Essentials of Basic Photography
What’s the difference between a great photo and a great photographer?
Repeat the awesomeness, time and time again. That’s what great photographers can do.
So you want to take great photos? You want to up your game as a photographer? This is where to start
Agenda Knowing the equipment DSLRS, Modes and Lens
Photo composition The rules & beyond
Exposure The importance of triangle
World of “Light” & “Lighting” Use of flash and types of lighting
Canon Software RAW Editing
The camera Obscura 
Principle of a pinhole camera: 
Light rays from an object pass through a small hole to form an image on the sensor
Aperture  Aperture is the hole through which light travels
it regulates the amount of light that passes to form the image
Focal length  The focal length of the lens is the distance between the lens and the image sensor
when the subject is in focus, usually stated in millimeters (e.g., 28 mm, 50 mm, 200mm etc ..)
The equipments
Know your camera
Digital Single-lens Reflex Camera, or DSLR, is a type of digital camera that provides the capability of interchanging lenses and wider photo-shooting options than normal consumer cameras. It serves the purpose of capturing images in digital format A DSLR contains a photographic lens, a viewfinder, a shutter, and an image sensor.
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Design of a DSLR When DSLR is not Capturing Image
The photographic lens located in front of the camera directs lights into the camera body. Light is then reflected by the mirror to the pentaprism and finally travels to the viewfinder where photographers can observe the scene. Notice that the mirror is flipped down and the shutter covers the image sensor from recording lights.
Design of a DSLR When Capturing an Image
The image capturing process starts when the shutter release button is pressed. Notice the mirror is flipped up from its original position, allowing light to travel to the sensor area. The shutter that covers the image sensor is now fully opened, and the image sensor is exposed under light and will be capturing the image.
Specific Part The Image Sensor – The Introduction
Image Sensor is the key device in DSLR, and serves the same function of capturing images as traditional films Image sensor is basically a silicon chip containing millions of light sensitive element called photo site, and is covered by a layer of color filter
Specific Part The Image Sensor – The size
There are two common sizes of image sensor used by DSLR. 35 size image sensor has a dimension of 36mm × 24mm and is also called the full-frame sensor. APS-C size image sensor has a dimension of 22mm × 15mm.
This diagram illustrates the different sizes of scene that a full frame and an APS-C sensor are able to capture. The gray circle indicates the total view, or the field of view, of the camera.
The size of an image sensor no effect on the size of captured image, but affects size of scene that will captured.
has the the be
Image formats The crop factor is the ratio of the dimensions of a camera's imaging area compared to a reference format: The red box displays what a 24Ă—36 mm sensor would see. The blue box displays what a 15Ă—23 mm sensor would see. Most digital single-lens reflex (DSLR) cameras on the market have reduced APSC-sized image sensors:
Mode dial
Quick mode
Quick mode
Semi Automatic Mode ( Tv) - Shutter Priority
Aperture f/4 Shutter speed 1/200s ISO 1600
Aperture f/4 Shutter speed 1/2000s ISO 200
Shutter speed of 1/250s
Aperture F/4.5 Shutter Speed 1/60 ISO 100
Aperture F/19 Shutter Speed 1 sec ISO 100
Semi Automatic Mode ( Av) - Aperture Priority
Aperture f/2.8 Shutter speed 1/180s ISO 100
Low Aperture value f/1.4
To have everything in FOCUS Larger Aperture value f/22
MORE LIGHT BUT MORE NOISE AS THE ISO VALUE INCREASES
Auto
Cloudy
Daylight
Shade
Fluorescent
Tungsten
Flash
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OWNING A CAMERA DOES NOT MAKE YOU A PHOTOGRAPHER.
EXPOSURE Shutter Aperture ISO 64
A photography exposure determines how light or dark the image is when its been captured by the camera.
Changing any of these 3 elements will effect the exposure
Understanding Exposure
For understanding exposure imagine your camera is a window with shutters opening and closing.
APERTURE
Aperture is the size of the window. If it’s bigger more light gets through and the room is brighter.
Shutter Speed
Shutter Speed is the amount of time that the shutters of the window are open. The longer you leave them open the more light comes in.
ISO
• How sensitive the sensor should be to light. This is determined by ISO value. • Imagine that you’re inside the room and are wearing sunglasses Your eyes become less sensitive to the light that comes in (it’s like a low ISO).
What is exposure ? • Shutter Speed – Controls the amount of time the camera sensor is subjected to light. • Aperture – Controls the amount of light that reaches the sensor. • ISO – Controls how sensitive the sensor is to light.
Aperture - f/stop Values
To increase the light in the room 1. You could increase the time that the window shutter is open – decrease shutter speed 2. You could increase the size of the window opening – increase aperture size 3. You could take off your sunglasses – Make the ISO high
Light Meter
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Light meter Concept is to read the intensity of the light.
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This is done based on the available Light Falling on the subject or the entire frame
Master the light The are endless lighting opportunities waiting for you when you step outdoors. Can you shoot in harsh midday sun? Golden hour light? After the sun goes down? When the stars come out? The Sunny 16 Rule is a way to meter for correct exposure during daylight without using the camera’s meter. The basic rule of thumb states that if you have a clear, sunny day and your aperture is at f/16, whatever ISO you are using, your shutter speed will be the reciprocal value of that ISO value (ISO X = 1/X seconds shutter speed) So for example, if your ISO is 200 at f/16, then your shutter speed will be 1/200 seconds. If your ISO is 100, then your shutter speed will be 1/100 seconds. Simple, right?
MANUAL SIMULATOR http://camerasim.com/apps/original-camerasim/web/ 84
http://www.canonoutsideofauto.ca/play/
Understanding composition
In relation to PHOTOGRAPHY How to be a better PHOTOGRAPHER
Understanding Composition
In relation to PHOTOGRAPHY
The Rule of Third
The rule of thirds is a powerful compositional technique for making photos more interesting and dynamic. It's also perhaps one of the most well known. 88
We will try to demonstrate why the rule works, when it's ok to break the rule, and how to make the most of it to improve your photography.
Always human eye draw attention to the intersection points ( happy face ). So ensure – we place the subject in a photograph in those points.
It’s a simple photo – yet the placement of the flower created a narrative impact
Leading Lines: photography’s most underrated composition Leading lines are powerful because they control the eye movement of the viewer. The classic example you see used a lot is the parallel lines of railway tracks leading your eyes away towards the distant horizon.
Leading lines have different photo compositional effects, depending on their orientation and direction. Horizontal leading lines induce feelings of restfulness and peace, while vertical leading lines evoke a sense of strength and power. Diagonal lines are more discordant and suggest movement.
Leading lines allow you to pull the viewer further into an image, move their view to the left, right, top or bottom and even make the viewer feel as if they can see through the image. They are an integral part of nearly every photograph, whether you are aware they are there or not. Leading lines create the focal point, however they are not always the point of focus.
Some of the time, successful composition means finding one strong element and focusing on it. The rest of the time, it’s about finding the perfect balance between conflicting elements, and that’s something you learn best by doing, rather than by theorising.
The Natural Frames When searching for a photograph in a complex scene, look for ways to isolate the elements that you want to stand out. Using architectural or natural elements as a frame can lead the eye and prevent the photograph from becoming a jumble of confusion.
People frame and mat photos to emphasize them, to draw attention to them. You can use this same technique within photographs. It’s sometimes easier to think about this technique in a different way. Think about it as shooting through objects – look for things to shoot through.
Point of view / Perspective Perspective has to do with the spatial relationships between objects in your frame – their sizes, their placements, and the space between them. All of this positioning works to change the way your viewer interprets the scene. It might make things look more 3D, giving the photo a sense of depth, or it might flatten everything out.
Silhouette Any time the light behind your subject is substantially brighter then the light in the foreground you will get a silhouette. The amount of detail in the foreground will depend on the difference in light between the background and foreground.
You can adjust this amount either by adding more light to the foreground, by using your flash or other light source, or by changing the camera settings for exposure.
Negative Space The term negative space refers to large areas of blank, empty space, usually contrasting in color, tone, or brightness to your subject. This technique creates a dynamic separation. Depending on how negative space is used, it can create tension or unity in an image.
Understanding Composition How to be a better photographer
How to become a better photographer
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SKILL
08 02
06 05
07 03
04
01
Learn
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Ready
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Be there
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Stop looking
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Share your work
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Listen
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Inspire
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Niche
WILL
The basic of photography
Always be ready to take the photography.
Always be ready and there on location to capture it.
Never look for subjects to photographs rather learn to see it first.
Show the best of your work to other people & friends.
Listen to the critiques of others
Look for work that inspires you.
Find your niche
• It is the Photographer, who takes a photograph and NOT the Camera. • You do not take a photograph, You create a photograph. • All the Rules are meant to be broken. • Never follow a rule just because someone told you. Follow it because you understand it.
ALWAYS REMEMBER
Talk about these photos Let us judge what are the key factors applied in these following photos 116
Say few aspect of these photos like …..
Rule of third Over exposed High Key Lighting
Introduction to Light
Lights and Other Lighting Equipment Types of Artificial Light Photofloods & Quartz-halogen bulbs are for use with indoor color. Flash equipment is used with daylight-balanced color.
Reflectors and Light-Control Devices Bowl-shaped reflectors Snoots
Umbrella reflectors Reflector Flats Flags
Barn doors/Baffles
Diffusers and Filters Diffusion screens Tents
Softbox
Filter holders
Supports for Lights and Other Devices Light stands Cross arm or Boom Umbrella mount Background or seamless paper and support stand
Canon Speedlite Flash
Starting with the least expensive flash, the 270EX II is a “mini” Speedlite that lacks some of the key functions found in the larger flashes. This flash is effective for indoor photography , as it can be tilt to bounce from a ceiling, though it cannot swivel from side to side.
The 320EX is a new flash designed to serve two purposes simultaneously. It’s a traditional flash for still photography, but it also contains a white LED to provide continuous light for shooting video with the new video DSLR’s.
Canon Speedlite Flash
The 430EX II to be the core of the Canon flash family.Fully functional flash that does everything you need a flash to do. As a first flash purchase. Its smaller size and lighter weight more comfortable for long hours of on-camera flash photography.
The 580EX II is the “big brother” of the 430EX II. It’s a bit more powerful, a bit more sophisticated, a bit larger, a bit heavier. It can be used as a Master to control slave units in multi-flash setups using the built-in wireless (light-based) triggering system.
Canon Speedlite Flash
That’s “RT” as in “radio transmitter.” This new Canon flash has radio triggers built right into it. Many of us have been manually attaching third-party radio triggers to our flashes to get this RT functionality, and now Canon has built it in.
Key Light
The main light in a studio lighting set-up. This light is often the closest to your subject and the most dominant light in your composition.
1/1 power
10mm f/3.5
Fill Light The fill light is the second most important light in that it fills in the shadow areas in your portrait.
1/1 power
10mm f/3.5
Background Light The background light usually sits behind the model and reflects light onto the background sweep. The background light is necessary to separate the model from the backdrop especially if the sweep matches your models hair tone.
Rim/Hair Light The rim or hair light is an extra added light that usually sits above the models’ head. It often produces a soft illumination on the hair (halo effect) that helps define in more detail the hair on the model, and further separates the model from the background. 1/1 power
1/1 power
70mm f/2.8
Umbrella An umbrella is the most common way lights are diffused in a portrait. They are cheaper than soft boxes and can be moved very easily in different locations on your set.
Soft Box
A soft box is a lightweight box that sits on the front of a light source. It is usually made out a fire retardant material and has a acetate material on the front that diffuses soft light onto a subject. Soft boxes come in many different sizes and shapes and are used in most professional commercial and fashion studios.
1/1 power
70mm f/2.8
Rembrandt Lighting Rembrandt Lighting is the common term used for a lighting set up that uses only one light source. It is the simplest form of light. The results are often dramatic and moody.
1/1 power
1/1 power
50mm f/1.8
Light ratio The light ratio is how you control the lighting effect in your portrait lighting set up. This means the ratio of the highlights to the shadow areas in your shot.
1 power
1/4 power
150mm f/2.8
Lenses
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What the Numbers on your Lens Mean
Landscape Travel Architecture
With framing equivalent to a 16-35mm zoom on a full frame body, the Canon EF-S 10-22mm f/3.5-4.5 USM Lens provides EF-S compatible camera body owners with the ultra-wide angle focal lengths so often missed on this small-sensor format camera. Ideal for landscape and travel photography.
Canon EF-S 10-22mm f/3.5-4.5 USM Lens
Landscape Travel Architecture
The Canon EF 16-35mm f/2.8L III USM Lens delivers outstanding image quality, far surpassing its predecessor, in a very well built, great-to-use lens that features a range of focal lengths which serious photographers are going to find the image quality this lens delivers to be totally worth the cost.
Canon EF 16-35mm f/2.8L III USM
Landscape Travel Architecture Portraits
The Canon EF-S 18-200mm f/3.5-5.6 IS Lens features an awesome focal length range (one that completely covers the needs of many photographers) and an excellentlyperforming IS system in a nicely-sized body. Compact, light weight and a wide magnification range. It features an Optical Image Stabilizer for up to 4-stops of effective correction even at full zoom. The circular aperture can give beautiful background blur effects & high-speed performance at an affordable price.
Canon EF-S 18-200mm f/3.5-5.6 IS
Landscape Travel Architecture Portraits
The Canon EF 24-70mm f/2.8L II USM Lens is clearly the best performing Canon full-frame-compatible general purpose zoom lens available. It is the best from both an image quality perspective and from an AF speed/accuracy perspective. This lens is very sharp/has excellent contrast across the frame even at f/2.8 and is well built, focuses extremely fast and contains a most-used range of focal lengths.It helps minimize chromatic aberration in the periphery at wide-angle. Award : TIPA's 2013 Best Professional DSLR Lens
Canon EF 24-70mm f/2.8L II USM
Close up Travel Portraits
The Canon EF 70-200mm f/2.8L IS II USM Lens delivers impressive image quality, focuses accurately very fast and has top-of-the-line build quality, 4-stop Image Stabilization, weather sealing and a very useful focal length range. One of the most celebrated lenses in the Canon EF line it has great speed, performance and optical quality. It has a minimum focusing distance of 1.2m/3.9 ft. at all zoom settings useful for photographers in smaller spaces trying to get closer to a subject. It is dust- and moisture-resistant and designed for use in the challenging environments typical of rigorous professional use.
Canon EF 70-200mm f/2.8L IS II USM
Travel Wildlife Portraits Sports
Standard lens featuring superb quality and portability. Two high-refraction lens elements and new optics eliminate astigmatism. Crisp images with little flare are obtained even at the maximum aperture. The Canon EF 75-300mm f/4-5.6 III USM Lens is a relatively small, very light and very affordable lens for this focal length range.
Canon EF 75-300mm f/4-5.6 III USM
Wildlife Sports
The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens offers professional grade build quality, fast, accurate and quiet AF, very effective image stabilization and very impressive wide open image quality over the entire and very useful 100-400mm telephoto focal length range. Delivers a superb combination of cutting-edge performance, compact construction and brilliant resolving power that’s great for sports and wildlife photography. Canon’s new Air Sphere Coating (ASC) helps significantly reduce backlit flaring and ghosting. A 9-blade circular aperture renders beautiful, soft backgrounds.
Canon 100-400 F4.5-5.6L IS USM Mark II
Portraits Close up Street
An excellent prime lens for portraits, action, evennighttime photography. A stepping motor (gear-type STM) to deliver near silent, continuous Movie Servo AF for movies plus speedy, smooth AF for stills. A fixed focal length gem-the perfect lens for photographers and moviemakers to expand the creative possibilities with their EOS cameras.
Canon EF 50mm f/1.8 STM
Portraits Close up Macro
The Canon EF 100mm f/2.8L IS USM Macro Lens is an extremely fun lens to use. It combines excellent image quality with a useful focal length, a relatively small/light body, fast/quiet AF with 1:1 (1x) macro capabilities and HIS (Hybrid Image Stabilization). With the highest quality optics available, combined with near-silent Ultrasonic focusing and life-size close-up capabilities without an adapter, the EF 100mm f/2.8L Macro IS USM is simply unrivalled. Its Hybrid IS effectively compensates for both angular and shift camera shake during close-up shooting. Allows a wider range of users to easily enjoy macro photography.
Canon EF 100mm f/2.8L IS USM Macro Lens
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Exif data Camera settings and scene information are recorded by the camera into the image file. Examples of stored information are shutter speed, date and time a photo was taken, focal length, exposure compensation, metering pattern and if a flash was used.
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