2. The Aperture acts like an iris
The Aperture controls amount of light entering the
Camera and the Depth of Field

3. Aperture Controls the Depth of Field
Depth of Field - Area of the picture that is in focus

6. Depth of Field Area in the picture that is in focus
Controlled by distance from subject

7. Depth of Field Controlled by the focal length size (type) of lens

8. A given type of film always needs an exact amount of
light for a proper exposure.
As a photographer you determine the way the film
receives the light by combining fstops and shutter speeds
to give the picture the effect you want.

9. Combining Shutter Speed and Aperture for desired effect

10. Full Tonal Range

11. Backlighting Take the meter reading from the subject F11 @ 1/250

12. Light meters
Incident Reflective

14. Time and
Temperature
Greatly affect
the results when
developing a
negative

15. Metering A light meter always wants to give you an average reading or
middle grey.

19. Focal Length 24mm 35mm 50mm 100mm 200mm 400mm 800mm 1200mm
These eight photos were taken
from the same place with
different lenses.
24mm
35mm
Longs Peak from Upper
Beaver Meadows in Rocky
Mountain National Park
50mm
100mm
200mm
400mm
800mm
1200mm

21. Focal length and distortion
Long lens, moderate distance
from subject
Short lens, close to subject

23. Example of glass in a wide angle lens
Example of "wide angle"
distortion by an 18 mm
lens on a 35 mm camera.

24. Telephoto lens 300mm Compresses space
500 mm telephoto lens with extension tub

26. Focal Length

28. Subtractive Color - determined by the reflection of
light waves to the eye
Mixing paint pigments is a subtractive color system

31. Polarizing Filter Reduce reflections on water, glass or any
smooth surface except
Metal or mirror.

33. Polarizing Filter and the sky
Mid day 90° to the sun

34. R + B = M G + B = C Primary colors of light Additive Colour R G B
Each secondary color is composed of equal amounts of adjacent primary colors. G + R = Y
R + B = M
G + B = C
Each color is complementary to the color opposite.
Additive Colour R G B

35. It is the wavelength of light that determines its color.
In 1666, Isaac Newton passed a beam of sunlight through a glass prism breaking it into a rainbow of colors that form the visible spectrum. He then passed the rainbow through a second prism converting the colors back into white light.
When light is refracted each wavelength is bent to a different degree separating the light into different bands of color.

36. Colour is determined by the light
temperature.
Film must be balanced for the
light source or coloured filters
must be used to achieve realistic colour.
Daylight film is balanced for
5500 K
Indoor film or tungsten colour
film is balanced for
3400 K type A or 3200 K type B

37. colour and drama of image.
Time of day determines
colour and drama of image.
Sunrise
One hour later
Midday, sunny
Midday, overcast
Late afternoon

38. 85B 80A Daylight/ daylight film Daylight/ Tungsten film Tungsten Film

39. fl. bulbs on the market. Turn off all fluorescents whenever possible !
Use FL-D /daylight film
Use FL-B /tungsten film
Old fashioned, standard
florescent bulbs.
Florescent light is very difficult to balance, as currently there are many types of
fl. bulbs on the market. Turn off all fluorescents whenever possible !