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www.explorephotography.com
A Resource for Aspiring
Photographers
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Photography
Tips
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A seemingly infinite
number of photography related tips have been
published. This is good, as there is always
something more to learn, and for those of us who
never seem to get everything quite right, there
is always another place to turn for potential
answers. However, there are a few core
fundamentals that are the most important and
provide the basis for great results. Here is a
list of essential, yet practical, concepts every
photographer needs to understand.
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Once you
understand and practice the concepts listed above you
should be able to consistently produce photographs of
high-technical quality. This foundation will then allow
you to explore and develop your artistic creativity.
There is a lot of information on this page and some of it
is fairly technical, so grab a cup of coffee or soda, or
two, and give yourself plenty of time.
To fully explain each of
these would require a large book. Instead, this is
intended to provide basic explanations to get you started.
If necessary, I encourage you to do further research on
these to become more proficient at them. Once you are
comfortable with these and have gained some experience,
you will also be able to recognize other specific areas
in which you would like to expand your skills. Then,
concentrate on those. After all, learning is a lifelong
process!
| Subject:
Rocks in Lake Superior shoreline Lens:
Nikkor Micro 105mm
Aperture: f/11 - f/16
Shutter Speed: 1 second
Film: Fujichrome Velvia 50
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1 - Determine the
Proper Exposure Yourself
When taking a photograph, the
aperture setting and the shutter speed together
influence the amount of light that reaches the film.
Therefore, determining the appropriate combination of
these two settings is needed to achieve proper
exposure. This determination may be done manually, by
the photographer, or automatically, by the camera.
Virtually all 35mm SLR cameras
made today offer through-the-lens (TTL) metering.
There are different types of TTL metering. The most
common types are:
1 - Center weighted
metering - places a strong emphasis on the light
near the center of the frame
2 - Matrix metering - uses a complicated
algorithm to place more emphasis on the light in
certain portions of the frame; this is an attempt
at 'intelligent' metering
3 - Spot metering - meters the light appearing in
a very narrow angle of view in one portion of the
frame
Some cameras offer all three
types of exposure metering.
TTL metering measures the
light actually passing through the lens. TTL metering
is great, as it measures the same light that will
reach the film when the photograph is actually taken.
However, to consistently obtain proper exposure, it
is essential to understand, evaluate, and use this
meter reading properly.
The most important point to
understand is the meter only recommends the setting
that is needed to allow a predefined amount of light
to reach the film. It is not intelligent enough to
recommend the setting needed to obtain proper
exposure. This is because the camera’s exposure
meter, like all light meters, is calibrated to a
standard level of light. By using the meter’s
recommended settings, your subject will be exposed at
this standard level. This standard is called 18%
gray, which could most simply be described as a
medium shade of gray. Imagine the world is completely
black-and-white. In theory, if you mixed all the
shades of black and white in an average scene,
perhaps one consisting of green grass, blue sky, a
few trees, and a light brown building, you would end
up with something close to 18% gray.
However, if you meter a
subject that is lighter in color than average,
perhaps one containing snow, white clouds, sand, or
white buildings, the meter would recommend an
incorrect level of exposure. The amount of light
would be reduced to achieve 18% gray and the
resulting photograph would be underexposed. To
achieve a correct exposure you would need to increase
the aperture and/or use a longer shutter speed.
Conversely, if the subject is darker in color than
average, perhaps containing evergreen trees, dark
rocks, or dark brown buildings, the suggested meter
reading would increase the light to achieve 18% gray
and the photograph would be overexposed. You would
need to decrease the aperture and/or use a faster
shutter speed to obtain the correct exposure. When
your subject contains both light and dark objects,
the results will really be unpredictable. Therefore,
understand that a camera’s exposure meter only
provides a meter reading that you must interpret. It
does not automatically provide the proper exposure
settings.
One way to resolve this
problem is to meter off subjects whose color is close
to 18% gray and are in the same type of light as your
subject. For example, a gray rock, certain types of
tree bark, a weathered red barn, and a deep blue sky
are all close to 18% gray. If these are in your
subject area, take a meter reading directly from them.
A second method is to become
knowledgeable enough to recognize how the color of
your subject compares to 18% gray and then make the
appropriate adjustment. For example, if you take a
meter reading of a white building, you may conclude
that the color of this building is two stops lighter
than 18% gray. Therefore, you need to increase the
meter’s recommended exposure by approximately
two stops. Conversely, if you take a meter reading of
dark evergreen trees, you may conclude that you need
to decrease the recommended exposure by approximately
one stop. It obviously takes some time and effort to
become proficient at this, but experienced
photographers routinely use this method.
A third method, the use of an
inexpensive 18% gray card, can be helpful. By
metering off this card, which is typically the size
of a standard sheet of paper, you can virtually be
assured of an accurate meter reading if it is in the
same type of light as your subject. This works best
in certain situations. For example, when taking a
wildflower photograph on a cloudy day, just place the
card near the flower and point your meter at it to
obtain an accurate reading. When taking a photograph
of a distant mountain on a sunny day, this technique
is more difficult to use.
Once you learn to recognize
the effect of a subject's color and light on the
exposure meter, you will be able to determine the
proper exposure. It takes a certain amount of effort
and practice to learn, but do not get discouraged.
One additional factor to be
aware of is reciprocity failure. This occurs with
shutter speeds longer than approximately one second.
When film is exposed for that length of time, it
essentially slows down. For example, if the proper
exposure is f/5.6 at 1/4 second, then both f/8 at 1/2
second and f/11 at 1 second would also be correct.
But, due to reciprocity failure, f/16 at 2 seconds
would probably be underexposed, as would f/22 at 4
seconds. To correct this, either increase the
aperture (open up), or use a longer shutter speed (which
actually further compounds the problem). Different
types of films have different rates of reciprocity
failure. It is often a good idea to bracket your
exposures to be safe. If you commonly use long
shutter speeds, experiment to determine the
appropriate adjustment for a particular film.
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2 - Determine the
Proper Aperture and Shutter Speed Yourself
There are several combinations
of aperture setting and shutter speed that will
provide the proper exposure. For example, f/16 at 1/2
second, f/11 at 1/4 second, and f/8 at 1/8 second all
provide the same exposure. But the specific settings
that are used affect the photograph in other ways.
Letting an automatic camera select the settings it
considers most suitable will provide for
unpredictable results. It is important to understand
the impact that aperture and shutter speed have on
your photographs so you can balance the
characteristics of each and select the appropriate
combination yourself.
Aperture
Aperture blades within a lens
control the amount of light that passes through the
lens when a photograph is taken. They do this by
closing together, or 'stopping down'. How far these
blades close together is determined by the aperture
setting. Aperture settings are stated in f-stops. The
smaller the number, the larger the aperture. For
example, f/4 is a large aperture setting that allows
a relatively large amount of light to pass. F/16 is a
small aperture setting that allows a relatively small
amount of light to pass. Aperture settings are marked
on the exterior of a lens and/or displayed on the
camera’s viewfinder screen. The most commonly
used f-stops are f/2.8, f/4, f/5.6, f/8, f/11, f16,
and f/22. Each of these f-stops varies by one full
stop. An adjustment of one stop either doubles or
halves the light passing through. For example, f/8
results in twice as much light as f/11. You are
usually not limited to setting the aperture in full-stop
increments. Exactly how this is accomplished is
determined by the specific camera and lens you are
using. For example, with a manual camera and lens you
should be able to physically set the aperture between
f/8 and f/11, even if there is no ‘click-stop’
on the lens for that intermediate setting.
The aperture
influences two things: exposure and depth-of-field.
Tip #1 (Determine the Proper
Exposure Yourself) explained why you should not
let the camera automatically determine exposure for
you. In addition, you should determine the
appropriate depth-of-field. Depth-of-field refers to
the distance range in front of and behind a subject
that is deemed to be in acceptable focus. A large
aperture (such as f/4) gives you a relatively small
depth-of-field, and a small aperture (such as f/16)
gives you a relatively large depth-of-field. You need
to select the aperture that will produce the required
depth-of-field. The camera is not able to
automatically select the appropriate aperture for you.
To learn much more about depth-of-field, please refer
to tip #4 (Understand Depth-of-Field
and Hyperfocal Distance).
Shutter Speed
The shutter speed determines
how long the shutter remains open and allows light to
pass through. The most commonly used shutter speeds
are (in seconds) 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60,
1/125, 1/250, and 1/500. Many cameras also allow the
shutter to be manually opened and closed. This allows
for very long shutter speeds. Each increment listed
varies by one full stop. An adjustment of one stop
either doubles or halves the light passing through.
For example, a shutter speed of 1/15 second allows
twice as much light as does a shutter speed of 1/30
second.
The shutter speed
influences two things: exposure and stop-action
capability. Tip #1 (Determine the Proper
Exposure Yourself) explained why you should not
let the camera determine exposure for you. In
addition, you should determine the appropriate stop-action
capability. Obviously, a faster shutter speed is
needed for subjects in motion. A slow shutter speed
is often needed to permit the use of a small aperture.
The camera is not able to automatically select the
optimal shutter speed for you.
Life (and Photography) is a
Balancing Act
The primary challenge is the
shutter speed and aperture setting must be balanced
against together. It would be easy if you could
always use the smallest aperture for a large depth-of-field
along with a short shutter speed to eliminate loss of
sharpness caused by camera or subject movement.
However, that is rarely possible. To obtain proper
exposure you normally need to compromise on one or
both settings. Knowing this should serve to reinforce
the importance of determining the aperture and
shutter speed settings yourself.
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3 - Use a Lens
With an Appropriate Focal Length
One of the advantages of using
a 35mm SLR camera is it allows for interchangeable
lenses. Whether you have several fixed focal length
lenses or a small number of zoom lenses, you have
many focal lengths to choose from. The length of lens
you use will affect the photograph.
A standard lens has a focal
length of 50mm. Generally speaking, lenses with a
focal length less than this are considered wide-angle
lenses. Lenses with a focal length longer than this
are considered telephoto lenses. Wide-angle and
telephoto lenses have unique characteristics. The
wider or longer the lens, the more these
characteristics increase.
Wide-angle lenses place more
of an emphasis on objects in the foreground, so
compose your photograph appropriately. Get close to
your subject. These lenses also provide a relatively
large depth-of-field. This makes them suitable for
situations requiring both near and distant objects to
appear in focus. Due to their limited magnification,
it is easier to handhold these lenses without losing
sharpness (but it is still best to use a tripod for
serious photography).
Telephoto lenses compress
distant objects together, visually reducing the
distance between them. This provides for a different
perspective than with wide-angle lenses. These lenses
also provide a relatively small depth-of-field. This
can either be an advantage or disadvantage, depending
on your objective. Due to their high level of
magnification, these lenses are very prone to loss of
sharpness caused by lens movement. Therefore, it is
important to mount them on a tripod, and since these
lenses are usually heavy, this tripod needs to be
especially sturdy.
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4 - Understand
Depth-of-Field and Hyperfocal Distance
Depth-of-Field
When taking a
photograph, only one thin plane of your subject
matter will be in perfect focus. The further away an
object is from this plane, the less sharp it will be.
However, since this loss of sharpness is relatively
gradual, there is a distance range in front of and
behind the focus plane that will still appear sharp,
or in focus. This area is referred to as the depth-of-field
range. Objects inside this range are considered to be
in acceptable focus. Objects outside of this range
are not considered to be in acceptable focus and will
therefore not appear sharp in the photograph.
Acceptable focus is
not a definitive unit of measurement. To understand
why, one needs to know that when taking a photograph,
many small beams of light pass through the lens. When
reaching the film, each of these beams may be thought
of as a circle. The smaller this circle is when it
reaches the film plane, the more focused the light is
considered to be. This circle is often referred to as
the Circle of Confusion. At a certain point, this
circle is small enough to be considered in acceptable
focus. One commonly used level of measurement defines
that a level of acceptable focus occurs with a Circle
of Confusion diameter of 0.03 millimeters (mm). This
is normally considered sufficient for prints up to 8"
x 10" (approximately 20 x 25 centimeters (cm)).
However, if you have exceedingly high expectations or
if you wish to make extra large prints then you may
have a slightly higher standard. If so, the common
level of measurement still provides a benchmark to
work with.
Depth-of-field is influenced
by three things:
1) Aperture - A small
aperture (such as f/16) results in a relatively
greater depth-of-field than a large aperture (such
as f/4).
2) Lens focal length - A lens with a short focal
length (such as 24mm) has a relatively greater
depth-of-field than a lens with a long focal
length (such as 200mm) when taking a photograph
of a subject from the same location.
3) Subject distance - When focused on a subject
close to the camera, the depth-of-field will be
smaller than when focused on a subject further
from the camera.
These three factors
have a significant influence, and one must be aware
of them to obtain the desired depth-of-field. For
example, a 24mm lens may easily provide a depth-of-field
ranging from two feet through infinity, but a 105mm
macro lens, when photographing a close subject, may
provide a depth-of-field range as small as 1/16 of an
inch!
Determining the exact
depth-of-field range for each combination of these
three factors is difficult. In the distant past, when
single focal length lenses and manual cameras were
common, most lenses had scale markings on them that
one could use to determine the approximate depth-of-field.
These have disappeared from most single focal length
lenses today. In addition, it is impossible to
include these scale markings on zoom lenses due to
their variable focal length.
Some cameras have a
depth-of-field preview button. When this button is
depressed, the aperture blades inside the lens stop
down to the selected aperture setting, simulating
what will happen when the photograph is taken. In
theory, the photographer can then look through the
viewfinder and observe what is in acceptable focus.
The problem is that when the aperture blades are
stopped down, the amount of light passing through the
lens is decreased substantially. This, coupled with
the small viewfinder, makes it extremely difficult to
accurately determine the portions of the subject in
acceptable focus.
Hyperfocal Distance
The hyperfocal
distance is meaningful in two ways. One is that when
the focus distance on the lens is set to infinity,
all objects from the hyperfocal distance through
infinity will be in focus. Second, when the focus
distance on the lens is set to the hyperfocal
distance, all objects from one half that distance
through infinity will be in acceptable focus. This
maximizes the depth-of-field. For example, if the
hyperfocal distance is 20 feet, and the lens is
focused at 20 feet, objects from 10 feet through
infinity will appear sharp. If the focus is set
beyond the hyperfocal distance, objects at infinity
will still be in focus, but the minimum distance for
the depth-of-field range will increase, or move
further from the lens. If the focus is set to less
than the hyperfocal distance, the minimum distance
for the depth-of-field range will decrease, or move
closer to the lens, but the maximum limit for the
depth-of-field range will also decrease, so distant
objects near infinity would no longer appear in focus.
Therefore, the hyperfocal distance is the optimal
distance to set the focus when maximizing depth-of-field.
Setting the focus distance to infinity usually
reduces the depth-of-field unnecessarily.
Hyperfocal distance is
influenced by two things:
1) Aperture - A small
aperture (such as f/16) results in a shorter
hyperfocal distance than a large aperture (such
as f/4).
2) Lens focal length - A lens with a short focal
length (such as 24mm) has a shorter hyperfocal
distance than a lens with a long focal length (such
as 200mm).
Determining the
hyperfocal distance for each combination of these two
factors is difficult. In the distant past, when
single focal length lenses and manual cameras were
common, most lenses had scale markings on them that
one could use to determine the hyperfocal distance.
These have disappeared from most single focal length
lenses today. In addition, it is impossible to
include these scale markings on zoom lenses due to
their variable focal length.
Depth-of-Field Example
It is important to achieve the
proper depth-of-field for all photographic situations.
To do this you must know the lens focal length,
aperture setting, and focus distance. Then, using a
depth-of-field chart, determine if the resulting
depth-of-field for that combination is acceptable and
make adjustments when necessary. For example, if you
are using a 50mm lens and are taking a photograph of
various objects ranging from 5' to 9' (1.52 meters to
2.74 meters) in distance from you, you need to know
the settings you should use and the distance at which
you should set the focus. If you have a depth-of-field
chart you will know that the depth-of-field range for
a 50mm lens with the aperture set at f/16 ranges from
4' 6" to 9' 1" (1.37 meters to 2.77 meters)
when your focus distance is set to 6 feet (1.83
meters). By using these settings, your photograph
will be a success! Knowing the depth-of-field is also
helpful when you purposely want the background or
foreground to appear out of focus. This type of
composition really makes the subject stand out
prominently.
Explore Photography has
created inexpensive Depth-of-Field Charts that list
the depth-of-field ranges for the most common lens
focal lengths, aperture settings, and subject
distances. Please refer to the Depth-of-Field Charts section for more
information on these and how to obtain them.
Hyperfocal Distance
Example
One common situation in which
you will need to know the exact depth-of-field is
when you want to maximize the depth-of-field range so
it starts at a specific distance from the camera and
extends through infinity. For example, if you are
photographing a scene with flowers blooming a short
distance in front of you, sailboats on a small lake
just beyond that and a city skyline in the
background, you will want everything from as close to
you as possible through infinity to be in focus. To
maximize the depth-of-field range, you need to know
the hyperfocal distance. When the focus is set to the
hyperfocal distance, everything from half this
distance through infinity will be in acceptable focus.
This is the maximum depth-of-field possible for a
particular lens focal length and aperture setting. If
the focus is set to a distance shorter then the
hyperfocal distance, objects near infinity will be
out of focus. Each combination of lens focal length
and aperture has a different hyperfocal distance. To
shorten the hyperfocal distance, which will increase
the depth-of-field, use a lens with a shorter focal
length or use a smaller aperture setting on the same
lens.
For example, the hyperfocal
distance for a 35mm lens with the aperture set at f/8
is 16' 9" (5.10 meters). If the focus is set to
this distance, everything from 8' 4.5" (2.55
meters) through infinity will be in acceptable focus.
With the aperture set at f/16, the hyperfocal
distance is reduced to 8' 4" (2.55 meters). When
focused at this distance, everything from 4 feet, 2
inches (1.27 meters) and beyond will be in acceptable
focus.
Explore Photography has
created an inexpensive Hyperfocal Distance Chart that
lists the hyperfocal distances for most common lens
focal lengths and aperture settings. Please refer to
the Hyperfocal
Distance Chart section for more
information on this and how to obtain it.
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5 - Use a Tripod and a
Cable Release
Great photographs
usually have at least a portion of the subject in
sharp focus. A slightly blurry subject detracts
greatly from the overall quality. One factor that
often leads to images that are not sharp is camera
movement. Camera movement is most likely to have a
negative impact while shooting at slow shutter speeds
or at large magnifications (as with telephoto lenses),
although it easily happens at other times as well.
While some people boast about their ability to
handhold a camera completely steady, to consistently
get great results you should do two things.
First, mount your
camera on a decent tripod. This is the best thing you
can do to eliminate camera movement. In addition,
this locks in your composition, allowing you to
concentrate on other factors such as focusing,
exposure, light, and wind. If you are bracketing
exposures, this will guarantee every frame contains
the same composition. There are some situations where
using a tripod is not feasible, of course, but you
should strive to use one whenever possible. Typical
wisdom says to purchase a very sturdy tripod. This is
good advice, but these tripods can be expensive. If
you use a heavy telephoto lens you probably will need
a very sturdy tripod. However, a decent yet fairly
inexpensive tripod can be suitable for the average
photographer under favorable conditions. Stay away
from the flimsy, very inexpensive tripods.
Second, use a cable
release to trigger the shutter. This device, normally
a 12-18 inch (0.3 - 0.5 meter) cable, has one end
that screws into your camera body, often right into
the shutter button, and the other end contains a
mechanism that you push, turn, or squeeze. Some
cameras require a mechanical cable release while
others require an electronic release. The release
allows you to press the shutter without actually
having to touch the camera. This significantly
reduces the possibility of camera movement.
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6 - Use Appropriate Film
Beginning photographers often
overlook the importance of film. But the
characteristics of each type of film vary
significantly, and an understanding of these
characteristics is necessary to determine the most
appropriate film to use.
All films are rated at a
specific speed, usually stated in terms of an ISO (International
Standards Organization) rating. The higher the ISO
number is, the faster the film. Some common ISO
speeds include 25, 50, 64, 100, 200, 400, 800, 1000,
and 1600. A film’s speed indicates how quickly
it reacts to light. Therefore, a slow film such as
ISO 50 will require a longer shutter speed than a
fast film such as ISO 400. Doubling or halving the
ISO speed results in a one stop difference. For
example, ISO 100 is one stop slower than ISO 200.
Fast film makes it easier to photograph in limited
light or with fast shutter speeds. However, slow film
generally produces a sharper, finer grained image
with richer colors. This becomes especially important
when an enlarged print is created.
Film is either negative film
or slide (transparency) film. Negatives are developed
and then used to make prints. Slides only need to be
developed as they directly record an image. There are
significant differences between negatives and slides,
and this is often a source of confusion and
frustration for aspiring photographers.
Unfortunately, there are few easy answers.
Negative film is widely used
by casual photographers for many reasons. It is
normally inexpensive. It is available in fast speeds.
There are many places to have it developed. It is
made into prints, which are easy to view, store,
share with others, and digitally scan. It is easy to
have enlargements made. It has a long shelf life and
does not need refrigeration. It has wide exposure
latitude. Wide exposure latitude means it is able to
record a relatively wide range of light conditions
accurately on one photograph. This makes it easier to
record images with high contrast subjects and also
makes it more difficult to overexpose or underexpose
a photograph.
There are some significant
disadvantages to using negative film, however. One is
that automatic adjustments are routinely made in the
printing process. The machine that creates prints
from negatives automatically analyzes each negative
and makes exposure adjustments as it deems
appropriate. For example, if you took two photographs
of the same subject and varied the exposure by one
stop, you often would not be able to tell the
difference when looking at the prints due to the
automatic adjustments. Additionally, the effect of
some types of filters is occasionally eliminated by
the adjustments, and colors are sometimes tinted
incorrectly and therefore not represented accurately.
For these reasons it is sometimes difficult to obtain
specific, desired results. Also, prints are not
extremely sharp, so it is difficult to analyze the
true quality of a photograph.
Not all photo finishers are
the same. Use a good one to improve the odds of
obtaining nice prints. While it is impossible to
provide a universal recommendation for the type of
photo finisher to use, it is often wise to avoid
places that ship film out for overnight processing.
Instead, use a place that develops the prints in
their store. If nothing else, this makes it easier to
discuss the end product and resolve any problems. If
you would like an enlargement made, bring it to a
place where you can personally discuss it with
someone. This is important because you will want to
provide some direction on the desired brightness and
color levels, as these are adjustable.
Be sure to store your prints
in an archival quality album or container. If an
album does not say it is archival quality it probably
is not.
Many beginning photographers
have never used slide film, but it is widely used by
serious photographers. There are several advantages
to slide film, but it also has its own drawbacks.
An exposed slide (or
transparency) is a direct result of your efforts.
There is no printing process that introduces unknown
variables. This allows you to be in complete control
of your results. For example, if you adjust the
exposure one-half stop or use a polarizing filter,
you will observe the difference on the slide. The
colors are usually much richer and more saturated.
The grain is much finer, which results in sharper
looking images. These are significant advantages that
allow for exciting advances in your photography.
Also, be aware that slides are often required for a
photograph to be published.
Each type of slide film has
its own color characteristics. For example, some
films provide realistic looking colors, and some are
known for warm, vibrant colors. The color tendencies
of film should be taken into account. Warm films are
often used in landscape and nature photography to
produce dramatic colors that seem to leap off the
film. Films with neutral colors are more suited for
photographing people. Try different types of film and
see for yourself what works best for different types
of subjects.
While slide film offers many
important advantages, it does present some
difficulties. For example, the exposure latitude of a
slide is relatively small. This means the range of
light the film can properly display is smaller than
that of negative film. Because of this, it is more
difficult to work with high contrast subjects. If you
are not careful, the bright areas tend to appear
washed out and the dark areas appear black and lack
detail. Because of this small exposure latitude and
also because there is no printing process that makes
adjustments, it is easy to underexpose or overexpose
a slide. While you can still get a decent print from
negative film if your exposure is one or sometimes
even two stops off, you generally need to be within
one-half stop or less to obtain proper exposure with
slide film. Until you are very skilled, you will
probably need to bracket your exposures. Bracketing
refers to taking multiple photographs of the same
composition while varying the exposure in small
increments. I normally bracket in one-half stop
increments, but some people bracket in one-third stop
increments. Bracketing in one stop increments is
sometimes acceptable but may not be precise enough
for many situations. I have read professional
photographers write about how they seldom bracket and
still obtain perfect exposure. That is something to
work towards, but to be honest, I am not sure I will
ever stop bracketing my exposures. I would rather use
a little more film than have my time and energy
wasted because I was one-half stop away from perfect
exposure.
The most popular slide films
are professional grade. This type of film is very
fresh and should either be used quickly or kept
refrigerated. There is no official timeline for when
the film will expire and therefore produce color
abnormalities, but its shelf life is reduced when
exposed to very warm conditions. It is especially
important to not store it in a place like a hot car (unless
kept in a cooler). A roll of professional slide film
is normally good for several weeks after being taken
out of refrigeration.
After slides are developed,
archival quality slide storage sheets work well for
storage. Each sheet can hold about 20 slides, and
these sheets fit conveniently in a storage binder or
file cabinet. Small, adhesive slide labels are
available that can be used for labeling either by
hand or with a word processor. A small, color correct
light box is a good tool for viewing slides. A loupe
is a small magnifier that helps to examine slides
closely. Most camera outlets have inexpensive light
boxes and loupes available for you to use at their
counter if you are just starting out. Slide
projectors may be used for informal viewing, but
these generally produce a low-quality image and are
inconvenient.
People are often concerned
that it will not be possible to produce an enlarged
print from a slide. This is not true. It is
absolutely possible to produce high-quality prints
from slides. There are several methods available to
do this that differ from the method used with
negatives, and new processes are continuously being
introduced as technology advances. It is probably
going to be more expensive to produce a good print
from a slide than from a negative, however. It is
best to work with a quality photo development lab,
not your local discount film developer at the mall,
to learn about the options available. Different labs
are sometimes proficient with different techniques.
It is also easy to digitally scan a slide by using a
film scanner. A normal flatbed scanner will not work.
Some flatbed scanners have a light adapter intended
for scanning film, but these generally produce
relatively poor results.
In summary, there are
advantages and disadvantages to both negative film
and slide film. Choose what is most appropriate for
you and your situation. I would highly recommend
using slide film. If nothing else, try a few rolls to
see the differences for yourself.
Ask the sales staff at a good
camera outlet for their recommendations on types of
film, or look in a current photographic buyer’s
guide that reviews photographic products for
descriptions of current films. A few popular films
are listed below. These are all capable of producing
excellent and exciting results.
- Fujichrome Velvia 50 -
This film produces warm colors and extremely fine
grain. It is more accurately rated at ISO 40, so
set your camera’s film speed setting
manually.
- Fujichrome Provia 100F - This film produces
more realistic colors than Velvia and offers
extremely fine grain.
- Kodak Ektachrome 100VS - This film provides
colors with vivid saturation, similar to
Fujichrome Velvia, but its faster speed makes it
easier to use. The grain is very fine but not
quite as fine as Velvia or Provia.
- Kodak Ektachrome 100S and 100SW - The 100S
produces saturated colors, and the 100SW also
features saturated but warmer colors. The grain
is very fine but not quite as fine as Velvia or
Provia.
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7 - Use Proper Lighting
Proper lighting is
essential. Great results can be achieved with good
light, but bad lighting typically results in bad
photographs. Learn to recognize favorable and
unfavorable lighting conditions.
On a clear day the
light is warmer, or more golden, from just before
sunrise to two hours after sunrise and then again
from two hours before sunset to just after sunset.
This is considered prime time to take many types of
photographs, so take advantage of it. Midday light,
which is often cool (more bluish) and flat, is
generally considered unfavorable for many subjects.
It is normally best to avoid
high-contrast lighting situations where the subject
contains both bright light and dark shadows. Our eyes
can adjust to this variance, but film is not capable
of accurately capturing this broad range of lighting
conditions. The bright areas become washed out and
the dark areas become too dark to display any detail.
This is one reason that cloudy days sometimes provide
the best lighting. With an overcast sky the light,
while not a warm color, is soft and evenly
distributed. This soft, even light works well for
many types of subjects.
Great photographs can
be taken in most types of light. But taking a
photograph with unfavorable lighting conditions will
yield truly awful results. Be aware of the quality
and characteristics of the light. If necessary, be
creative and determine what type of photograph will
work best with the available light. If you need to,
return to your subject at a later time to take
advantage of more favorable conditions.
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8 - Use Filters
Effectively
Filters are
accessories that normally mount on the front of a
lens and alter the light passing through the lens.
There are many types of filters available and these
are often a source of confusion for the average
photographer. Filters are normally not required to
produce a good photograph. However, they are helpful
in some situations. Filters commonly used are a
polarizing filter, neutral-density filter, and a
skylight or ultraviolet (UV) filter.
A polarizing filter,
when used correctly, eliminates glare from non-metallic
surfaces (which enhances certain colors) and darkens
a blue sky. This type of filter rotates in front of
your lens, allowing you to adjust the amount of the
polarizing effect. This can really add impact to a
photograph. You must be familiar with how to use the
filter or the results may be insignificant or even
detrimental. Typically, it is most effective if used
at right angles to the sun (not with the sun in front
of or behind you). Be aware that the effect may vary
within your subject area when using a wide-angle lens.
There are two types of polarizing filters. Most
autofocus cameras require a circular polarizing
filter, as opposed to a linear polarizing filter that
may be used on most manual focus cameras. Be sure you
get the correct type for your camera.
A neutral-density (ND)
filter reduces the amount of light passing through
the lens. These filters are available in different
strengths. The most common strengths reduce the
amount of light by one, two, or three stops. One
common use for this type of filter is to prevent
overexposure when using a slow shutter speed to blur
moving water, such as with a waterfall.
Many photographers
also purchase either a skylight filter or an
ultraviolet (UV) filter to mount on the front of
their lens permanently. Technically, these filters
help eliminate ultraviolet radiation, but the effect
is normally insignificant. Because of this, they are
commonly intended more as a protective device for the
lens. It is better to have an inexpensive,
replaceable filter become scratched or dirty than an
expensive lens. However, be aware they will slightly
degrade the quality of the image. Therefore, it makes
little sense to routinely mount one of these on an
expensive, high quality lens. It is nice to have one
available to protect your lens in some situations,
such as when traveling or working in bad conditions,
but remove the filter when striving to take the
highest quality image possible.
Other commonly used
filters include, but are certainly not limited to, a
graduated filter, a warming filter, and a soft-focus
filter for portraits. The types of filters available
seem endless, but, as a general rule, it is best not
to overdo their use. Only use them when you have an
appropriate need and do not feel they are required.
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9 - Be Aware of
Environmental Factors
Environmental factors such as
sunlight, color of the sky, and wind speed all play
important roles in the success of your photography.
Since you have no control over these they can also be
exceedingly frustrating. But if the environmental
factors are not favorable for a photograph, you will
have difficulty obtaining the desired results. For
example, a steady breeze may make it impossible to
take a close-up of a flower. A mix of sunlight and
shadows on a waterfall may prevent you from capturing
that effectively. You need to recognize these
conditions. If the conditions are not favorable, come
back later and try again, or look for other
possibilities. You will be happy you did.
You only need to be
aware of and account for the environmental factors in
your photographs. You do not need perfect weather
conditions. Some of the most beautiful images ever
captured were taken during inclement weather
conditions. Also, many images have been taken in full
sunshine, and others were taken with an overcast sky.
One of the exciting and challenging aspects of
photography is to be able to work with the conditions
you are presented with.
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10 - Study Other
Photographs
Take time to read or browse
through some of the many books on photography. Look
at photographs on calendars and postcards. You will
pick up some great advice and be exposed to great
photographs. Observe the type of lighting used, the
subject matter, the colors, the composition, and the
depth-of-field. Note the type of lens, film, filter,
aperture, and shutter speed used if this information
is provided. This will help you understand what goes
into making a great photograph and will also help
expand your creativity and list of potential subjects.
You will learn that creativity and knowledge are
often used in amazing ways with rather ordinary
subjects.
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* - Bonus
Tip
Many of your photographs
should end up in the garbage can. Not every one will
be a success! Indeed, only a very small number will
be exceptional. That is normal. Do not get
discouraged. Do not think you are the only one
throwing photographs away because every successful
photographer does it. The key is to keep working at
it and learning. Soon your successes will become more
frequent and you will start to accumulate a portfolio
to be proud of.
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| Subject:
Trillium Lens: Nikkor
Micro 105mm
Aperture: f/11 - f/16
Shutter Speed: 1 second
Film: Kodak Ektachrome 100 VS
|
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