1. © 2010 Cream Photo Workshops
Mastering the Basics
Level 1
© 2010 Cream Photo Workshops
Version 1

2. The Camera Frame At its most basic your camera is a light tight box
The lens allows light into this box & focuses it to form an image on the sensor
The boundaries of the image sensor set the limits of what’s in the picture – the frame

3. Important - You are in control
You can decide what is in or out of the frame
What you exclude is just as important as what you include

4. As a person you can turn and move around to see all
Your camera frame captures only a limited section of the scene
360º Panorama
You are in control of what your camera captures

5. What’s in the Picture = Framing
What’s in or out of the frame is under your control
Some of the most basic errors people identify as problems with their photography is down to framing
Some we all recognise

6. Subject too small in frame
Feet cut off

7. Face centre frame = lots of waste space in top third
Not keeping an eye on the background

8. The face is often the most important part of a portrait so it’s easy to place it dead centre of frame & align it with the centre cross or circle
Don’t do it
It’s not good composition

9. These errors are easily avoided
Don’t just look centre frame - scan your eye around the edge of the frame while asking how this relates to your subject

10. These errors are easily avoided
Don’t just look centre frame - scan your eye around the edge of the frame while asking how this relates to your subject

11. Composition
Composition is the way elements are arranged within the frame
There are no fixed rules although the following have been found to produce pleasing images that work -

12. Rule of Thirds
Curves & Spirals
Converging Lines
Point of View

13. Rule of Thirds
The Rule of Thirds divides the frame into three equal sections both vertically and horizontally
The positioning of elements along these lines & particularly at their intersections produces a pleasing composition

14. Horizon fills the bottom third of the frame
Unless you intend otherwise the horizon should be level

15. Intersections of the lines are particularly strong places to position important picture elements

16. Curves & Spirals Curves & spirals lead your eyes around the image
They guide you on a visual journey of exploration
Consequently you are persuaded to become engaged with the image

19. The curved boundary between sand & water leads your eyes around the image to the island in the distance

20. Converging Lines Photographs are 2 Dimensional (flat)
Not 3 Dimensional like the real world
Lines that converge towards a vanishing point and foreground interest create the notion of depth in the 2-D image

21. Elements in the frame converge on a common vanishing point

22. Converging lines and foreground interest gives a notion of depth to the 2-D image

23. Point of View
The position you use to take your photographs from can have a significant impact over the quality of your composition
When photographing people & animals it’s important to be at their eyelevel

24. This shot is above the child’s eyelevel so they look unconnected with the viewer
Being at the same eyelevel means your subject engages with the viewer
If it means getting right down on the ground do so

25. Now the viewer can engage with the subject

27. Avoiding Camera Shake
Camera shake – the slight unintentional movement of your camera while you are taking a photo frequently results in blurred images

28. It’s usually worse when light levels are low & with telephoto lenses
A lens that sticks out significantly from the camera body acts as lever producing shake if inadequately supported as here

29. Even without a tripod or other support there is much you can do to reduce or eliminate camera shake
Cradle lenses that stick out & for cameras with a viewfinder brace the body against your face

30. Natural supports like trees and rocks can be used to brace your camera and reduce shake

31. Stable manmade objects are equally suitable
A coat or other padding can be used to bed the camera and prevent damage

34. Sometimes it helps to momentarily hold your breath while you take the shot
Importantly – never snatch the shutter release
Compose your shot then squeeze the shutter release slowly in a single smooth movement

35. Correct Focus Today most cameras are autofocus
But focusing errors are still a reason why many photographs are ruined
Being aware of how your autofocus works and its limitations will help you avoid focusing errors

36. Multipoint autofocus is often the default setting
The points that are used for focusing momentarily flash in the viewfinder as you take the shot

37. Multipoint autofocus decides what’s the most important in the frame even if it’s off centre (usually the closest) and locks on that

38. Sometimes the closest thing in the frame is not the most important
Autofocus is not foolproof
Cameras with multipoint autofocus usually allow you to select a single central point for precise focusing

39. A single central focus point can only focus on what it’s pointing at even if it’s not what you want in focus

40. The problem occurs when the subject is off centre or when photographing two people & the focusing point is over the gap between their heads

41. There is an easy solution
Most autofocus systems activate and lock when the shutter release is pressed halfway down
The solution is to place the focusing point over the part of the shot you want in focus and press the release halfway down - hold it there while you recompose & shoot by pressing fully

43. Most autofocus systems work by detecting differences in contrast to find a lock
When light levels are low contrast between different elements in the frame is usually poor too
Some cameras in low light activate a focusing light or bathe the scene in infrared to help the autofocus to find a lock

44. Even in good light some scenes just don’t have much contrast
The autofocus will hunt for but not find focus
Digital SLRs allow you to select manual focus while compacts usually have a scene setting to lock the focus on infinity

45. SLR models usually have the focus switch on the lens barrel as here
Remember to set it back to autofocus when you’re done

46. Choice of Lens Lenses fall into two categories
Prime – fixed focal length
Zoom – using the same lens the photographer can select any focal length within it’s range from wide-angle to telephoto

47. Most compact & bridge cameras have zoom lenses that are integral and cannot be changed
SLRs have the advantage of interchangeable lenses that can be selected to suit the shooting situation
Lenses are classified by focal length in millimetres

48. The shorter the focal length (low number in mm) the wider field of view you get – these are wide-angle lenses
The longer the focal length (high number in mm) the narrower the field of view – these are telephoto lenses
Lenses with an angle of view similar to the human eye are called standard lenses

49. Zooming & Moving
Standing in the same place and zooming in or out on your subject to produce the framing you want just changes the angle of view
55mm
300mm

50. Moving closer or further away from your subject while zooming changes its relationship to the setting and the perspective
Telephoto – stand back and zoom in
Wide-Angle – move in and zoom out

51. Now you have the opportunity of putting what we’ve covered into action by working on the photo assignment

52. You can access the resources for Mastering the Basics at:
Click on Workshops (top menu) then select Learning Resources from Your Workshops (below main picture)
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