UNIT 1

STILL PHOTOGRAPHY
ABOUT THE SUBJECT
The main focus points of this subject will cover
the following:
1. To understand the basics of Photography.
2. To learn the historical developments of
Photography
3. Understanding the functioning of various types
of cameras.
4. Understanding the different genres of
photography
5. To have in-depth knowledge about the rules
and compostions
6. To gain knowledge of the lenses and its types
7. Learning the various lighting techniques
8. To understand the concept of Photo Journalism
 “Photography is the only “Language”
understood in all parts of the world, and
bridging all nations and cultures, it links
the family of man.”
—HELMUT GERNSHEIM
(Historian of Photography)
 WHAT IS
PHOTOGRAPHY?
● Photography is an art form like drawing and painting.
Photographers use their camera to make us see life in
a different way, feel emotions, and record stories and
events.
● Photography is a combination of visual imagination
and design, craft skills, and practical organizing
ability.
● Photography is a science, because there are basic
principles of physics that govern success.
● Photography is art because its beauty is subjective
What is Photography?

● The word “PHOTOGRAPHY” is derived from the Greek word Photos, which means light and graphe which
drawing through light.
● It is a combination of creativity, sense of composition, science and simple arithmetic.
● Photography is recording light or electromagnetic radiation reflected by an object either electronically
(Image sensor) or chemically by the means of a light sensitive material (film or paper)
● It is a type of visual communication
● Photography is present in every field, whether it is media, Forensics, science, art, medical, production,
business etc.

● A photograph is worth 1000 words.

 Few world‟s most
powerful photographs
HISTORY OF PHOTOGRAPHY
BRIEF HISTORY OF PHOTOGRAPHY

In 1820 First Photographic camera was made by a French Scientist Joseph Nicephore Niepce
The first photo paper and first black and white film were invented by M. Charles in 1800 & George
Eastman in 1850.
We owe the name "Photography" to Sir John Herschel , who first used the term in 1839, the year the
photographic process became public.
Ancient Han Chinese Philosopher Mo Di was the first to discover and develop the scientific principle of
optics, camera obscura and Pinhole camera.
Iraqi scientist Abu Ali Hasan Ibn al-Haitham, also known as Alhazen showcased that the light is reflected
from an object into the eye.
He is also said to have „invented‟ camera obscura.
Camera Obscura

Camera Obscura is a latin word.

It means a dark chamber.
In camera obscura, it only projected images from an opening in the wall (pinhole) of a darkened room
onto a surface.
The camera obscure is in existence from last 400 years.
Camera Obscura
Historical Journey of Photography

In 1519, A drawing of the camera obscura existed by Leonardo Da Vinci

He mentioned that natural camera obscura was formed by dark caves on the edge of a sunlit valley.
During this period, this concept was used as an drawing aid.
Later, Greek mathematicians Aristotle and Euclid also independently describrd a pinhole camera in the 5 th
and 4th centuries BCE.
Albertus Magnus (1193-1280) later discovered Siver nitrate and Georg Fabricius (1516-71) discovered
silver Chloride
Leonarda Da Vinci’s pinhole technique
 In time, the camera obscura was
reduced to a small box, much like a
modern camera, with a lens placed in
A “portable” Camera Obscura made around the hole where light entered.
1676, with an internal mirror to reflect the
image onto a translucent screen set into the
top.
Historical Journey of Photography

• At the beginning of the 19th century, Thomas Wedgwood was conducting experiments and he had
successfully captured images, but his silhouettes could not survive, as there was no known method of
making the image permanent.
• The first major breakthrough in producing a successful picture was in 1827 by Nicephore Nièpce, using
material that hardened on exposure to light.
• This picture required an exposure of eight hours!
• Nièpce used a polished pewter plate covered with a petroleum derivative called bitumen of Judea.
• On 4 January 1829 Nièpce agreed to go into partnership with Louis Daguerre.
• Nièpce died just four years later, but Daguerre continued to experiment.
View from window at Le Gras +Nicéphore Niépce's earliest surviving photograph, c. 1827
Historical Journey of Photography

• Soon Daguerre discovered a way of developing photographic plates, a process which greatly reduced
the exposure time from 8 hours down to half an hour
• Daguerre also found that an image could be rendered “permanent” by immersing it in salt.
• Details of the process were made public on 19 August 1839, and Daguerre named it the Daguerreotype.
• A single early Daguerrotype taken in a portrait studio could cost $1,000 in today‟s money!!!
Equipment to Produce Daguerrotypes
 1847

Early Daguerrotype by Gustav

Oehme “Three Girls” 1843

“Boulevard du Temple", taken by Daguerre in late

“Blacksmiths” + a hand coloured 1838 or early 1839, was the first ever photograph
Daguerrotype, 1850 of a person.
Historical Journey of Photography

• Enter the “Calotype” invented by William Henry Fox Talbot, which was to provide the answer to the
problem of multiple copies.
• The process began with a negative image on paper. It was then printed on another sensitized piece of
paper to produce a positive print.
• Talbot had earlier discovered another means to fix a silver process image but had kept it secret, After
reading about Daguerre's invention, Talbot refined his process, so that it might be fast enough to take
photographs of people.
• The earliest paper negative we know of was produced by Talbot in August 1835.
• It depicts the now famous window at Lacock Abbey, Fox Talbot‟s home.
• By 1840, however, Talbot had made some significant improvements, and by 1844 he was able to bring
out a photographically illustrated book entitled "The Pencil of Nature."
Flowers, Leaves and Stem. Fox
“Carpenters on Lacock Estate” +
Talbot, 1838
Calotype by Fox Talbot - 1842

“Paris Boulevard”, page 2 from Fox Talbot‟s “Pencil

of Light” book
“Cloisters, Lacock Abbey - 1842” by Fox Talbot
Historical Journey of Photography

• In the late 1840‟s, several experimented with glass as a basis for negatives, but the problem was to make
the silver solution stick to the shiny surface of the glass.
• In 1848 a cousin of Nicephore Nièpce, Abel Nièpce de Saint- Victor, perfected a process of coating a
glass plate with Albumen (white of egg) sensitised with potassium iodide, and washed with an acid
solution of silver nitrate. This new ( ALBUMEN) process made for very fine detail and much higher quality.
• Early photographs produced on this substance were architecture and landscapes, Initially, portraiture
was not possible, but later refinements enabled a certain amount of controlled portraiture to be done.

• In 1851 a new era in photography was introduced by Frederick Scott Archer, who introduced the
COLLODION PROCESS.
• This process used a syrupy, transparent liquid called collodion to hold the silver compounds on glass. It
also required that the coating, exposure and development of the image should be done whilst the plate
was still wet.
• The response of collodion plates to light was much faster than in other processes reducing exposure
times to two or three seconds, thus opening up new horizons in photography.
 “Still Life” + Albumen print - 1865

1865 Albumen print + a self “Pierrot” by Nadar “Paul & Virginia” + 1864 albumen print
portrait by famous French from a collodion on glass negative by
photographer Nadar with Julia Margaret Cameron.
his wife & son

Rochester Castle + wet collodion by

Scott Archer
Historical Journey of Photography

• The collodion process, however, was much cheaper + now prints could be made for as little as one
shilling (50c)!
• The next major step forward came in 1871, when Dr. Richard Maddox discovered a way of using Gelatin
(which had been discovered only a few years before) instead of glass as a basis for the photographic
plate.
• This at last led to the development of the dry plate process. Dry plates could be developed much more
quickly than with any previous technique.
• Banker and businessman Antoine Claudet invented the red darkroom light, discovered a way to reduce
exposure time for daguerreotypes, and was the first to use painted backgrounds and props in
photographs
No longer did one need the cumbersome wetplates or the darkroom tent.
Photographer‟s Studio - 1893
Tripod used for Flat surface photography
Historical Journey of Photography

• In 1884, flexible, roll-up film was mass produced by George Eastman, founder of the Eastman Kodak
Company, in Rochester, New York.
• Eastman developed commercial dry gel on paper, or film, to replace the photographic plate.
• In July of 1888, Eastman's Kodak Camera went on the market with the slogan "You press the button, we
do the rest".
• Early Kodak Box cameras where quickly followed by the first “Brownie”, introduced in February, 1900.
• With its simple controls and initial price of $1, it was intended to be a camera that anyone could afford
and was also easy to use, carry & hand hold.

Unfortunately, in 1932, Eastman, suffering from terminal cancer, and having settled all his affairs, shot
himself through the heart, leaving a note:
" To my friends: My work is done. Why wait? G.E."
Tripod used for Flat surface photography
Legends of Photographic History

Sir John F.W. Nicephore Abu Ali Hasan JacquesLouis

Herschel Niepce Ibn al-Haitham Mandè Daguerre
Legends of Photographic History

Thomas William Henry George Antonie

Wedgewood Fox Talbot Eastman Claudet
Videos you MUST watch:

1. Darkroom developing techniques of different era

https://www.youtube.com/playlist?list=PLH_FfjHEuvR5mgA_aeU4uRvB7_A90nOO8

2. Photographic Processes: https://www.youtube.com/playlist?list=PLH_FfjHEuvR5U0Ur8rB35fezQ1yZkShMk

3. https://www.youtube.com/playlist?list=PLH_FfjHEuvR6xYD1f7kFHTuSCWG4mzI2s
Types of Cameras

Film Camera vs. Digital Camera

 FILM CAMERA

Film Camera also known as analouge cameras

have a great history. These camerea are based
on the size of the film formats also.
Plate
Camera
 Used almost a century back
 Consists of a lens with leather bellows
and a blag cloth.
 Earlier a glass coated with light sensitive
material was used
 Later, it was replaced by film. A film was
inserted in the plate holder of the
camera.
 Adaptor sleeves were used as plate
holders.
 It was a large format camera
 Folding
Camera
 A folding camera, or folder, is a camera
with bellows that can be folded so that the
camera occupies less space when not in use.
 Many folding cameras allow variations of their
bellows' length, thus making the bellows also the
means for focusing.
 At the end of the 19th century the first renowned
strut folding cameras were designed, for
example the Ango and the Folding Pocket Kodak.
 Kodak Jr. 620, Ensignette, Contessa-Nettel Nettix,
Busch Pressman Model D, Minolta Vest, Conley
Folding Kewpie No. 2 are few examples
 Rangefinder
Camera
 The most distinguishing feature of a rangefinder
camera is that it calculates distance through
triangulation for accurate focusing.
 It uses a somewhat similar mechanism as the
SLR, except that this mechanism, which involves
a compact revolving mirror and two windows, is
used for focusing*not for viewing the scene to
be captured.
 Also, unlike the SLR, a rangefinder does not allow
you to look through the lens, but through a small
window on the upper right side (in the same way
you would with a point-and-shoot camera).
 Instant or
Polaroid
Cameras
 One of the most popular film cameras
today, the instant camera is
essentially a point-and-shoot camera
that prints images instantaneously on
self-developing film.
 The appeal of this camera lies in its
ability to satisfy our desire for instant
gratification*you‟ll be able to see your
photos immediately after capturing
them, much like with a digital camera.
 Twin-lens
reflex (TLR)
Camera
 Equipped with double objective lenses of
identical focal lengths, twin-lens reflex or
TLR cameras are able to continuously
display the scene you are trying to shoot on
the viewfinder screen
 One lens is used for viewing while the other
lens exposes the film, and thanks to these
separate lenses, you can examine the scene
as the camera takes the shot, which can be
helpful for certain applications that require
longer shutter speeds.
 Single Lens
Reflex (SLR)
Camera
 These cameras are the analog equivalent of
the DSLR.
 It has the same internal mirror mechanism
that allows you to look straight through the
lens and see a near-exact approximation of
what the image will look like once it‟s
captured.
 These also allow you to swap lenses,
enabling you to exert greater control over
your shots.
 This is a camera where the photographer
sees exactly the same image that is exposed
to the film
 Point and
Shoot
Camera
 Without mirrors or any of the other complex
mechanisms found in more sophisticated
cameras, point-and-shoots are generally
very compact and lightweight.
 As the name suggests, point-and-shoot
cameras don‟t allow you to do anything other
than point and shoot.
 The camera controls focus and exposure
settings automatically, plus it has a fixed
focal length lens so you won‟t be able to
zoom in or out.
 Box Camera

 As the name suggests, box cameras come in

the form of a cardboard or plastic box, with a
lens on one end and film on the other end. In
order to create images, these simplistic
cameras have an aperture that captures
light, which is then burned onto the negative.
 Pinhole
Camera
 A pinhole camera (or “camera obscura”) is a
sealed box or chamber with a tiny hole or
aperture on one side. It creates images by
allowing light to pass through the pinhole
and projecting an inverted image on the
opposite side of the chamber and onto the
film or photographic paper.
 Pinhole cameras are characterized by an
immense depth of field and a very wide
camera angle.
 Large
Format
Camera
 A large format camera is technically any
camera with an imaging format of imaging
format of at least 4×5 inches (102×127 mm) or
bigger. Unlike other cameras on this list,
large format cameras are not limited to a
specific camera design or mechanism. It can
be a rangefinder, an SLR, a twin-lens reflex,
or even a pinhole camera.
 Large
Format
Camera
 A large format camera is technically any
camera with an imaging format of imaging
format of at least 4×5 inches (102×127 mm) or
bigger. Unlike other cameras on this list,
large format cameras are not limited to a
specific camera design or mechanism. It can
be a rangefinder, an SLR, a twin-lens reflex,
or even a pinhole camera.
 Types of FILMS
Color Negative Film

This type of film is popular

among portrait and wedding
photographers because of their
vivid colors and contrast. C-41 Black and White Film
chemicals found in color
negative film yields negatives comes in two types: “traditional” B&W
and prints through regular Infrared Film film and C-41 B&W film. Traditional or
image processing. Silver Gelatin B&W film uses gelatin
With the right exposure, you can with small silver salt crystals
Color Positive Film produce quirky photos using dispersed in the substance*hence
infrared film. This type of film is the term “Silver Gelatin.” It is
Color positive film produces colorful
sensitive to a broader spectrum of considered more stable and entails a
images or slides through regular
light than human eyes and can yield much simpler developing process (as
image processing. It contains E-6
surreal-looking images when compared to the C-41 B&W), which is
chemicals, which can be used with
exposed correctly. True infrared film why it is typically the preferred film of
C-41 chemicals (color negative film)
can only be loaded and unloaded in B&W shooters. On the other hand, C-
to create photos with intense
complete darkness, making them 41 B&W film has numerous layers that
contrast and bright colors, as seen
best for more experienced are all sensitive to light
in lomographic photos. This is
photographers.
known as cross-processing.
Common film sizes
135 or 35 mm
135 or 35mm film is both easy to find and process, as
they‟re available at drugstores and can be developed in
one-hour photo laboratories. 35mm film produces images
with a common size of 24x36mm.

120 or Medium
Format Large Format
120 film comes in various frame sizes, Large format film is generally at least 4×5
but the most common would be the inches or 9x12cm, giving you around 15 times
6x6cm. Depending on the frame size, it the resolution of the typical 35mm film. It also
offers exposures of up to 15 or 16. comes in other less common sizes, such as
quarter-plate, 5x7in, and 8x10in.
 DIGITAL
CAMERA
A digital camera is a hardware device that
takes photographs and stores the image as
data on a memory card. Many digital cameras
are capable of recording video in addition to
taking photos.
Compact Digital
Cameras
 Compact digital cameras literally allow anyone to capture
beautiful images by simply pointing the camera at the
subject and clicking the shutter.
 Also known as a point-and-shoot camera, it is the most user-
friendly of all camera types. It is smaller and lighter, doesn‟t
require film or extra lenses, and does all the hard work of
automatically adjusting its settings to deliver well-exposed
photos every time.
Compact Digital cameras

• This walk-around digital camera is incredibly handy and surprisingly very durable, which is why you‟ll

probably still see people using their Canon and Sony digital compact cameras from over a decade ago.

• It fits right in your pocket or a small camera pouch, so it‟s the perfect choice for photography enthusiasts

who want to have the convenience of being able to take higher resolution snapshots (compared to most

smartphone cameras) whenever, wherever.

Compact Digital Cameras

Pros Cons
● Very user-friendly ● Usually can‟t customize shutter
● Light and compact speed and aperture
● No need for film or extra lenses ● Limited aperture and zoom
● Full auto mode range
● More affordable ● Noisier photos due to small
sensor
● Lower resolution
● Slower focus
Digital SLR Cameras

 DSLR (or digital single lens reflex) cameras take photos to

the next level of image quality. This more “serious” type of
camera is best known for delivering remarkably sharp and
spectacular images
 Professional photographers and videographers from around
the world mostly use DSLRs (now alternatively known as
hybrid single reflex lens cameras or HDSLR) for commercial
purposes.
Digital SLR Cameras

• There are two types of DSLRs: the full-frame or 35mm, and the crop sensor or APS-C.
• A full-frame DSLR camera has a 36x24mm sensor, which typically yields better image
quality and low-light capability. They also tend to be more expensive than their crop
sensor counterparts, which covers less of the image projected by the lens due to the
smaller sensor.
Digital SLR Cameras

Pros Cons
● Fully customizable settings ● Bigger and bulkier
● Large sensors for cleaner ● Higher cost
images ● Requires ample know-how
● Optical viewfinder
● High-resolution photo output
● Full HD to UHD video output
● Wide variety of camera body and
lens choices
Mirrorless Cameras

 A newer type of digital camera that is continually growing in

popularity is the mirrorless system.
 A mirrorless camera usually gives you all the same
capabilities and features as a DSLR, but in a slightly smaller
package.
 They are very quiet*there is no loud “click-click!” when you
snap a photo. This makes them popular with street
photographers, who want to remain silent and invisible to
their subjects in order to capture candid scenes.
Mirrorless Cameras

• The main reason why many still prefer DSLRs, however, is that they have access to a
bigger collection of lenses. However, mirrorless cameras are great investments
considering their growing collection of lenses.
• Overall, it‟s a combination of two popular types of digital cameras*a point-and-shoot for
its compact size and somewhat simpler controls, and a DSLR for its interchangeable
lenses and impressive output.
• There aren‟t many full-frame mirrorless cameras on the market at the moment,
Mirrorless Cameras

Pros Cons
● Electronic viewfinder ● Shorter battery life
● Smaller and lighter ● Slower autofocus
● Simpler operation and controls ● Fewer lenses and accessories
● Faster and better for video
● Higher video quality even in
lower-end models
● Shoots more images at faster
shutter speeds
Action Cameras
 They‟re some of the most durable and versatile
types of digital cameras that offer very high-
resolution output.
 A wide range of accessories like waterproof
housing and mounts allow the user to attach action
cameras to helmets, bicycles, and even drones,
which enable hands-free shooting in different types
of situations.
Action Cameras

• This type of camera allows you to capture impressive wide-angle photos and videos with
sound from almost any angle and environment, whether underwater or on top of a
mountain.
• If you‟re the adventurous or sporty type and simply want to take breathtaking photos and
videos that will “take you back” to those moments, action cameras are for you.
Action Cameras

Pros Cons
● Rugged and compact ● Viewfinder too small, if available
● Lightweight ● Exposure settings not fully
● Versatile and mountable on customizable
almost any surface ● Fixed focus
● Remote view and shutter via ● Limited digital zoom
smartphone
360 Degree Camera
 The 360-degree camera takes half dome to full-
circle panoramic photos and videos using back-to-
back lenses.
 Like action cameras, some of them are also water
resistant and mountable on many surfaces, such as
on top of cars, helmets, or drones. Above all, they
take the most realistic pictures and videos with
stunning panoramic views that you can truly
immerse yourself in, virtual reality style.
360 Degree Camera

Pros Cons
● Small and lightweight ● Lower resolution output
● Versatile and mountable on ● Sensitive to camera shake and
almost any surface blurring
● Takes very realistic 360-degree ● Fixed focus
photos and videos ● Limited digital “pinch” zoom, if
● Allows live view or streaming available
● Can be challenging to frame
shots
● For digital viewing only
Digital Camera - Comparison
 TYPES OF
PHOTOGRAPHY
Portrait Photography
PORTRAIT PHOTOGRAPHY
 Portrait photography is one of the most popular genres of photography.
 One of the most common photography styles, portrait photography, or portraiture, aims to
capture the personality and mood of an individual or group.
 Images may be candid or posed, full body or close-ups. Either way, the subject‟s face and eyes
are typically in focus.
 Lighting and backdrop help to convey tone and emotion. Popular types of photography portraits
include senior portraits, family portraits, engagement photos, and professional headshots.
 The best portrait photographers make clients feel completely comfortable, so that their
expressions are natural and relaxed.
 Corporate portraits are also commonly needed as employees update their headshots for
websites and publicity materials.
 Fast, medium telephoto lenses are preferred, used to isolate the subject by controlling the depth
of field. When away from the studio, using the lens‟ bokeh effect to blur the background elements
that are out of focus can provide an easy solution to not shooting on a clean background.
Wildlife Photography
WILDLIFE PHOTOGRAPHY

 Wildlife photography can bring out some of the most intense photographers you‟ll meet + people
who might spend hours on end waiting for an animal to wander into the perfect spot, or search
for creatures that most people would rather try to avoid.
 Patience, good gear, and safe shooting locations are all important when trying to capture
animals in the wilderness.
 The type of animal being photographed will also determine the amount of preparation and type
of camera gear required.
 Equipment like tripods and shutter releases and telephoto, wide-angle, or macro lenses, are
usually used in wildlife photography. Sometimes, camera traps are set up in the environment for
an extended period of time, taking shots using motion detection so that animals aren‟t spooked
and their natural behaviors aren‟t disturbed by lurking photographers.
Landscape Photography
LANDSCAPE PHOTOGRAPHY

 Landscape photography is another way of saying scenic or environmental photography. It

involves taking pictures of a natural scene + often large and grand, but sometimes smaller and
more intimate + in a way that brings the viewer into a scene.
 Landscape photography is one of the most popular types today, spinning off several sub-genres
such as storm photography, seascapes, and so on.
 Landforms, weather, changing seasons, and ambient light are all aspects of this photographic
niche.
 Playing around with camera settings such as depth of field, shutter speed, and aperture and
using different lenses or filters can create various effects on landscape imagery.
 Tripods also come in handy when it comes to image stabilization and panoramic camera
functions are also often employed.
Product Photography
PRODUCT PHOTOGRAPHY

 Another branch of commercial photography is product photography, where you are typically
shooting in a studio with careful lighting to accentuate the product in question.
 Product photography focuses on capturing objects for advertising purposes. Catalogues,
brochures, and websites all use product photography to show their goods.
 In the same way as commercial portraiture, a product photographer‟s goal is to match the vision
of the company in question. An outdoor brand will have different needs from a high-end lifestyle
company, even if both sell the same underlying type of product, such as clothing or backpacks.
 With e-commerce continuing to grow as a platform and the internet providing a much faster way
for people to bring their goods to market, even the world of fashion photography is incorporating
techniques that no longer require human models.
Fashion Photography
FASHION PHOTOGRAPHY

 A cousin of portraiture, but distinct enough to count as its own genre, is fashion photography.
This is a fast-paced world, and the best fashion photographers are intimately knowledgeable
not just about lighting and photography but also the clothing styles they‟re photographing.
 Fashion photography is the practice of capturing models in clothing and other fashion
accessories for editorial or advertising purposes.
 Fashion shots can be taken in a studio, on location in an exotic or complementary landscape to
the clothing, or live on the catwalk at a fashion show.
 Fashion photo shoots usually require good gear and lighting. Hair and makeup stylists are often
involved as well, preparing the models in ways that highlight and showcase their clothing
and/or accessories.
 Fashion shoots are all about teamwork, and they are done by a group of people. The
photographer is just one cog in the wheel. Stylists, wardrobe specialists, makeup artists, art
directors, and others make up a team that keeps the shoot on track and make the magic happen.
Sports Photography
SPORTS PHOTOGRAPHY

 By catching athletes, coaches, and even fans at the perfect moment, sports photographs can
depict the passion, drama, and emotion that fuels sporting events.
 Sports photographers must aim and shoot quickly to keep up with the action around them, and
it‟s best practice to use a higher ISO to shoot at a faster shutter speed.
 Sports photographers also usually use long, heavy lenses for zooming in on the action.
Interesting angles can help make your work stand out in this competitive genre.
 Sports photographers use quick cameras and long lenses to zoom in on the action and capture
the winning shots. Photos wind up in publicity materials for teams, in advertising and marketing,
and in the news media online and in print.
 Individual sports, such as golf, boxing, cycling, or track-and-field may focus on a small depth of
field, capturing the intensity of the participants. Team sports, like football, hockey, soccer, and
the like, require a larger depth of field to properly capture all of the action and the various teams
participating.
Food Photography
FOOD PHOTOGRAPHY

 Food photography has experienced a remarkable growth in popularity in recent years thanks to
social media. Previously, it was essentially a sub-genre of commercial work + advertisements,
cookbooks, menus, and so on + but it‟s becoming more a part of documentary photography
today.
 Sometimes, food photographers will replace the actual foods in an image with artificial
substitutes that look tastier, such as glue rather than milk when photographing cereal!
 These photos often become advertisements in magazines or on blogs and can also be featured
on packaging and menus or in cookbooks.
 A prolific genre of photography, capturing food usually includes a photographer that
collaborates with an art director, food stylist, and/or prop stylist to get the final shot.
 Often shot from an overhead perspective or a 45-degree angle changing trends are now
encouraging some narrow-angled shots that use effects like selective focus, tilted plates, or
extreme close-ups to showcase an ingredient or fully-plated dish.
Wedding Photography
WEDDING PHOTOGRAPHY

 Wedding photography can include engagement photos, pre-wedding photos, shots taken during
the ceremony or reception on the big day itself.
 Wedding photography is also one of the larger categories of commercial photography, with
many photographers specializing in this service.
 There are two main approaches to wedding photography: traditional or photojournalistic.
 The traditional approach typically has posed images that the photographer controls and directs
throughout the event, The photojournalistic approach usually has a more editorial feel, with
candid, more natural images taken using little direction.
 Culture and tradition often play a large part in the style and types of shots a couple is looking to
capture.
 Wedding photography is pretty intense, with an element of getting the best shot you can on the
first try and not really getting a second chance in some situations.
Street Photography
STREET PHOTOGRAPHY

 Street photography is about capturing slices of life that happen in common areas in a city, such
as parks and sidewalks.
 Good street photos find meaning and purpose in seemingly ordinary moments or interactions,
making viewers think about something they would otherwise pass by.
 Many of these types of photographs are also considered to be candid in nature, usually
unstaged and shot spontaneously.
 Street photography is often associated with black and white work on 35mm film, but modern-day
street photos utilize almost any post-processing styles and camera equipment.
 Subject matter doesn‟t always need to include people, however. Capturing environments that
don‟t include visible human activity can also be considered street photography.
Photojournalism
PHOTOHOURNALISM

 Photojournalism is a way of telling the story of a newsworthy (perhaps even historic)

event or scene through photographs.
 Whether it be in war zones, political rallies, natural disasters, or community
celebrations, photojournalists cover breaking news.
 Photojournalism is one of the documentary types of photography, and the goal of a
photojournalist is to document the events as they unfold.
 While there may be some portraiture, the majority of work is done candidly and as
unobtrusively as possible. The photos tell a story of events that are happening all
over the world.
UNIT 2

PARTS OF DSLR CAMERA

LENS APERTURE

SHUTTER
PENTAPRISM

MIRROR DIALS
VIEWFINDER

SHUTTER
RELEASE BUTTON
IMAGE SENSOR
LENS RELEASE
BUTTON

BUILT-IN FLASH
FLASH BUTTON
HOT SHOE
 1. Shutter Button

● Press this button to release the shutter. The shutter

button press has two stages: Half-pressing the button
activates the AF function, while pressing it down fully
releases the shutter.
 2. Red Eye
Reduction/Self Timer
Lamp

● Red-eye reduction: If red-eye reduction is enabled on your

camera, half-pressing the shutter button will light up this lamp
when you use the built-in flash.
● Self-timer: When you set the self-timer, this lamp will blink for
the duration of the timer until the picture is taken.
 3. Lens Mount

● This is the section that connects the interchangeable lens to

the camera body. To attach the lens, you line up the lens
mount index (see F3) on the lens with the corresponding one
on the lens mount and turn the lens clockwise until you hear a
click.
 4. Lens Mount Index

Align the mark on the lens with this mark when you are attaching
or detaching a lens.
● Red index: For EF lenses (Can be used on both Canon full-
frame and APS-C DSLRs)
● White index: For EF-S lenses (Can be used on Canon APS-C
DSLRs)
 5. Lens Release Button

● Press this button when you want to detach the lens.

The lens lock pin retracts when the button is pressed,
enabling you to turn the lens freely. Before shooting,
lock the lens into place by turning it until you hear a
click.
 6. Mirror

● The mirror is unique to DSLR cameras. It reflects light

from the lens into the viewfinder, which lets the
photographer see the shot through the viewfinder in
real time. The mirror flips up immediately right before
shutter release (the shot is taken).
 7. Microphone

● This is a built-in microphone for capturing the audio

sound during movie recording. The microphone used
may be monaural or stereo depending on the camera
model.
 8. Built – in Flash

● When needed, you can fire the flash to capture a shot

in a dimly-lit scene. The flash may be automatically
fired in some modes.
 9. Viewfinder Display

Indicates the time interval during

which the shutter is open. The shutter
speed value is denoted in the
"1/parameter" format. However, only
the parameter value is shown in the
Indicates the position of the viewfinder. Increasing the parameter
focus during AF (autofocus) value shortens the time interval the
shooting. The selected AF shutter remains open. Shutter speeds
point will be highlighted in slower than 1/4 second are indicated
red. You can choose to select as, for example, 0''3, 0''4, 0''5, 0''6, 0''8,
an AF point automatically or 1'', or 1''3. In this case, 1"3 means 1.3
manually. seconds.

This value indicates the extent to which the The ISO speed setting varies constantly
aperture blades inside the lens are open. A when the Auto setting is selected. A
smaller value means the aperture is more higher ISO speed makes it easier to
widely open, which allows more light to be capture shots of a dimly-lit scene.
captured. The selectable aperture value
range varies according to the lens in use.
 2. Viewfinder
1. Eye Cup Eyepiece 3. LCD Monitor

 The eyecup prevents external  The viewfinder eyepiece is a  In addition to the shooting
light from entering when your small window on the camera settings as shown in the
eye is in contact with the which you look through in order illustration here, the captured
eyepiece. A soft material is to compose your photo and image as well as text
used to reduce the burden on establish focus on a subject. information such as the menu
the eye and the forehead. When shooting using a can also be displayed on the
viewfinder, external light is LCD monitor. Also, you can
reduced. This allows you to put magnify the display image to
full attention on the subject check the details. Some camera
right before your eyes, which in models have a Vari-angle LCD
turn makes it easier to track monitor, which allows you to
moving subjects. alter the angle of the monitor
during Live View shooting,
making it easier to capture low-
angle or high-angle shots.
4. Menu 5. Playback
Button Button 6. Wi-fi Lamp

 Use this button to display the  This is the button for playing  This lamp indicates the
menu for adjusting the different back images you have wireless connection status.
camera functions. After captured. Pressing the button
selecting a menu item, you can once displays the last image  Lamp on: Wi-fi connection is on
adjust the camera settings in you captured or showed on the Blinking lamp: Camera is
greater detail. LCD monitor. waiting for

 connection/reconnection
Intermittent rapidly-blinking
lamp: Connection error

 Rapidly blinking lamp: Data is

being sent/received
7. Access 8. SET Button/Multi 9. ISO Speed
Lamp Controller Setting Button

 The lamp appears blinking  The Multi-controller keys are  Press this button to adjust the
when there is data directional buttons that allow sensitivity of the camera
transmission between the you to: toward light. ISO speed is an
camera and the memory card. - Move between menu items international standard that is
Do not open the card slot or - Move a magnified display to determined based on the
battery compartment cover a different point during image sensitivity of negative films.
while the light is blinking. playback
Doing so may cause the - Move the AF point during AF
camera to malfunction. point selection
 In shooting mode, the functions
of the keys switches to the ones
indicated by the icon on it.
Meanwhile, the SET button
confirms a selection.
10. Quick Control 11. Display 12. Erase
Button Button Button

 Pressing this button displays  By pressing the DISP button,  Use this button to erase
the Quick Control screen you can: unwanted images.
(further explained in the - Turn the display on/off
section "Settings on the Quick - Toggle between different
Control Screen"), which allows information displays in
you to confirm various camera Image/Movie Playback mode
settings at one glance and and during Live View shooting
adjust them. - Display the camera‟s major
function settings when the
menu is displayed
 14. Live View
13. Focus Point Shooting/ Movie 15. Dioptric
Selection Button Shooting Switch Adjustment Knob

 Use this button to go into AF  Use this button to turn on or  Use this knob to adjust the
point (autofocus) selection turn off the Live View function. clarity of the viewfinder image
mode during AF shooting. You Pressing the button once according to your eyesight. To
can then select any of the AF displays the Live View image do so, turn the knob while
points manually using the on the LCD monitor, and the looking through the viewfinder.
Multi-controller keys. camera is ready for Live View
shooting. To record a movie,
set the shooting mode to
“Movie Shooting” on the mode
dial (T6), and press this button
to start recording. To stop,
press the button again.
 Settings on Quick Control Screen

Shooting Mode: Displays the Shutter Speed: Displays the Image Recording
text or icon corresponding to time interval during which the Format/Quality: Displays the
the shooting mode you have shutter is open. Increasing image-recording quality that is
selected as you turn the Mode the parameter value shortens currently selected. The icon
Dial. the time interval the shutter here indicates that the camera
remains open. is set to record in the Large
JPEG format.

Battery Level: Displays the Shots Remaining: Indicates the

remaining battery level with number of remaining shots that ISO Speed: A higher ISO speed Aperture Value: This value indicates
an icon. The illustration here can be captured. The number makes it easier to capture shots of a the extent to which the aperture
shows the state when the varies with the capacity of the dimly-lit scene. Generally, ISO 100 is blades inside the lens are open. A
battery level is still full. The memory card in use as well as used as the standard setting. In the smaller value means the aperture is
icon display changes as the the image-recording quality ISO Auto setting, the optimal value is more widely open, which allows more
battery level decreases. you have selected. automatically selected according to light to be captured. The aperture
the scene. You can also choose to set value is also known as the f-number,
the ISO speed manually. which varies with the lens in use.
1. Focus Mode
Switch 2. Speaker 3. Strap Mount

 Use this switch to set the  Pull the end of the strap
focusing mode to Automatic  Audio sound of a recorded through the eyelet, and secure
(AF) or Manual (MF). movie can be played back it firmly while ensuring that the
through the speaker. During two ends of the strap are well-
movie playback, turning the balanced.
Main Dial allows you to adjust
the volume level. Not only so,
you can also select and play
back the background music
from the menu screen.
4. Hot Shoe 5. Power Switch 6. Mode Dial

 This is a terminal for  Turn this dial to select a shooting

attaching external flash units.  Use this switch to power on or mode according to the scene you
Data is transmitted between power off the camera. When want to capture. The shooting
the camera and the flash unit the power of the camera is left modes are largely divided into
on for a prolonged period of two different zones, Creative and
through the contacts. Maintain
Basic.
the contacts in a clean state to time, it switches automatically
to the standby mode to
 A: Creative Zone
ensure proper firing of the The Creative Zone modes allow
external flash when needed. conserve power. For some users to select and set functions
cameras, the power switch according to their intended
comes with a Movie icon as purpose.
shown in the illustration, which  B: Basic Zone
allows you to switch to the In the Basic Zone modes, the
Movie shooting mode directly. camera automatically selects the
appropriate settings according to
the selected scene.
7. Flash Button 8. Main Dial

 Use this button to pop up the built-in flash. In  This is a multi-purpose dial that allows you to
the Basic Zone, the built-in flash may pop up perform tasks such as adjusting the value of
automatically in some cases according to the the shooting settings (usually aperture/shutter
function in use. speed/exposure compensation) and jumping
through playback images.
 1. Remote Control
Terminal, Audio/Video
2. Card Slot, Battery
Compartment 6. Mode Dial
OUT/Digital Terminal,
HDMI Mini OUT
Terminal, N-Mark

Battery Compartment This is a socket placed at bottom of

A: Remote control terminal Load the supplied battery here. the camera body for attaching the
This is a terminal for connecting the camera Insert the battery with the camera to a tripod. On most DSLR
to an external device. Before you do so, orientation of the battery terminal cameras, this socket fits the 1/4-20
make sure that the device is compatible with
aligned with that inside the camera. UNC standard screw thread size,
the camera, and connect them properly.
Card Slot which is used by most commonly-
B: Audio/Video OUT/Digital terminal
Insert the memory card for available tripods.
C: HDMI mini OUT terminal
These are terminals for TV output and data
recording images into this slot. The
transmission, as well as for HDMI mini type of card usable varies with the
output. camera model.
D: N-Mark
Touching the N-mark against an NFC-
compatible smartphone will initiate pairing
between the camera and the smartphone.
Pentaprism
The pentaprism is a mirror
placed at a 45-degree angle
behind the camera lens. The
mirror projects the light captured
from the lens to the viewfinder.
Before pentaprisms were
introduced, photographers
always had to look downwards
when taking photos, which is not
ideal for some subjects and
would only allow you to take
photos at hip-level. Pentaprisms
got rid of this problem and now
defines single-lens reflex or SLR
cameras.
Image Sensor
The digital sensor of a camera is
one of its most delicate parts.
This sensor captures the light
coming from the lens to create an
image. Modern cameras use
different types of sensors for
capturing images.
Image Sensor
APS-C (APSC)
● A term used to describe the size of the digital imaging sensors used in almost all compact DSLRs. The
name is derived from the APS (Advanced Photo System) film format that was introduced in 1996 for the
amateur point-and-shoot market. The APS format is about half the size (23.6 x 15.8mm) of a standard
35mm frame (24 x 36mm) and has a 1.5x magnification factor (multiply the focal length x 1.5) for
determining the 35mm equivalent focal length of lenses used on APS-C format cameras. APS-C format
DSLRs from Nikon, Pentax, Fujifilm, and Sony (Alpha) contain APS-C sized imaging sensors.
● Canon compact DSLRs, which include EOS Rebel-series DSLRs, contain APS-C format imaging sensors
that are slightly smaller than competitive compact DSLRs (22.3 x 14.9mm, so the lens factor for these
cameras would be 1.6x). Although it does further reduce the effective field of view of your lenses, they are
slightly more telephoto than their 1.5x brethren.

APS-H (APSH)

● APS-H format imaging sensors (1.3x) are smaller than full-frame (24 x 36mm) imaging sensors but larger
than APS-C (1.5x) imaging sensors. Although currently only available in Canon's high-speed 1D series (not
1Ds) cameras, APS-H format sensors were also used in Leica's first digital rangefinder, the M8, as well as
Leica's short-lived add-on digital back for the now-discontinued Leica R reflex camera system.
Image Sensor
CCD (Charge-Coupled Device)
● A semiconductor device that converts optical images into electronic signals. CCDs contain
rows and columns of ultra small, light-sensitive mechanisms (pixels) that generate electronic
pulses when electronically charged and exposed to light. These pulses work in conjunction
with millions of surrounding pixels to collectively produce a photographic image. CCDs and
CMOS (Complementary Metal Oxide Semiconductor) sensors are the dominant technologies
for digital imaging.

CMOS (Complementary Metal Oxide Semiconductor)

● A type of imaging sensor, CMOS chips are less energy consuming than CCD-type sensors
and are the dominant imaging technology used in DSLRs. Although once considered an
inferior technology compared to CCD sensors, CMOS sensors have vastly improved and now
represent the more common sensor technology.
EXPOSURE
Aperture
o Aperture is the size of the hole in the diaphragm that allows light in to the camera.
o The larger the hole, the more light enters in the camera in a given time.
o Aperture values (Av) are measured using f-stops shown as f/# (i.e. f/16).
o A change of 1 f - s top doubles or halves the light entering the camera.
o Smaller f +numbers represent wider apertures, and larger f-numbers are smaller apertures.
o The wider the aperture used, the less time + i.e. the faster shutter speed + is neede d to properly expose
the image.
o Conversely, the slower the shutter speed, the smaller the aperture needs to be.
o Think of a window. The larger the window, the more light gets through and the room is brighter.
Aperture

● The image shows common f-stop values and how they appear
● A change of 1 f-stop doubles or halves the light entering the camera
● Smaller f + numbers represent wider apertures, and larger f-numbers are smaller apertures
Aperture

● The Av controls the amount of depth of field in an image

● The wider the aperture, the more shallow the depth of field, and vice versa
Shutter Speed
● Controls the amount of time the shutter or curtain is open
● Shutter speed is measured in fractions of seconds
● Depending on the camera, it may show the shutter speed without the numerator, i.e. 250 instead of 1/250
● Common shutter speeds are 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000
● A fast shutter speed freezes the action of an image
● Conversely, as low shutter speed blurs the action of an image
ISO
● Sensitivity of light
● The higher the ISO number the quicker the sensor reacts to light.
● In the “old days” this was film speed.
3 elements of EXPOSURE
● Shutter Speed
Controls the duration of how much light is allowed to reach the sensor
● Aperture
Controls the amount of light going into the camera
● ISO
Controls the sensitivity of your camera‟s sensor to light

By changing 1 setting, the others will be affected

SUN TANING
● Time laying out = Shutter Speed
Longer = Tan
Too long = Over Exposed
● Sunscreen = Aperture
Blocks the sun at different rates (depending on SPF)
● Your skin type = ISO
some people are more sensitive than others
Depth of Field
Depth of Field
o Depth of field is the area of acceptable sharpness in front of and behind the subject which the lens is
focused. Put simply, it refers to how blurry or sharp the area is around your subject.
o A shallow depth of field refers to a small area in focus. Often the subject is in focus, while the background
is blurred. This is best for portraits, and one way to adjust this is with aperture.
o A deep depth of field captures a larger area in focus, often keeping everything in the image sharp and
clear. This is best for landscapes by using a large aperture.
o There are multiple ways to adjust depth of field, including aperture, the distance between the camera and
the subject, the focal length of the lens, and even the size of the camera‟s sensor.

● WHAT AFFECTS THE DEPTH OF FIELD?

● Aperture
● Camera-subject distance
● Focal length of lens
● Size of camera sensor
 Exposure
Metering System
o Every modern DSLR has something called “Metering Mode”, also known as “Camera Metering”, “Exposure
Metering” or simply “Metering”.
o Metering is how your camera determines what the correct shutter speed and aperture should be,
depending on the amount of light that goes into the camera and the ISO.
o Photographers had to use hand-held light meters to determine the optimal exposure.
o DSLR has an integrated light meter that automatically measures the reflected light and determines the
optimal exposure.

o The most common metering modes in digital cameras today are:

A. Matrix Metering (Nikon), also known as Evaluative Metering (Canon)
B. Center-weighted Metering
C. Spot Metering
Matrix / Evaluative Metering

o Matrix Metering or Evaluative Metering mode is the

default metering mode on most DSLRs.
o In this metering mode, the meter divides the scene up
into a grid and analyzes each segment for highlight and
shadow (bright and dark) information.
o Once that data is collected, it calculates the average
value and bases the exposure on that average.
o Many of the newer DSLR‟s not only average the grid, but
place additional emphasis on the focusing points that
are in use during that particular image capture.
o One of the key factors (in addition to color, distance,
subjects, highlights, etc) that affects matrix metering, is
where the camera focus point is set to.
Center-Weighted Metering

o This method of metering lays the most importance on

the central portion of the frame, which can be as much
as 75% or more, while little or no importance is given to
the corners of the frame.
o Many pro DSLR‟s will allow you to adjust the diameter of
the center weight area.
o This mode of metering is preferred by many
photographers and has a reasonable level of accuracy.
o Compared to Matrix Metering, Center-weighted
Metering does not look at the focus point you select and
only evaluates the middle area of the image.
Spot Metering

o This mode measures the light from a very small part of

the scene only.
o Spot Metering only evaluates the light around your
focus point and ignores everything else. It evaluates a
single zone/cell and calculates exposure based on that
single area, nothing else.
o The area measured is typically the center of the image,
using approximately a 3 to 7 degree range of
measurement.
o It is usually less than 5% of the area of the frame.
o This is a very accurate metering mode. It will provide
precise readings from small areas of your scene and is
most effective in high contrast situations.
COMPOSITIONS

Rules and Elements of composition in photography

Composition in Photography

o Composition in photography refers to the position of elements inside the frame and how
they interact with each other.
o The composition of your photograph impacts the way it‟s perceived by others.
o When you choose what to fit inside the frame and what you leave out, where to position
each element and so on, you‟re capturing a scene with your unique vision.
o Learning the “rules” of composition enables you to communicate your message with
maximum impact.
o The “rules” of composition are just guidelines, and should not be applied to every picture*
following them too closely may lead to dull and predictable work.
o Successful compositions allow the eye to travel around the frame in the intended order,
pausing at points of interest along the way.
Elements of Composition
The first six elements of composition are simply different types of objects you may find in a photo, ranging from simple to
complex. These elements do not depend on anything else in a photo, or upon the borders of your composition itself.

 POINTS

• The simplest element of composition is

a point.
• A point is just a small area of interest in
a photo, or the intersection between
areas of interest.
• Stars in the sky in a photograph are
“points,” and so is an out-of-focus light
in the background.
• Points matter in photography because
they are one of the most fundamental
ways to draw our attention + to add
interest to a particular area.
Elements of Composition
 LINES
• In contrast to points, which draw a
viewer‟s attention, lines are more like a
path for a viewer to follow. Or, they are a
boundary: the division between sky and
ground, for example.
• Like points, lines in photography are not
defined as rigidly as lines in geometry.
Photographically, anything that connects
two parts of a photo or stretches across
your composition is a line.
• Lines also serve an important function
of connecting two different elements of
your photo. They can give an image
structure, which is a crucial part of
making an image feel deliberate and
intentional. A path leading from
foreground to background has a way of
making the image feel connected.
Elements of Composition
 SHAPES
• Shapes can be anything, from the
crescent moon to the shape of a smiling
face. Each variety of shape has its own
emotional impact on a photo, and it‟s
impossible to generalize.
• Sometimes, shapes are just the object
itself. If you‟re photographing the sun, it
makes a circular shape.
• Other times, shapes are more
conceptual, like a curved cloud over a
curved valley that gives the entire photo
a circular composition. Both types of
shapes matter.
• The first attracts attention; the second
gives the photo its structure.
• In photography, keep an eye out for
shapes in your photo, either obvious or
abstract.
Elements of Composition
 TEXTURE
• The texture of an object plays an important role in
determining its emotional impact, as well as the
amount of attention it draws.
• What mood do you capture when you photograph
smooth pebbles and mist from a long exposure of
the sea? What about jagged, rough mountains in
high-contrast light?
• Sometimes, textures themselves may be the subject
of your photo, like patterns in the sand or waves of
water.
• More often, though, textures are individual
elements of a larger photo + either giving your
subject some dimension or filling in the spaces
between subjects.
• Areas with more texture tend to draw extra
attention. Sometimes, too much texture in
“unimportant” areas of a photo can be distracting,
making the overall photo appear too complex.
• In other cases, texture gives your subject a crucial
sense of dimension, such as filling out the shape of
a mountain landscape.
Elements of Composition
 COLOR
• Other than black and white photography + a
creative choice of its own + color makes a big
difference to the composition of a photo, as
well as the mood.
• Each color brings its own emotions to
photography
• When you‟re composing your photos,
recognize the colors contained within, and try
to use their strengths to your advantage.
• Often, pairing a warm color with a cool color
creates an interesting sense of contrast,
leading to an eye-catching image.
• Similarly, photos with just one or two dominant
colors present a very unified message + a
message that can be highly successful if
created with care.
Elements of Composition
 TONE
• Another important element of composition
is tone, both for individual objects and for the
photograph as a whole.
• Although tone can refer to hues and intensity
of color, it also relates to the brightness and
darkness of an image, as well as its contrast.
• Photographs which employ tone successfully
will carry the eye through the flow of a photo +
much in the same way that musical tones carry
listeners through the highs and lows of a
performance.
• Brighter regions of a photo attract the eye. So
do those with high contrast + both low-level
contrast (sharpness) and broader
juxtapositions of light and dark.
Elements of Composition
The other elements of composition fall under a different category: relationships. Rather than applying to individual objects in a
photo, the four elements below are all about how the different parts of a photo interact.

 DISTANCE

• The simplest relationship between

elements of composition is the
distance between them.
• Distance matters for a few different
reasons. To start, if some of your
subjects are too close together + or if
one subject crosses another + the
results can be distracting.
• The most common compositional
structures are simply a line (connecting
two areas of interest) and a triangle
(three).
Elements of Composition
 BALANCE
• The next element of composition is
balance, related closely to the concept of
visual weight.
• Visual weight isn‟t complicated; it‟s just the
amount of attention each object in your
photo attracts. Every part your photo has
some amount of visual weight to it.
• Balance is about the arrangement of visual
weight in a photo. A balanced photo has
similar levels of visual weight between the
left and right halves; an imbalanced photo
has more weight on one side or the other.
• Sometimes, a “lighter” element can
balance a “heavier” element simply by
being farther from the center of a photo +
like balancing a child and an adult on a
seesaw.
Elements of Composition

 SPACE (Positive and Negative)

• Positive space is any part of the photo that
attracts attention. Areas with significant
visual weight are usually positive space.
• Negative space is the “filler” between
regions of positive space.
• Photos with high amounts of positive
space feel crowded, while photos with high
amounts of negative space feel empty.
• Positive and negative space depend quite
a bit on other elements of composition,
such as visual weight and distance.
Elements of Composition

 PATTERNS
• In photography, patterns are everywhere.
• Even the reflection of a mountain in a pool
of water is a pattern + one which should
not be underestimated, since it ties the
photo together.
• Patterns are arguably more obvious in
manmade scenes, like architectural
photography. But even natural scenes and
living creatures have patterns, like feathers
on a bird or waves crossing in the sea.
 RULES OF
COMPOSITION
Rules of Composition

 RULE OF THIRDS

• The rule of thirds is the most talked up

of the rules of composition.
• To practice this rule, divide the frame
of your photograph with two equally
spaced vertical lines and two similar
horizontal lines.
• These lines and the four points at
which they meet create areas on your
frame for placing subjects and
essential elements.
Rules of Composition

 GOLDEN SPIRAL

• The golden spiral is another method

that people often use to compose a
shot.
• A curve starts from the corners and
goes across the upper portion of the
frame, spiralling towards the middle
and the bottom.
• The concept is that movement and
subjects should all fall on the curve
and your most interesting portion of
the frame should align closely with the
middle of the spiral in the lower
quadrant of the frame.
Rules of Composition

 LEADING LINES

• When we look at a photo, our eye is

naturally drawn along lines.
• Leading lines direct the viewer
through the image, A leading line
paves an easy path for the eye to
follow through different elements of a
photo.
• Usually, these lines start at the bottom
of the frame and guide the eye
upward and inward, from the
foreground of the image to the
background, typically leading toward
the main subject.
Rules of Composition

 SYMMETRY

• We are surrounded by symmetry

and patterns, both natural and man-
made. They can make for very eye-
catching compositions, particularly
in situations where they are not
expected.
• Another great way to use them is to
break the symmetry or pattern in
some way, introducing tension and
a focal point to the scene.
Rules of Composition

 VIEWPOINT

• Before photographing your subject,

take time to think about where you
will shoot it from.
• Our viewpoint has a massive impact
on the composition of our photo, and
as a result it can greatly affect the
message that the shot conveys.
• Rather than just shooting from eye
level, consider photographing from
high above, down at ground level,
from the side, from the back, from a
long way away, from very close up,
and so on.
Rules of Composition

 FRAME IN FRAME

• Frames add a touch of drama

and story to any photo..
• The view out of a window in a
lighthouse or the view between
large trees in a forest tell more
than just the picture of the view
itself.
Rules of Composition

 RULE OF DIAGONALS

• Like leading lines, diagonals are

vertices that lead your viewer's eye,
but instead of them being
lead into your image, they're lead
across the composition, which
creates "movement".
• Tension is created by intersecting a
diagonal line, which makes the eye
focus towards this point. Have a look
at this photo below of a model
sitting on rocks on a beach.
Rules of Composition

 HEADROOM  NOSEROOM/
LEADROOM
Rules of Composition

Extreme Long Shot

Long Shot
Full Shot
Knee Shot
Cowboy Shot
Mid Shot/Medium Shot
Medium Close up
Close Up
Extreme Close Up
TYPES OF LENSES

Different categories of Lenses used in Photography

 Camera
Accessories
Camera Accessories

 TRIPOD

● A tripod is an essential camera accessory for

any photographer. It helps you keep your
camera stable and frees up your hands.
● When you start investing in photography gear
more, you‟ll only want the best DSLR
accessories. And, when it comes to a tripod,
you‟ll want to make sure it can hold the weight
and provide stability.
Camera Accessories

 External Flash

● External flashes are incredibly useful as they

can make a photo look professional. If you use it
properly, it will look as though the flash wasn‟t
even fired. This will give your photos a natural
look.
● The Godox V1 flash is the way forward. Use this
in conjunction with the flash transmitter for the
best possible combination.
● The Godox V1 flash is compatible with most of
the brands, so you won‟t regret buying one.
Camera Accessories

 Creative Filters

● Creative filters include UV, ND and color

filters. They come in handy in various
photography scenes. From
photographing sunsets to creating long
exposures, you can only benefit from the
usage of creative filters.
● Remember to make sure you‟re getting
the right size for your lens and that
you‟re buying a circular (as opposed to
linear) filter for a DSLR.
Camera Accessories

 Reflector

● A reflector is an easy, yet fantastic

accessory that should be part of your
essential gear. By using a reflector, you
can redirect light onto a subject or a
scene.
● They are excellent tools for adding fill
light or creating catchlights. Moreover,
they don‟t need any batteries, cords or
button.
● Reflectors are the first stepping stones
into lighting techniques.
 Memory Cards
 Camera Bags
 Memory Card Reader
 Extra Batteries
 Remote
 Camera Strap
 Flash Trigger
 Lens Hood
Thank You