee a ma igh 8/8 The ere sop ue ha nga he er it a at On Inthe dntapanel endo Hal as mech Haas 13.6 Tee a mah ight as 1 Hat as mech ght as 18 Tee a mah gb a8 16 Hl se mech ah ae 1111 th abe = es “Twice as mach ight as 1/22 "% Chapter Two | 25The Aperture _connves The Aperture and Depth of Field © src sssoneres ‘The smaller the be sharp from near to far As the aperture is sapped down and gets sales, more of the ckground an foreground in given sone becomet sharp. The aoa of acceptable sharpness in a pictres known as ‘the depth of il, ‘The two larger photographs show on these poges were taken snder identical condition bt with ferent apertre stings In the Photograph above, the diag was opens ot widest pert, 12, ad helene was focused on the boy (b) about seven fst aay (see side view of photographer Duane Mickle and his subject, hone ight), The resting photograph shows shallow: depth of Felony he mile boy (hs sharp, while both the by in ont (@) andthe man behind () appear out of focus. Using a small apr ‘ure, £16, gives different pice (opposite page). The les is sil focused on the mile by, bu the depth of field has nereased ‘enough to yield scp images ofthe athe Figures a wel Some types of cameras let you see the extent ofthe depth of field. With viw camera you look directly throagh te lens. Ax the en s topped dow, the increasing sharpness i visible on the round-gss viewing screen A single- allows yu to Took dire thug the lens. But most modes regardless of which sper is seleted. wil automatically show the sone through the widest aperture. They ae designed this way because looking though the lens ats widest a the brightest posible view fr faming and focusing, yr ie, the wore that 2 scene 3 elec camera also 26 | Camera Dep of fel isthe are from near fan seen tht actly har phateaph Shows he parte to) wich he le ‘sfc Ts pt mambo mi fare dvtances the depth of lcm enoe ‘SMALL APERTURE, MORE DEPTH OF FELD Looking through the widest apertre also means you ee the scane withthe lest posible depth of ild. Some cameras provide a depth field preview button tht stops dwn the lens hat the viewfinder image shows the depth of field atthe apertute you have selected. However, stopping down the lens redues the tightness ofthe viewfinder image In dm ight or ata very sal ‘pertue, that mage may Become too dark tobe scen clearly. but Single-lens reflex film camera and view cameras do give 90 ‘vay fo check depth of fed visually at all spertares. With ada ‘camera you can make (and later delete) atest shot to eal hon he ns i top dv sas rere here 16th deh of fll nr 15 fctsnw sharp ae sme we {depth of il from the monitor displ. MOTE: The ger te op hor camera designs show the scene diferent. Ragin alr he ee peng Gr on and some point-and-shoot designs havea window in wich you frame you sho, Through this ewido, objects at all distances appear ecually sharp. ‘Some lenses have a depth-of-feld scale from which you cn catimate the depth ffl This scales printed! on the lens as Ped numbers tht bracket the distances ofthe nearest ad far thes points ofthe depth of il. As the len is fectsed andthe Fstop se, the scale shows approximately what part of the picture will bein Fes (Sec the lenses at fet) The farthest distance ‘marked on the lens appears asthe symbol =. When this infinity ‘mark appears within the depth of fet shown on the sal, all jects beyond the closest distance in focus wil be shar. CChapeer Two | 27 USFQ- P'RLIOTECA 29 OCT. w wO4192Using Shutter and Aperture Together ‘Both shutter speed and aperture affect the amount of light entering the camera To act {comecty exposed picture (one that ise ther 90 light nor 00 dark), you need 2 ‘combination of shuter speed and aperture that ets in the right moun flight fora particular scene and particular ISO speed Equivalent exposures, Once ou kiow ‘combination of shutter speed and aperture that wile in the rightemount of ight, you ean change one sting as long as You ‘hange the other in the oppeit way: When ‘sing fall stops, cach spertare Sting ets Jn wice as much ight asthe next smaller pening (angrnumbered sting). Each shuter speed let in twice as much light as the next faster spend. (See photographs at Fight) You can use larger aperture if you noo a faster shuter speedo you can use a salle peru if you want slower shut fer speed The same amount of light i tin by the combination of 16 aperture at 1i-second suter sped, a by P11 at 1/15 second and soon. This back-and-forth bal- cei alle a reciprocal relationship. ‘Shutter speed and aperture also affect sharpness, bu et diferent, Shutter speed fects the sharpness of moving objets; peru affes dpth of Field sharpness ftom neato fr hei ferent effects are shown inthe thre photograph at ht. In ach, the lens wae focused onthe same Point, nd shutter speed sn aperture set tings were balanced ro admit he same total ‘amount of light ino the camera. But the ‘suivalent exposes resulted in very Aiferen photographs. In the first pote,» small aperture pro- «duced considerable depth o field that ren- ‘ered background dots sharply. Howe the shutter speed needed to campensate for ‘his tiny aperture bad o be 0 slow that the rapidly moving flock of pigeon apps ‘only as indistinct ghosts As the aperture ‘vas set wider and the shun spoed faster Inthe mide photo, the background is ess shar, but the pigcons ae visible, hough Sil ured. At fright, il larger ape Ture and fasta shuter speed sacrificed ‘almost al background detail, but the binds ae now very cer with only afew Wing tps stl red [A BUCKET OF LIGHT ‘The guy fight that echs the in oun ue ht depends cn om ot tetas pen how te wer ows {ice theca ch be ia 3 ‘eo aba cet Bu eds ot Polos is oe bc he et Royer sne aa ate an soe ae ese, Tobe rope ad nt een thas gre sane ethene robe eps g Teta pus erasce 2 ot fi yo get an aaa encase Tah eth fe st ee au ‘Sead abe art th sae ettey—aseea Oe ‘he valame of water fortis the Teng of ine ampatd the op atti, the eo Sovnt of water dlvered whe al SO Sa apertar ep hf sow sue sped min Bara Scere sal epee J) pede ret depth of fel Be sar pin ‘cs wel the farther oc are sharp. at ait engh Ig so “hor ed (8 se) ws need i so fo how moving won Sh Ita mat hat jp had Bd hl the come tea 28 | CameraChapter Two | 29Choosing a Camera ‘hooting a camera wil ease if you fst decide what hind of pictures you want to te, thn think ebout which base camera dksign bes its you neds. If your picture taking consists of occasional snapshots of family ends, or sghsceing views, then am inexpensive,nonadjustbl,poiatand- Shoot camera maybe satisfactory W yor are a photography student, serious ‘amateat, oj someone who woul ks to learn more about photography, you will want amadjastable camera. For most people this ia digital or 35mm (hity-tve mile ter describes the fim size) single-lens reflex camera. A camera may have aito- ‘mate features, but ata minimum it should also give you the option of manually Selecting the focusing distance and ether the shutter speed or aperture, pofeably bot You also want a camera that accepss interchangeable lenses, Be suet ead shout lense in Chapter 3; lens selection is import in your choie of amen, ‘Shop around to compare pices, scot seven, and servic, Make sur yu ie the vey the camer isin your hands, and hat baton and knobs ae cenit paced and easy to manip Wit the mae auto rate models, se if ts eonvenien! to over fide the automate features Ifyou wear lasses, make sure you ean se the entire image "Yow maybe abet find good used cam era at. considerable saving, bt look over ‘sed equipment refill, Avid cmees vith dents, scratched ese, rates, cr ouged sre eads that ould indicate = home repro, A epuae deale i exchange a camera, new or used if our Fst ory, Examine your fist fumes or tat ir rol aeflly fr sot fas, src, or other signs of trouble The sl ofthe fl or the resslation ofthe ‘enor determine the quality ofthe image the Camera produces. High-quslity images can be produced by 3mm film which i less than 1 12inches wide, But a 35mm eee tke, forexample as tobe enarged much ‘mor han ax inch epative to make the same sie print. Te gr the negative the sharper, smooter, and mare deed ay image wll be rendered, Fil see also dtr mines these of the camer tele Obviously, ‘he sale the film Frm, the smaller the ‘camer ca be ‘One measure ofa digital emer sensor tethe number o piel i captures. Al oor things being equal. a ten megapixel MP) camera can make higher-quality pets than ask meyapeet eamera ‘SINGLE-LENS REFLEX CAMERAS eles elles (SL) camer shows you the ‘eone diac roogh he lena The ras rer sopping erg Ietofeae he sane conpn a Whe ‘ne yun proven on mah here be ‘Spam end sets a sa bode Hotta Sing he dit se ese Ye ssreiaes DR OLR Advantages See vig sen ues ecm Ica vrata erro ie anges ‘Sawn ee ssn seein ‘its et al eed es expec oe ‘Sheoupe Mess ee it note cae ee rere tpg eagh he is he wes Uta mete retin eee Dindeatags: sg le i eer nd larger on ade caveat ues hse atti ora comput el cme opt, et) ath ret omp, th mse epee 30 | Camera tha may ned ep I og iro aes 2 dak ‘ng pseu eam ma fsa rath youre ang dials restores ele Men he rx mares ‘vse, mene Sa he eur nae, ‘TSeracin nse stan fa te mtn he iran hte nay cae vrs ht ne he ‘nr elt edt) a shes ‘hosing a eames Seren canes the fet poplr tens bor yas pe thal a ga vet of mechagene ssa ecm ls essa bu ah Tama ears toad avons pose, 5; fata i ge en tree trenapstrae Sone cane ana ewe ens ie evn nase steree ecient aig Sp amor ik ‘Set ft tre be eyo ou ee you Foyer treme pac ee nied) tote mae, eae be cane alow oman ere sat ates es wa eae as esas Fr ane, ae i canes way e 0 pn you ed the Ok ‘edhe sae. Tha ae ts est te scans ease ‘re wnanou wrt ne poo ere Hom ‘sade ow cert seer ie states oe cea he ey 8, ‘creer x eb ela ey. ea ‘stn and resort? singles rtorameca has a wing 36 tom thst belt around s miro We us Iifecnngtegh te comes lee "Nemiorap towing aren en aly ae (Ba ested pragma rs Be mere mage ound opps coe wate ee (Se ‘pombe hen Sut ese, Fore ving op persting ho each hater tds osc ecko cme aaa lui The nage race th sae a5 tea wed hoe ns. ‘hie vowing Dg exper(oosng camera: Yer omangiie aneas ‘entre aha pinata ora ate nthe rei net esq or gt ete tn Sem he Charges ees Thee pq wh preseason hs woverta cath sy ey ay ta ers ete eg ram pur potato vat reas ager {tan em wth vere ong rls Ret nya nts inerenangene bt omens eta im cog el ht thon em seer role cers and be pte eaten ge 0 Sons male 261 Sm 2 ue] ngene ers ae recast 837 ehetlene sian) eb xtsen(2 1x58) Meir il men ee ‘route sper cpr oy hated mage Bees hey ae tse es Paine yey epee, aga ads edu Ss eed be teers fred ae) opie ag RANGEFINDER/ VIEWFINDER CAMERAS Avieinder amore shews you the sene through 2 ball new (the winder The eto ‘apes inpte ae tous oak ay mpi a nests rr can tds i aco costs at oe cr any “re soe Mos age and ener certs {er 3Snmfnaten ee eter se. Advantages To cane iconpc ong ad st tang Cones agele rte cer, tat feng et noe sirog meen 9 {eter less et ten ng operat. onal rv caneanes pe veto nag ih aes easy as qc pricy ‘oat oer te ey pe yb rar oes Bo be ape fan Bove nae aes bre ree eo congested Disadvantages Base evens tet ten fun he ks tht ese eng rots yom ry acy i Te Ge wcatore nc aren ten clit be fae Stee ced wn then aah (rhs wena mrabspar oatecnesp son fener se orc Seats geen Senos ty Soy ores woe oe Choong camer: km ange ames usa cress yume ety a at plant ods sands he ope fe your rh sone els hve be pc oso alert Agha re Ser trong bon one rere pt ‘apo wat var rearguard ah Thy raue eats epi rss ad edee eas ‘COMPACT DIGITAL CAMERAS Comput igi ames he i i are pe ‘ugersdy basta eh sel ase teh 2 ‘Seon metalic te Ineo at the ane. Soe argu cee Inow epee onl gta Le (DSLR) pare (yan ares mate dese eels (Fouad etc My cpa Siocanp gt ren Adratages Cease walle awa ‘ie tres ade tn acon Stal peas Sn crate sme, Uap anes in ait pt Dieatrantags Sone enon: ean eet acc Se, etal May cnerashare ea igh ee Bo ‘Se espa hte —betncn prs he ‘auto ms peak acon, itl nos at reduces ‘rely sgt ade age ae nin Dothan hath arse camera ei pote las Dhst areas esr Ba ase Pi tere en pn haere oo caer Thebes creat ahs one eae Chapter Two | 31 Oe essE Choosing a Camera _coninves ‘TWIN-LENS REFLEX CAMERAS POINT-AND-SHOOT CAMERAS oiat-nd-shaat flim amare, so ce arp ‘insu are pte endl are th ‘Ent atl creas Hote Sm in 3 ral lr le 19] nae ly ares) a Fatty ease ged en ue ‘anesthe st ane ae ‘Spee tea ak oh yor nad sane re eflen (TL) ener nis essa exh apo and alter a be Eten sess suse eal soe ak Bee-glly oes harm es on fe Sore Wheat mais wend vig an cll bas, pase fash toe Ponte Tenuta caer randxved Tsar que, Suet aeas wean herp a 0s (hue rc oenealy ls opera ance gpescl_ Tyce xt lesb hy ae eo oso a cas Fyn erse as UR cyan a sen as yu BRO Sa Me Batwed ay seetnent th great a poe Twin VIEW CAMERAS Asiew camer bas de, thoughts vew- Disadvantage: Te anes we kya ead Inpand alge ape ona emg reels" noes egie an ait heya sons. ‘Peseta le bone ag ts canes Mew Tests ap nfs a te rt Bn ‘nea has alee al eto a grands vena mat te eee he nage pe on heer ‘ean alte nd, wea ibe Saenretean ous ey bt ase ey oma pt 3 Seay ong hes rth adr ten ch th ured ane ah she meen eyo goss. ‘mer The og oso he ei see ones Thevewaces coherence acer Secombe le, solis ued, th isc ances pyr eatery rere hess he hse ecto ee Ta ge hegre’ gas ary cowl eran ie buE oberg a ‘ay sip sae, _ csheemumeccarat 90 & sais ade apse ye hye spice Gap Teemeapartae — Iavlew emer th ht comes det rom ‘iyaluatejacan un repostord” these, eagh he fe fs yond SGeomcttoe cas ahrsofalyucan are wing screen. Thetna: ya ecco ey ot Fry ctl ice paige Wen cgi” een 20 spe Sn fans compa Mihpre Seyosd rtcpoae fe soyavan Sein yr sje gourd us maybe ced Sie eas nb oye waste 98 i MM dong 0 ei at 17 32 | Camera yyFocus and Depth of Field What exact is sharpness, and how much Depth of fld isthe pat of a stone that can it be controlled? Jn they en appears acepaby sharp i photograph only focus ona flat plane at oe sin Den of fed canbe shallow, with only 2 tistanee {the plane of focus) and narrow band ats the ene apeatng to be objects all other distances will be less sharp (photo, eppasi, or it ea be dep, Sharp. Buin most cass, par ofthe seene wih everything sharp from nar ofr (hot, willbe accepaby sharp both in font of sigh). Toa lage extent, you can contra hw mi behind the most sharply focused plane, much oft wil be sur. There reno definite ‘Objects wil gradually become more and endings to the depth of fe; objects rote out of focus the farther they are fom gradually change fom har to sft the the most sharply Focused are farther they ae from the Focused distance The a of connor rte depth offal cone ao Depth ffl. eae in ascane nw et pit iene tharos vlc ening ince thet ofcah Ie pon mating more of it tance of 5 ot 54 | LensFocus and Depth of Field _coouinues — relating and controling the depth of field {is more important in some situations thn in others Ifyou ae relative far fom the sub- {et the depth of il te distance between ‘he nearest ai fates points in a scene that appear sharp ina photograph wil be ‘reser than ifyou are up cose. Ifyou ae sing shorefocaLlength ens, you wll Jnave mare depth of eld than with along lens Ihe importa pars of the sene are ‘more or les onthe sume plane let right, ‘hey areal key to appear sharp a long as ‘you have facused on one of them. ‘But when you photograph a seene up ose, with along ons, or with important parts of the subjecsbth nea and far, you tay want oinrease the dep of Feld so ‘that parts ofthe scene in rat ofan behind the point on which you focused will alo be sharp ‘Sometimes though, you will want bar a dractng bickground that draws aten- tion fem the main subject. You ean aceom- pli this by desreasng the depth of fed ‘You amas the aperture to control depth ‘of ld To inerease the depth of fe 30 that more of a oene in fot of and behind your subjects sharp, sting the lens toa Staller apertre i elostalvays the fist ‘hoje. Select 016 or £22, for example, Instead of 2.8 oe. This isthe ease even though you have wo sea corresponds slower shuter speed to maintain the same exposure. A slow shutter sped can bea problem if you are photographing moving ‘bjt shooting in ow at. "Ta decrease the dept of field and make less ofthe scene in fon of nd bohing the subject sharp, use a wider aperture, Hike M280 4, ‘There ate other ways to contol depth of field, You ean increase the depth of lld by changing oa shorter focal length lens oF Stepping back fom the subject, although both of those choices wil change the pc fare in oer ways as well (se opposit). "To decreae the dep of field snd make less ofthe scene in fon of and behind your subjet sharp, you can use a Longer Tens or move close othe subject. These alternatives will ls change the compos tion ofthe picture (ee opposite). ‘Most D-SLRs and al compact iat cameras have sensors smaller than 23mm fame, Fo them, lens witha given angle of view (for example, its normal ens) will havea shorter focal length and give more epi of field a any given apertre than 2 lens withthe same angle of vew—in this ase, a SOmm Jenson a 38mm camera. ‘This isan advantage if you want everything in your picture to be in focus, ut limita- tiom i you vane to sta subject apart rom its backround (see page 320 and 329) Why does ens of longer foal length produce lots depth of fd than a shorter fens used atthe same Fstop? The answer relates tothe diameter ofthe apertire ‘pening. The relative aperture (the same Fstop satin for lenses of eiferent focal leneths) i ager opening om anger lens than ts ona shorter lens (see below) Different lenses go out of foci itfer- ‘eny. The word bokeh Clapanese fr blur- ring) refs fo the way an out-of su ject looks ina photograph, which doponds ‘an both the shape ofthe apertre andthe Assign ofthe lens. {LENS FOCAL LENGTHS, APERTURES, AND LIGHT The two lez elo, bth et at 1 tn he ime nmoort fight Sh he a pe fine ton ee (esta sae tan ‘eign g 200em ee The re leh Be st a aches these ri here alge a fee chris i ee oid tyes eto of te esi On osred aes penny ot 2m pode ani ape ‘est apr cers ate ind so batstagen tap nie fesine mortel EA "eu be tp raters eed eg of ‘he Hp mtr as cede ei spe as ‘etealng hee diedly he ere dane eae he igh of te esi 200m se ‘anny Sem to pro sn 4 spre om mm. Simla ipong ~ ep * 4 O 56 | LensSHARPNESS & DEPTH OF FIELD Ss pep oF ro None Deri oF FLDcnarrensranre LENS Light Be ome on eso oar exer ae for images of ben Yu cor singly place a rectngle of end fla or ary of Tikesostive dds fot of ar and aor an tage spear {sh refetin fom the jc would He nce encom jee ‘hing at ep bl tar cxparre ove he et re {igh ect oh ray ade ere Fo tpi, thd fing to proce a uf ing, Wht ede me st of ih oven thot and he gloat wll erase pro he mae her Ihotographic lenses do the stme basic job: the all ght emanating roma scnen ont ofthe camera npc 35 an image oa fh serine sutace(a lee of imo aig ener at the back of he camera Ths chap eps how yu can use ens focus (which A simple pinot wit form image, ut ms ashe oe Lens foc length i probably he ‘most iportanirecebetwees ene T= ge oa gh eget je Avena il ast ses oo the sharpest pat of» pbotogrn, Se artenh ohare many aed beth ames his steal i, ew sharp an image appear i a | atte bythe depth of elf | Tetras acetate nce, Peeps, te apart | nd hap feb oe esn “dp ace ye ee you seal re yup te as Tos ave opto in stein ar en Mack ings pessoa tober sebet wate adjusts the sharpest part ofan image), ns focal length which cantls the From Pinhole to Lens. Lens Focal Length Normal Fea Length Long Focal Length. Short acl Length oom Lnaes Special-Purpose Lenses, Lens Focesing anal Focus Automatic Focus Focus and Depth of Feld Carirofing Depth of Fels Zone Focusing Fecusing on the Hyperfcal Distance Lens Getting the Most from Yo and Lens, Camera Photographer at Work: Documentary ‘Photographer Mary Ellen Mak. 50 50 52 56 58 so ez 63 Cy magna ofa scene, lens aperture, ane subject tance to make the nds (of pctures you want Lenses orth fim and aga cameras fll the same pencils of optics afk From Pinhole to Lens Light acts in some ways ie rays and in some waye tke waves ll pots in ay Seen emanate or reflect rays oe waves in a directions, All he ight reflsted from a Point or an objet isnt necessary 1 pro the an image, a seleton oft wil do ‘When ight fom an objet reaches a burie witha small inode i i ke that inthe drawings on the fright, all buts few rays fom each emanating point are deflected by the barnes Those few rays thac do got hove, taveing in straight Tins rom the set an make an image when they seach a Mt surface, ke Film at the back ofa eamera, The image is rotted ‘upside down, Everything that was atthe op ‘ofthe subject ppeats atthe Bottom ofthe image and everthing atthe botom ap- pears atthe top. Silay, eft becomes fight and right becomes let ‘The trouble with using a pinhole a 2 ens is its tiny opening, I mits so ie Tight that very lng exposures are needed to epsteran image on film ora sensor If the lei enlarge the exporure Becomes shorter, but the image becomes mich ess sharp, ike the centr photograph at right ‘A pile, small sti, actually adits 2 of ight ys. Comin ily Afferent angles, those rays comin Hough the ole in slighly dierent rections. They fan ou, so tht when they bit surface, ke fim, the ays from a point on the subject sake a tiny, bry cee instead of forming ‘point again. As the size ofthe bole is inereaed a larger claster of light rays gets ‘rough to the film or sensor and makes a wider, even blue eile. These circles ‘overlap 0 the wider each icle Becomes, theless clear the pctre will be. ‘es creates a sharp image with relatively short exposure. To wet sharp pictures, the image of small point should tso be a smal point. But thor sno way to achiev that ing a pinhoe on 3 emer. Even tiny opening, which adits lite light and requires long exposure times, will mot make avery sharp image. To aint more igh and 1 make a sharper picture than even the smallest pinhole, a {ferent method of image formation is ‘needed. Thats what Tens provies 38 | Lane Photograph made wih small inhale Tamake ts pare the les ofa comers Wes replaced wih thir metal ik perce yo iy Dials ciel ise eerie off ‘i ae aot rom each po on he Photopraph mide with age pibale hen the ce of th pale was ners isthe reat was on exposure of onl 18 0, ‘non euremel oof onstage Thea et rh morc ps from ack po on he ists ag sip cone lens th Bb aera he soe eae sharper hae nent he nal pine, te ‘prs te smh shot ct 100 subject gt through ety apie product Softee lar potagrapk Beco of suit Thee wie five aching tbe ig este fac ling age ie hat The os pening as much ge ta theoration wrk showin hs sagen of ight spss rong four [nas Boks. The ny, ener fo ost moder photographic lenses are based on the conve one Thicker inthe idle ‘han athe edges, x convex lens collects 2 larg numberof light ays from any sine point on an object in front ofthe lens and refactor bends, them foward each other So that they comverge at a corresponding Single point (dgram, lef) behind the lens Each point in the scene (bjet point) cor. responds toa point bebind the lens (nage it). Insido a camera, a srp of il is Stretched lat (ora fat digital sensor i positioned) across the image plan, some times called the film plane ll she points ina corresponding oboct plane inthe Scene wil fous as pola on that sures, So the picture wil be shar for everthing in that plane How does a lens retract (bond) ight to form a image? Wien ht rays ass fern ‘one transparent medium, such 38a, nt & Aitferen wansparent medium, such a va ors, the ray refactor bend. Look at the shape of spoon half submerged in a lass of water and you wil se a common ‘sample of refraction: light ays reflected from the spoon are bent by the water and ss so that pare ofthe spoon appears dis- paced For refraction to take plac, light must strike the new medium at an angle. I ight rays are perpendicular to the sutfce when they eater ad leave the med (disgrem Jet (1), the rays will pass straight through: Butif they enter or leave at an ‘oblique angle (2), the rays wl be Beto predictable degre. The farther from th perpendicular he strike, the more they ‘vill be bon hen light sikes a tansparont medium with a curved surface, sucha lens, the ‘aye wll be Bent ata number of angles depending onthe angle at which each ray fener and leaves the ens surface. Tey wil be spread apart hy concave surfaces {G) and directed toward eachother by convex surfices (4. Ray's coming from 3 Single pont onan object and passing Throws a comes fens (he simplest form of ‘camera lens) wil cross cach other—and be Facused—at th image pin Chapter Theee | 39‘ Lens Focal Length thelr foal length. Since the ears you are tos likely eo choose can be wsed with imerchangeable lenses, you can aso ‘choose which lens to buy oF use, Tens ‘fen described in terms of ts focal length (a Stim lens, [2inch lens) o its rel tive focal length (normal, long, or shor). ‘Technically foal length isthe distance between the les’ rear nodal point and he fal plane when the lens s Focused at infinity, Theoretical infinity is a distance inneasrably faraway, beyond the edge of the universe. In photographie terms, infai- ty ia distance from which Hight enters the Tens in parallel rays. Lens designers all the image point where those rays come together the fal point Fecal length controls magifation, the sae ofthe image formed bythe lens. The longer th ns, the greater the size of ‘objects in the image (oe diagrams ih). Focal length also controls angle of vow, the amount of the scene shown on 2 give size of sensor oF film (se photographs ‘opposite A long-foal-length lens forms 8 lager image of an object than a short Tens. As result, on given siz of sensor | ‘or film, the long len inelodes less ofthe | Scene in which the object appears. If ou ‘make a circle with your thumb and fre | Rasen doe wy ao | silLStonorae su acd | Somme gordi hn ur | Seer oetegrar ae sto right ge, Inston anf a we oie 40 | Lene Fa lng 200 fection a $F. | ™ | } Le “toe of sort focal nh Bens ight sar: ‘The mt of igh cece eid he fe fram mage fh jer. Fecal eagth Soman Atos of longer foal length beds igh raps kext propartion the oa length be abject. than ahr ler doe. The gee leh, ema he tame stn rom hfs the {ices nc rapoe bo ter bbid thea fora by een lB eg low se mage fone nd the moe he age ah fom 25m ‘sag. To i 0 te mage neces nChapter Three | 41Lens Focal Length Normal Focal Length A normal-focl-ength lens lz called 2 standard-loa-length len, approsimates the impression human vst gives. One of the greatest of moder photographers Henri Carer-Bresson, who described the ised nor lens. His pice opposite includes as much ofthe scene a8 you ‘would probably b paying attention it you were ther, the angle of view seems tural, andthe relative size of near and far objects seems norma. tens that i » normal focal length for ‘one camera cat be a Tong foal length for {nother camera. Film o sensor size deter nines what will be a normal foca length, ‘The larger the size, the longer the Focal Aer ofa gho fcl thigh on th tof a 42 | Lene ow of 1500 oe length of norma lens fr that format it corresponds roughly 1 the measurement ff diagona fine across the film fame or fens surface (see below ‘camera using 35mm fil takes Som lens a8 «normal Focal length (0mm is about tw inches). For camera taking 6x Tom pictures on 12 fl, 2 ‘normal foal length is about 80m. Fora ‘camera ning $x Sach film, 2 130mm Jens is norma. The sensor in most digital cameras ae smaller than a 35mm frame, 0 ther normal lenses ae shorter than Som, Usage varies somewhat: for exam- ple, lenses fom about Omi to SBram ean be refered o as normal focal lengths for 3 35mm camer ‘lens of normal fca length hs certain vantages ovr lenses of longer or shorter focal length, Most normal eats are fester that i they ape toa wider mastnum apet- ‘r,s ca be und with fistr shut speeds ‘rin dinner lig than lenses that dono ‘pen as wide, They on are es expensive ore compact, and Hight in weigh ‘hoie of foal ength sa matter of personal preference. Some photographers Tail se a sorter focal length because they want a wie angle of view most ofthe ime: etars prefer a longer focal length that narows the angle of view tothe central objets ina scene. Ifyou sen’ sue, tart with a normal Toca: Tength lens. eof 150mm oe be bth camera withLens Focal Length continued Tong Focal Length ‘Atong-focl-ength lens provides greater Image magnification ad a narrower angle of view than 8 normal Fen. Fors 35mm cam {ra (ora D-SLR camera tht uses a sensor the sme size as «38mm fame) a popular tnd usefl long fos length is 108m. Fr ‘camera using 120 fil for 6x Tem nega tives, a popular comparable focal lengths 150m fora 4x 5 vow camer, its about 300mm, Most D-SLR cameras have sensors Smaller than a 35m frames there is mul- tile factor you can use to compare angles ‘of view oJenes for 38mm use. A digital ‘arta with a 22.5 x LSmm sensor has Imoltiplier of 1.6 any ens on that eamera till ave the same angle of view asa lens vith 1.6 mes longer Focal length on 2 $35mm film camera For example, 65mm Jens used with «22 x [Smm senso will be comparable to a {5mm lens used ona 3mm film camera Long lenses ae excellent when you ca rotor do nt want to get cose tothe Jeet. Inthe photograph opposite, he pho tographer seems tobe inthe ide ofthe action eventhough he snot. Long lenses make it possible to photograph birds and animals from enough distance that they ae Lng lene fe produce ete ports trot on fh Sn 150 ar 33cm) ee oe fom he ‘bj car ih er er pr ha ‘Sher ou ed lhe ue 8 44 | Lens not disturbed. Mediumlong lens are excellent for portaiture: mest people become self-conscious when w earera is too close fo them s ther expressions are often artificial A long lens Used at a mod- rate distance also avoids the kind o dis fortion that occurs when shorter lenses used close toa subject exaggerate the sizeof whatever ie nearest the eamers—in a por- trai, sualy the nose (ee below) ‘There are sulle qualities that cm bo capoted when you use along lens. [Because long lens has less depth of ed, objet inthe foreground o background fan be photographed out of fcus so that the sharply focused subject stands out leat (See opposite page) Also, long Jens can be wed to create an unis per spective in which abject scem tobe closer together than they really ae (se page 61). ‘Long lenses have some disadvantages, andthe longer the fens the more noticeable the disadvantages become. Compared co Tenses of normal focal length, they usualy ae heave, bulkier, and moe expeasv “speci telepotos with wide apertures Because they have relatively sallow depth ‘of fed they must be focused accurately ong lns, madera i They ar ficult to use for hand-held shots since they magnify Ins movements aswell as subject siz. The shutter speed fora mediun-long lens such as 108mm Jenson a 3Snum camera, should Beat east 1/125 second ifthe camera sand held. Fora 200mm leas, you wll ned atleast 1/250 sec. Otherwise, camera movement nay case blaring. A tripod or other sup- pots your best proteton against blurry Photos caused by camera movement. pers common cll ary long tele, although not ll long lenses ae actualy of telephoto design, A true tclehoto as an effective fal length tat is greater than the seul stance from lens to fim plane, This ‘design makes the lens shorter and easier to handle A tele-extender or tleconverter ‘ontans an optical element that increases fhe effective focal length of any lens. It attaches between the lens and the camera ‘ody and magnifies the image fom the Tens ont the fin, With these devices, the effective length ofthe lens increases, but Tes light rashes the film, A converter that, doubles the lens focal ent for example loses two Estos of light Start osLens Focal Len; ‘Short Focal Length concnued A short-fecl-ength lens increases the angle of view and shows more of a sane than 2 normal lens ered from the same position. sort lens (Commonly called a wide-angle lens) useful ‘when you ae physically prevented (as bythe ‘rls ofa room) from moving back ss mach 8 mould be necessary with anormal Tes, Fora 35mm camera, a commonly uscd short focal length is 28mm. A comparable les for 6 Tem eamera is SSmm. For a4 x5 view eam Wide-angle lenses have considerable depth of field, Amn ens focused on an object 7 fet say and stopped down to 8 will show everything from 4 ect to nfnty in shar fous, Photographers who we in fastmoving stations often we a 46 | Lens moderately wide ens, such as 2 38mm les on 3 35mm camer, a ther normal ens. Tey don have to pause to refocus for every shot, Because vith this ype of lens so much ofa scene sharp, At the same tim it doesnot dspiy too much Astron. Petures then witha wide-angle lens cn show both real and apparent distortions. Genuine aber tions ofthe lene self such as curlnear distortion ae inherent in extremely curved or Wid elements made of hick pieces of elas, which a offen used in wide-angle lenses, While most aberrations can be corrected ina lens of « moderate angle of view td sped he wider or faster the les, the more tific andlor expensive that corection becomes. SLR cameras needa special kind of wide lens Fite reflex mtr to move. Its more difficult rect aberrations in this kindof lens; wide-angle Tenses forcameras without mirors—rangefinders and view cameras—often perform bate ‘Rvrde-angle lene con also how an appoent ds tortion of perspective, ut this is actually eased by the poston of the photographer, not by he lens. AN objet thats clone fo a ens or youre) appears Taner than an objet ofthe same size hai farther aay, Since a wide-angle lens olen used very ‘lose to an objec, sea to exnggerat this size relationship (below and igh). The eure iso learn to ‘ee what the camera ses and ether minimize the distortion, or use it inetionaly (pages 49 botom and 61 rh),t Lens Focal Length _consnued Zoom Lenses Zoom lease ae pope Beaute they combine ‘range of fcl lengths ato ene lens, Using a 28-10Smm zoom, fr example, slike having 126mm, SOmmy, &Sram, and 10Smm ens instantly availabe, pls any focal length in between. Tae lens elements inside 200m ‘an be moved in reton to one another his ‘hinges the focal length and therefore the ‘Sze ofthe image, Tris convenient to beable frame an mage merely by zooming o another focal Tength rather than by changing your lens or position Some photosraphers carry only fo lenses 8 24-S0mm zoom and a longer '80-200mm 200m. A 200m lens is particu Inly use for making color slides, since ‘roping the image late snot ey “hoot hae some dsdvarages. Compe to fixed fca-lensth (sometimes called prime") Tenses, Zoom ae often more expensive, tier, heave, and they canbe ‘optically inferior. But one 200 Is wil reps two or more fixe feet lensos ‘The best prices and fowest drvbacks ae found with a modest zooming range from 35mm to 108mm, for example. The greater the range, the more evident the disadvantages become, Some zoom lenses are best wrod where light i ample becuse they hae a relatively small maximum apertre. 2000s that keep the sume mixin aperire tal foal | Jeng are complex desis snd therefore relatively expnsine: most reduce the size of the maximum apertures thir foal length Iereases, For example, 28-10Smm z00m may pen of when sto 28, but ‘ly 05.65 at 105m fon, TH: Wid zoom, be especially cael o make sue ‘your shutter speed is ast enough to avoid ‘ur caused by camera movement. With the Tens at 28mm, you en use minimum shuter speed of 1/30 second, but when you ‘29m out © 100mm, you wil need at east 1/125 second unless you have the camera on a tipod ‘Uses outdoors during the day, most 200m lenses work fine. Homever, to shoot indoors with avalable Tight you may want a zoom that stays ata minimum of £28 over its A vom oes oa choke of feet ol Teng ten th pooper aed he et Fal eng othe plore on he if, ho he ‘ter pare, ble aoa nh near or along of he eae Al ee ples were ‘mode ie ond he same poston 48 | LensSpecial-Purpose Lenses Tenses have a macro fetus. They focus ‘lose asa fxed-foca-lngth macro lens For the widest of wide-angle view, consider the faye lens. A Tisheye bas a differences in size between objects that are near tthe camers and those hat, are farther vay Inherent in sd right ics info curves at mage. Fisheye len th of fick, Obj ofthe lens and those inthe fr distance wil farting and effective views (bottom le) ‘Aberrations are deliberately introduced In a sot-focus lens, also called a portealt lens. The gol st produce an image A perspective-cotrl lens brags seme view-amera ajastments to other types of Cameras. The lens shifts up, down, o ie all lines, such a8 the rom iting tovard aera iste sides of bul other ith f ‘Aeatadopte ot miro lens sili Si desig toa reflecting telescope, I incor ‘clement within the lens. Th lens witha very long focal ‘modest size, one much smaller and Tighter equivalent focal length that exon gles cements, A unigue eet ty the Font ror that out-of ke on a dont shape, A lens: Miromotors adjust th special losing lens element Chapter Three | 49[___ Focusing Your Lens Manual Focus With manual focus, you select the part of scene you watt to be the sharpest What is the mast important part ofthe sent shar? What do you want to exmphasize? ‘What do you expect viewers to loka frst? Iryou are photographing a person, focus on the eye Ifthe person is tan ale and you ae up close, both ees may nt be sharp in the photograph, Depending onthe scene, it ‘may be mor important to have the near eye corte far eye ship ‘The nearer you ar, the mare inportat it ie to foeas etal. If you are 2 fet aay focus is eral, beeause depth of field will be sallow, with ony a narrow area fom neato fr appearing sharp. IF 9ou focus on Soniething 200 fect avy, everything at dha disance and beyond wil be sharp. Focus manealy lke you might tone tar. Go ile past the pot you think ome then come back. IFyou adjust the focus util the image looks sharp, then jst it ile more until the sje looks tanshar, then go bask to sharp, youl know trail when your subject sat te sharpest “Sharp focus aracs the ee 50 | Lens Follow focus i technique tat ets you oop sabjoctthat is moving toward you wall Aecaeed Is runners coming award you yn hve to ast the foc at about the same rata he runers ance changing, ‘One way to lear how to flow fous is to practice focusing on people moving toward and vay from you. Thea practice tn fase things, sch othe ces plates ‘of moving ea, You don’t ned this Skil if sil ifs are your only subject, bu itis ‘itl if you want to phorograph fotall games, auto races, dancers, or anything ese thar moves fast NOTE: Dont ogo hat shutter sped and spertue ato play an impetat role in making ‘objects appear shop in he al pete IF your suter speed en fast enoush, ving ‘bjs wll appear blared in a potoaaph, a0 mate how sharply facased tw This applies to autofocus a wll. I your apr isn smal enough, you may have focused on an important are, but an esually important, neat ara may be ot of foes, Se, Fr example, he photographs on pages 26-27. Shr fi signal py ate mA Sheen eae Ryceae kata 7 | VIEWFINDER SCREENS FOR MANUAL FOCUS Singles fe sed ec fourbistrd nt bcos } | Soeaa anim ade Siege yan Refer omer may ae inde 2 erp sre al pps Septet th ae shat un inate OTE: une en rls, nif mana bash att ies Since cane wis evr ae ot we ote ala cracion (cits bet he pesctsngusesOnerconee raed Sipe tiem erste ta ree deh ah opie SoFocusing Your Lens continued — ‘Automat Automatic focus (AF) does the focusing for ye. In the simplest designs, you press the Sutterselessebuton andthe lens brings the image into focus, The camera adjust the Tens to focus sharply on whatever abject at the center ofthe viowfinder or within the focusing brackets This ype of autofocus ‘works well in sitatons whore te main subject sand stays—in the mile ofthe Picture. The eamers may boep or display 2 ‘confirmation light when it has Focused, bt the presence of light doesnot assure that, the pote wll be sharp overall, your subject isnot I the center, you ‘can use eatofoas lock to make It sharp. Frame the subject within the focusing brackets or simply point the camera straight att To temporarily Tock in the focus, press the shuter release halfvay down, Keeping the sbutter button part Iy pressed reframe the scene, then press the shutter release all the way down for an exposure (see phots, right) Wide-area focus systems provide more ‘options, Some viwtinders display several Focusing brackets. By rotating adil cr thumbwheel onthe camera back, you selest ‘bracket tht covers the subject you want to be sharp, When you press the shut, the ‘camera fuses on the selected rea— alloorng yout maintain your framing ‘without having to center, lock, and reframe ach picture. This allows you to shoot fast ‘moving subject that ae at inthe center ‘ofthe fame (ste photo, opposite pase, below right Some wide-area autofocus systems we light refieced off your eye identify your subject by the direction you te looking and therefore what area ofthe picture to tring ino sharp focus, Other stems auno- rata selec the nearest subject he Picture and fous there. On cameras predict where thes to be net, koeping the subject infocus ceven fst moves across the frame. These racking systems an lock onto a subject, 52 | Lens adjusting the focus a the subjest moves Closer t,o farther from, the eamera ‘These systems work especially well ithe subject, lke a racecar, i traveling ata constant speed toward or away from the ‘Some cameras have twe autofocs systems, Active sutofocus sends out @ beam of infinred waves. The camera uses the perf the beam tat bounces back 10 ‘measure the dsinoe co the subject Pasive utfocus looks instead at the itnage inside the camera, using the principle that contrast fon the foal plane is greatest when the subject is sharpest. Both reused bocause neither one works in every station The infared beam in ative autofocus, or example, will bounce tick ft the glass in a window instead of fom a subject on the eer side ofthe glass Pave autofocus may mis the focus ifa subjeot ha very low const, isin very tim ligt, or consists ofa repetitive patern like window Blinds or plaid. Cameras hat employ bath systems are more likely find ‘maxim shapes under most conditions. ‘an atofocus system canbe fale. IF you are photographing a soccer game focusing ‘on the goalie, for example, and the referee ‘moves in font of your camera, autofocus say track the refbre and not the player “The camera does not know what you ae trying to photograph, so unwanted subjects can ease the lens to feus incoret Your camera may let you select among its several focus modes. Manual focus i fequenly supplemented by two other options single-shot atofous, sometimes ‘alld feus priority, and continuous focus. ‘With a modern eamera, fu wan the rachine to make quick and acurate Aecisions for you, you must understand its methods, Rood your camera's instructions 9 you know how is autofocus mechanism operates and when you would be beter of focusing manual (CENTER-WEIGHTED ATOFOCUS LOCK Shtorclese baton Sabet of center, ot of fes seas areas Sheoonon cen ef are Tne conse sn (Peemer sa objet au eam testa dest (Source an vt ote ve, trades {iene gee re me! re aty down utc att Faas on he si sat ns ft ‘open te ues bas one mal fc whey ora oes he hte on et “as aop yr presse nese ba oo & A he way dows, ster rinsed and ream Nes ae ou ce (hist pri peu ener Fetes ton ate ay oo ae i ‘Sete cen tte sare esses ‘eaued nan ating by barges Irony yor cae Ptexposure, sensors, CHAPTER/FOUR and film -Espsing lees proper ing he hh anon of ih ithe camera ete ser Moning es tree hin sof he lon opi) work estrone the moun of igh that aces he ihe sntve sce cre ster spect Apart si 2. he 180 ng ffl ese sent ofthe seer you ai wh 5. ome amt of ght ad ht pve 0 ge ich image with realistic tones, dark but detailed shadows, and bright, delicate highlights, yow ned to start witha correct ‘esposure, Tati you ned a et he shut speed and aperture they et inthe right amount ito stk yur in or ital srs And how da you row the ‘ah amount oft? Your camera can probably dite everyting fr you, but elated An xpos meter | Exposure Bases. “ contd luaicttrngonopmee| exten Eponrce 2 Hoe pei Meters Wr 8 | icone spose Meters 70 | deena pore 7 om you sss mater | How to Meter. n depron pe sane te Peogazh | Ay eral eating oa Some | en rage Toes n Using tere Types of Meters. 7 eter High Cotas Scenes. 74 oon tS Tone and racing. 76 Hardee Sere 7 Fis gl image | Responding to Light 7 deendoney det ene | Sher and Ps, 78 stores tee may amrs | range Uo in Ba Exposure Latitude and Dynamic Range..80 How Much Cn poses Yay? £0 Film and Sensor Speed 82 Spend 0. 2 Gran ard Noe 2 Extending Beyond Visible Light. irwed Props a4 cial Purpose Films 36 etart and Grmoger 26 37 38 0 Simply fs tay clement | Photographer at Work: ‘On dane starters POG) Advertising Photographer ine Clemens 92 ug beter Tis halts whan you can ron automatic epesure and when tocerie' ‘You can make grest photographs using ether a digital camera or film, bat here ae ferences you should undestand. 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