kerja2 kesepian!!!!
focus3.. kerja..
aku ade buah ati ke??
ahahaha..
ni la buah ati ku. D3000..
gi mari-gi mari bwk hok ni je...
xdop org nok kot..
no reason...
kemahuan diri..
When it comes to taking good water reflections, there are two important steps. One is to expose on part of the water that doesn't contain the actual reflection, yet is still close to some part of it. If your not sure what 'setting the exposure' means, you can find some information on this at manual modes.
Next, set your camera on a high aperture number (if photographing landscapes), for example f/11, so the whole landscape will be in focus. Then before taking the shot, focus your camera on the actual reflection and press the shutter button. You should then find you end up with a perfect water reflection that seems almost mirror image.
Reflections in the water
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Grain
Film consists of a layer or layers of emulsion containing light sensitive silver halide crystals coated onto a plastic base.
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Over or Under Exposure.
This is just a quick look at the effect of under and over exposure on your photographs with different types of film. We are not talking about gross errors just what happens when you start to drift away from the correct exposure.
Black and White Negative.
Film comes in a variety of shapes and sizes but for the purposes of these tutorials we will look at the most popular amateur formats of 35mm and APS although it is all the same stuff just cut up differently; apart from APS which is a little different and only comes in one size anyway.
35 mm (135) film goes in 35 mm camera and APS film goes in an APS camera. Make sure you buy the right one. There are two main differences between 35 mm and APS:
1 APS is slightly smaller than 35 mm.
2 APS film has an extra layer which allows it to record information from the camera to be passed on to the processing equipment.
The actual emulsion, the light sensitive coating that makes film work, is basically the same in both formats.
Negative. (Print)
If your intention is to end up with a nice set of photographic prints then you want to use a negative film. Quite often says 'film for colour prints' on the box if you are using colour film. Your exposed film will have to be processed to create a 'negative' which has the tones , the light and dark bits, and colours reversed. The negative is then used to produce a print or 'positive'. This is done using an enlarger to project the negative image onto light sensitive printing paper. The paper is then processed to reveal the positive image.
Positive. (Slide/Reversal)
Positive film, as you would expect, is the opposite of negative film. After processing the film you will have a set of positive images. You will usually get them returned to you in individual plastic frames as mounted slides. Many people call them 'slides' but they are more correctly referred to as 'transparencies'. To properly view slides or transparencies you should project them onto a white screen in a darkened room or use a purpose made slide viewer.
This is down to personal choice. There are a huge variety of films available in colour negative, colour slide and black and white negative. If you would like to produce Black and White transparencies you are limited to a choice, at least currently, of Agfa Scala or processing negative film in a reversal process.
The previous choices have been fairly straight forward but choice of film speed may require a little more thought. Slow films will have finer grain than fast film however slow films by their very nature may involve using shutter speeds which are to slow for the intended purpose. Faster films on the other hand may allow you to use fast enough shutter speeds to hand hold the camera or freeze fast movement. The downside of this apparent convenience is an increase in grain.
General purpose films in the 100 ASA to 200 ASA range are relatively fine grained and sensitive enough to use under a wide variety of lighting conditions.
If you feel you really need fine grain then you will have to accept the resulting slow shutter speeds and get yourself a decent tripod.
If you really want those fast shutter speeds you will have to accept the increase in grain that comes with the extra speed.
This is boring !!
I know, and I am sorry but there is more. Now that you know what a 'stop' is you may realise that to change or control exposure you can alter either one and get the same effect. You may even have worked out that you can have loads of combinations of aperture and shutter speeds that will amount to the same exposure.
Here is a wee example:
Your light meter tells you to set your camera to f-8 at 1/125th of a second. You decide that you want to change it. You will find out why you might want to change it later.
You could reduce the aperture by one stop to f-11 (Stop down or close down). Now your film is receiving half as much light as it requires (underexposure). To compensate for this you select a slower shutter speed of 1/60th of a second so it now stays open twice as long as before and passes twice as much light as before.
Or.
You could increase the aperture by one stop to f-5.6 (Open up). Now your film is receiving twice as much light as it requires (overexposure ). To compensate for this you increase your shutter speed to 1/250th of a second so it now stays open for half as long as before and passes half as much light as before.
f-32 | 1/8th of a second |
f-22 | 1/15th of a second |
f-16 | 1/30th of a second |
f-11 | 1/60th of a second |
f-8 | 1/125th of a second |
f-5.6 | 1/250th of a second |
f-4 | 1/500th of a second |
f-2.8 | 1/1000th of a second |
f-2 | 1/2000th of a second |
Film speed
Here is something else just to confuse you.
In order for your lightmeter to come up with a suitable combination of aperture size and shutter speed it needs to know how sensitive to light a particular film is. A film's sensitivity is known as its ' speed' and is expressed as an ASA/ISO number. The higher the number the more sensitive it is and consequently the less light it needs to form an image. The lower the number the less sensitive it is and the more light it will require. Sensitive films are said to be 'fast' and will have a speed of 400 ASA/ISO or above. Films with low sensitivity are said to be 'slow' and will have a speed of less than 100 ASA/ISO. General purpose films suitable for everyday use fall into the 100-400 ASA/ISO range with 100-200 being the most popular.
Like shutter speeds and aperture sizes, film speeds follow a standard sequence.
Over and Under Exposure. ( Briefly)
Giving your film more exposure than necessary will result in overexposure. Pictures will be pale or light with poor washed out colours.
Giving your film less exposure than necessary will result in under exposure. Pictures will be dark with poor detail in shadow and dark areas.
Almost done.
You will have realised by know that there are three factors involved in controlling exposure.
Using a TTL meter is a fairly straight forward operation. With the meter switched on simply compose your picture as normal and the meter will take a 'reading' from the scene. You will then be presented with information about the necessary aperture or shutter settings that may be required. These readings are based on the amount of light reflected back from the scene and on the sensitivity of the film you are using. You must inform the meter of the correct film speed either by setting it manually or using DX coded film( it has a bar code on it) if your camera supports this feature. Depending on the 'mode' you are operating your camera in you will be presented with some information about the shutter speed, aperture f-number or both.
In manual mode you have control of both shutter and aperture and can adjust either or both to reach the correct exposure. You are aiming to 'zero' on a plus minus system or match the two indicators on the other.(Match-needle system)
The shutter speed and aperture are both represented by a number and to tell which one is which,and what they mean, we are going to have a look at each of them. There is no need to panic, there isn't any maths to speak of.
Using the steps outlined previously will help to tighten up your composition. Now we will look at a few techniques you can employ to help improve your composition. If you are taking photographs for your own pleasure, as I assume you are, then you only have to come up with pictures that please you. You may be able to overlook the huge empty spaces or people with their heads cut off but no-one else will. That cute kid looks really cute it's just a pity that you need a magnifying glass to see him. Producing pictures that are pleasing to someone other than yourself will make your photography much more rewarding.
The Rule of Thirds. One of the most popular 'rules' in photography is the Rule Of Thirds. It is also popular amongst artists. It works like this:
Imaginary lines are drawn dividing the image into thirds both horizontally and vertically. You place important elements of your composition where these lines intersect. I've even made a little diagram for you (fig 1).
As well as using the intersections you can arrange areas into bands occupying a third or place things along the imaginary lines. As you can see it is fairly simple to implement. Good places to put things; third of the way up, third of the way in from the left , you get the idea. Duff places to put things; right in the middle, right at the top, right at the bottom, away in the corner.
Using the Rule of Thirds helps produce nicely balanced easy on the eye pictures. Also, as you have to position things relative to the edges of the frame it helps get rid of ' tiny subject surrounded by vast empty space' syndrome.
One last thing about the Rule of Thirds for the time being. Once you have got the hang of the Rule of Thirds you will very quickly want to break it ! This is fine. As I said earlier these 'rules' are best used as guidelines and if you can create a better image by bending or ignoring rules then fire away.
The Rule of Thirds is fairly structured but there are a great many methods you can employ which rely on your ability to 'see' things and incorporate them into your composition. Next up we will look at some, but by no means all, of them.
The modern camera is capable of many things. It can focus for you; work out exposure for you; select a suitable shutter speed or aperture along with a multitude of other functions. However useful you may find these functions the one thing a camera can't do is compose your picture for you. It has no idea what it is pointing at and it has no idea what you are trying to achieve so you are on your own.
Composition.
If you are using an 'auto-everything' camera like a 35mm compact or program SLR then your main area of control is going to be in the composition of your photographs. Sadly I can't tell you how to take a great picture as to some degree it comes down to your ability to 'see' a picture or the potential to create a picture. Having said that; there are a load of 'rules' and techniques you can use to improve the final look of your photographs. We will look at a few of the popular, effective and easy to implement techniques that you will be able to start using right away.
Quick Tip Editing: Before you show anyone those hundreds of holiday photos or the 2 hour slide show, edit your work. Take out all the doubles, all the duds, the out of focus and generally crap. Only show people the good stuff and your standing as a photographer immediately increases. Pro's can shoot a load of rubbish like anyone else; they just don't show it to anybody. |
Fill the frame.
Sometimes your mind tends to exaggerate what you see through the viewfinder of your camera. You often perceive things a bit bigger than they actually are and you also tend not to notice 'slight' distractions. What you end up with is photographs with huge areas of wasted space around the edge and people with things growing out of their heads. Make sure your subject fills the frame. The best way to do this is to move a bit closer. Before you press that shutter release have a quick look round the edge of the frame and behind your subject. Make sure that you don't have acres of space full of nothing interesting and check for 'stuff' intruding into your masterpiece. In our wonderful 3 dimensional world that telegraph pole is away in the background; in your flat 2 dimensional photograph that same pole is sticking out of someone.
Note: Most SLR camera viewfinders don't actually give you 100% coverage of the image area. Cut-off between 2% and 5% is common. The exact figure will be found in your camera handbook. In practice this means if you position something right at the edge of the frame when you get your photos back you may have unexpected space at the edges of the negative or transparency. Coincidentally, commercial printing equipment masks the edge of the negative during printing and may actually cancel out the aforementioned cut-off. It may now seem a bit pointless telling you this but you should be aware of it, particularly if you are going to print from your own negatives or you are shooting transparency (slide) film.
There's more. If you are having your prints processed commercially then you should realise that the proportions of a 35mm negative (2:3) don't always match those of some popular print sizes. If you want your prints to match what you saw through the viewfinder you will need to ask for "full frame" prints.
As a wee example: A 35mm negative printed to show the full frame onto 10x8 inch paper will produce an image closer to 10x6 inches
- Compose: This is the creative or artistic bit where you arrange all of the elements of your picture within the frame or viewfinder to produce what should hopefully be a pleasing composition.
- Expose: This is the scientific and mechanical bit where you expose your film to light through the lens of your camera and if you are lucky preserve the image for posterity.
This series of tutorials, which is constantly expanding, is provided as an introduction to photographic techniques. It may not turn you into a brilliant photographer but hopefully it will help improve your photography by teaching you a bit about some of the theory behind photography.
Some of the tutorials will be useful no matter what type of camera you are using , however, the tutorials are geared towards 35mm/APS SLR cameras with the ability to be operated manually, at least to some degree. By manual operation I mean that you will have to physically focus the camera, set the aperture and set the shutter speed. All three would be good though as a mimimum you should have control of either the aperture or the shutter speed. i.e. Aperture Priority or Shutter Priority.
If you have the manual for your camera now would be a good time to read through it. Pay attention as to use of the light meter and the shutter and aperture controls. You don't really need to know about the multitude of 'program' or 'auto' modes your camera may be equipped with.
I am not making any great claims about these tutorials but I would like them to be useful and not to dull so I am keen to hear from you if you are using them. I am also quite happy to answer questions if I haven't covered what you are interested in yet, or if you don't know what I am talking about !