The Aperture acts like an iris The Aperture controls amount of light entering the Camera and the Depth of Field

Aperture Controls the Depth of Field Depth of Field - Area of the picture that is in focus

Depth of Field Area in the picture that is in focus Controlled by distance from subject

Depth of Field Controlled by the focal length size (type) of lens

A given type of film always needs an exact amount of light for a proper exposure. As a photographer you determine the way the film receives the light by combining fstops and shutter speeds to give the picture the effect you want.

Combining Shutter Speed and Aperture for desired effect

Full Tonal Range

Backlighting Take the meter reading from the subject F11 @ 1/250

Light meters Incident Reflective

Time and Temperature Greatly affect the results when developing a negative

Metering A light meter always wants to give you an average reading or middle grey.

Focal Length 24mm 35mm 50mm 100mm 200mm 400mm 800mm 1200mm These eight photos were taken from the same place with different lenses. 24mm 35mm Longs Peak from Upper Beaver Meadows in Rocky Mountain National Park 50mm 100mm 200mm 400mm 800mm 1200mm http://www.paragon-press.com/lens/lenchart.htm

Focal length and distortion Long lens, moderate distance from subject Short lens, close to subject

Example of glass in a wide angle lens Example of "wide angle" distortion by an 18 mm lens on a 35 mm camera.

Telephoto lens 300mm Compresses space 500 mm telephoto lens with extension tub http://en.wikipedia.org/wiki/Perspective_distortion_%28photography%29

Focal Length

Subtractive Color - determined by the reflection of light waves to the eye Mixing paint pigments is a subtractive color system

Polarizing Filter Reduce reflections on water, glass or any smooth surface except Metal or mirror.

Polarizing Filter and the sky Mid day 90° to the sun

R + B = M G + B = C Primary colors of light Additive Colour R G B Each secondary color is composed of equal amounts of adjacent primary colors. G + R = Y R + B = M G + B = C Each color is complementary to the color opposite. Additive Colour R G B

It is the wavelength of light that determines its color. In 1666, Isaac Newton passed a beam of sunlight through a glass prism breaking it into a rainbow of colors that form the visible spectrum. He then passed the rainbow through a second prism converting the colors back into white light. When light is refracted each wavelength is bent to a different degree separating the light into different bands of color.

Colour is determined by the light temperature. Film must be balanced for the light source or coloured filters must be used to achieve realistic colour. Daylight film is balanced for 5500 K Indoor film or tungsten colour film is balanced for 3400 K type A or 3200 K type B

colour and drama of image. Time of day determines colour and drama of image. Sunrise One hour later Midday, sunny Midday, overcast Late afternoon

85B 80A Daylight/ daylight film Daylight/ Tungsten film Tungsten Film

fl. bulbs on the market. Turn off all fluorescents whenever possible ! Use FL-D /daylight film Use FL-B /tungsten film Old fashioned, standard florescent bulbs. Florescent light is very difficult to balance, as currently there are many types of fl. bulbs on the market. Turn off all fluorescents whenever possible !