Teacher: Kenji Tachibana Digital Photography I. Whole Stop F/stop & Shutter Speed Copyright 2003...

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Whole StopWhole Stop

F/stop & Shutter SpeedF/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Teacher: Kenji TachibanaDigital Photography IDigital Photography IWhole StopWhole Stop

Lens Opening: Aperture & F/stopLens Opening: Aperture & F/stop

Light enters the camera through the opening in the Light enters the camera through the opening in the lens called the aperture. The specific amount of light lens called the aperture. The specific amount of light entering the lens is controlled by specific f/stops.entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the F/2.8 lets in the most amount of light. And f/8 lets in the least amount of light.least amount of light.


Extreme Limits:Extreme Limits:

You can’t let in more light through the lens aperture You can’t let in more light through the lens aperture than the ‘than the ‘wide openwide open’ f/2.8. ’ f/2.8.

You can’t let in less light through the lens aperture than You can’t let in less light through the lens aperture than the ‘the ‘fully stopped downfully stopped down’ f/8.’ f/8.

DSLR lenses have different wide open and fully DSLR lenses have different wide open and fully stopped down settings (F3.5 wide and f/22 down)stopped down settings (F3.5 wide and f/22 down)


Whole Stops:Whole Stops:

Whole stop difference means that the amount of light Whole stop difference means that the amount of light entering the lens either doubles or halves. It doubles entering the lens either doubles or halves. It doubles when going from f/4 to f/2.8. It halves when going when going from f/4 to f/2.8. It halves when going from f/4 to f5.6.from f/4 to f5.6.

DoublesDoubles HalvesHalves

More lightMore light Less LightLess Light

Teacher: Kenji TachibanaDigital Photography IDigital Photography IWhole Stop & IncrementsWhole Stop & Increments

F/stop: IncrementsF/stop: Increments

Whole stops are usually sub-divided into 1/3 stop Whole stops are usually sub-divided into 1/3 stop increments as shown below.increments as shown below.

2.82.8 I II I 4 4 I I I I 5.6 5.6 I I I I 88

3.23.2 3.63.6 4.54.5 55 6.36.3 7.17.1

Teacher: Kenji TachibanaDigital Photography IDigital Photography ICamera Lens NotationCamera Lens Notation

FFraction Notations: Human eye is 1.0raction Notations: Human eye is 1.0

1 1 1 1 1 1 1 1 1 1 1 1

2.82.8 4 4 5.65.6 8 8 1111 1616

1/2.81/2.8 1/41/4 1/5.61/5.6 1/81/8 1/111/11 1/161/16

1÷2.81÷2.8 1÷41÷4 1÷5.61÷5.6 1÷81÷8 1÷111÷11 1÷161÷16

1:1:2.82.8 1:1:44 1:1:5.65.6 1:1:88 1:111:11 1:161:16


Practical Considerations:Practical Considerations:

F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens starts at f/3.5. The practical f/stop range on a compact starts at f/3.5. The practical f/stop range on a compact digital is f/2.8 to f/6.3.digital is f/2.8 to f/6.3.

2.82.8 3.23.2 3.63.6 44 4.54.5 55 5.65.6 6.36.3 7.17.1 88

Avoid using apertures smaller than f/6.3 if you want Avoid using apertures smaller than f/6.3 if you want maximum optical sharpness. Aperture range from f/7.1 to maximum optical sharpness. Aperture range from f/7.1 to f/8 suffer from lower resolution because of light diffraction. f/8 suffer from lower resolution because of light diffraction.


Aperture Limitation:Aperture Limitation:

It’s not physically possible to let in more light than wide- It’s not physically possible to let in more light than wide- open. Nor to let in less light than fully stopped-down. If open. Nor to let in less light than fully stopped-down. If your aperture is wide open and you need more light to your aperture is wide open and you need more light to reach the sensor, shutter speed must become slower. reach the sensor, shutter speed must become slower. The ISO option not available to compact digital users.The ISO option not available to compact digital users.


Shutter Speeds: FactsShutter Speeds: Facts

To physically let in more light then f/2.8 or less light than To physically let in more light then f/2.8 or less light than f/8, change the shutter speed. Use a slower speed to let f/8, change the shutter speed. Use a slower speed to let in more light. Use a faster speed to let in less light. in more light. Use a faster speed to let in less light.

More lightMore light Less LightLess Light

4 sec - 2 sec - 1 sec4 sec - 2 sec - 1 sec - ¼ - 1/8 - - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/1000 - 1/20001/2000


Shutter Speeds: Greater rangeShutter Speeds: Greater range

The shutter speed has a much greater whole-stop range The shutter speed has a much greater whole-stop range compared to the aperture. I’m only showing 14 stops but their compared to the aperture. I’m only showing 14 stops but their can be more on both the slower and faster ends.can be more on both the slower and faster ends.

4 sec4 sec 2 sec2 sec 1 sec1 sec ½½ ¼¼ 1/81/8 1/151/15 1/301/30 1/601/60 1/1251/125 1/2501/250 1/5001/500 1/1000 1/1000 1/20001/2000

Speed below 1/15 are Speed below 1/15 are not not recommended for handheld shots. recommended for handheld shots. The marginal speeds are colorized in The marginal speeds are colorized in yellowyellow. Safer speeds . Safer speeds are are colorized incolorized in green. green. Speeds higher than 1/500 are safe Speeds higher than 1/500 are safe speeds for handheld shooting and action shots.speeds for handheld shooting and action shots.


Shutter Speed: IncrementsShutter Speed: Increments

Shutter speeds also have 1/3-stop increments. The 1/3 Shutter speeds also have 1/3-stop increments. The 1/3 stop speeds are both colorized and enlarged.stop speeds are both colorized and enlarged.

1/301/30 1/401/40 1/501/50 1/601/60 1/801/80 1/1001/100 1/1251/125 1/1601/160 1/2001/2001/2501/250

Start paying attention to the aperture and shutter speed Start paying attention to the aperture and shutter speed settings. Digitals cameras designed to be tools instead of settings. Digitals cameras designed to be tools instead of toys display the vital data on the LCD monitor.toys display the vital data on the LCD monitor.

If you don’t see the information, toggle through the Display If you don’t see the information, toggle through the Display options or press half-way-down on the shutter button to options or press half-way-down on the shutter button to activate the screen data feedback. activate the screen data feedback.


Camera LCD Display: Hands-on demoCamera LCD Display: Hands-on demo

The Display (LCD) button is used to cycle through The Display (LCD) button is used to cycle through display options. It may be called LCD or something else display options. It may be called LCD or something else on your camera. Here are some of the possible display on your camera. Here are some of the possible display options:options:

1.1. Clear LCD screen showing only the image.Clear LCD screen showing only the image.

2.2. Image plus all the camera settings.Image plus all the camera settings.

3.3. Image plus some of the camera settings.Image plus some of the camera settings.

4.4. Image plus the exposure graph, histogram.Image plus the exposure graph, histogram.

5.5. Image plus the composition grid.Image plus the composition grid.

6.6. Other camera manufacturer specific options?Other camera manufacturer specific options?


Depth of Field (dof): Hands-on demoDepth of Field (dof): Hands-on demo

Except for the hairline plane-of-focus, nothing else can Except for the hairline plane-of-focus, nothing else can be truly in focus. The usual sense-of-sharpness has to be truly in focus. The usual sense-of-sharpness has to do with the illusion-of-sharpness provided by the dof.do with the illusion-of-sharpness provided by the dof.

The rule-of-thumb goes:The rule-of-thumb goes:- Wide-open for ‘shallow’ dofWide-open for ‘shallow’ dof- Stopped-down for ‘deep’ dof.Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.Do the Squint & Thumb Exercise’.


Scene Modes: Computer helpScene Modes: Computer help

Most digitals have a setting called Scene Modes. It Most digitals have a setting called Scene Modes. It contains the so-called perfect settings for shooting contains the so-called perfect settings for shooting variety of things like:variety of things like:oScenery Scenery oPortrait Portrait oParty Party oBabyBabyoPetPetoCandle LightCandle LightoFireworksFireworksoSunset Sunset

o Night Sky Night Sky o Snow Snow o Stage ShowsStage Showso SnowSnowo SportsSportso Panning Panning o Aerial Aerial o Often less or moreOften less or more


Scene Modes: Questionable usefulnessScene Modes: Questionable usefulness

Scene modes are designed by engineers based on Scene modes are designed by engineers based on ‘perfect’ numbers under ideal conditions. When the ‘perfect’ numbers under ideal conditions. When the light levels dims, the perfect numbers based solutions light levels dims, the perfect numbers based solutions can become meaningless. can become meaningless.

If the correct exposure is 1/30 sec at f/2.8 for the If the correct exposure is 1/30 sec at f/2.8 for the lighting condition, but your need to shoot an action lighting condition, but your need to shoot an action shot. A much faster shutter speed (1/250 sec or shot. A much faster shutter speed (1/250 sec or faster) is required for shooting action. faster) is required for shooting action.

Setting the Scene Mode on Sport will not change the Setting the Scene Mode on Sport will not change the setting. That’s because F/2.8 is already wide open setting. That’s because F/2.8 is already wide open which limits the shutter speed to 1/30. Remember, which limits the shutter speed to 1/30. Remember, correct exposure is mostly about physics.correct exposure is mostly about physics.


Scene Modes: Actual useScene Modes: Actual use

In dim light conditions, the digital camera is designed In dim light conditions, the digital camera is designed to fire-off the built-in flash. Usually the modest light to fire-off the built-in flash. Usually the modest light from the flash only covers subjects up to 8’ from the from the flash only covers subjects up to 8’ from the camera. camera.

In the Pacific Northwest, dim light is more the rule In the Pacific Northwest, dim light is more the rule than the perfect light required by the digital camera. than the perfect light required by the digital camera. So you may find yourself fighting the natural So you may find yourself fighting the natural tendency of the camera. Always make sure that the tendency of the camera. Always make sure that the flash is off.flash is off.

The light from the flash tends to wash-out the beauty The light from the flash tends to wash-out the beauty of the existing natural light.of the existing natural light.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

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Teacher: Kenji Tachibana Digital Photography I. Whole Stop F/stop & Shutter Speed Copyright 2003...

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