1. DEPTH OF FIELD PHOTO II MRS. KAMPF

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 F1.4 2.0 2.8 4 5.6 8 11 16 22

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 F1.4 2.0 2.8 4 5.6 8 11 16 22 1/1000 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

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