A Course Pack in Comm 213

BASIC
PHOTOGRAPHY

D A V A O D E L N O R T E S T A T E C O L L E G E
INSTITUTE OF HUMANITIES AND SOCIAL STUDIES
Department of Communication
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Course: Assessment Learning 1

Welcome to the course Comm 213: Basic Photography.

Basic Photography is an integrated learning subject where we learn how to present

the aesthetic principles and technical aspects of photography which aim to develop
quality pixel-based photography. It introduces students to the creative and efficient
use of current tools and technologies such as digital darkroom computer programs
to enhance images for various multimedia applications.

For you to appreciate the basic features of this subject, we need to align our initial
knowledge on the key terms that are interrelated and can be used in the period of
our online learning.

As mentioned above, expect that there will be experiencing hands-on performances

in front of a camera, and experience pre and post production processes.

You are also expected to gain knowledge, skills, and understanding to become a
versatile and resilient creative practitioner.

Rest assured, every concept will be simplified, developmentally- appropriate, and

this has been made for your convenience.

Let’s begin!

KRISHA D. REMPERAS
Instructor, Department of Communication
Davao del Norte State College

This manual is not for reproduction and distribution outside of its intended use. This
is intended only for the use of the students who are officially enrolled in the
course/subject. Expect revisions of the manual.

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Course Overview:

Throughout the course, you’ll complete a series of photo projects that will help
you practice the skills you are learning. Your teacher will work with you, reviewing
your photos and helping you improve as you complete the program. By the time you
finish, you will have the skills and know-how to take professional-quality
photographs.

Course Outcomes:
At the end of the course, the students will be able to:
1. Describe and discuss the visual forms, aesthetic functions, and basic design
principles with attention to such areas as design, color, and lighting.
2. Define the knowledge and skills in the use of basic tools, techniques,
technologies, and processes sufficient to work from concept to finished
product.
3. Describe and analyze the functional knowledge of photographic history and
theory, the relationship of photography to the visual disciplines, and its
influence on culture.
4. Identify some of the key tools and techniques with and command of materials,
equipment, and library resources related to the study of photography.

Course Modules

In order to maximize your learning in this course, this course pack is organized in the
following modules.

MODULE 1: Introduction to Basic Photography

Lesson 1: What Photography is all about
Lesson 2: What to Shoot
Lesson 3: Welcome to your camera

MODULE 2: Meet your Camera Modes

Lesson 1: Portrait Mode
Lesson 2: Landscape/Infinity Mode
Lesson 3: Macro Mode
Lesson 4: Sports Mode/Kids and Pets Mode
Lesson 5: Night Mode/Night Portrait Mode
Lesson 6: Indoor Mode
Lesson 7: Beach Mode/Snow Mode
Lesson 8: Fireworks Mode
Lesson 9: Fully Automatic Mode/Program Mode/Manual Mode
Lesson 10: Aperture Priority Mode/Shutter Speed Priority Mode
Lesson 11: Flash On/Flash Off/Auto Flash

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MODULE 3: Understanding the Exposure Triangle

Lesson 1: Aperture
Lesson 2: Shutter Speed
Lesson 3: ISO

MODULE 4: Improving your Photos

Lesson 1: Getting Composed
Lesson 2: Choosing Subject
Lesson 3: Rule of Thirds

MODULE 5: Photo Assignments

Lesson 1: Nature
Lesson 2: Portrait
Lesson 3: Animal and Wildlife
Lesson 4: Storytelling
Lesson 5: Artistic

1 MODULE
INTRODUCTION TO BASIC
PHOTOGRRAPHY

Module Overview

In this Module:

➢ WHAT PHOTOGRAPHY IS ALL ABOUT

➢ WHAT TO SHOOT
➢ WELCOME TO YOUR CAMERA

This module discusses the definition and fundamental concepts of Basic

Photography that you should understand.

After completion of this module, you are expected to:

1. Explain the different ways camera has been viewed in the past
2. Learn the knowledge of basic concepts about Photography
3. Enumerate the first ever cameras that are being used in the early time

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LESSON 1 WHAT PHOTOGRAPHY IS ALL ABOUT

INTRODUCTION
Welcome to Module 1 Lesson 1.

People have a peculiar approach to taking photographs. On the one hand, the
majority of people believe that photography is so simple that everyone can do it.
When we take a few terrible shots, on the other hand, we label ourselves as bad
photographers.

The truth is that anyone who can press a button can shoot excellent
photographs. That's all there is to it. All you need to know is the straightforward
advice, recommendations, and practices found throughout this module.

This module
starts from the
beginning for people
who are completely
new to photography,
showing you how to
point, shoot, and
have fun. If you've
already done some
shooting, you're
probably reading this
book because you're
fed up with the
results. You've arrived at the right location. Here you'll find the tools you need to take
excellent images regularly. Perhaps you want to improve the images of your children.
Perhaps you'd want to photograph your products for use on your company's website
or blog. Perhaps you believe there is nothing left to photograph when, in fact, you are
surrounded by photo-worthy images every day—a neighbor's new puppy, a lovely
flower, a stunning sunset. And if your images don't capture the wonder and beauty
you see—the puppy is fuzzy, the sunset is little and drab, the flower has lost its
vibrancy—trust me, it doesn't have to be like this. You can quickly improve your
photography skills.

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ACTIVITY: CRE ATE YOUR OWN

In your own words create your definition of ”Basic Photography.” Highlight the
specific word/s you want to emphasize in your definition. (e.g. Basic Photography is
the process of sharing). Write your answer in the box.

ANALYSIS
After completing your work above, answer the questions below as guide for
reflective thinking. Use the space after each question to discuss your answer.

1. What makes you believe the words you highlighted were the most important
words that best define Basic Photography? Explain each.
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It's not about taking images with an all-powerful super camera on the spur of
the moment. Making photographs is far more creatively satisfying. You won't find a
more simple, pleasurable activity that allows you to express yourself creatively as
much as photography. Furthermore, photography helps you to document specific
aspects of your life.

We take photographs so that we can e-mail them to friends and family, frame
them, put them in albums, and possibly even produce our postcards or capture a
friend's wedding. But, for the most part, we snap photographs to help us remember
our most memorable occasions. Whatever your photographic objectives are, this
book will show you how to achieve them quickly and easily.

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Three Excuses to Get Rid of Right Now

Excuse 1: What's the point of taking photos if they never turn out the way I want
them to?
Maybe you didn't react quickly enough and missed a shot, or maybe you
pressed the wrong button. Occasionally, the camera will focus on the incorrect
object; other times, photographs will be too dark or too light. Even the greatest
cameras can make mistakes when it comes to interpreting a scene. That's where this
book comes in, with simple strategies and recommendations to help you take better
images more frequently.

Excuse 2: There's a lot of software and technology to deal with.

Learning new things can be frightening. Whether it's printing your photos on
a computer or removing redeye using Photoshop, the software side of photography
may be time-consuming, unpleasant, and complicated. The truth is that software is
your buddy, and the more time you spend on it, the more time you save in the long
run. Nine times out of ten, the problem is one of familiarity rather than difficulty.
When you roll up your sleeves and give it a shot, you'll probably find that it's a lot
easier than you anticipated.

Excuse 3: Getting very skilled takes too much time.

Most of us are pressed for time. We must either go to a job or school. Some of
us have children, while others have pets that need to be walked (or, in my case, slept
on). And it’s true that to get good at photography, you have to make time to practice.

GETTING READY:

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Even though many former masters and numerous suffering students have
struggled to learn photography, your journey can be as simple or as complex as you
want it to be. Whether you want to photograph nature, landscapes, flowers, places
you visit, your children, pets, or any other topic, identifying what you enjoy
photographing can help you define what photography means to you.

WHAT PHOTOGRAPHY IS REALLY ALL ABOUT

Life is the subject of photography. It's all about catching your daughter's
expression when she receives a birthday present or rides her bike for the first time.
It's the lovely puppy picture of your dog that you still have posted to your refrigerator
door. Photographs serve to metaphorically freeze the clock, bringing your constantly
changing reality to a halt. You have created something amazing when you capture a
moment or the essence of a person, a location, or a thing.

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Making photographs not only satisfies your creative urges but also enriches
your daily experience.

• Getting out and appreciating nature;

• Being more aware of your surroundings are all things that photography entails.
• Learning to notice things like light, color, shadows, and reflections, which can help
you see the world more artistically.
• Telling others about your experiences, whether it's friends or grandchildren.

It's not about luck, software, or cameras to get beautiful images. To snap a
stunning sunset or an intriguing close-up of a butterfly, you must be in the right place
at the right moment. You, on the other hand, are the one who decides to search for
the brightly colored butterflies. You make time to appreciate the sunrises and
sunsets. And you take your camera with you whenever you go out into the world.

Many photographers become captivated by technology, poring over catalogs

and examining the bells and whistles of numerous cameras for hours on end.

While outstanding equipment does play a role in picture quality, just because
you buy a superb camera doesn't imply you'll take amazing pictures. While having a
nice camera is beneficial, the ultimate art lies within you. That little black box isn't
capable of taking images on its own.

Being ready to shoot a picture when the occasion arises is all it takes to be a
great photographer. It's all about seeing the world through new eyes and adhering
to a few simple rules when you're out shooting.

Six Common Photographic Myths

Myth 1: Taking pictures draws you away from the action.
Some people claim that they would rather live life than photograph it. That is
obfuscating the issue. Photography allows you to get more immersed in your
surroundings. Most importantly, it gets you out of the house and into the sunlight,
which is where a lot of what I refer to as "present-moment living" takes place.

Myth 2: Photography is too complicated and sophisticated.

Many people believe they are lousy photographers because they are unaware
of all the technical aspects. Most photography books are highly technical, and there
is a predisposition toward shooting is totally manual exposure mode, which
perpetuates this fallacy.

However, there's no reason to get too sophisticated or shoot in "M" mode.

Even if you opt to shoot in semi-automatic mode, depending on your camera's

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technology to handle most of the technical elements, knowing just a few easy
recommendations will make a huge difference in the quality of your images.

Myth 3: A photography degree is required.

To become a great photographer, you don't need a master's degree in fine
arts. All you need to do is study a few essentials, pick up your camera, and get out
there shooting.

Myth #4: You don't need to learn anything because the camera takes care of
everything.
It's easy to believe that amazing images are due to the camera.
That is a falsehood, and you should not believe it. You are still in control of your
camera, even if it can flash, focus, and expose on its own.

Myth #5: A high-end camera is required.

It's true that high-quality gear gives you greater creative control and makes it
easier to take amazing images in general. Instead of maxing out your credit card,
make the most of what you have until the limits of your current camera become too
much to bear and you're ready to upgrade.

Myth #6: All great photographers are natural-born artists.

By training and paying attention to results, anyone may acquire talent. Take
my word for it. I had the artistic skills of a log when I first started photographing. I
hacked off people's heads, failed to remove the lens cap, and photographed an
insane amount of rejects. Every time I picked up my camera, I resolved to learn how
to take better images. And that's exactly what you're going to discover.

LESSON 2 WHAT TO SHOOT

Are wildlife or tranquil landscapes more inspiring to you? Photographs of your

travels or photos of family and friends? Each topic offers an infinite number of
possibilities, which keeps photography fresh and interesting.

Let's take a look at some of the most prevalent subject areas.

Nature

If you enjoy being outside, photography is the perfect way to justify all of your
time spent breathing in fresh mountain air, listening to singing birds, and gazing at
magnificent sunsets! It also inspires us to spend more time observing and engaging
with nature.

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Landscapes

Landscape photography encompasses virtually any outdoor image, including

mountain peaks, high alpine lakes, waterfalls, seascapes, large red barns, and even
metropolitan sights such as buildings, street signs, and city views (called cityscapes).

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Birds and wildlife

Tracking animals and "getting the shot" are both exciting aspects of shooting
wildlife in the wild. Extreme purists only shoot wild animals after a long period of
tracking or patiently waiting. You might also go to a zoo or a wildlife reserve to
photograph animals. Choose the option that best suits your needs.

Pets

Great images, like great works of art, are more likely to inspire us when we
work with themes we care about. Many people think of their dogs when they think
about this. Pets, on the other hand, can be difficult to photograph.

Macro subjects

Macro subjects can be viewed with the naked eye, whereas microscopic subjects can
only be seen at severe magnification. We go quite near to items when we use a
macro, and we see them in wholly different ways as a result. If you have a digital SLR,
macro mode or a macro lens can rapidly become a photographer's best friend.

When everything else fails—when the light isn't great for landscape photography or
your picture has too many distractions—macro photography can always save the
day.

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People

Most of us enjoy taking pictures of our loved ones, but why not learn some
tricks and shortcuts to improve them? At any age, flipping through albums full of
interesting and unique portraits of people is incredibly fulfilling.

Travel

Visiting far-flung areas can open up new sources of inspiration, transforming

even mundane settings into fascinating places. You could be photographing the
interior of an abbey one minute and candidly photographing an elderly shopkeeper,
a playful child, or a kind fellow traveler the next.

If you follow these pieces of advice, your images will be more fulfilling,
engaging, and enjoyable to look at for others.

FINDING INSPIRATION IN UNINSPIRING PLACES

Do you ever feel like you live in a place where there's nothing interesting to
photograph? Almost any place, in fact, has plenty of content.

It's less about where you shoot and more about when you shoot. In the early
morning or late evening, any location can appear virtually mystical.
If you still can't think of anything fascinating to photograph, consider these
suggestions.

• Regardless, start shooting. Activity and inspiration are inextricably linked.

Get out the door and start shooting anyway if you're stranded!
Once you've got your camera out and are experimenting with different settings, you'll
probably be more interested in what's going on around you.

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• Travel to a new location. Visit your local zoo, tourist site, park, garden, nursery, or
aquarium for the day. Changing your environment can help you think more creatively.
You'll feel even more inclined to leave procrastination behind and seize the day if you
know you won't be back anytime soon.

• Take a look around. Make it a practice to take notice of things. Nice hands,
intriguing designs, lovely light, simple backdrops, strong colors—or whatever else
appeals to you. Consider how the color red might function in a photograph every time
you see it. Colors like red, orange and purple are less prevalent and stand out,
providing photographic opportunities.

LESSON 3 WELCOME TO YOUR CAMERA

You'll find knowing your way around the camera useful whether you use an
iPhone, a basic point-and-shoot, a more expensive compact, or a digital SLR (DSLR).
This section will steer you in the right way by demonstrating the fundamental camera
buttons. I recommend reading the first few pages of your camera manual for a
detailed description of your specific camera model.

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Camera phones are gradually overtaking DSLRs as the most common type of
camera. Even if it lacks a lot of control, the tips in this module can help you snap a lot
of images with it.

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The basic point-and-shoot doesn’t allow many adjustments, such as control

over aperture and shutter speed, but, like camera phones, can be used for many of
the basic techniques in this book

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High-end compact cameras allow much more control over the various
options, such as exposure settings, but still fit in your pocket or handbag. Also, these
cameras are more likely to be able to capture Camera Raw files.

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The digital single lens reflex (DSLR) camera offers the most control and more
scalability, but is much bigger and bulkier. This kind of camera will continue to be a
good tool as you grow as a photographer, allowing you to use specialized lenses,
sophisticated lighting options, and much more.

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ANALYSIS
1. Photography brings up a lot of emotions and reactions from those who take
photos and from those who look at photographs.
Why do you think photography creates such intense reactions in those who view it?
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2. Write an essay about a famous female photographer in history. How did her
gender influence her work and its reception? What can you learn from her life about
the overall relationship between gender and photography?

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ASSESSMENT
Write a 200-word reflection paper about the things you learned in this
lesson.

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MODULE
MEET YOUR CAMERA MODES

Module Overview

In this Module:

➢ PORTRAIT MODE
➢ LANDSCAPE/INFINITY MODE
➢ MACRO MODE
➢ SPORTS MODE/KIDS AND PETS MODE
➢ NIGHT MODE/NIGHT PORTRAIT MODE
➢ INDOOR MODE
➢ BEACH MODE/SNOW MODE
➢ FIREWORKS MODE
➢ FULLY AUTOMATIC MODE/PROGRAM MODE/MANUAL MODE
➢ APERTURE PRIORITY MODE/SHUTTER SPEED PRIORITY MODE
➢ FLASH ON/FLASH OFF/AUTO FLASH

After completion of this module, you are expected to:

1. Understand the different between RAW and JPEG file formats
2. Learn the use of each camera modes and how they should be set up for
good production of photographs

INTRODUCTION
Whether you're a novice or a more advanced photographer, it's critical to
understand the basic settings and shooting modes available on your camera. While
these may vary slightly between camera brands and models, many of today's
cameras have comparable functions. The most basic ones—often found on point-
and-shoot cameras—are covered in this chapter.

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The best setting for capturing photographs of individuals throughout the day is
Portrait mode, which is denoted by a head or profile. Portrait mode, in technical
terms, instructs the camera to utilize a big aperture, or lens opening, to create a
shallow depth of focus. All of this is done to ensure that your topic remains sharply
in focus while the surrounding blurs. The result is that the topic stands out against the
background. This is known as isolating your subject, and it helps you to draw the
viewer's attention to your front subject.

Portrait mode on some cameras also engages continuous drive, which means the
camera will continue to take images in rapid succession as long as the shutter button
is depressed. This ensures that at least one decent shot is captured without your
subject blinking, for example.

Portrait mode is great for photographing people, but it can also be used for any
stationary subject that you want to stand out from the backdrop, such as a gorgeous
autumn tree or a vase of flowers.

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The landscape mode is signified by a mountain icon. This is the greatest

location for capturing distant landscapes and panoramas. Landscape mode (also
known as Infinity mode) instructs the camera to utilize a tiny aperture (lens opening),
creating a deep depth of field and bringing everything in the image into focus. This is
ideal for photographing stunning mountains or the Italian countryside because it
ensures that everything in the image is sharp, from the foreground flowers to the
decaying palazzo in the distance.

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Macro mode is almost always indicated by a flower. Use Macro mode when
you want to shoot small close-ups, such as a flower, a ladybug, a piece of jewelry, or
a stamp. Cameras have limits on how close they can be to an object and still focus
correctly, so you may want to check your manual for your own camera’s limit. Most
point-and[1]shoots can be used in Macro mode from about 1½ inches to 1 foot from
an object.

(Note: The opposite of Macro mode is often designated with an icon of mountains.
This is just meant to mean “non-macro” and this mountain icon is not to be confused
with the mountain icon used to select the Landscape shooting mode mentioned
previously.)

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Sports mode is usually indicated by a running figure. This is the mode for
freezing action, perfect for photographing a subject in motion. While sports mode is
handy for photographing sports, it can be used to shoot any subject in motion, from
your kids running in the backyard to waves crashing on the ocean or a kitten
chasing after a ball of yarn.

This mode tells the camera to use a fast shutter speed, which means the
camera takes the shot very quickly, decreasing the possibility of a blur. In some
cameras, Sports mode also activates continuous drive, so you can take several
pictures just by holding down the shutter button. Because it often tends not to utilize
the flash, Sports mode works best in bright conditions.

Kids and Pets mode, indicated by a child and often an animal, is essentially a
“light” version of Sports mode, also aimed at freezing action (since children and
pets are usually in motion).

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Most cameras have two night modes: a general Night mode with a moon or
star and a building icon, and a Night Portrait mode with a moon or star and a person
as an icon. Both options accomplish the same goals. They employ a slower shutter
speed, which means the camera takes longer to record the image, allowing more
natural light in and revealing more background detail. Typically, these modes also
fire the flash, illuminating persons in the foreground.

Some cameras offer a Night "Snapshot" mode that eliminates the need for a
tripod by increasing the ISO, or sensitivity to light, instead of using flash. As a result,
instead of capturing an extremely lighted figure in front of a dark black background,
you'll obtain a more natural photo with some background detail maintained.

Sunset mode is denoted by a symbol of the setting sun on some cameras. To

keep everything in focus, from the right foreground to the distant sunset, the camera
uses a narrow aperture or lens opening. It also causes the camera's color saturation
to rise, resulting in warmer tones.

Because all of these modes require slower shutter speeds, it's best to utilize a
tripod whenever possible.

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When you take a picture with your point-and-shoot camera, it has to select
how much light to let in so that both dark and light regions of the scene are properly
illuminated. It accomplishes this by analyzing the scene and calculating an average.

However, in other scenarios, such as beach and snow scenes, the light regions
are so severe that they throw the rest of the scene off. The bright sections of sand or
snow fool the camera into allowing in very little light, leaving other elements of the
image—like your daughter building her first sandcastle—too dark. The Beach and
Snow modes, which are extremely similar, are the solutions to this problem. They
instruct the camera to disregard the bright background and expose solely for the
subject, allowing just enough light to expose your daughter precisely. Additionally,
they may enhance saturation or fiddle with your white balance settings to ensure that
the shot has attractive, warm tones.

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Fireworks mode, indicated by a symbol of fireworks, is designed to help you

photograph (you guessed it) fireworks. It does this by slowing the shutter speed down
to let in more light, and turning off the flash. Because the camera takes photos more
slowly in Fireworks mode, it is essential to use a tripod or set the camera on
something firm. You’ll also want to use the self-timer or a remote release to avoid
touching the camera and causing camera shake.

Since Fireworks mode slows the camera down, it can also be used for a variety
of creative techniques, such as purposefully capturing the blur of a moving object.
Why do this? Blur can be a creative way to convey motion. As mentioned, it’s
important to use a tripod and keep the camera very still so only the subject will move
and blur — not the rest of the photo.

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Here are some of the more complex modes found on higher-end point-and-
shoot cameras and DSLRs. Whereas Fully Automatic mode makes all of your
decisions for you, Program ("P") mode can be fully or semiautomatic, selecting all of
your settings for you or allowing you to become more engaged. Automatic mode
calculates exposure settings that produce in a proper exposure—that is, an image
that is neither too bright nor too dark. All you have to do is point and shoot, and you'll
almost certainly get good results. For beginners, it's a good place to start because
you can concentrate on learning basic composition while the camera handles the
exposure.

If you choose to take a more active role, the “P” mode allows you to shift
exposure settings to what you want. This will require some understanding of shutter
speed. If the “P” mode gives you a fast shutter speed but you prefer a slow one, you
can dial it down, all the while ensuring that you’ll still end up with a correctly exposed
photo. Furthermore, the “P” mode will not cause your camera to automatically fire the
flash. If you’re like me and you prefer to decide when to use the flash, you’ll
appreciate this semiautomatic “P” Program mode.

Manual (“M”) Mode

Manual (“M”) mode is for Masochists. In Manual, primarily seen in DSLRs, the
camera does nothing and you make all of the decisions, setting your aperture and
shutter speed for each shot. Although this mode is often recommended to beginning

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students, I don’t recommend it. I prefer that my students get at least a few keepers
even while they are learning. Learning photography is more fun that way. I only use
the fully manual “M” mode when shooting with my studio lighting set-up in my studio.
At all other times, I shoot in semiautomatic “P” mode and recommend students do
the same.

In addition to “P” (Program Mode), there are two other very handy (and
creative) shooting modes found mainly on DSLRs: Aperture Priority (“A”) and Shutter
Speed Priority (“S” or “Tv”).

Both of these modes allow you to take control of one setting (aperture or
shutter speed) and the camera will automatically set the other for a correct exposure.
For example, Aperture Priority requires you to change the aperture only; the camera
then automatically selects the shutter speed for a correct exposure. If you increase
the f-stop number (for a smaller aperture), the shutter speed will automatically get
slower. If you decrease the f-stop number (for a larger aperture), the shutter speed
will get faster. The same is true for Shutter Speed Priority. If you slow the shutter
speed, the aperture will automatically get larger; if you speed it up, the aperture will
get smaller.

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Flash settings are usually noted by a lightning bolt with an arrow pointing
down. You may think your camera knows exactly when to use its flash—and it’s true
that you can leave your camera on “auto flash.” However, you’ll get much more
professional results if you learn to control the flash yourself. This book is full of ideas
on when to use your flash, and when to turn it off.

“Auto flash” lets the camera decide when to use the flash.

Forces the flash on when you want to provide additional “fill light.”

Forces the flash off when you want to rely on available light.

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 COMM 213 | BASIC PHOTOGRAPHY 33

ASSESSMENT
Write a 200-word reflection paper about the things you learned in this
lesson.

33 COMM 213 | BASIC PHOTOGRAPHY

3
COMM 213 | BASIC PHOTOGRAPHY 34

MODULE
UNDERSTANDING THE EXPOSURE
TRIANGLE

Module Overview

In this Module:

➢ APERTURE
➢ SHUTTER SPEED
➢ ISO

After completion of this module, you are expected to:

1. Describe the different elements in dealing and understanding with Exposure
Triangle
2. Assess and determine how and in what ways one variable changes to
maintain the correct exposure in photography

INTRODUCTION
Every image captured in photography and cinematography is a result of light. The
exposure triangle, which is made up of three variables, determines how a camera
collects light.

What is the exposure triangle, and how does it work? What is the best way to use
each of the three settings to capture an image? In this module, we'll look at the three
factors that influence how an image is exposed. We'll also look at an exposure
triangle chart that you can use as a guide to help you create the photographs you
want. Let's get started.

WHAT IS THE EXPOSURE TRIANGLE?

Despite the fact that the exposure photography triangle is a single term, it is
made up of three distinct aspects. To master the exposure triangle, you must first
comprehend how each variable function. Let's define the exposure triangle for a
better understanding.

Aperture, Shutter Speed, and ISO are the three variables that control how a
camera collects light in the exposure triangle. These three variables work together to

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properly expose a shot. The exposure triangle's three factors are all interdependent
on one another. To ensure proper exposure, modifying one of the three variables, for
example, will necessitate adjusting another. The exposure triangle is also known as
the camera triangle and the photography triangle.

The camera triangle's major factors that influence exposure are aperture,
shutter speed, and ISO. Each variable, however, has an impact on other aspects of an
image. Exposure triangle photography factors determine the depth of field, motion
blur, and noise.

LESSON 1 APERTURE

The size of the circular hole in the lens that admits light is referred to as the
aperture. More light enters the sensor as the hole gets bigger. In fact, doubling the
size of the hole doubles the amount of light or increases the exposure by one stop.
On the other side, halving the size of the hole reduces the amount of light that reaches
the sensor. And, as you can expect, this will reduce the exposure by one stop.

An f-stop is a ratio that relates to the size of that aperture, without getting too
complicated. It is equal to the focal length of the lens divided by the diameter of the
lens in mathematics. The values on the f-stop scale appear to be puzzling at first look.
The figures don't appear to add up. Why do lower values correspond to greater

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openings in one direction and vice versa in the other? Continue reading for a simple
explanation.

It takes a little arithmetic to figure out why large f-stop numbers correspond
to tiny openings and small f-stop numbers refer to large openings. Don't worry; I'll
do my best to keep things simple. If you use the above-mentioned ratio:

f-stop = focal length/diameter

and rearrange it for diameter, you get:

diameter = focal length/f-stop

This means that we can compute the diameter of the aperture by dividing the
focal length by the f-stop value for every given focal length. When a particular focal
length is divided by a large f-stop value, however, the result is a small diameter. As a
result, the entrance is somewhat narrow. A big diameter is obtained by dividing the
same focal length by a tiny f-stop value. A larger diameter also means a larger surface
area and more light streaming through.

In addition, the f-stop must be divided by the square root of two to twice the
area of the aperture (1.414). The f-stops aren't beautiful round numbers because of
this. The f-stop must be multiplied by the square root of two to half the area.

If you are so inclined, prove this to yourself with a little geometry. Remember
that the area of a circle is:

Area = (π/4) diameter2

Calculate the area of the aperture for a 50mm focal length lens using various
f-stop values. As you increase the f-stop value, the areas should double.

To learn more about Aperture, watch this video:

https://www.youtube.com/watch?v=YojL7UQTVhc&ab_channel=Apalapse

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LESSON 2 SHUTTER SPEED

The shutter speed is the next important thing to master. A shutter is a

protective cover that sits in front of the camera's sensor. Light is permitted to hit the
sensor and expose the image when it opens. The photographer has control over how
long the shutter stays open.

Allowing more light to reach the sensor by keeping the shutter open longer.
This permits the image to be properly illuminated if the scene is very dark or the
photographer has used a small aperture. The amount of light that reaches the sensor
is doubled when the shutter speed is doubled.

The majority of shutter speeds are in fractions of a second. The most typical
speeds are between 1/30th and 1/500th of a second. In most instances, these enable
for handheld shots while still allowing adequate light to expose a standard frame.
Shutter speeds that are measured in whole seconds are frequently preceded by the
symbol for seconds, such as 3", 10", or 30", to simplify camera displays. A shutter
speed of 1/500th of a second, for example, would be displayed as "500" without any
reference to the fraction.

The camera is the only thing that limits the range of shutter speeds accessible.
Super-fast shutters on high-end DSLR cameras may capture photographs in as little
as 1/8000th of a second. They also offer "bulb" settings, which allow the
photographer to use a remote release to hold the shutter open for as long as needed.

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However, just as aperture controls something else, shutter speed does as well.
When the shutter is left open for long periods of time, the photos will get blurry. It
will be fuzzy if something in the photo is moving swiftly, such as a car passing by on
the highway. If you're shooting with a handheld camera, slow shutter speeds can
cause the image to blur when your hands shake.

The majority of the time, hazy photographs should be avoided. If the shutter
speed is equal to or less than the denominator of the lens' focal length, a tripod
should always be used to avoid shaking. At example, if you're shooting with a 35 mm
lens, you should utilize a tripod for shutter speeds of 1/35th second or less. When
shooting with a 200 mm lens, utilize a tripod at shutter speeds of 1/200th second or
less.

However, for creative purposes, blur is sometimes desirable. When the water
is blurred just enough to see the velocity of the water, it makes for a stunning image.
Seascapes can be blurred to give the water a smooth, mirror-like appearance. Slow
shutter speeds are used by night photographers to capture star trails and light trails
on motorways.

Understanding how to use shutter speed, like aperture, will expand your
creative possibilities in photography. You can specify a specified shutter speed and
the camera will choose the proper aperture when the camera is set to shutter priority
(S or Tv mode).

To learn more about Shutter Speed, watch this video:

https://www.youtube.com/watch?v=7R9ZTxoTOSk&ab_channel=Apalapse

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LESSON 3 ISO

Film was marketed in several ISOs in the days of film cameras. The sensitivities
were standardized. In low-light settings, a high ISO film, such as 800, 1600, or even
3200, performed admirably. However, the exposures would be grainy as a result of
the trade-off. Photographers used ISO 100 or below for the best image quality.

Film cameras are no longer widely used. The ISO nomenclature and concept,
on the other hand, haven't altered. Today, digital camera makers give us the option
of adjusting the camera's light sensitivity. We may make the sensor more sensitive
by adjusting the ISO level. However, as with yesterday's footage, as ISO rises, so does
the quality.

Fortunately, this is an area where technology is constantly improving. Every

new camera sensor outperforms the one it replaces at high ISO settings by a little
margin. The only way to find out how yours performs is to take some test shots.

UNDERSTANDING HOW APERTURE, SHUTTER SPEED, AND

ISO WORK TOGETHER
To make a correctly exposed photograph, a precise amount of light is required.
The photograph will appear dark or underexposed if not enough light is applied. The
photograph will be overexposed if too much light is allowed in.

When you increase the shutter speed to add light to an image, you must
subtract it from something else. Either the aperture or the ISO could be reduced.

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Similarly, if you want a large depth of field in your shot, you'll need to utilize a
tiny aperture (high f-stop). Because this narrow aperture won't let enough light in,
you'll need to adjust either the shutter speed or the ISO to avoid underexposing the
shot.

Experimenting with exposure triangle photography is a simple approach to

see how these ideas are linked. If one of the triangle's legs grows longer, the other
two must adjust as well. You can't make a modification to one without also making
changes to the other two.

The exposure value of an image is made up of the perfect mix of shutter speed,
aperture, and ISO. For every properly exposed shot, there are a plethora of exposure
values to choose from. You may take it with a quick shutter speed and a wide
aperture, or a slow shutter speed and a small aperture. In terms of exposure, the
effects will be practically comparable.

Many cameras, fortunately, allow you to choose between these options in

programmed auto mode (P mode). While in "P mode," most cameras allow you to
select multiple aperture and shutter speed combinations by twisting the primary
selector dial.

STOPS OF LIGHT
In photography, a stop is also an important notion. It can be used while
discussing any of these ideas. Going "up a stop" means double the amount of light
entering the camera, and going "down a stop" means halving the amount of light
entering the camera.

Stops are used to link all of the above elements (shutter speed, aperture, and
ISO) into a single unit. Each of these characteristics has a measurement of its own,
but they all work together to generate the exposure triangle. A stop provides us with
a common language to communicate with.

As previously stated, doubling the shutter speed in seconds doubles the

amount of accessible light, or raises it by one stop.

Because f-stops are used to measure aperture, it operates a little differently. If

you only look at the area of an open aperture, you can go up one stop by doubling
the area. However, doubling the f-stop equals quadrupling the light when it comes to
f-stop numbers. An exposure triangle chart that lists typical f-stops such as f/2.0,
f/2.8, f/4.0, f/5.6, f/8.0, f/11, f/16, f/22, and f/32 is the easiest way to remember the
usable stops of light in f-stops. These numbers will become second nature after
you've seen and utilized them a few times.

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ISO stops, like shutter speeds, are simple to understand. The ISO settings on
most cameras start at 100 and go up to 6400 or higher. The amount of light doubles
and goes up one stop for every doubling of the ISO value.

For greater control of an image's exposure value, stops are sometimes divided
into half or even thirds. While the figures in the examples above are fairly industry
standardized, manufacturers frequently round fractions of stops up or down. The
numbers may not match exactly, but the concepts remain the same regardless of
camera type.

EXAMPLES AND ANALOGIES

Consider this analogy if you're still having difficulties picturing how the
exposure triangle chart works. A picture is similar to a glass of water. Making a
correctly exposed image is similar to filling a glass with water from a faucet.

The size of the glass you need to fill is an illustration of the ISO setting on your
camera. A larger glass would require more water to fill, but a smaller glass would just
require a tiny amount. The size of the glass, like the ISO, is usually one of the first
things you decide. You'll be more concerned about the next two factors the majority
of the time.

The aperture of a camera is akin to how much you open the tap or how much
water flows out. Is the water trickling out of the faucet, or is it gushing out in a torrent?

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Finally, the shutter speed is determined by how long you leave the tap open.
You'll have to leave the tap open for a long time to fill your glass if you only open it
a little and let the water drip. If you open the tap completely for optimum flow, you
only need to leave it open for a fraction of a second.

Overfilling or underfilling the glass, in this case, corresponds to under or

overexposing the image. Neither is desirable; the goal is to fill the glass to the exact
line. If you alter one thing, such as the distance the tap is open, you must also modify
the length of time it is open.

APPLYING WHAT YOU KNOW

So, how can the average photographer benefit from understanding the
triangle? For one thing, knowing how all of these ideas are interconnected means
you'll be aware of the ramifications if you modify one of them.

Let's take a look at a

difficulty that many people face.
Many new photographers are
frustrated when they discover that
photographs taken in dimly lit
environments are fuzzy. Perhaps
it's because the subject moved, or
because the camera was held in
one hand and shaken while taking
the picture.

The remedy to the problem

should be obvious: increase the shutter speed. However, because the shutter speed
is linked to the aperture and ISO, something else will have to change. The image will
be underexposed if the shutter speed is increased alone. The aperture will need to
be widened to adequately expose the shot. The only other option is to increase the
ISO if the aperture is currently as wide as it will go.

To learn more about ISO, watch this video:

https://www.youtube.com/watch?v=q8cj9Lj9w-g&ab_channel=Apalapse

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ASSESSMENT
Write a 200-word reflection paper about the things you learned in this
lesson.

43 COMM 213 | BASIC PHOTOGRAPHY

4
COMM 213 | BASIC PHOTOGRAPHY 44

MODULE
IMPROVING YOUR PHOTOS

Module Overview

In this Module:

➢ GETTING COMPOSED
➢ CHOOSING SUBJECT
➢ RULE OF THIRDS

After completion of this module, you are expected to:

1. Demonstrate how to optimize images
2. Practice and apply the different composition, sharpness, and exposure that
should be applied in different photographs

INTRODUCTION
As a photographer, you decide what to include in the photo, where to place it, and
how much of the picture the subject occupies. More important, you also decide what
to leave out of the photo. You decide what is in the foreground (the area in front of
the subject) and what is in the background (the area behind your subject). Don’t just
accept the world as you first see it. Move around, experiment, and explore how you
can change each scene right before your eyes.

CHOOSING YOUR SUBJECT

Choosing a subject is the first stage in taking a photograph. What is it about
the scenario that catches your attention?

This option frequently necessitates making sacrifices. Even if you want to

include everything in the photo, focusing on one key subject and letting go of the rest
will improve the composition.

Let's imagine you're photographing your spouse in front of a stunning view.

You can take a conventional photograph with the natural attractions in the
background and your spouse as a tiny person waving at the camera. However, it is
much preferable to consider your situation and decide. Is it your friend or the scenery
that you're talking about? Make your friend larger in the picture if you want a portrait

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of her. Zoom in, take a closer look, or have her take a closer look at you. If you want
to photograph the landscape, on the other hand, concentrate your efforts there. Make
a judgment on what you want to photograph in either case.

KEEP IT SIMPLE
Rather than trying to cram everything into your photograph, be selective and
exclude everything that would divert attention away from your main subject.

Keep an eye on your borders and recompose if anything adds clutter to the
composition—a telephone wire, a distracting sign, or some form of rubbish.
Even if there are no distracting items in the immediate vicinity of your subject, too
much blank "negative" space might be problematic. Reposition yourself or your topic,
or zoom in, if the background is distracting until you discover a background that gives
your subject the attention it deserves.

Simply take multiple shots, each focused on a different subject, if you truly
want to incorporate other objects in your photograph. A clean, straightforward
composition will almost always have a greater "Wow!" impression than a crowded
one.

FILL THE FRAME

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Moving in closer to fill the frame with your main subject is one of the simplest
methods to produce a stronger composition. You can achieve this by zooming in or
using a telephoto lens if you're using a DSLR. If you don't have enough telephoto
power, get as near to your subject as you can. Getting closer to your subject is a
certain technique to increase the impact of your photograph.

Move-in closer each time you take a picture to get a better shot. More of your
subject should be in the frame. Try moving or zooming in closer, even if you think
you're close. You'd be amazed how frequently that little viewfinder deceives you into
thinking you're close enough. You may eliminate distracting elements on the
sidelines and help viewers better comprehend and appreciate your picture by making
your topic appear larger and taking up more of the photo.

GET CLOSER

Have you ever met someone who tries to cram too many words into a single
sentence? They incorporate every element of a story while losing your attention in
the process. Some people, on the other hand, choose their words deliberately. They
avoid the need to give every detail and instead concentrate on the most important
ones, leaving the rest to the listener's imagination. Others pay attention when such
folks speak.

A shot that focuses on a single well-chosen, fascinating detail, on the other

hand, can be more interesting, new, and emotive. Allow yourself to relax and focus
on a single feature, such as a detailed carving, a bird's talons, or a child's little hand
gripping her father's pinky finger. You can take images that have more effect by
simply suggesting the complete scenario rather than capturing it.

When the sky is dark or wet, moving in closer is extremely useful. By removing
the sky from the picture, you avoid a boring background that will draw the viewer's
attention away from the main subject. The cloudy sky will provide soft lighting for
these close-ups, and the effects can be rather lovely.

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USE THE RULE OF THIRDS

The Rule of Thirds is an ancient design idea that can be used to bring interest
and vibrancy to any image quickly and easily. You may take off-center subject
placement a step further with this technique.

Place your subject one third from the top or bottom, and one third from the
right or left side of your photo, rather than in the precise middle. The effect is subtle
but astonishing, and you'll notice a significant increase in your photos right away.

Take any photograph and imagine drawing four lines across it to apply the
Rule of Thirds. Like a tic-tac-toe game, draw two lines on the horizontal axis and two
lines on the vertical axis, each one-third of the distance from the edge.

Place your subject at one of the four intersections of lines when assembling
your scene; whatever intersection you use relies a lot on what's going on in the scene.
If there are distracting telephone wires above your subject, for example, place the
subject in one of the upper two locations to remove the wires. Place your principal
subject in the lower-left position if you see an object in the upper-right corner that
could balance or provide meaning to your subject.

KNOW WHERE TO PUT THE HORIZON

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Whether you choose a horizontal or vertical arrangement, make sure the

horizon is precisely level, as even the tiniest tilt can lead the viewer to become
distracted.

When viewing a scene through your camera, check sure the horizon is level by
taking a second look at the edges. You can use a small bubble level on your tripod or
camera, but I find that carefully gazing through the viewfinder is just as effective.

The horizon is usually placed in the middle of the picture, however this is
another simple item to enhance. Place the horizon line on the upper or lower third
dividing line, according to the Rule of Thirds. You may go even further and set it to
an extreme low or high. Simply ask yourself, "Which is more attractive and
interesting—the sky or the land/sea in the foreground?" to determine which will work
best. If you're working with the sky, keep the horizon low; if you're working with the
foreground, keep it high.

CHOOSING YOUR BACKGROUND

Having a simple, uncluttered, non-distracting background will allow the

subject to pop! Ideally, your background should be:
• Simple
• Even-toned (without any bright spots)

If you can find a background with these two characteristics, you will be way
ahead of the game.

The first step is simply to be aware when your background is cluttered. Once
you are aware of this, you can take simple steps to choose a better one. Often you
can eliminate the clutter by zooming in or walking closer.

Sometimes all you need to do is move a bit to the right or left, or up or down.
It only takes a few seconds, and is much faster than removing the background clutter
later on your computer.

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INCLUDE A FOREGROUND OBJECT

When confronted with a stunning view, most
individuals merely snap a photo and walk away, only to
be disappointed later. Even though the scene was grand
and spiritually cleansing at the time, these sentiments
are gone when captured on film. Including an object in
front of your scene is a trick used by experienced nature
and landscape photographers (in the foreground).

Look find an interesting and meaningful thing to

include in your photograph. Then, with the object in the
foreground and the distant landscape in the backdrop,
position yourself such that the object is in the
foreground. This will give the viewer something to look
at both in the foreground and the background, creating
a sense of depth. A foreground, a center ground, and a
background are present in the best photographs.

Watch how many people will be amazed as you compose your landscapes with
foreground objects. To get a deep depth of field in
a landscape image, use Landscape mode or, if your
camera permits it, Aperture Priority mode with a
large f-stop value. Use a wide-angle lens if you're
shooting with a DSLR for this type of photo.

Tips:
Wondering where to focus in a landscape
image like this? It’s simple. Whether you’re using a
point-and-shoot or a DSLR camera, focus on a
point one third of the way into your scene. This
usually means temporarily centering your
composition on an object one third of the way into
the scene, pressing your shutter button halfway to
lock focus, and holding the button in this position.
Then recompose and finish pressing the shutter
button all the way down.

FRAMING YOUR SUBJECT

Take a look around your house. If you have art on the walls, odds are likely that
the picture is surrounded by some kind of border. If it’s a really nice image, perhaps
you have it surrounded by a big white matte, which is itself wrapped by a golden or

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dark wood or metal frame. Why do

we do this with our pictures? Because
it makes the subject seem more
important. It causes the viewer to
subconsciously regard the image as
worthier of his or her attention. It’s an
amazing thing. Even a rather dull
image can appear more important
when it’s set off by a nice frame. In
the same way a large matted frame
can add value and significance to
artwork, framing your subject within your composition can make it appear more
important.

When composing, look for some kind of bounding compositional object. If you
notice one, place your subject within it to hold a viewer’s eye a bit longer. Move
around until you can photograph from a perspective where your subject is perfectly
placed inside the framing object. This little trick can be used to wow a lot of people
when they view your pictures.

TELL A STORY WITH YOUR PHOTOGRAPH

Photography may be used for more than just capturing moments; it can also
be used to tell stories. You may capture more than just a moment in time; you can
also record a concept, a quality, or a way of life.

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Even if you only have a fraction of a second to tell your message, try to portray
a whole story in each image. Look for the main character (the "star") as well as
supporting characters in your photo.

Look for connections between the different factors that interact with dynamic
energy. Make sure your backstory compliments rather than competes with the
primary character's drama. These are just a few ideas for evoking feelings of intrigue
and mystery in your audience.

Taking and reviewing storytelling photos—images that make the viewer

wonder, think, and question—is a rewarding experience.

USE A GOOD TRIPOD

The advantages of utilizing a tripod significantly outweigh the disadvantages.

When the light is low, your tripod is the ultimate "image-stabilization" gear, allowing
up a plethora of shooting options and drastically raising the ratio of "keepers" vs
blurry rejects". Tripods are also useful for creating cool special effects like night
scenes, pyrotechnics, and flowing waterfalls.

Handholding the camera is good for photographing fast-moving things, but

there is no better way to acquire sharp—and creative— pictures for photographing
nature, landscape, flowers, macro, and so many other subjects.

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USE THE SELF-TIMER

The self-timer
is used for much more
than just capturing
self-portraits,
contrary to common
assumption. It also
allows you to activate
the shutter button
without having to
touch the camera.
You'll get crisper,
clearer images if you
eliminate the
likelihood of your
hands shaking the
camera while shooting, especially in low-light situations.

The low light in this photo, for example, necessitated a long exposure (meaning the
camera needed a longer time to record the image). Even with the camera securely
mounted on a tripod, I would not have been able to acquire a sharp photo if I had
clicked the button or touched the camera.

To get the most out of your self-timer, secure the camera on a tripod or, in a pinch,
place it on a hard, flat surface. To arrange your photograph, look through the
viewfinder, then set the self-timer to fire the shot and step back. You can compose
first before attaching the camera to your tripod if you're shooting a fixed subject and
have a bit more time to ponder. Move around and look through your lens until you
locate a vista that appeals to you. Then, with this view in mind, set up your tripod.

A remote release is better than a self-timer because you won't have to wait several
seconds between each exposure, despite the additional cost.

FOCUS ON WHAT'S MOST INTERESTING

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You have incredible creative power at your disposal in each scene. Is your
subject's eye the most crucial component of your photograph? Is that sunshine
dancing across a lake's surface? Is it a street vendor in France's stunning facial
expression?

Whatever it is, focus your attention on it. If necessary, you can even go for a
more creative approach, such as asking your subject to switch positions. Before
rushing to photograph your scene, think about it first. You offer yourself a chance to
determine the one thing that interests you the most when you take the time to
respond to your subject thoughtfully and emotionally.

Here's one more thing to consider. Make sure the eyes of humans or animals
are in great focus when capturing portraits. The eyes should be the sharpest
component of the photo, regardless of what else is in it. Be courageous! To get
several versions of a shot, ask your model to move into a new stance or move
yourself.

Often, the second or third (or fourth) pose will reveal a completely new
perspective on the subject, resulting in a photograph with "that unique something"
you hadn't imagined.

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COMM 213 | BASIC PHOTOGRAPHY 54

MODULE
PHOTO ASSIGNMENTS

Module Overview

In this Module:

➢ NATURE
➢ PORTRAIT
➢ ANIMAL AND WILDLIFE
➢ STORYTELLING
➢ ARTISTIC

After completion of this module, you are expected to:

1. Hands-on Application of the different kinds of photos to shoot
2. Learn the difference of each of the photo assignments, and how they should
be set up for good production of photographs

INTRODUCTION
Now that you've mastered the fundamentals and picked up a few tips and tricks,
it's time to treat yourself to a fun picture shoot or two!

Photography is a useful art form. Even if we talked about it for days on end, you
wouldn't improve as much as if you just went out and took images yourself. However,
"try and error" learning can be frustrating and costly on its own. As a result, we'll
concentrate our efforts on capturing a variety of popular and practical jobs. These
tasks can be completed with practically any camera, no matter how basic or
advanced. Each project begins with an overview of the settings for usage with a point-
and-shoot (P&S) or Digital SLR (DSLR) camera, as well as a list of additional materials
you'll need.

Many point-and-shoot cameras have advanced creative controls, and many

DSLRs have an automatic "point-and-shoot" mode. As a result, use the suggested
settings as a reference and select the shooting category that best suits your current
skill level and camera.

So, without further ado, let's get out there and take some amazing photos!

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LESSON 1 NATURE IDEAS

PHOTOGRAPH A FLOWER
CLOSE-UP

Making photos of beautiful flowers

can be an inspiring exercise and result
in gorgeous images to hang around the
house, upload to an online photo-
sharing site, or give to friends and
family.

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1. Search for the perfect flower.

2. Set up your flower in open shade or someplace like a front porch or open
garage.
3. Set your camera into the Macro mode or use a macro lens. Then experiment
to find out how close your camera allows you to get to your subject before it
loses the ability to focus clearly. If the camera cannot focus and will not shoot,
you may be too close.
4. Stand above the flower and take a few pictures at various angles. Then get as
low as you can to the ground—crouch down, or better yet, lie down and look
up at the flower. Move around and look through your viewfinder from various
positions. Watch how each change affects the look of your flower and
whatever is in the background. Compose your picture so there is an even, non-
distracting background. Each time you find an interesting composition, take a
picture.
5. Be sure to focus on the flower, locking your autofocus and then recomposing
if you want to place the subject off-center. 6. Afterward, study the photos.
Which shows off your subject best? Which makes it look most impressive?
Which one pops off the page? You may find that the photos shot from
extremely low angles have the most impact.

Tip:
To increase your odds of getting
sharp flower photos, use a good tripod. I
recommend using a tripod that lets you get
very close to the ground. If you have one,
you may need to remove the central column
of your tripod in order to get extra low.

CAPTURE A SCENIC LANDSCAPE

Let’s head out now into nature, to the coast, or to a nearby city to capture a prize-
winning landscape photograph.

1. Pick a location that you would like to photograph. If you live near a national
park (lucky you!), then head in that direction. Large cities make good material
for urban dwellers. Photographers who can get to the coast might prefer to
focus on the sea. Don’t worry if you don’t live anywhere near a park, city, or
sea—you can make great landscapes almost anywhere. Look for mountains,

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valleys, lakes, streams, forests, barns, bridges, cityscapes, seascapes, and so

on.
2. Study the light. If you can get to your chosen place in the early morning before
sunrise, do so. The best times to shoot are generally from a half hour before
sunrise to a few hours after sunrise, and again in the late afternoon around the
time the sun sets.
3. If your camera allows you to change it, select a low ISO, such as 100.
4. Attach your camera to a tripod or set it on something firm.
5. Compose your scene, paying attention to graphic elements such as lines,
shapes, and forms. Look for interesting shadows and reflections. Try to make
all elements lead the eye in a satisfying way through the image. If you are
drawn to a particular tree or barn on the horizon, for example, position
yourself so a road or other line leads to that subject.

Tip:

Take a few pictures of a view that is partially

in the sun and partially in the shade. Then take a
few more with the entire scene in shade. Finally,
shoot again, including only things in direct
sunlight. When you compare the results, you will
see how extremes in contrast translate poorly.
Either the shady area will be too dark or the
highlights too bright.

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BE INSPIRED BY NATURE AROUND YOU

Finding subjects to photograph is not as hard as

you think. Inertia and apathy might tempt you to stay
at home, twiddling your thumbs and thinking, “There
just isn’t anything interesting to shoot.” But as soon as
you get out the door, you will be rewarded with
wonderful pictures that you could not possibly have
planned while sitting at home.

1. Grab your camera and head outside for a walk-in a

nearby wilderness, park, or rural area.
2. If using automatic settings, choose the Landscape
mode. If using a more advanced camera that allows
you to control things like aperture,
choose a large f-stop number. As
this will likely result in a slower
shutter speed, be sure to securely
mount your camera on a tripod.
3. Look for interesting trees,
mountains, plants, wildflowers,
wildlife, and so on. Each time you
see a potential shot, take a picture.
Don’t think; just shoot.
4. If you get stumped, take a picture that documents your walk. Tell a story about
your adventure through pictures. Try to capture every interesting detail.
5. If you encounter animals or people on your walk, be sure to include them in
your photographic collection.
6. After each shot, jot down important points you would like to remember. By
taking notes and reviewing them with your photos later, you will remember
important details about the things you shoot. Write down things like:

• Your intentions. You’d be surprised how often you forget what you were
trying to achieve, unless you write it down.

• Names of places, people, plants, animals, or

any other subjects. Writing down these details
on the spot is easier than looking them up later.

Tip: If you see signs with these details, snap a picture of

the sign for future reference. From time to time, make a
note of the photo number you are on, to use as a point
of reference later.

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CAPTURE REFLECTIONS

Photographing reflections usually offer abundant opportunity for creating

fascinating, beautiful, and sometimes surprising abstract images. For strong, abstract
reflections of color, the formula is simple.

1. Shoot in the early morning hours to increase your chances of getting mirror-
like calm waters for your reflection.
2. Look for a colorful subject near water that is front-lit, with the sun illuminating
it directly, though the reflection in the water should ideally be in the shade. For
example, if you were photographing fall foliage, look for a place where the
trees and leaves are receiving direct light, but the water they’re reflected in is
in the shade. A situation like this increases the intensity of color in the
reflection and provides excellent opportunities for abstract photos.
3. Include the source of the reflection—the literal object and its mirror image, as
in the water lily photo just shown—or tighten your composition to include
nothing but the reflection.
4. Playfully experiment and review the
resulting images, both while you’re shooting
and long after the fact.

Tip: When photographing colorful reflections,

the trick is to find a subject bathed in direct
sunlight that is being reflected into shady water. If
the water is calm, that’s even better. But don’t
pass up a colorful reflection just because the water
is agitated. Ripples that bend and distort the color
can add to the abstract beauty of your image.

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CAPTURE A SPECTACULAR SUNSET

Have you ever photographed a beautiful sunset, only to be frustrated with photos
that don’t come close to capturing its beauty? Don’t worry, we all have. Here’s a trick
the pros use to make their sunset photos stand out: include an interesting foreground
object as a silhouette. This can result in a truly stunning sunset photo. Plus, once you
learn how to do silhouettes, you can make them in all kinds of settings!

Here’s what to do:

1. Choose a pretty location and wait for sunset. While you’re waiting, set your
camera securely on your tripod.
2. Find an interesting shape in the foreground. Choose a simple shape that adds
meaning to the scene, such as a shapely tree, a statue, a boat in the harbor, a
cactus, or another recognizable shape. If you’re using a point-and-shoot, set it
into the Landscape mode.
3. Temporarily fill the viewfinder with the sky (being careful to avoid both the
brightest part—the sun—and the darkest part) and press your shutter button
down halfway to “lock” the exposure. If you have an advanced camera, set the
exposure compensation feature to a –2 setting. Your camera may have a
dedicated “exposure lock” button that you can also use, or you can note the
settings, go into the “M” manual mode, and dial in the numbers.
4. Recompose with your foreground object in the composition, and press down
the rest of the way to take the shot. This will result in a nice silhouette where
the foreground object is rendered a rich, deep black.
5. Don’t leave when the sun goes down. Wait for
the “post-sunset show”—if conditions are just
right, you’ll be treated to a beautiful alpine glow
in the sky and/or a gorgeous periwinkle twilight.

Tip:

If the foreground subject is moving, make

several shots so you can choose the best one. Try to
avoid having the foreground shapes merge together
and become unrecognizable.

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CELEBRATE THE SEASONS

Your goal here is a sequence of images showing the changing of the seasons.

1. Select a place close to home that will change with the seasons, such as a local
park, a special tree in your neighborhood, a field, mountains, and so on.
2. Walk around your subject, looking at it from several different angles until you
find the composition you like most. In this situation, you will probably want a
serene, peaceful composition. Think horizontal, with soft curving lines and no
diagonals.
3. Set your camera securely on a tripod. Make a note of your exact location—
you’ll want to be able to find the exact same viewpoint months later. Take
measures to make it as easy as you can to find the same spot again.
4. Use the Landscape mode or, if you can set aperture, choose a large f-stop
number.
5. Make several photos of your scene.
When you review the results from
your first shoot, select your favorite
composition. Carefully note your
location, point of view, and other
technical details of how you got the
shot. Come back at least once every
season, returning to the same place
again and again. Aim to replicate the
composition of your original favorite
photo, referring to your technical
notes and/or the original photo.

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6.
LESSON 2 PORTRAIT IDEAS
7.

TAKE PORTRAIT OUTDOORS

You will be amazed at how easy it is to make beautiful portraits of your friends and
family outside.

Here’s what to do:

1. Plan your portrait session to occur late in the day. An hour or so before sunset,
the light can get golden and very complementary for portraiture. A good
alternative is midday in bright overcast conditions.
2. Set up your location before getting any of your models involved. Look for a
simple, non-distracting background in even, indirect light, such as open shade.
Be sure to avoid dappled and direct sunlight.

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3. Turn off your flash. There is one exception: if you want to add a tiny bit of light
in the eyes (a catchlight), you may want to use your flash in combination with
natural light.
4. If you’re using a point-and-shoot, select the Portrait mode. If you’re using a
DSLR, use Aperture Priority mode and select a small f-stop number such as
f/8.
5. Once you’re ready, invite your models to come and arrange themselves. If
you’re photographing a group, make sure everyone is close to each other and
nobody is getting blocked. Arranging the taller people in the back will help.
Consider positioning your subject(s) off-center for a nice environmental
portrait.
6. Help your subject(s) feel comfortable. If humor comes naturally to you, use it
to make people feel more at home. Telling them they look great can be more
effective than endlessly shuffling them for a perfect composition.
7. Scan the scene for any distracting details. Are there any stray hairs in your
subjects’ faces? Check to make sure everyone is looking at the camera.
8. Make absolutely sure you’re focusing on the eyes. Once you have your focus
sharp, you can turn off your autofocus (if your camera lets you). This will keep
the camera from trying to get the focus sharp as you shoot. Just remember to
turn your focus back on when you’re done or if the distance changes between
you and your subject.
9. Put your finger on the shutter button, talking casually and genuinely while you
wait for the perfect moment, when your subject looks relaxed and natural.
10. Shoot as many pictures as there are people in the photo—up to 7 to 10 photos.
(You might consider using continuous shooting mode here to maximize your
chances of capturing the perfect shot.) This is the best way to overcome the
fact that you won’t be able to predict when people blink, yawn, make a strange
face, or look off in the wrong direction.
11. And just when you think you are done, shoot one more.

Tip:

To minimize blinking eyes, ask your

subjects to close their eyes while you get
ready. Once you’re ready, have them open
their eyes just before you take the picture.

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TAKE A PORTRAIT INDOORS

Here’s the trick to getting wonderful, natural portraits when shooting indoors: use
window light.

1. In midday or afternoon, find an area inside a door or window that is relatively

bright. Avoid shooting where direct light is streaming through; find an opening
that is letting only indirect light bounce into the room. Shooting just inside a
garage (with the door open) might also work well.

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2. Tape up a large piece of black or white paper or fabric to create a backdrop,

making sure there are at least two feet between the backdrop and where your
subject will stand.
3. Set up a source of secondary light to fill in the shadows on the side of the face
opposite the window or door. You don’t need to get fancy; a simple house
lamp will do. Or, try using a reflector.
4. Select Portrait mode on a point-and-shoot, or Aperture Priority and a small f-
stop number on a DSLR. For both, turn your flash off.
5. Position your subject.
6. Experiment with different looks by changing the light. Dramatic directional
light intensifies a subject’s weathered features. Soft, even light allows warm
skin tones to come through, hides wrinkles, and gives your subject a bit of
glow. Light is your primary instrument; think of how you will photograph your
subject only after you figure out the best light.

Tip:

If your subject wears eyeglasses, tilt the glasses

so they are at a slight angle. This prevents them
from reflecting light directly back to your lens
and should reduce or eliminate glare.
Alternatively, arrange your lights so they are not
reflecting.

TAKE A PICTURE OF YOUR PET

Taking a picture of your pet is a fun, albeit challenging, project— especially if your
pet doesn’t want its photo taken. Unless Fido is a tortoise, he will tend to be very
active, and you’ll need an infinite amount of patience, the ability to juggle many
things at once, and the ability to grab—and hold—your pet’s attention. Here’s how
to maximize your chances for success.
1. Put a supply of pet treats in your friend’s (aka, your assistant’s) pocket. Put
some in our own pocket, too (for the pet … not for you, silly).
2. Set up a makeshift portrait studio. This can be a picnic table at the park, a
bench in your backyard, or a spot near a window.
3. Make sure the background is simple and does not distract from your pet. If it’s
too busy, place the pet (or reposition yourself) so the background is least
distracting.
4. Set up your camera on a tripod, or rest it on something firm.

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5. If you’re using a point-and-shoot, select the Sports or Portrait mode,

depending upon just how hyper Heidi is. On a DSLR, choose Aperture Priority
and a small f-stop number to selectively focus on the pet. As long as conditions
are fairly bright and you are a good distance away from your subject, turn your
flash on. If done right, the resulting catchlight in the eyes will add a nice touch
of life to your portrait.
6. 6 Place your pet in position and ask your friend to pet it and divert its attention
while you finalize setting up the shot.
7. 7 When you are ready, do whatever works to direct your pet’s attention back
at the camera. This is a balancing act—getting the pet to look at you briefly
without coming over for a visit. Work in tandem with your friend to keep
juggling the pet’s attention between the camera and your friend.

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REFERENCES

Anderson, K. (2016). This book is a camera: A pop-up camera. Brooklyn, NY:

Kelli Anderson.

Carroll, H. (2014). Read This If You Want to Take Great Photographs (Illustrated
ed.). Laurence King Publishing.

Kelby, S. (2015). The digital photography book. San Francisco: Peachpit Press.

Peterson, B. (2016). Understanding Exposure. Berkeley: Amphoto Books.

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