DEPTH OF FIELD Learning to see like a camera.
Sunday, September 9, 12
FOCUS YOUR CAMERA This outside ring on the lens controls the focus.
Sunday, September 9, 12
FOCUS YOUR CAMERA As you turn the focus ring you will see the sharpness of your image come and go. Focus your camera on your SUBJECT MATTER. The FOCUS POINT and the SUBJECT MATTER should be on the same plane.
Sunday, September 9, 12
FOCUS YOUR CAMERA As you turn the focus ring you will see the sharpness of your image come and go. Focus your camera on your SUBJECT MATTER. The FOCUS POINT and the SUBJECT MATTER should be on the same plane.
Sunday, September 9, 12
FOCUS YOUR CAMERA “Focus Point” in feet Once you’ve adjusted the FOCUS RING so that the FOCUS POINT and the SUBJECT MATTER are the
5 Feet
same, you should check the DISTANCE INDICATOR on your lens. Make sure your FOCUS POINT is not more than 5 feet away.
Sunday, September 9, 12
FOCUS YOUR CAMERA “Focus Point” in feet Once you’ve adjusted the FOCUS RING so that the FOCUS POINT and the SUBJECT MATTER are the
5 Feet
same, you should check the DISTANCE INDICATOR on your lens. Make sure your FOCUS POINT is not more than 5 feet away.
Sunday, September 9, 12
FOCUS YOUR CAMERA “Focus Point” in feet Once you’ve adjusted the FOCUS RING so that the FOCUS POINT and the SUBJECT MATTER are the
5 Feet
same, you should check the DISTANCE INDICATOR on your lens. Make sure your FOCUS POINT is not more than 5 feet away.
Sunday, September 9, 12
SHUTTER SPEED This ring on the top of the camera controls the shutter speed.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
Each slower Shutter Speed, or F-Stop, will allow twice as much light to enter the lens. Each faster Shutter Speed will cut the light in half.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
Each slower Shutter Speed, or F-Stop, will allow twice as much light to enter the lens. Each faster Shutter Speed will cut the light in half.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
Each slower Shutter Speed, or F-Stop, will allow twice as much light to enter the lens. Each faster Shutter Speed will cut the light in half.
Sunday, September 9, 12
APERTURE This inside ring on the lens controls the aperture.
The aperture controls both the Exposure and the Depth of Field
Sunday, September 9, 12
Each larger aperture, or F-Stop, will allow twice as much light to enter the lens. Each smaller aperture will cut the light in half.
Sunday, September 9, 12
Each larger aperture, or F-Stop, will allow twice as much light to enter the lens. Each smaller aperture will cut the light in half.
Sunday, September 9, 12
Each larger aperture, or F-Stop, will allow twice as much light to enter the lens. Each smaller aperture will cut the light in half.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
When you adjust the Shutter Speed and the Aperture in conjunction with each other you can keep the correct exposure.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
When you adjust the Shutter Speed and the Aperture in conjunction with each other you can keep the correct exposure.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
When you adjust the Shutter Speed and the Aperture in conjunction with each other you can keep the correct exposure.
Sunday, September 9, 12
DEPTH OF FIELD When you focus your camera you select a “Point if Focus�. The aperture determines the Depth of Field. The smaller the aperture the greater the depth of field. The Larger the aperture the less the Depth of field.
Point of Focus
Sunday, September 9, 12
DEPTH OF FIELD When you focus your camera you select a “Point if Focus�. The aperture determines the Depth of Field. The smaller the aperture the greater the depth of field. The Larger the aperture the less the Depth of field.
Point of Focus
Sunday, September 9, 12
HOW DOES IT WORK?
Sunday, September 9, 12
HOW DOES IT WORK? The Sun
Lens @ F2.8 Tree in the Background
Sunday, September 9, 12
Flower in the Foreground
Film Plane
Lens @ F2.8
Sunday, September 9, 12
Film Plane
Lens @ F2.8
Film Plane
Circle of Confusion
Sunday, September 9, 12
HOW DOES IT WORK?
Sunday, September 9, 12
HOW DOES IT WORK? The Sun
Lens @ F22 Tree in the Background
Sunday, September 9, 12
Flower in the Foreground
Film Plane
Lens @ F22
Sunday, September 9, 12
Film Plane
Lens @ F22
Film Plane
Circle of Confusion
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
But Remember, you can’t adjust the aperture without changing the exposure so you must adjust the Shutter & the Aperture together!
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
But Remember, you can’t adjust the aperture without changing the exposure so you must adjust the Shutter & the Aperture together!
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
30
But Remember, you can’t adjust the aperture without changing the exposure so you must adjust the Shutter & the Aperture together!
Sunday, September 9, 12
YOUR ASSIGNMENT Depth-of-field is the range in which objects in your photograph are in focus. Changing the aperture and the shutter speed affect the way that your camera sees the subject. As an artist, you must take control of the camera and manipulate it to get the desired result. Small apertures will cause a deeper depth thus providing detail in the whole photograph. Large apertures will give you shallow depthof-field; this will draw attention to the foreground.
Sunday, September 9, 12
YOUR ASSIGNMENT f22 f16 f11 f8 f5.6 f4 f2.8 f2 Small apertures will cause a deeper depth thus providing detail in the whole photograph.
Sunday, September 9, 12
YOUR ASSIGNMENT f22 f16 f11 f8 f5.6 f4 f2.8 f2 Large apertures will give you shallow depthof-field; this will draw attention to the foreground.
Sunday, September 9, 12
STEP #1 Pick a “subject matter” and focus your camera on it so that it is your “point of focus”. (like the handle bar in this example.) DOF is exaggerated the closer you are to your subject so it is very important that you focus your camera on a subject that is NOT more than 5 feet way! Make sure that you can see some background. (like the other bikes and the building in this example.)
Sunday, September 9, 12
STEP #2
Set your shutter speed to 1/60th of a second. This is the slowest shutter speed you can use and still hold your camera by hand. This slow shutter speed will provide you with the smallest aperture possible and thus the MAX depth.
Sunday, September 9, 12
STEP #3
+
-
Sunday, September 9, 12
Take a light reading. (Exactly how to do this depends on the camera you are using so be carful to make sure you understand how to take accurate light readings with the camera you have.) Fine-tune the aperture to get your light meeter “happy� and take the picture!
STEP #3
+
-
Sunday, September 9, 12
Take a light reading. (Exactly how to do this depends on the camera you are using so be carful to make sure you understand how to take accurate light readings with the camera you have.) Fine-tune the aperture to get your light meeter “happy� and take the picture!
STEP #4 ____________________________________________________________________ Subject: Bike Focus Distance: 2.5 feet # of F-Stop Range: Max depth:
22 16 11 8 5.6 4 2.8
60 125 250 500 1000 2000
Min depth: 22 16 11 8 5.6 4 2.8 60 125 250 500 1000 2000 _________________________________________________________________
Make sure that you accurately log the subject matter, focus distance, aperture and shutter speed used.
Sunday, September 9, 12
STEP #5 20
00 100
Shu
0
50
0
tte r 25
0
Spe
ed 125
+
-
Sunday, September 9, 12
60 30
“Open-up” your aperture one fstop at a time as you “speed-up” your shutter one f-stop at a time. Do this until either your aperture or your shutter can’t go any farther. This will give you the MINIMUM depth of field while maintaining the EXACT same exposure as you had with the first photo
STEP #5 20
00 100
Shu
0
50
0
tte r 25
0
Spe
ed 125
+
-
Sunday, September 9, 12
60 30
“Open-up” your aperture one fstop at a time as you “speed-up” your shutter one f-stop at a time. Do this until either your aperture or your shutter can’t go any farther. This will give you the MINIMUM depth of field while maintaining the EXACT same exposure as you had with the first photo
IMPORTANT NOTE: Each photo will look exactly the same to you in the viewfinder but the film will see it differently when you take the picture. The point of the assignment is to train our eyes to see how various apertures effect depth of field but we won’t be able to see it until we develop the film.
Sunday, September 9, 12
Shutter Speed 2000
1000
500
250
125
60
What the Film Sees:
Sunday, September 9, 12
30
Shutter Speed 2000
1000
500
250
125
60
What the Film Sees:
Sunday, September 9, 12
30
Shutter Speed 2000
1000
500
250
125
60
What the Film Sees:
Sunday, September 9, 12
30
Shutter Speed 2000
1000
500
250
125
What you See:
Sunday, September 9, 12
60
30
Shutter Speed 2000
1000
500
250
125
What you See:
Sunday, September 9, 12
60
30
Shutter Speed 2000
1000
500
250
125
What you See:
Sunday, September 9, 12
60
30
STEP #6
+
-
Sunday, September 9, 12
Double check that your light meeter has remained “happy� and be sure that your framing and focus has not changed. Take another picture!
STEP #6
+
-
Sunday, September 9, 12
Double check that your light meeter has remained “happy� and be sure that your framing and focus has not changed. Take another picture!
STEP #8 ____________________________________________________________________ Subject: Bike Focus Distance: 2.5 feet # of F-Stop Range: 4 Max depth:
22 16 11 8 5.6 4 2.8
60 125 250 500 1000 2000
Min depth: 22 16 11 8 5.6 4 2.8 60 125 250 500 1000 2000 _________________________________________________________________
Log every shot! Count your f-stop range and enter it on your log. Remember that your aperture and shutter MUST change the exact same number of f-stops!
Sunday, September 9, 12
STEP #8: Repeat these steps to make as many sets of photographs as you can. 10 good sets will get you 50 all 50 points. 8 good sets will get you 45 of 50 points. 3 good sets will get you 40 of 50 points. 1 good set will get you 35 of 50 points.
Sunday, September 9, 12
YOU WILL HAVE A GOOD SET IF, AND ONLY IF:
Each negative in set has a subject that is less than 5 feet away & is clearly in focus. Each photo in set is the same in terms of subject matter and exposure. There is a dramatic rage of depth of field clearly visible. (You need at least 3 stops)
Sunday, September 9, 12
REMEMBER:
Load and unload your camera carefully Log every shot... even if you make a mistake. NEVER shoot into the sun. ALWAYS focus on something less than 5 feet away! Creativity will not be graded but it never hurts!
Sunday, September 9, 12