Photography for Dummies
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The presentation explains certain guidelines which are useful to create impactful pictures. Having a good equipment is required, but more than that, without knowing these guidelines, even the best Camera will spoil the picture.
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Photography for Dummies
- 1. Get Creative… © 2012 Abhay Raj Mittal www.facebook.com/abhay.raj.photography
- 2. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 2
- 3. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 3
- 4. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 4
- 5. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 5
- 6. Shot 2012Steve MacCurry. by © Abhay Raj www.facebook.com/abhay.raj.photography 6
- 7. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 7
- 8. Global Warming Campaign 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 8
- 9. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 9
- 10. CHRISTIAN FRIEDRICH HEBBEL 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 10
- 11. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 11
- 12. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 12
- 13. Make my own Posters 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 13
- 14. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 14
- 15. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 15
- 16. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 16
- 17. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 17
- 18. Photography Basics C.E.L.L. Basics 101 – Click Better Picture Types of Photography Questions 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 18
- 19. Know your equipment C: Composition (use of hands) E: Exposure (control the light) L: Lens L: Light 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 19
- 20. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 20
- 21. Principle 1: ZOOM IN, UNCLUTTER 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 21
- 22. Principle 1: ZOOM IN, UNCLUTTER 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 22
- 23. Principle 2: RULE OF THIRDS 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 23
- 24. Principle 2: RULE OF THIRDS 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 24
- 25. Principle 3: USE FRAMES / LINES / D I A G O N A L S / PAT T E R N S 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 25
- 26. Principle 4: ADD DRAMA 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 26
- 27. P r i n c i p l e 5 : S H O O T AT E Y E LEVEL 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 27
- 28. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 28
- 29. Element 1: APERTURE Element 2: SHUTTER SPEED Element 3: ISO / EV 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 29
- 30. A P E RT U R E E l e m e n t 1 : A P E RT U R E f 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 30
- 31. A P E RT U R E E l e m e n t 1 : A P E RT U R E f Affects the Depth of Field, Exposure level f 1.4 f 11 f 1.4, ISO 100, Shutter 1/150 f 11, ISO 1600, Shutter 1/30 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 31
- 32. A P E RT U R E • A larger lens opening (f1.4 - 3.5) offers the following advantages: – shoot more often with just natural lighting reduce harsh shadows and red-eye caused by flash. – Allows more light to pass through, the camera will be able to choose a slightly higher shutter speed helps to reduce motion blur. – Helps to reduce “depth-of-field” (for effect). 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 32
- 33. A P E RT U R E • Portraits : f 1.4 – 3.5 • Landscapes : f 6 – 11+ • Wildlife : f 1.4 - 4 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 33
- 34. Element 2: SHUTTER SPEED 1 C1 2 t5 o l s ’t h e t i m e f o r t h e l i g h t t o / on r , 3 travel 1/200 1/5 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 34
- 35. SHUTTER SPEED • To capture blur-free "action" photographs (e.g. Sports), you need to make sure the camera is using a high shutter speed, e.g.1/125th of a second or more. • Less light gets through to the image as shutter speed is increased, thus difficult to use higher shutter speeds in lower light situations. • Alternatives: Allow more light to pass through the lens (larger aperture setting), the other is to increase the ISO 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 35
- 36. SHUTTER SPEED Absolutely sharp images are not always the best. They can look static and dull. At slow shutter speeds the camera blurs the image of moving objects, and can create a more convincing image of movement. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 36
- 37. Element 3: ISO Controls the sensitivity of the sensor 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 37
- 38. ISO 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 38
- 39. ISO 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 39
- 40. ISO Element 3: ISO Controls the sensitivity of the sensor Outdoor / Sunny Condition / Broad ISO 100 - Daylight 200 E v e n i n g t i m e , I n d o o r, L o w L i g h t ISO 400 - 600 N i g h t Ti m e ISO 1600 More ISO, More Digital Noise 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 40
- 41. ISO ISO 100 ISO 1600 f 1.4, ISO 100, Shutter 1/150 f 11, ISO 1600, Shutter 1/30 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 41
- 42. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 42
- 43. WIDE ANGLE (8mm, 18mm – 24mm) Angle of coverage is more than any commercial lens 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 43
- 44. T E L E P H O TO ( 1 0 0 m m – 6 0 0 m m ) Angle of coverage is less than any commercial lens 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 44
- 45. B e s t u s e o f L e n s e s i n d i ff e r e n t Scenes Typical Photography Focal length Terminology styles Less than 21mm Ultra wide Angle Architecture 21-35mm Wide Angle Landscape 35-70mm Normal Street & Documentary 70-200mm Zoom lens Portraits 200+ Super Telephoto Lens Sports, Wildlife, Birds 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 45
- 46. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 46
- 47. .NATURAL LIGHT -Best form of light available free of cost! .ARTIFICIAL LIGHT -Best to play with 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 47
- 48. N AT U R A L L I G H T 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 48
- 49. F L A S H : A RT I F I C I A L L I G H T 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 49
- 50. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 50
- 51. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 51
- 52. I YEAH, ART / = + COULD BUT SKILL DO YOU THAT DIDN’T 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 52
- 53. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 53
- 54. 2012 © Abhay Raj www.facebook.com/abhay.raj.photography 54
- 55. 55
Editor's Notes
- By end of the how you can say that.. (next)
- A good photograph is a subject, a context, and nothing else. Remove any clutter that detracts from your message. Get closer -- zoom in -- and crop as tightly as possible
- A good photograph is a subject, a context, and nothing else. Remove any clutter that detracts from your message. Get closer -- zoom in -- and crop as tightly as possible
- The center of the frame is the weakest place -- it's static, dull, and gives no value to the context. The more you move the subject away from the center, the more relevance you give to the context
- The center of the frame is the weakest place -- it's static, dull, and gives no value to the context. The more you move the subject away from the center, the more relevance you give to the context
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture
- Create impact by using frames and real or inferred lines that lead the viewer's eye into and around the picture