PHOTOGRAPHY. All That You Need to Know - David Codina

7/25/2019 PHOTOGRAPHY. All That You Need to Know - David Codina

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Photography

All that you need to know

David Codina


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Text copyright 2016 David Codina

All Rights Reserved


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Authors Note.

In modern times, where everything seems to have room on the internet, can seem

somewhat absurd to spend the least effort to acquire a book like you are reading in this

moment. Surely, you have doubts about whether your decision was correct. It is our wish

to congratulate you on this, and our duty to justify why.

Beyond considerations of value of work, no longer contain a certain amount of

subjectivity, the really important thing is time. Your time. That time you have NOT had to

invest in the search among hundreds, perhaps thousands, of links within the Internet to

find what you are really looking for.

You have acquired this book with the intention to find specific information. Well, you gotthis information here: complete, rigorous,The entire compilation and research work and

all tasks associated with the elimination of irrelevant issues have already been made for

you.

You have come here out of a motivation. And the answer to that reasoning will find it in

the next pages. Where, I guarantee you will not regret.

David Codina

We do not lose our time; perhaps it had them more beautiful, but this is ours

HJean Paul SartreH(1905-1980) Philosopher and French writer.


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Foreword

Today, photography has become an important component in the life of each one of us.

With the development of new technologies is very common to have at hand a device

capable of taking photographs. Small digital cameras and mobile phones allow us to

immortalize all times relevant to our lives. In recent years, the photographic production

has grown exponentially and today, there is no social or family event in which someone

does not take a picture that almost certainly will subsequently appear in one of the many

existing social networks.

How many times has happened that this photo that seemed so fun is out of focus? Or the

image of that journey that will never be repeated has not gone as we had hoped? It is for

this reason that we ask: Given that photography has become a common occurrence in our

lives. Why do not you know those little tricks that allow us to perform them optimally?

This book aims to provide an overview of what is photography. Beyond listing the

different components of a camera, it explains the reason of each of the functions contained

on it. Regardless of the camera is being digital or traditional; we try to explain the

different concepts related to taking photographs. Words such as shutter, horizon law,

diaphragm or foreground will take a new meaning after reading these pages.

Many of us, the day we purchased our new camera, we decided to choose the automatic

mode of operation (configured by the manufacturer) and do not care anymore. However,

with additional knowledge as those discussed here, we can greatly improve our pictures

and get into a really fascinating world. Because the world of photography goes far beyond

mere smile and pressing a button.

We wish you the best of the photo sessions.


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Table of content

uthors Note.

Foreword

The camera

The display

Shutter

Speed

Photometer

The sensor

The Flash

Camera Programs

The Advanced

Parameters

The optical

Diaphragm

Lenses

Aperture and depth of field

Hyperfocal distance

Exposure

The contrast of scene

Measurement

Contrast scene

Photographic Composition

The focus

Fill the frame

Lines

Play with the direction

Repeated elements

Colors


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Groups of three

The rule of thirds

Negative zone

Foreground and background

FramingCurves

Horizon Rule

La law of the gaze

To conclude .


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The camera

We will start, directly, to know a bit what we have at hand, namely the camera.

Parts of the Camera

The main parts of a camera are:

The display

Shutter

The photometer

Sensor


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The display

Can be defined as the optical system that allows us to framing shots, ie, decides who

enters and who does not enter the scene into our photo. Compact cameras used to have

that was called direct viewer, allowing the scene while shooting.

The main disadvantage of this system was the parallax error, which occurred because the

optical and the viewfinder were not in the same optical axis.

Currently, most compact cameras ignore the viewfinder, and make the frame and direct

view through the LCD. SLR cameras are named precisely because the so-called reflex

viewfinder, which is a mirror placed at 45 degrees that projects its image to a pentaprism

which allows us to see the image in perfect agreement that will appear in the photo.


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Shutter

The device allows us to control the time during which light reaches the film or sensor.

There are 2 types, the central shutter, that is commonly found on the lenses and whose

main characteristics are that it allows flash sync at any of their speeds, but usually these

are limited to 1 / 500 s. (aperture blades radial). On the other hand, the most widespread,

this is incorporated in all the SLR is the focal plane shutter that is located in front of the

film or sensor, and consists of 2 curtains.

With the shot, the first curtain opens allowing the passage of light over time that we have

selected, the second curtain closes. The main disadvantage of this system is that your sync

speed with flash is usually between 1 / 90 and 1 / 250, so if you shoot at higher speeds, the

shadow of the second curtain is being shown in the foto. Going a step in the speed range,

the time that light exposes the film or sensor is doubled.


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Speed

Scale

B 30 20 15 10 8 6 4 3 2 1,5 1 0,7 /2 /3 /4 /6 /8 /10 /15 /20 /30 /45 /60

90 /125/180 /250/350 /500/750 /1000/1500 /2000/3000 /4000/6000 /8000

Appear in bold the whole steps, namely those that if we choose them, the light pass is at

double or half the time and the others are intermediate steps.


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Photometer

The device for measuring the light in the scene. There are two

types, hand-held light meters and the light meters built into

cameras. The handheld photometers are more versatile. Through

these devices the light can be measured in two ways, as incidentlight, or reflected.

The light meters built into cameras, can only measure reflected light, although there are

three metering modes, depending the part of the sensor that we give more importance, are

the point mode, the center-weighted mode, and matrix. The first uses only the central part.

The center-weighted mode, the central part, but takes into account the immediate area, andthe matrix mode the entire sensor array, and also by the internal software of the camera

makes some corrections as the scene that is measured.


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The sensor

Is the device responsible for recording the scene, ie, the charge to produce the file. An

important parameter is the number of megapixels you have, you tend to believe that a

greater number of megapixels, better quality, but this is not really so, it must also consider

the size of the sensor. Where the number of megapixels is equal, the larger sensor will

produce higher quality images. This is because when the photocells are closer between

them, the noise is greater and the image becomes somewhat degraded image. There are

several types of sensor:

The CCD

The Super CCD

CMOS

The Foveon

Today the most widespread is the CMOS because its consumption is lower. Its present in

Nikon, Canon and Pentax. The CCD currently almost is not used in photography, but it

was the first to be mounted on a camera.

The Super CCD is used by Fuji SLR cameras, and finally

the Foveon, whose peculiarity is that it is structured inthree layers such as film, which is present in Sigma

cameras.


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The Flash

All flash are basically composed by a torch and a generator.

Torch: Is the flash tube, which is based on a xenon gas discharge. The flash has the

following characteristics:

It has a color temperature of 5600 K, ie, white light.

It produces a hard and directional light.

He has high energy efficiency, ie, produces little heat, and has a long useful life.

Generator: Is the electronic circuitry that fed to the torch. One major component is thecapacitor, whose mission is to accumulate energy to release it almost instantly in the

shooting. At the time of shooting, the capacitor discharges all their energy in a fraction of

a second going to the xenon lamp and becomes a flash without any delay. A concept that

should be taken into account when working with flash, regardless that if comes built into

the camera or is independent, is the inverse square law, which states: The area

illuminated by a point source of light, is four times greater every time you double the

distance, or it is the same, the same area receive four times less light each time it is

placed at twice the distance from the source.

This law reminds us that like any other device, the flash device also has its limitations, and

we must know to use it properly. The flash power is expressed through what is called

Guide Number, which is usually provided by the manufacturer in the manual, but is


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usually somewhat below the technical specifications. For example, a flash with a guide

number 32 is more powerful than one with guide number 22.

An important specification you need to know is the speed of synchronization that allows

the camera, as they work at higher speeds would result in the emergence of the shadow of

the shutter curtains cutting the picture. The flash can work in different ways:

Manual: The user has to adjust into the lens, the aperture indicated by the flash either

through the LCD screen in the most current models, or through a table in the older

models depending the focus distance.

Automatic A: In this mode the user has to indicate to flash the ISO sensibility and

aperture you are using and it decides when he has to cut the flare using a sensor on the

same flash.

TTL. Its name comes from the acronym of the expression Through The Lens, and in

this mode, the flash uses the information that facilitates the cameras light meter, so itis more accurate the two previous modes, as it takes into account other information

such as the focal length that is being used, the presence of filters, etc. It is the most

easy and practical way to use the external flash.

The flashes built into the cameras, both compact and SLR have the same components and

work exactly like the external, but its power is much less and therefore also its usefulness

is limited. Basically they should be used to fill in shadows, or illuminate a nearby object in

low light conditions, for example, indoors. No one should think of them as a light sourceitself but rather as a light of support. Moreover, in most cameras is possible to regulate the

power of flash, and it would be advisable, especially when used as fill flash mitigate this a

bit.


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Camera Programs

Automatics: They work quite well in most situations, however do not leave, or leave very

little choice to the photographer. Are based on standardized patterns that are programmed

into the camera software. The most common are:

Portrait

Landscape

Nocturne

Macro

Auto

We do not entertain to explain these modes. Its name suggests their utility.


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The Advanced

P: This program gives the full control to the camera. It is designed to aim and shoot.

AV: The photographer sets the aperture and the camera decides the shutter speed. This

mode is more practical when trying to control depth of field, for example, when

shooting landscapes or when you are taking pictures of approximation. TV: In this mode you choose the shutter speed and the camera chooses the aperture. It

is useful when you want to fix a movement, for example, in photography or sports

action.

M: In this way the total control of the shooting conditions belongs to the photographer.

The cameras light meter measures light from the scene and indicated on the display if

the shutter speed and aperture you have chosen will produce a proper exposure, but we

are able to ignore or not.

A dep: Its a way that taking into account all points of autofocus that are available into

the camera and the light conditions that exist at the scene, decide the parameters that

will be used to achieve the greatest depth of field.


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Parameters

It is important to know before taking a picture how are configured the different camera

modes. Basically we need to know in which metering mode (point mode, center-weighted

or matrix) we have our camera, in which autofocus mode (it is best to fit the center of the

viewfinder or LCD, and then recompose your picture to our choice). We must also adjust

the ISO (remember that the more sensitive the sensor generates more noise, resulting in a

blurred image in general) depending on the lighting conditions before we shoot. With this

in mind we can start worrying only in the photography composition and other aesthetic

considerations.


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The optical

Lets talk a little bit about lenses and their importance in obtaining the final image as well

as some technical aspects to consider. An important concept to know is referred to when

talking about focal length. The distance or focal length of a lens is the distance between

the optical center of the lens and the focus (or focal point) which collects the image (in

digital cameras, the sensor). So when we say we have a perspective of 100, 50, 24 mm

were talking about the focal length.

Once understood what is the focal length, the following is to explain that there are, based

on this concept, two types of lenses: fixed focus lens(single focal length) and variable

focal lenses, known as lenses zoom.

Focal lengths are in millimeters. So, when we see a lense identified as 50mm, you knowthat we face a fixed focus lens 50 mm. The variable focal length objectives are identified

with the lowest and highest focal length covering. So when we meet a lense identified as

18-70, we know that we have a shorter focal length lens which is 18 mm and longer focal

length is 70 mm. It should explain that, to what most may think, the best lenses are fixed

focal length. This is justified by the higher optical quality and therefore the better quality

of the achieved image. His explanation is that the crystals found in a focal length lenses

are also fixed, while a zoom type lens bases its operation on the lengthening and

shortening of the glass tube containing the lens, thus altering the distance between thesecrystals for different focal covered. It is technically complex to maintain optimal image

quality in different positions corresponding to the focal lengths covered by a zoom type

lens, but obviously, to the end user is infinitely more comfortable to carry a single lens

(zoom)that carry multiple focal fixed lens.

Fisheye: The objectives with an extreme visual angle of 180 degrees or more. Because of

its great distortion, transform the scene in a circular image, similar to that produced by

looking through the peephole of a door.

ngle: The objectives with a lower viewing angle than the fisheye, but higher than

normal. Wide angles are considered which provide a visual angle between 60 and 180

degrees.

In 35 mm focal length varies from 18 to 35 mm. With

them, the objects near the camera appear very large in


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relation to distant objects and a strong distortion in

perspective, the greater the more you move outside the

optical axis

Its main uses are:

Reports, to encompass the whole subject when working in reduced spaces inside rooms,

cars, etc.

Exaggerating the perspective of objects. This deformation will be greater the closer we

get.

Achieve greater depth of field.

In macro photography, using inverted for maximum extension when working with

bellows extension.

Normal: These are those covering a visual angle of between 43 and 56 degrees, which is

close than to the human eyes visual field.

Its situated between the wide angle and telephoto lenses. The

focal length of these objectives are matched on 35-mm SLR

cameras and the zone between 40 and 55 mm.

Telephoto: those are considered telephoto lenses with a visual angle of less than 31degrees.

Its main feature is to form large images of remote objects. Their focal lengths are always

greater than the normal lenses. In 35 mm ranging from 80 mm onwards.


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Within the telephoto is usually done the next substream:

Telephoto short, between 80 and 135 mm focal length;

Telephoto normal, between 135 and 240 mm,

Super telephoto lenses, between 240 and 500 mm

Ultra telephoto lenses, beyond the 500 mm.

There are some accessories known as converters, teleconverters or duplicators, which

are sandwiched between a lense and the camera body to modify the lens focal length.

Thus, a 2X converter, coupled with a 100 mm telephoto lens, it becomes a lense of 200

mm. Are used to increase the focal cheaply, reducing somewhat the quality and brightnessof the image.

Telephoto lenses are usually used to:

Shooting from the distance when we cannot approach to the subject (Nature, reporting,

sports, etc.).

Portraits foreground (135 to 150 mm)

Parts of an optical


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Diaphragm

The diaphragm is a device that regulates the opening of an optical system. On older

cameras, it was only a perforated plate. Disc is usually present in compact cameras and a

set of blades provided on the objective of the lens reflex cameras, to restrict the passage of

light in an adjustable way. The progressive changes in aperture are specified using the f-

number, which is the ratio between focal length and effective aperture diameter.

F-number scale is as follows:

f / 1, f/1.4, f / 2, f/2.8, f / 4, f/5.6, f / 8, f/11, f/16, f/22, f/32, F/45, f / 64, F/90, f/128, etc.

In modern cameras can also find scales that are progressing as a fraction of step (1 / 2, 1 /3

or even 1 / 8 step):

Half-step scale

f1, f1.2, f1.4, f1.7, f2, f2.4, f2.8, F3.3, F4, F4.8, f5.6, f6.7, f8, f9.5, f11, f13,

f16, f19, f22

Scale 1 / 3 of way

f1, F1.1, f1.2, f1.4, f1.6, f1.8, f2, F2.2, F2.5, F2.8, F3.3, f3.5, f4, f4.5, f5, f5.6,

F6.3, F7.1, f8, f9, f10, f11, f13, f14, f16, f18, f20, f22


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Lenses

There are different types of lenses each with specific characteristics. Two types of lenses

whose qualities should know are:

Aspherical: A type of lens whose curved surface is not spherical, in order to eliminatespherical aberration. Through one aspherical element is possible to replace several

spherical, which simplifies the design of the objective, which normally consists of

several crystals inside.

The apochromatica type of lens that is corrected for situate, in the same focal plane,

the wavelength of the three primary colors. Designed to correct chromatic aberrations.

Finally we have the rings, enabling us to monitor different parameters,

Focus ring: The ring of the lens that allows us to focus at a given distance, is usually

scaled in meters and feet

Diaphragm ring: Rarely is incorporated into optics. Formerly, with this ring we

controlled the aperture, but today is the camera that electronically tells you the opening to

the lens.

Zoom ring: With this ring we decide the focal length that are using in the variable focus

lens.

Other items to consider about the optics are the following:

Digital conversion factor: Since most digital cameras have a smaller sensor the size of a

35mm negative, for obtain the focal length of a lens in 35mm equivalent terms we have to

multiply the focal length by the number of times that our sensor is smaller than a 35mm

negative. Is usually 1.5 or 1.6. For example if we have a focal length of 50mm, used in a

digital camera, would have really a focal length, 50mm x conversion factor 1.5 = 75mm.

Brightness: The maximum aperture of the objectives diaphragm measure the ability to

capture light. Keep in mind when buying a lense, especially if you are using restricted

lighting conditions. In the case of telephoto lenses, the maximum aperture lens is restricted

because to get a good opening, for example, f2.8 would be necessary to increase the

diameter of the lens, which translates into more expensive and bulky optics.

Focus: The focus on digital photography refers to a specific point within a certain distance

where the objects of our picture appear well defined and very detailed. Back and forthfrom this point the objects will be blurred or unfocused.


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Depth of field: For depth of field in photography is traditionally understood as the area in

which the image captured by the goal is clear (ie focused), so that into the photograph,

people and objects that are within that area will also appear sharper.

The depth of field is not an area in which the photograph is

perfectly focused, but the area of photography where the

focus is close enough to the plane clear as to be acceptable.

The depth of field does not dictate how fuzzy are the planes

away from the plane clear, a common confusion. The depth of

field increases in inverse proportion to the opening, ie when

more closed the aperture or what is, the larger the f number

selected.

For example, with an aperture of f5, 6 the depth of field will

not be very large, while an aperture of f11 or f16 will be

considerable. On the other hand, the closer you are the

reason you want to photograph, the lower the depth of field,

regardless of the selected aperture. When using telephoto

lenses also reduce depth of field. But with wide-angle lenses,

depth of field increases.


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perture and depth of field

The diaphragm also has a direct impact on the sharpness of the image. The more closed is

(higher the number) clarity should be greater on the contrary, the more open (smaller f

number), the lower the sharpness. At the moment of truth the sharpness also depends on of

diffraction.

Diffractionis the effect of light diffusion suffers when passing over a sharp edge, in thiscase the diaphragm blades. As a result, in photography when using very tight

diaphragms the images are less clear. So while on one hand the sharp increases to close,

the other decreases with increasing diffraction. There comes a point where what is gained

diaphragm is the same as what is lost by diffraction. From there we dont gain clarity

when you close the diaphragm. Usually is regarded that the greater sharpness occurs when

diaphragms are one or two steps more open than the maximum of the lense.

In short, the factors that determine the depth of field are:

DIAPHRAGM. Greater depth of field is produced when greater is the number f, (the

more closed is).

DISTANCE TO LENSE. The depth of field is greater with increasing distance between

camera and object.

FOCAL DISTANCE. As the focal length increases, it decreases the depth of field.


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Hyperfocal distance

The hyperfocal distance is the distance of approach that achieved the greatest depth of

field, extending it from half that distance to infinity. Focus on this distance will help us to

achieve maximum clarity in our photos, for example, landscapes. In fact, the

manufacturers pre-focused its compact cameras like this, by default, to come out focused

as much as possible. Hyperfocal distance depends on the focal length of our lens, the

diaphragm aperture used and the crop factor of your camera sensor. That will vary

depending on the zoom we apply, the number f that we will shoot and model of your

camera. Obviously were not going to take pictures with a meter and we will apply this

approximately. You can also greatly help button depth of field preview, which allows the

viewer to preview depth of field that will have with the current camera settings. In

Internet, there are many hyperfocal distance tables for each particular optical model.


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Exposure

The exhibition is the combination of shutter and aperture values, which are indicative of

the amount of light reaching the film or sensor. Nevertheless, we talk about correct

exposure if this amount is sufficient to record the maximum information from the scene

you want to photograph.

Simile:As a mental image, we can think that the film or sensor is a vessel to be filled to

some extent, and we have a tap (diaphragm) that allows us to regulate the flow. Also we

can decide how long we want the tap is open (shutter). If we increase the opening of

diaphragm and we want to leave exposed the photo, we will have to reduce the exposure

time or sensitivity. In plain words, when we open the diaphragm more light enters the

sensor; therefore have to reduce the time the light is reaching the sensor or its sensitivity.

If we increase the exposure time, we will reduce the aperture diaphragm or sensation. In

plain words, by increasing the exposure time, light is more time reaching the sensor, thenwe have to reduce the time that light reaches the sensor or lower the sensitivity of the

sensor.

If we increase the sensitivity, we will reduce the aperture diaphragm or the exposure time.

Again, in plain words, if the sensor is capable of capturing more light because it is more

sensitive to it, we will reduce the light or let it go for less time.

Peer-Av / Tv (The law of reciprocity):These parameters that determine the exposure are

linear, meaning that if we open a step aperture and shoot at a one more faster speed willget the same exposure. For example, f5.6 T1/60 initial condition. We vary values one step

f8 T1/125. We get the same exposure. Only will vary the effects on the image (remember

shutter and aperture). Given the equivalent quantification (double or half) that is

established between each step of shutter speed and aperture, we can find a number of

different peers (speed / aperture) but equal in terms of exposure. The choice of one or

another peer will depend on our intention is to capture the movement that exists in a scene

or to get more or less depth of field.

Failure of the law of reciprocity:Failure occurs in situations where there is too much or

too little light. In these situations we have to give very short exposure times (less than 1 /

2000) or very long (over 1 ).

He always takes the form of underexposure.

All of photosensitive materials exhibit this failure.

Its different for each particular material.

The correction of such failure:

Giving more exposure time or more diaphragm opening


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Knowing the manufacturers specifications of the film, or testing (digital).


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The contrast of scene

Scene contrast is called the relationship between lights and shadows of a scene. To

determine the contrast, the most useful is to put the camera in Tv mode, choose any value

of speed, choose the puntual metering mode if we have it (if we cannot use center-

weighted mode), and alternately to direct the camera to the direction of the shadows and

lights the scene. By the 2 values obtained f we know what our scene contrast.

In the example photo, we have a scene contrast of 4 diaphragms.

Latitude of exposure / dynamic range: They are relatively equivalent, and both terms

refer to as the margin of maximum differences that a light sensitive material mayreproduce. Put another way, what is the maximum scene contrast that one sensor or film

can reproduce. The table below gives approximate values:

Slide: 4-5 diaphragms

Negative: 7-8 diaphragms

Mid-range digital camera: 5-6 diaphragms

High-end Digital Camera: 8-9 diaphragms

Support high-end digital: 10-12 diaphragms

There are different conditions of light that we can present, but there are basically three:

Scene of normal contrast: The contrast of scene matches the dynamic range of the

sensor (approx. 6 diaphragms). There is information from the shadows to the lights.

High Contrast Scene: In the scene there is more information than the sensor can pick up

(more than 6 diaphragms). There are lights and shadows without detail.Scene of low contrast: The sensor is capable of capturing more information than in the

scene (less than 6 diaphragms).


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Measurement

There are two measurement modes:

Reflected: The photometer, which can be hand held as shown or may be the camera. Itruns from where the camera is located to the scene.

The important thing is that the measuring cell sees the

scene from the same direction as the camera sees. The

reflected light measured the brightness of the scene and

must be corrected because the photometer wants always

to remove the gray from the scene, so if we measure an

object, either white or black, we reproduce it like graycolor.

For proper exposure by measuring with the digital mode we must to looking for the high

lights zone in which we are interested in details, and elevate about 1 or 1.5 aperture,

depending on our team, and taking into account that if we want to be even more precise

we must consider before the contrast of the scene.

Incident: The incident measures the light falling on the scene and we can take it as such.

The photometer is placed in the position of the figure and the cell is covered with a white

hood to prevent glare.

For Measuring, we must to direct the photometer, eitherto the camera or to the focus to be measured. As

mentioned, to use this method of measurement a

handheld light meter is needed.

The letter gray: gray cards are technically an 18% gray reflectance, and the measurement

of the photometer is based on it, both on the handheld camera or on the reflected lightoption. Can be used for two purposes:

Measuring the light reflected from a point on a surface that reflects 18%, which is what


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the gauges are calibrated cameras.

Calculate the color of light to provide greater fidelity in color reproduction of a scene.

You can also use any paper or gray cardboard knowing, through experience, (or testing)

which is the proper exposure correction. One way out of step at times is to use the palm of

your hand. Direct the palm to the light to measure it with the photometer of your cameraand overexpose a step. Is an approximate method but if unwilling or unable to entertain in

photo by photo measurements is usually quite effective.

Histogram: The histogram is a graphical representation of the different light levels that

presents a particular scene. The sensor of a digital camera works in a linear fashion,

meaning that a greater amount of light it receives, the stimulus produced to the sensor is

bigger. Put another way, the sensor generates more information when receives more light.For this we must understand that it is on the right side of the histogram, which corresponds

to the lights, where there is most of the information in the file that will generate the CCD.

And the sharing of this information is linear, ie (depending on the dynamic range of the

sensor) the information that appears on the left side of the histogram that represents what

the sensor has been captured in the shadows is less significant in volume terms

information (when we said the sensor captures better the lights that shadows refers to it).

Hence, the critical part of the digital exposure concerns as how to expose the light so that

it does not burn too much, or lose shadows.

The following histogram represents the distribution of levels for an 8-bit file, such as a

JPEG file.

However, we must understand that this is a representation of what the sensor captures, no

information is raw, which would be the RAW format, for then we should be us who

interpreted, that information.


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In this diagram, the first figure shows how to register and what the distribution of tones is

such as captured on the sensor (in the cameras RAW format). And in the second figure

looks like the software, either the camera itself as an external converter for RAW files

corrects this information, simplifying it.


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Contrast scene

Previously we talked about the contrast of the picture; lets look at how each of these

situations is represented by a histogram, and how it can help us to achieve the most

accurate exposure.

Low contrast: It is a situation in which the sensor is capable of recording more

information than in the scene. There are no highlights or deep shadows.

For example, in scenes with low light, or because there is little tonal variety in the scene,

etc... In this situation we obtain a histogram of this type:

Ideal contrast: It is a situation in which information at the scene matches the dynamic

range of the sensor, ie we can record from deep shadows to the high lights. We will obtain

histograms similar to:


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High contrast: Those scenes in which existing information exceeds the dynamic range of

the sensor (about 5 diaphragms), so this is unable to record all the details. Overwhelm the

capabilities of the sensor. Obtain histograms like this:

So, when we must take into account that the maximum information is on the right side of

the histogram, in situations of low contrast, would be desirable to overexpose to get the

maximum detail in the highlights, to get a histogram like this:


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In high contrast situations, in order to get the maximum information in highlights, it would

be desirable to underexpose to get a histogram like this:

Since it is desirable that the highlights are properly exposed, no matter if some detail in

the shadows are lost. Only if the scene contrast and dynamic range of the sensor are

coincident would not be needed exposure correction.

Color channels

The histogram also shows information about color information in a file, it is presented in

the three channels RGB lighting, ie red (R), Green (G) and blue (B)


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This is especially useful when working in RAW and want to have a thorough control ofcolor, especially if we are to print or make a copy.

The following example shows the histogram of a file that has shooted in the sRGB color

space, and the red channel exceeds the capacity of the color space is busted (just like when

we talk about exposure).

The file is in sRGB color space and the red channel is broken because it does not fit into

this color space. This is going to be solved passing to another broader color space such as

AdobeRGB (if your camera allows the color mode you should use the default), or

ProPhoto (this is a color space used especially for professional jobs, and if we use it wemust ensure that the laboratory or the press with which youre working allowed it)

ProPhoto solves the blowup sRGB red channel. However this is not the only thing to keep

in mind the color, the color channels are mixed to obtain other colors, so that color


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histograms will have other areas where will appear cyan, magenta and yellow, and this

will mean that In the case of cyan green and blue channels have ruptured, if there are areas

magenta, are the red and blue channels, and if the area is yellow, red and green channels.


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Photographic Composition

Once the basics are mastered how to get a correct picture, we realize that other factors are

aesthetic, cultural and psychological should be taken into account achieved a good

photograph, or at least more effective, more visually powerful. These factors are what

determine what is known as composition. Consist of a set of rules that over the centuries

have been developed based on observation, and have been used by all the classical

painters, architects, etc. We will try to summarize briefly.


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The focus

Each photograph has a focus, which basically answers the question: What is the picture? It

seems a truism, but it should be obvious to the observer of a photograph to know what is

pictured.

Although called the center, the focus need not necessarily be the object that is in the

center of the picture or be the object that occupies most of the image. Ultimately only a

matter of deciding before shooting which is why that wants to take the picture. All you

need to do from there is focus on the item you want to focus the interest.


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Fill the frame

One way to emphasize the focus may be to occupy most of the frame with it, eliminating

any other accessory item that can distract from the key object. Often trying to show too

many pictures becomes a failure, because what you get is that it is not too clear what we

wanted to show. When in doubt whether something should come out or not in the picture,

you better not be displayed. Less is more.


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Lines

The lines are a vital element in the visual arts. The

lines provide us with forms and contours, and with

them the viewer goes from a part of the photo to

another. Here we must remember that we read the

images in the same way that a text, from left to right

and top to bottom.

The horizontal, vertical and diagonal lines are compositional elements that give meaning

to the images. The use of lines creates the illusion of movement. Diagonal lines are

generally considered more dynamic, while the horizontal and vertical lines are

considered more static . A careful balance of static and dynamic elements gives an

overall sense of movement to your photos


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Play with the direction

The direction also creates the illusion of movement. If there is something in the

photography that appears to be in motion, has a direction that moves.

An example of this are the lights of pedestrian traffic lights. When it is red for pedestrians,

the figure represents a pedestrian with his legs together and arms lowered.

Visually, it has no appearance of being in motion. However, the green figure which allowspedestrians to cross has a direction in which they are moving. The direction in

photography can be closed in many ways.

A figure about to cross a street can transmit movement, even if we see it and do not move

his arms and feet, because we can imagine it a second after, crossing the street. Similarly,

the front of a car that is clipped on the left side of a photography, we can imagine it asecond after on the right side of the photo.


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Repeated elements

The repetition of some element, give a sense of connection between different parts of an

image.

Sometimes psychological factors can be added, as the sense of togetherness and

fellowship.


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Colors

There are many psychological elements associated with the colors. As an example,

blues colors are considered like peaceful colors, while the reds are more temperamental. In

terms of color must also pay attention to contrast. The contrast is defined as the difference

in brightness between the lightest and darkest parts of the photo. There are two types of

colors, warm and cold.

The reds, oranges and yellows are part of the range of warm colors.

The blue, green and violet are part of the range of cool colors.


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Groups of three

There seems to be a special psychological perception of the odd numbers in photography,

particularly of groups of three elements.

Somehow we seem to consider that a single

element conveys loneliness or isolation,with two elements the picture may be too

much balanced and static, and four items

may be too many to distribute, or confuse

our attention.


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The rule of thirds

If you look carefully any classical painting and we divide imaginary its surface into grids

of equal size 3x3, the four intersections of the grid within the box mark the points of

interest.

And on those strengths points, falls the fundamental elements of the picture. It is proven

that with transporting our point of interest onto one of the four points we get a picture

much more interesting. In this regard, note that there are cameras with LCD display in a

grid to work with thirds.


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Negative zone

Sometimes it is visually very powerful remove the spotlight point, leaving an ample space

frame in white or black.

This move away together to the empty space conveys a sense of isolation, loneliness and

quiet. It isnt a common resource but it is worth knowing. Its faced with the rule of

composition consisting of filling the frame.


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Foreground and background

The contents of the first term and the background of a photo are important. Both in

background and in the front have applications other compositional elements such as colors

or lines. The idea is that what interests us is in the front and, in comparison with the

background, where it must not to be too many details that might distract the viewer focus.

The best tool we have to make the difference between

the foreground and background of our pictures is the

depth of field. Thanks to the aperture of diaphragm we

use when taking photos, we will have more or less

sharpness in the background.


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Framing

Any element that surrounds the focus will enable us to frame the photo, drawing attention

to the desired item. There are many elements that we can place like a framework to focus

the picture. Some are very obvious, such as doors, windows or bridges; others act in a less

clear, simply orienting our view. This is the case of traffic signs or tree branches.


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Curves

The curves are a recurring element in photography.

Give a sense of movement and help direct the look,

as well as relates to the sensuality. A road or the

course of a river, they are very powerful visual

elements that give interest to photography.


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Horizon Rule

Consists in to draw three horizontal lines of equal height imaginary, and at the moment to

compose the picture, we will use two thirds to collect the main reason.


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La law of the gaze

This rule says you must leave more free space in the frame in the direction of the subjects

gaze


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To conclude .

In conclusion, only remains to add that this work only shows a little bit about the world of

photography. That is why we invite the reader to read more about topics of interest in

other books more specifics. However, we are satisfied if the reading of these pages has

served to open a door to this fascinating world.

PHOTOGRAPHY. All That You Need to Know - David Codina

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