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DEPTH OF FIELD PHOTO II MRS. KAMPF. SHUTTER SPEED CONTROLS THE AMOUNT OF TIME LIGHT HAS TO ENTER THE CAMERA AND EXPOSE THE FILM. SHUTTER SPEEDS ARE.

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Presentation on theme: "DEPTH OF FIELD PHOTO II MRS. KAMPF. SHUTTER SPEED CONTROLS THE AMOUNT OF TIME LIGHT HAS TO ENTER THE CAMERA AND EXPOSE THE FILM. SHUTTER SPEEDS ARE."— Presentation transcript:

1 DEPTH OF FIELD PHOTO II MRS. KAMPF

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3 SHUTTER SPEED CONTROLS THE AMOUNT OF TIME LIGHT HAS TO ENTER THE CAMERA AND EXPOSE THE FILM. SHUTTER SPEEDS ARE MEASURED IN FRACTIONS OF A SECOND

4 SHUTTER SPEED SCALE

5 APERTURE/F STOP CONTROLS THE AMOUNT OF LIGHT THAT ENTERS THE CAMERA AND EXPOSE THE FILM. “F” STANDS FOR FRACTION F

6 F STOP THE F-STOP IS THE FOCAL LENGTH OF THE LENS DIVIDED BY THE DIAMETER OF ITS OPENING. EACH CONSECUTIVE F-STOP HALVES THE OPENING OF THE PREVIOUS. FOR EXAMPLE, A 50MM LENS WITH ITS F-STOP SET TO F2 MEANS THAT THE OPTICS INSIDE THE LENS CREATE A DIAMETER EQUIVALENT TO 25MM.

7 F STOP

8 F STOP/SHUTTER SPEED COMBOS F /1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 ¼

9 DEPTH OF FIELD THE DISTANCE BETWEEN THE NEAREST AND FARTHEST OBJECT IN A SCENE THAT APPEARS IN ACCEPTABLE FOCUS.

10 CAN BE CONTROLLED THREE THINGS FOCAL LENGTH OF LENS: THE SHORTER THE DISTANCE FROM THE LENS TO THE FILM, THE GREATER THE DEPTH OF FIELD 50 MM

11 CAN BE CONTROLLED THREE THINGS DISTANCE OF OBJECT TO THE LENS: DEPTH OF FIELD INCREASES THE FARTHER AWAY THE SUBJECT IT FROM THE CAMERA. A LENS FOCUSED AT 20 FEET WILL PROVIDE GREATER DOF WHEN FOCUSED AT 10 FEET.

12 CAN BE CONTROLLED THREE THINGS F-NUMBER: DEPTH OF FIELD INCREASES AS THE LENS APERTURE BECOMES SMALLER

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17 GREAT DEPTH OF FIELD SMALL F STOP – F/16, F/22 BACK AWAY FROM YOUR SUBJECT MATTER USE TRI-X (LESS LIGHT, FASTER SHUTTER SPEED, OUTSIDE)

18 SHALLOW DEPTH OF FIELD LARGE F STOP – F/2.8, F/2 MOVE CLOSER TO YOUR SUBJECT MATTER USE PLUS-X (MORE LIGHT, SLOWER SHUTTER SPEED, OUTSIDE)

19 ASSIGNMENTS HALLWAY ASSIGNMENT GROUPS OF 4 GREAT DEPTH OF FIELD: LANDSCAPE, SEASCAPE ETC. SHALLOW DEPTH OF FIELD: CHOICE BUT NEED FOR, MID AND BACKGROUND


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