INTRODUCTION

CINEMATOGRAPHY

BY

Valens NDAHINDURWA

Email:ndahindurwavalens@gmail.com
Tel:0788992267
Cinematographer
The cinematographer or director of photography (sometimes
shortened to DP or DOP) is the person responsible for the recording
of a film, television production, music video or other live action
piece.
Cinematographers, or directors of photography, consider all the
details involved in creating visually striking movies. They decide
what camera equipment and assists to use, set up the lighting of each
shot, assess the staging of the scene, and decide on the final
appearance of the footage. Cinematographers work closely with the
film director and help them realize their artistic vision. They might
direct a small team of lighting assistants, camera operators, and other
specialists as they compose shots.

Roles and Responsibilities of cinematography

1. Shot composition: The cinematographer works with the

director to determine the framing, composition, and camera
angles for each shot, ensuring that the visual elements of the
film align with the overall storytelling and mood.

2. Lighting: The cinematographer is responsible for planning and

executing the lighting setup for each scene, using various
lighting techniques to achieve the desired mood, tone, and
atmosphere.

3. Camera operation: The cinematographer may operate the

camera themselves or work with a camera operator to capture
the footage. They are responsible for choosing the appropriate
camera and lenses for each shot, and for ensuring that the
camera movements and focus are executed smoothly.

4. Color grading: The cinematographer may work with a colorist

in post-production to ensure that the colors and tones of the film
are consistent and convey the intended mood.
 5. Collaborating with other departments: The cinematographer
works closely with other departments, such as art direction,
costume design, and visual effects, to ensure that the visual
elements of the film are cohesive and align with the overall
vision of the project.

6. Technical knowledge: The cinematographer must have a

thorough understanding of camera and lighting equipment, as
well as the technical aspects of cinematography, such as
exposure, depth of field, and camera movement.

7. Safety: The cinematographer is responsible for ensuring the

safety of the crew and actors during production, including
proper handling of camera and lighting equipment, and
adherence to safety protocols.

8. Problem-solving: The cinematographer must be able to

troubleshoot technical issues that may arise during production,
such as lighting challenges or equipment malfunctions, and find
creative solutions to achieve the desired visual result.

CAMERA ANATOMY

Knowing the Different Parts of the Camera

Finding your way around the controls and functions on your DSLR
camera is your first step to photography beyond simple point-and-
shoot. Here’s our guide to the essential parts of the camera and what
they do.
Front
F1: Shutter Button

Press this button to release the shutter. The shutter button press has
two stages: Half-pressing the button activates the AF function, while
pressing it down fully releases the shutter.
F2: Red-eye reduction/self-timer lamp

Red-eye reduction: If red-eye reduction is enabled on your camera,

half-pressing the shutter button will light up this lamp when you use
the built-in flash.
Self-timer: When you set the self-timer, this lamp will blink for the
duration of the timer until the picture is taken.

F3: Lens Mount

This is the section that connects the interchangeable lens to the
camera body. To attach the lens, you line up the lens mount index (see
F3) on the lens with the corresponding one on the lens mount and turn
the lens clockwise until you hear a click.
F4: Lens Mount Index

Align the mark on the lens with this mark when you are attaching or
detaching a lens.
Red index: For EF lenses (Can be used on both Canon full-frame and
APS-C DSLRs)
White index: For EF-S lenses (Can be used on Canon APS-C
DSLRs)

F5: Lens Release Button

Press this button when you want to detach the lens. The lens lock pin
retracts when the button is pressed, enabling you to turn the lens
freely. Before shooting, lock the lens into place by turning it until you
hear a click.
F6: Mirror

The mirror is unique to DSLR cameras. It reflects light from the lens
into the viewfinder, which lets the photographer see the shot through
the viewfinder in real time. The mirror flips up immediately right
before shutter release (the shot is taken).

F7: Microphone
This is a built-in microphone for capturing the audio sound during
movie recording. The microphone used may be monaural or stereo
depending on the camera model.
F8: Built-in Flash

When needed, you can fire the flash to capture a shot in a dimly-lit
scene. The flash may be automatically fired in some modes.

Viewfinder Display
V1: AF Point

Indicates the position of the focus during AF (autofocus) shooting.

The selected AF point will be highlighted in red. You can choose to
select an AF point automatically or manually.

V2: Shutter Speed

Indicates the time interval during which the shutter is open. The
shutter speed value is denoted in the "1/parameter" format. However,
only the parameter value is shown in the viewfinder. Increasing the
parameter value shortens the time interval the shutter remains open.
Shutter speeds slower than 1/4 second are indicated as, for example,
0''3, 0''4, 0''5, 0''6, 0''8, 1'', or 1''3. In this case, 1"3 means 1.3 seconds.

V3: Aperture Value

This value indicates the extent to which the aperture blades inside the
lens are open. A smaller value means the aperture is more widely
open, which allows more light to be captured. The selectable aperture
value range varies according to the lens in use.

V4: ISO Speed

The ISO speed setting varies constantly when the Auto setting is
selected. A higher ISO speed makes it easier to capture shots of a
dimly-lit scene.
You can find more information about ISO speed in: Camera Basics
#5: ISO Speed

Rear

R1: Eyecup
The eyecup prevents external light from entering when your eye is in
contact with the eyepiece. A soft material is used to reduce the burden
on the eye and the forehead.
R2: Viewfinder Eyepiece

The viewfinder eyepiece is a small window on the camera which you

look through in order to compose your photo and establish focus on a
subject. When shooting using a viewfinder, external light is reduced.
This allows you to put full attention on the subject right before your
eyes, which in turn makes it easier to track moving subjects.
Read more about viewfinders here: Camera Basics #12: The
Viewfinder

R3: LCD Monitor

In addition to the shooting settings as shown in the illustration here,

the captured image as well as text information such as the menu can
also be displayed on the LCD monitor. Also, you can magnify the
display image to check the details. Some camera models have a Vari-
angle LCD monitor, which allows you to alter the angle of the
monitor during Live View shooting, making it easier to capture low-
angle or high-angle shots.
R4: MENU Button

Use this button to display the menu for adjusting the different camera
functions. After selecting a menu item, you can adjust the camera
settings in greater detail.

R5: Playback Button

This is the button for playing back images you have captured.
Pressing the button once displays the last image you captured or
showed on the LCD monitor.
R6: Wi-fi Lamp
This lamp indicates the wireless connection status.
Lamp on: Wi-fi connection is on
Blinking lamp: Camera is waiting for connection/reconnection
Intermittent rapidly-blinking lamp: Connection error
Rapidly blinking lamp: Data is being sent/received

R7: Access Lamp

The lamp appears blinking when there is data transmission between

the camera and the memory card. Do not open the card slot or battery
compartment cover while the light is blinking. Doing so may cause
the camera to malfunction.
R8: SET Button/Multi-controller
The Multi-controller keys are directional buttons that allow you to:
- Move between menu items
- Move a magnified display to a different point during image playback
- Move the AF point during AF point selection
In shooting mode, the functions of the keys switches to the ones
indicated by the icon on it. Meanwhile, the SET button confirms a
selection.

R9: ISO Speed Setting Button

Press this button to adjust the sensitivity of the camera toward light.
ISO speed is an international standard that is determined based on the
sensitivity of negative films.
R10: Quick Control Button
Pressing this button displays the Quick Control screen (further
explained in the section "Settings on the Quick Control Screen"),
which allows you to confirm various camera settings at one glance
and adjust them.

R11: Display Button

By pressing the DISP button, you can:

- Turn the display on/off
- Toggle between different information displays in Image/Movie
Playback mode and during Live View shooting
- Display the camera’s major function settings when the menu is
displayed
R12: Erase Button
Use this button to erase unwanted images.

R13: Focus Point Selection Button

Use this button to go into AF point (autofocus) selection mode during

AF shooting. You can then select any of the AF points manually
using the Multi-controller keys.
R14: Live View Shooting/ Movie Shooting Switch

Use this button to turn on or turn off the Live View function. Pressing
the button once displays the Live View image on the LCD monitor,
and the camera is ready for Live View shooting. To record a movie,
set the shooting mode to “Movie Shooting” on the mode dial (T6),
and press this button to start recording. To stop, press the button
again.
R15: Dioptric Adjustment Knob

Use this knob to adjust the clarity of the viewfinder image according
to your eyesight. To do so, turn the knob while looking through the
viewfinder.

Settings on Quick Control Screen

QC1: Shooting Mode

Displays the text or icon corresponding to the shooting mode you

have selected as you turn the Mode Dial.
QC2: Shutter Speed

Displays the time interval during which the shutter is open. Increasing
the parameter value shortens the time interval the shutter remains
open.

QC3: Battery Level

Displays the remaining battery level with an icon. The illustration
here shows the state when the battery level is still full. The icon
display changes as the battery level decreases.
QC4: Shots Remaining

Indicates the number of remaining shots that can be captured. The

number varies with the capacity of the memory card in use as well as
the image-recording quality you have selected.

QC5: Image-recording Format/ Quality

Displays the image-recording quality that is currently selected. The

icon here indicates that the camera is set to record in the Large JPEG
format.
QC6: ISO Speed
A higher ISO speed makes it easier to capture shots of a dimly-lit
scene. Generally, ISO 100 is used as the standard setting. In the ISO
Auto setting, the optimal value is automatically selected according to
the scene. You can also choose to set the ISO speed manually.

QC7: Aperture Value

This value indicates the extent to which the aperture blades inside the
lens are open. A smaller value means the aperture is more widely
open, which allows more light to be captured. The aperture value is
also known as the f-number, which varies with the lens in use.

Top
T1: Focus Mode Switch

Use this switch to set the focusing mode to Automatic (AF) or

Manual (MF).
T2: Speaker
Audio sound of a recorded movie can be played back through the
speaker. During movie playback, turning the Main Dial allows you to
adjust the volume level. Not only so, you can also select and play
back the background music from the menu screen.

T3: Strap Mount

Pull the end of the strap through the eyelet, and secure it firmly while
ensuring that the two ends of the strap are well-balanced.
T4: Hot Shoe
This is a terminal for attaching external flash units. Data is
transmitted between the camera and the flash unit through the
contacts. Maintain the contacts in a clean state to ensure proper firing
of the external flash when needed.

T5: Power Switch

Use this switch to power on or power off the camera. When the power
of the camera is left on for a prolonged period of time, it switches
automatically to the standby mode to conserve power. For some
cameras, the power switch comes with a Movie icon as shown in the
illustration, which allows you to switch to the Movie shooting mode
directly.
T6: Mode Dial
Turn this dial to select a shooting mode according to the scene you
want to capture. The shooting modes are largely divided into two
different zones, Creative and Basic.
A: Creative Zone
The Creative Zone modes allow users to select and set functions
according to their intended purpose.
B: Basic Zone
In the Basic Zone modes, the camera automatically selects the
appropriate settings according to the selected scene.

T7: Flash Button

Use this button to pop up the built-in flash. In the Basic Zone, the
built-in flash may pop up automatically in some cases according to
the function in use.
T8: Main Dial

This is a multi-purpose dial that allows you to perform tasks such as

adjusting the value of the shooting settings (usually aperture/shutter
speed/exposure compensation) and jumping through playback images.

T9: Zoom Ring

Turn the zoom ring to alter the focal length. The selected focal length
can be identified from the numbers and index marks at the lower end
of the lens
T10: Focus Ring

When the camera is in the Manual Focus (MF) mode, turn this ring to
adjust the focus. The position of the focus ring varies according to the
lens in use.
Side

S1: Remote Control Terminal, Audio/Video OUT/Digital

Terminal, HDMI Mini OUT Terminal, N-Mark

A: Remote control terminal

this is a terminal for connecting the camera to an external device.
Before you do so, make sure that the device is compatible with the
camera, and connect them properly.
B: Audio/Video OUT/Digital terminal
C: HDMI mini OUT terminal
these are terminals for TV output and data transmission, as well as for
HDMI mini output.
D: N-Mark
Touching the N-mark against an NFC-compatible smartphone will
initiate pairing between the camera and the smartphone.

Bottom

B1: Card Slot, Battery Compartment

Battery Compartment
Load the supplied battery here. Insert the battery with the orientation
of the battery terminal aligned with that inside the camera.
Card Slot
Insert the memory card for recording images into this slot. The type of
card usable varies with the camera model.
B2: Tripod Socket

This is a socket placed at bottom of the camera body for attaching the
camera to a tripod. On most DSLR cameras, this socket fits the 1/4-20
UNC standard screw thread size, which is used by most commonly-
available tripods.

And there you have it—these are the key parts of a DSLR camera and
what they do. The next step is to start shooting: Check out our Tips &
Tutorials in the menu above for some ideas on how to start. To
continue reading about key concepts and theories, you could also
check out our Camera Basics or Lens Basics series.
CAMERA SETTING
THE THREE KEY ELEMENTS OF EXPOSUREWhat i
What is Exposure?
In photography, Exposure is the total amount of light bouncing off a
subject that is allowed to enter through an opening in the camera lens
for a certain period of time until the light (image) is recorded onto the
camera sensor.
Exposure Triangle: Aperture, Shutter Speed and ISO

Figure 2: Exposure Triangle

In photography, there are 3 basic elements: Aperture, Shutter Speed,
and ISO. These 3 elements are responsible for controlling a
photograph's exposure.
Aperture: the size of the opening in the lens when a photo is taken.
The opening controls how much light can enter your camera at once
Shutter speed: the amount of time that the shutter is open. This
amount of time controls the amount of time that light is allowed to hit
the sensor.
ISO: the sensitivity of the photographic medium to light. In film
cameras, this refers to how sensitive the film is to light and in digital
cameras it refers to how sensitive your camera's digital sensor is to
light. More sensitivity to light means less light is needed for a good
expose of a photograph.
These 3 elements are tightly related. A change in one of the elements
will impact the other two. This means that each of the 3 elements are
dependent on one another in order to come up with the correct
exposure.
Introduction to ISO in Photography

What is ISO?
In very basic terms, ISO is simply a camera setting that will brighten
or darken a photo. As you increase your ISO number, your photos
will grow progressively brighter. For that reason, ISO is a good tool
to help you capture images in dark environments or be more flexible
about your aperture and shutter speed settings.
Note how much brighter the image gets when ISO is increased from
100 to 1600
What is Aperture?
As stated in the previous page, Aperture is the opening in the lens
when a photo is taken. The camera's aperture setting controls how
much light can pass through your camera lens. The aperture settings
are called f-stops and are represented by numbers (i.e. f/1.8, f/2, f/8,
etc). The bigger the number, the smaller the lens opening. I know it
can be confusing in the beginning but you'll get used to it over time.
To see what I mean, refer to Figure 1 below. It shows you a picture of
the lens opening in full stop increments from the largest (f/2) to the
smallest (f/22). Notice how the highest f-stop number (f/22) has the
smallest opening? Also, the largest opening has the lowest f-stop
number (f/2).
FIGURE 1: Lens Opening - Aperture Setting
Depth of field
Depth of field basically refers to how much of your scene is in sharp
focus. Smaller f-stop numbers produces less area that is in sharp
focus.

Figure 2: Depth of field

In the example photos above, the photo taken at F/5.6 has the correct
exposure. Did you notice that the photos taken with wider aperture is
overexposed and photos taken with smaller aperture is underexposed?

What is Shutter Speed?

Shutter speed is the length of time your camera shutter is open,
exposing light onto the camera sensor.
When you use a long shutter speed, you end up exposing your sensor
for a significant period of time. The first big effect of shutter speed is
motion blur. If your shutter speed is long, moving subjects in your
photo will appear blurred along the direction of motion.

Motion blur.
On the other hand, shutter speed can also be used to do just the
opposite – freeze motion.
Shutter speed: 1/1600th second (a fast shutter speed)
All of the above is achieved by simply controlling the shutter speed.
In summary, quick shutter speeds freeze action, while long shutter
speeds create an effect of motion when you photograph moving
objects.
How Shutter Speed is Measured

Shutter speeds are typically measured in fractions of a second, when

they are under a second. For example 1/4 means a quarter of a second,
while 1/250 means one two-hundred-and-fiftieth of a second (or four
milliseconds).
CAMERA SHOT SIZE

I. Establishing shot definition

An establishing shot is a long shot at the start of a scene (or

sequence) that shows things from a distance. Often an aerial shot, it
is intended to help identify and orient the location or time for the
scene and action that follow.
II. Extreme Wide Shot (EWS)

An extreme wide shot (aka extreme long shot) is a camera shot that
will make your subject appear small against their location. You can
also use an extreme long shot to make your subject feel distant or
unfamiliar. Extreme wide shots are often used as establishing shots.
Of all the different types of camera shots in film, consider using the
extreme wide shot when you need to emphasize the location and the
relationship of the characters within it.

How Is a Wide Shot Different From an Establishing Shot?

A wide shot is a shot size, while an establishing shot is a
technique. Wide shots refer to the distance between the camera and
the subject; establishing shots appear at the start of a film or at the
beginning of a new scene to establish where and when the action
takes place. An establishing shot can be a wide shot, but wide shots
are not always establishing shots.

III. Wide Shot (WS) or Long Shot (LS)

The wide shot (aka long shot) is a camera shot that balances both the
subject and the surrounding imagery. A wide shot is filmed close
enough to emphasize the actor, but far enough away to show the
actor’s location. You can see their whole body within the frame, with
enough space surrounding them to indicate the setting.

A wide shot should keep a good deal of space both above and below
your subject. Of the many camera shots, a long shot gives us a better
idea of the scene setting, and gives us a better idea of how the
character fits into the area.

IV. Full Shot (FS)

A full shot is a camera shot in film that lets your subject fill the
frame, head to toe, while still allowing some features of the
scenery. Full shots can communicate the appearance, movement,
mannerisms, traits, or actions of characters before focusing on their
reaction or feelings. For example, to convey fearlessness, you can use
a full shot to show a character’s confident stance or walk.

A full shot is different from the wide because it focuses more on the
character in the frame.

V. Medium Long Shot (MLS)

A medium long shot frames the subject from roughly the knees up. It
splits the difference between a full shot and a medium shot.
VI. Medium Shot (MS)

The medium shot is one of the most common camera shots. It's
frames from the waist up to head. So it emphasizes more of your
subject while keeping their surroundings visible.

VII. Medium Close Up (MCU)

The medium close-up frames your subject from the chest up. So it
typically favors the face, but still keeps the subject somewhat
distant. The medium close-up camera shot size also keeps the
characters eerily distant even during their face-to-face
conversation.

VIII. Close Up (CU)

You know it’s time for a close-up shot when you want to reveal a
subject’s emotions and reactions. The close-up camera shot fills your
frame with a part of your subject. If your subject is a person, it is
often their face. They are also used to show specific action, like a
hand picking up an object. Close-up shots are also used as
cutaways to highlight.

IX. Extreme Close Up (ECU)

An extreme close-up shot is a type of camera shot size in film that
fills the frame with your subject, and is so close that we can pick up
tiny details that would otherwise be difficult to see.

This camera shot size often shows eyes, gun triggers, and lips.
Extreme close-up shots are sometimes shot with a macro lens for
greater detail.

CAMERA MOVEMENT

1. Zoom

Without a doubt, zooming is the most used (and therefore, most

overused) camera movement there is. It is often used as a clutch when
the videographer is not sure what else to do to add interest to a shot. If
you are going to use zoom, try to use it creatively. Zoom in or out
from an unexpected, yet important, object or person in your shot. Use
a quick zoom to add energy to a fast-paced piece. Don’t get stuck
with your zoom as your default move!

2. Pan
Panning is when you move your camera horizontally; either left to
right or right to left, while its base is fixated on a certain point. You
are not moving the position of the camera itself, just the direction it
faces. These types of shots are great for establishing a sense of
location within your story.

3. Tilt
Tilting is when you move the camera vertically, up to down or
down to up, while its base is fixated to a certain point. Again, like
panning, this move typically involves the use of a tripod where the
camera is stationary but you move the angle it points to. These shots
are popular when introducing a character, especially one of grandeur,
in a movie.

4. Dolly
A dolly is when you move the entire camera forwards and
backwards, typically on some sort of track or motorized vehicle. This
type of movement can create beautiful, flowing effects when done
correctly. If you want to attempt a dolly, make sure your track is
stable and will allow for fluid movement.
Video Player

5. Truck
Trucking is the same as dollying, only you are moving the camera
from left to right instead of in and out. Again, it is best to do this
using a fluid motion track that will eliminate any jerking or friction.

CAMERA ANGLES

Eye Level Shot

Our first camera angle is the eye level shot, and this is when your
subject is at eye-level. An eye level shot can result in a neutral
perspective (not superior or inferior). This mimics how we see people
in real life — our eye line connecting with theirs, and it can break
down boundaries.
Low Angle Shot

A low angle shot shot frames the subject from below their eyeline.
These camera shots most often emphasize power dynamics between
characters — a low angle shot on one character is often paired with a
high angle shot on the other character.

Low angle camera shots are a perfect camera angle for signaling
superiority or to elicit feelings of fear and dread.
High Angle Shot

In a high angle shot, the camera points down at your subject. It

usually creates a feeling of inferiority, or “looking down” on your
subject. But, again, with every other camera angle, there are many
applications.

Depth of field
The depth of field (DOF) is the distance between the nearest and the
furthest objects that are in acceptably sharp focus in an image
captured with a camera.
Two types of depth of field

A shallow depth of field refers to a small area in focus. Often the

subject is in focus, while the background is blurred. This is best for
portraits, and one way to adjust this is with aperture
A deep depth of field captures a larger area in focus, often keeping
everything in the image sharp and clear. This is the best for
landscapes by using a large aperture.

Headroom
refers specifically to the distance between the top of the subject's head
and the top of the frame.
Leadroom
Look room is the space that you leave in front of someone's face on
the screen. This space gives the person room to breathe, as well as
gives the impression that the person is looking at or talking to
someone just off screen. If you don't leave enough look room, your
subject will appear to be boxed-in and confined.

What is the rule of thirds?

The Rule of Thirds was first talked about in 1797, which is quite
surprising. Of course, it was not about photography, but painting
where the principles were the same. At that time, people debated the
balance between warm to cold colors and how much painting each
element should occupy. They said one-third should be land and water,
and two-thirds should be for air and sky. This is where the concept for
the name came from.

The rule of thirds is a compositional guideline that breaks an image

down into thirds (both horizontally and vertically) so you have nine
pieces and four gridlines. According to the rule, by positioning key
elements along the gridlines, you’ll end up with better compositions.
Here is a visualization of the rule of thirds:
How To Use the Rule of Thirds During Photography?

You may need to have little knowledge of the Rule of Thirds to

capture eye-catchy images. For this reason, here are a few tips on
successfully implementing or using the Rule of Thirds technique.

1. Firstly, most cameras and mobiles allow you to enable a gridded

overlay in the viewfinder, which helps you to compose on the
move.
2. Keeping the subject the same and putting it on the different third
lines, take as many photos as possible.
3. Then photograph the subject’s dead center in the frame.
4. Shoot a lot of pictures. Later, take a look at them and decide
which ones you like best.
5. Then show them to someone good at photography and ask them
to pick the best one out.
6. When you’re cropping your photos in your editing software, you
should also enable the same overlay on the cropping tool. This
can be done in Photoshop, Lightroom, and Luminar tools.

What Is the 180-Degree Rule?

In filmmaking, the 180-degree rule is a cinematography principle that

establishes spatial relationships between on-screen characters. The
rule states that the camera should stay on one side of an imaginary
line between two characters so that each character always appears to
be facing the same direction, regardless of where the camera is
positioned. When you keep your camera on one side of this imaginary
line, you preserve the left/right relationship of your characters and
help the audience maintain a sense of visual consistency. This means
that no matter what type of shot you use, the viewer still knows where
everyone in the scene is located.

When to Break the 180-Degree Rule

Breaking the 180-degree rule is known as a "reverse cut.” The jarring

nature of a reverse cut may disorient the viewer, so make sure to use
reverse cuts sparingly and to communicate a specific message. For
example, Spike Lee breaks the 180-degree rule in 25th Hour when
Edward Norton's character is surprised by a DEA drug bust at his
home. Norton is bewildered by the bedlam occurring, and the reverse
cuts make the viewer experience that same disorientation.

Understanding Camera Lenses Basics

A camera without a lens is useless to a photographer. The lens is what

focuses light from what you see through the viewfinder into a tiny,
(typically) 35mm spot on the back of your film, DSLR, or mirrorless
camera. If you remove the lens from your camera, the only kind of
image you can produce is white light. Consequently, a high-quality
lens can help you capture great photos even with a cheap camera,
while a low-quality lens can make the best camera mediocre and the
resulting image quality, poor.

What Is a Camera Lens?

A lens is a tool used to bring light to a fixed focal point. In a film

camera, the lens sends the light to the film strip, while in a digital
camera (like DSLRs or mirrorless cameras), the lens directs light to a
digital sensor. Camera lenses are made up of a series of glass plates
that are convex (curved outward) or concave (curved inward).

Camera Lens Characteristics

All lenses filter and focus light so that it hits the sensor or film strip
correctly. However, there are a variety of other factors that determine
how a camera lens affects the look and quality of the final photo.

1. Focal length is the measurement of distance (in millimeters)

between the point of convergence of your lens and the sensor
recording the image. The focal length range of a lens is expressed by
a number, and that number tells you how much of the scene your
camera will be able to capture. Smaller numbers have a wider angle of
view and show more of the scene; larger numbers have a narrower
angle of view and show less.

2. Aperture is how big the opening is that lets light in, expressed in f-
stops. F-stops are counterintuitive, because the larger the number, the
smaller the opening. For example, f/2.8 allows twice as much light
into the camera as f4, and 16 times as much light as f11. Aperture
affects the depth of field: larger openings create a shallower depth of
field, while smaller openings make more of the image in focus.

3. Maximum Aperture. Lenses will list a maximum aperture on the

barrel, indicating the maximum width a lens aperture can open.
Typically, lenses with a wider maximum aperture cost a bit more. A
lens with a wide maximum aperture is great for low light situations,
so if you are considering night photography, it might be worth the
investment.

4. Depth of Field. Controlling the amount of the photo that is in focus

is one of the photographer’s best tools to help draw the viewer’s eye
where you want it. For example, landscapes are typically shot so that
everything is in focus, so photographers will shoot at small apertures
(e.g. f11 or f16). The depth of field varies with the type of lens, due to
maximum aperture.

5 Basic Types of Camera Lenses

There are two basic categories of camera lenses:

1. Prime lenses. Primes have a fixed lens focal length, making them
faster and sharper. While prime lenses are less flexible due to the
fixed focal length, they are also fast and lightweight, making them
easy to travel with

2. Zoom lenses. Zooms use a series of lenses to allow different focal

lengths from a single lens, making them more flexible but not as fast.
They contain more glass, which aids in their flexibility, but they also
tend to be bigger and heavier than prime lenses.

Within both prime and zoom types of lenses, there are a variety of
lenses, all with different focal lengths.

1. Macro Lenses
This type of camera lens is used to create very close-up, macro
photographs. They have a unique design that allows them to
produce sharp images at extremely close range. These lenses
are great for nature photography, enabling you to capture an
enormous amount of detail in one image.
2. Telephoto Lenses
Telephoto lenses are a type of zoom lens with multiple focal
points. These types of lenses are great for isolating a subject that
is far away. However, such great magnification comes at the
price of a narrower field of view. In the same way that you
would use a telescope to look at stars and planets, a telephoto
lens is used for focusing in on distant objects. Many sports
photographers use telephoto lenses to provide a sense of
intimacy with the subjects on the field (the players) while
standing on the sidelines or in the bleachers. There are many
different types of telephoto lenses, and some can be quite large,
heavy, and expensive, so take some time in choosing the right
telephoto lens.
4. Standard Lenses
Standard lenses can be used for a variety of different types of
photography. Their focal lengths fall somewhere in the middle,
usually between 35mm and 85mm. A zoom lens within this range will
have a small enough focal length at the bottom end to take a wider
angle, full-frame photo, and a large enough focal length at the top end
to zoom in on subjects.

5. Specialty Lenses
Finally, there are some more specialized camera lenses that can
impart a unique look and feel to your photographs. There are several
types of specialty camera lenses, but a few of the most prominent
examples are:
 1. Fisheye lens. A fisheye lens is an ultra-wide-angle lens that can
take in a full 180 degree radius around it. Fisheye lenses are so named
because they distort an image’s field of view, making even a room in
a house look like a bubble.
2. Tilt shift lens. A tilt shift lens distorts perspective, making things
look smaller than they really are—almost as if they are toys.
3. Infrared lens. These lenses play with light rather than
perspective, filtering out all light waves except infrared for a
unique visual effect.
 3 Point Lighting
3 point lighting is a cinematography technique that uses three
different light sources placed at various distances and angles around a
subject to properly light them for the screen. Each light source serves
a different purpose in casting and correcting shadows on your subject.

The three light sources used in this setup are:

• Key light: This primary light makes up about 3/4 of the

light on a subject.
• Fill light: This secondary light is meant to fill the
remaining unlit space to bring out further detail of the
subject.
• Back light: Sometimes referred to as a “rim light” or “hair
light,” this final light in the three-point setup is meant to
define the outline of the subject to emphasize three-
dimensionality.
How To Set Up Three-Point Lighting
There are standard guidelines to ensure you place each light in the setup

in the right place to get the best combination of light, shadows, and

depth for each shot. Here are the steps in using the three-point lighting

technique to illuminate a scene:

Turn Off All Other Lights

Starting in the dark, or with as little unnatural light as possible, is the

best way to gauge how much light you’re casting on your subject

during the process. You can also use a light meter, which is a

filmmaking and photography tool that measure how strong light is on

a surface, such as a subject’s face. This tool measures lights in lumens,

and you can track this number to ensure consistency as you shoot.

Set Up The Key Light First

Place the light which is on a stand at an angle to the subject rather than

facing them head-on, that way the light does not shine directly onto

their face, creating a flat, unflattering, and shadowless look. The angle

at which it’s placed from the camera depends on how intense you want

the light to shine on the subject as well as the length of the shadows.

Try between a 30- and 45-degree angle from the camera to achieve the

look you want. Many cinematographers in the industry stick with 45

degrees. As for how bright it should be, that also depends on the look

you’re going for. You can make it as bright or dim as you need to.

Add The Fill Light Next

The fill light is typically dimmer than the key light and mirrors the key

light’s position and angle on the other side of the subject and camera.

It should be the same angle from the camera and the same angle tilted

to face the subject as well. If you want more subtle light to fill in the

shadows created by the key light, try replacing a second light with a

reflector, wall, or another flat surface that reflects light back onto the

subject.Decreasing the light intensity can be done by diffusing,

dimming, or moving the light further away.

Position The Back Light

Place this light opposite from the key light and behind a subject but

out of frame to create a flattering “rim” of light around the subject’s

outline. This allows the subject to clearly stand out from the

background, promoting more three-dimensionality when filmed. In the

industry, many cinematographers point the light toward the back of the

subject’s neck as a simple reference marker.

Use The Optional Fourth Light.

You can add a fourth light to your setup to further separate your subject

from their background. Place another light behind your subject but very

low to the ground so the camera doesn’t capture it. Tilt the light up to

illuminate a wall, a backdrop of props, the room behind the subject, the

outdoor setting, or another background you want to light better.