Presents

Photography
g p y Demystified
y

Part - 1
Photography Basics
Know your Camera
 A thought
g

“A p
photograph
g p is as good
g as the
photographer”

© Saurabh Garg 2
 What is Photography?
g p y

● An art?
● A science?
● A creative skill?
● A passion?
● An obsession?

© Saurabh Garg 3
 Contents

Photography Basics

Terminology
gy

The Camera

Operation and Modes

Rules

Tips
© Saurabh Garg 4
 Photography Basics

© Saurabh Garg 5
 The Principle
p

Light,
Li ht Lens
L and
d Sensor
S

© Saurabh Garg 6
 Terminology

© Saurabh Garg 7
 Terminology
gy
Focal Length
Optical
O ti l Zoom
Z and
d FOV
Digital Zoom
Exposure
Hi t
Histogram
Shutter Speed
Aperture Size
F-Stop
Depth of Field
Film Speed/Sensitivity
White balance
Resolution
Perspective

© Saurabh Garg 8
 Focal Length
g

Focal Length - The distance in mm

from the optical center of the lens
to the focal point, which is located
on the sensor or film

Usually expressed in mm

Focal length of a lens determines

its FOV

A shorter focal length (eg. 28mm

wide angle) produces a wider
picture angle, while a longer focal
length (eg. 200mm tele) produces a
narrower picture angle.

Wide angle lenses (short focal

length) capture more because they
have a wider picture angle, while
tele lenses (long focal length) have
a narrower ppicture angle.
g

© Saurabh Garg 9
 Optical
p Zoom and FOV
Typical focal lengths and their 35mm
format designations

< 20mm Super Wide

Angle
24mm - 35mm Wide Angle

50mm Normal Lens

80mm - 300mm Tele

> 300mm Super

p Tele

30mm wide angle 100mm tele has more

narrow field of view Click here!

Optical zoom = Max focal length / Min focal length

eg. Optical zoom of a 28-280mm lens is 280mm/28mm or 10X

In 35mm photography
photography, a 50mm lens is called a normal lens
because it produces roughly the same picture angle as the human
eye (about 46 )
© Saurabh Garg 10
 Digital
g Zoom

To Use Or Not to Use Digital Zoom ?

The recommended approach is to shoot image with digital zoom OFF

and crop it later the way you want it

Di it l Zoom
Digital Z b used
can be d to
t save card
d space but
b t the
th resulting
lti i
image
is of lower quality

© Saurabh Garg 11
 Exposure
p
● Exposure - the amount of light received by
the film or sensor

● Determined by -

1. Aperture
2. Shutterspeed
3. Sensitivity of the film or sensor
Underexposed
● The exposure generated by an aperture,
shutterspeed, and sensitivity combination
can be represented by its exposure value
"EV"

● High EVs will be used in bright conditions

which require a low amount of light to be
collected
co ected by tthe
e film o
or se
sensor
so to a
avoid
od
overexposure and vice a versa

Overexposed
© Saurabh Garg 12
 Histogram
g

Correct Exposure Underexposed Overexposed

Histogram is chart of the pixels divided into 256 levels of brightness

from black (value 0) to white (value 255) with 254 gray levels in
between, all stacked together

The height of each "stack" or vertical "bar" tells you how many pixels
there are for that partic
particular
lar brightness
brightness. "0" and "255" are the darkest
and brightest values, corresponding to black and white respectively

© Saurabh Garg 13
 Components
p of Exposure
p

Exposure
(in EV)

Sensitivity Aperture Shutter Speed

(in ISO) (in f-Stops) (in seconds)

SMALL FAST
LOW HIGH LARGE SLOW
Bright Light Bright Light
Bright Light Low Light Low Light Low Light
Shallow Depth of Fast Action Freeze
Sharp Image Grainy Image Long Depth of Field Capture Motion Blur
Field Frame

© Saurabh Garg 14
 Film Speed/Sensitivity
p y

Digital cameras sensitivity (ISO)

Conventional film sensitivity (ASA)

Lower the sensitivity - finer grain

• More light is needed.
• Excellent for outdoor photography

Higher the sensitivity – coarse grain

• Low-light conditions ISO 100
• Action photography (where fast shutter-
shutter
speeds are needed)

ISO 100 is the "normal" setting, can be

increased to 200,, 400,, 800,, 1600

When increasing the sensitivity, the output

of the sensor is amplified, so less light is
needed. Unfortunately that also amplifies the
undesired noise
noise.
ISO 800

© Saurabh Garg 15
 Shutter Speed
p

The shutter speed sets how long the

y open.
camera stays p

What shutter speed you choose can

have a big impact on your photos

“No bl
blurring”
rring”
For motionless objects

“Freeze the action"

If you
you’re
re taking pictures of things
that move, shoot at 1000.

“Let Water flow”

Where moving water is the subject,
sett slower
l speeds
d to
t show
h blurry
bl
motion.

One can shoot hand-held at about

(1/60th of a second) to get sharp
photos
h (with
( i h no zoom))

© Saurabh Garg 16
 Aperture
p

Aperture refers to the size of the opening in the lens

It is measured in F-numbers

Determines the amount of light falling onto the film or sensor

Affects exposure and depth of field
Just like successive shutter-speeds, successive apertures halve the
amount of incoming g light
g

The diaphragm reduces the aperture diameter by a factor 1.4 (square root
of 2) so that the aperture surface is halved each successive step.

The absolute aperture

p sizes and diameters depend
p on the focal length.
g For
instance, a 25mm aperture diameter on a 100mm lens has the same effect
as a 50mm aperture diameter on a 200mm lens.

© Saurabh Garg 17
 Aperture
p (contd..)
( )

Maximum
M i A
Aperture
t or L
Lens
Speed

Aperture and shutterspeed are

i t
interrelated
l t d via
i exposure.

The "maximum aperture" of a

lens is also called its “lens
speed”.
d”

A lens with a large maximum

aperture (e.g. f/2) is called a
"f t" lens
"fast" l because
b the
th large
l A
Aperture
t Diaphragm
Di h
aperture allows you to use high
(fast) shutterspeeds and still
receive sufficient exposure. Such Click here!
lenses are ideal to shoot moving
subjects in low light conditions.

© Saurabh Garg 18
 Aperture:
p F-stop
p

A "stop" is a relative measurement of

light.

Double the light is one stop brighter

(+1 stop)
Half the light is one stop darker
(-1 stop)

Stops are interchangeable

Aperture, shutter, and film settings are

all divided up into "stops",
"stops" even though
the numbering systems are different.

© Saurabh Garg 19
 F-Number
The aperture is expressed in terms of its f-number (or f-stop) rather
than its actual size

f-number (f ) is the ratio of the focal length (F) of the lens to the
diameter of the aperture (D , where the aperture is assumed to be
circular)

f = F/D = F/√A

It is the area of the aperture (A) that determines the amount of light let
th
through h the
th shutter
h tt

That is, every time we double the area ("open up" the aperture), the f-
number changes by a factor of 1/1.4 (1/√2)

Eg. for a 50 mm lens with a 25 mm aperture, the f-stop was f /2. With
twice the area (i.e. opening up by one full stop), the f-stop changes
from 2 to 1.41421. This would be denoted as f /1.4

TIP : Rule to remember – Smaller the f-number, greater is the Aperture

© Saurabh Garg 20
 Putting
g it all together
g

The "correct" exposure for a 50 ASA

given scene is a function of at
least 3 things: shutter speed,
aperture and film speed. 100 ASA

For a given scene there are 800 ASA

multiple combinations of
elements that will yield a
p
correct exposure. Thus anyy
one of the Aperture / Shutter Shutter: Aperture: Film Speed:

Speed pairs will cause the film f2.8 1/4 sec ISO1600
f4 1/8 sec ISO800
to be exposed by the same
f5.6 1/15 sec ISO400
amount.
f8 1/30 sec ISO200
f11 1/60 sec ISO100
Exposure reciprocity - For a f16 1/125 sec ISO50
f22 1/250 sec
given scene there are multiple
1/500 sec
combinations of elements that
will yield a correct exposure.

© Saurabh Garg 21
 Components
p of Exposure
p

Exposure
(in EV)

Sensitivity Aperture Shutter Speed

(in ISO) (in f-Stops) (in seconds)

SMALL FAST
LOW HIGH LARGE SLOW
Bright Light Bright Light
Bright Light Low Light Low Light Low Light
Shallow Depth of Fast Action Freeze
Sharp Image Grainy Image Long Depth of Field Capture Motion Blur
Field Frame

© Saurabh Garg 22
 Depth
p of Field

Refers
R f tto th
the areas off th
the photograph
h t h both
b th in
i front
f t and
d behind
b hi d
the main focus point which remain "sharp" (in focus).

Is affected by the aperture, subject distance, focal length, and

fil or sensor format.
film f

Rule : Larger the aperture (smaller f-number, e.g. f/2) smaller is

depth of field.

© Saurabh Garg 23
 White Balance

Normally our eyes compensate

for lighting conditions with
different colour temperatures.

A digital
g camera needs to find
a reference point which
represents white. It will then
calculate all the other colours The auto white balance was unable to
based on this white point. find a white reference, resulting in dull
and artificial colors.
Most digital cameras feature
automatic white balance
whereby the camera looks at
the overall colour of the image
and calculates the best
best-fit
fit
white balance.

Tip: Leave the White Balance

in Auto mode.
The right auto white balance using the
clouds as its white reference.

© Saurabh Garg 24
 Resolution

The resolution of a digital

i
image is
i defined
d fi d as the
th
number of pixels it
contains.

(5.0 M) pixels 2560 x 1920

(4.0 M) pixels 2304 x 1728
(3.5 M) pixels 2304 x 1536

It is recommended to shoot
at a resolution which
corresponds
p with the
camera's effective pixel
count. Shooting at lower
resolutions only makes
sense
se se if you are
a e running
u g
out of card space
Resolution Chart

© Saurabh Garg 25
 Perspective
p

Perspective: The A.
perception of Depth Scene taken
with a 33mm
wide angle.

Tele - compresses
perspective
B.
(makes subjects look S
Scene taken
k
with 80mm tele
closer to one another) angle.

Wide - exaggerates
perspective C.
Scene taken
with a 33mm
(makes subjects look more wide angle after
coming closer
separated) to the subjects.

© Saurabh Garg 26
 The Camera

© Saurabh Garg 27
 Camera Basics

© Saurabh Garg 28
© Saurabh Garg 29
© Saurabh Garg 30
 Know y
your Camera : Buttons

© Saurabh Garg 31
 Sensor

The sensor is a CCD

• It iis a silicon
ili chip
hi
• It is covered with a regular pattern of very small light sensitive
circuits
• When a few photons hits one of these it causes a few
electrons to flow in a circuit
• These electrical signals are then amplified and converted into
a digital format
Pixel count
• Greater number of pixels will not improve image quality if
they
y information they ypprovide is less reliable
• Greater number of pixels amounts to greater image size that
can be printed without loss of resolution.
Sensor size
• Consumer cameras use small sensors, only a few
millimeters in each dimension
dimension, making the individual pixels
very small
• Professional cameras use larger sensors - so that the
individual cells are perhaps 5-10 times the area and are also
better separated. The larger cells capture more light for the
same exposure
exposure, giving electrical signals that need less
amplification and have less random noise.

© Saurabh Garg 32
 LCD

LCD make all digital cameras,

cameras
SLR like!

LCDs normally measure

between 1.5" and 3.0"
diagonally with typical
resolutions between 120,000
and 240,000 pixels

LCD to Play Back Images

The LCD screen delivers one
of the key benefits of digital
photography: the ability to
play back your images
immediately after shooting

LCD Used as Menu

The LCD is also used to
change the camera settings
via the camera buttons.

© Saurabh Garg 33
 Viewfinder

A viewfinder is used to look at

what the camera is aiming at
and compose a shot

Types:
Optical Viewfinder
Relays an optical image either
through the lens (SLR) of
through a separate window
(consumer)

Electronic Viewfinder
Uses a smaller 0.5" LCD,
simulating the effect of a TTL
optical viewfinder

© Saurabh Garg 34
 The Dial

The Dial in a Camera is used to select one of

the many available modes.

© Saurabh Garg 35
 Operation Modes

© Saurabh Garg 36
 Buttons

Basic Camera
Operating Modes
Icons Description

O /R
On/Record
d Picture taking
mode - record. After the
camera is in record mode,
you can select a shooting
mode (sometimes a button
labelled "power")
power )

Playback takes a digital

camera OUT of shooting
mode and allows the user
to view and edit stored
images (sometimes found
images.
on shooting mode dial)

Off Completely switches off

the camera, usually a
button labeled "off"
(sometimes a button
labeled "power")

© Saurabh Garg 37
 Point and Shoot: Auto Mode

Auto/Program Auto/Program Camera Modes:

Of all the shooting modes, is Auto

The camera will
probably the most useful. Most completely control flash
people don't really want to p
and exposure. On most
l
learn about
b t how
h a camera cameras this is labelled
works, and point and shoot "auto", on others simply
photography is the perfect "A". Some cameras only
solution. have (P)rogram.

The fully automatic (A)uto or

(P)rogram mode is the default Program
for most modern cameras. The Automatic-assist,
uto at c ass st, just
photographer can simply aim, point and shoot. Unlike
press the button, and almost full auto mode, you
be guaranteed a great image. can usually control
flash and a few other
camera settings.

© Saurabh Garg 38
 Common Shooting
g Modes

Movie/Video: In movie mode, Digital cameras can capture live streaming

video
video.
Party/Night: Longer exposures to capture darker scenes, without the
flash.

Macro/Close-Up: This mode used for taking close-up pictures.

Landscape: Camera will attempt capture detail in foreground and

background by using high f-stop (aperture) settings.
Portrait: To attempt to blur out the background, camera will try to use
the fastest available lens setting (aperture).
Sports: To freeze motion, camera will use the highest shutter speed
possible.
Aperture Priority: Photographer sets the aperture (f-stop) and the
camera will attempt to deliver a good exposure.
Shutter Priority: Photographer
Ph t h setst the
th shutter,
h tt and
d the
th camera willill
attempt to deliver a good exposure.
Manual: Full manual mode, the photographer must set both the shutter
and the aperture.

TIP: Know your modes well, even if your camera does not allow
manual controls, most of the settings you would need are
covered by one of the preset scene modes.
© Saurabh Garg 39
 Night
g Mode

For night scenes or low-light conditions.

Shutter speed may be slow, so place the camera on a

flat, steady surface or use a tripod. Due to slow shutter
speeds, advise people to stay still for a few seconds
after the flash fires
fires.

© Saurabh Garg 40
 Macro Mode

Macro results are achieved with close-up photography.

On digital cameras the Macro Focus mode switches the auto

focus system to attempt to focus on subjects much closer to
the lens. Hence, the effective magnification is more.

Very shallow field of depth.

© Saurabh Garg 41
 Landscape
p

To shoot a landscape picture where there’s a field of flowers in the

foreground and a mountain scene in the background,
background a very broad
depth of field such as f/22 is required so that the foreground flowers
and background mountains are all in focus.

Landscape
p and nature photography
p g p y use saturated colours to produce
p
dramatic effects that seem to leap off the print.

© Saurabh Garg 42
 Portrait Mode

For full-frame portraits of

people
Allows the subject to be
sharp and the background
to be indistinct
Shallow depth of field
Softer Images (less sharp)
For best results:
• Position your subject at
least 6 ft (2 m) away and
fill the frame with a head
and shoulders pose
• Use the (Telephoto)
zoom to exaggerate
background blur

© Saurabh Garg 43
 Sports
p Mode

For subjects in Motion

Fast shutter speed

Small aperture
Sharp Images

Freeze Frame

© Saurabh Garg 44
 Self Timer and Burst

Additional modes:

Self – timer
• The photographer can be in
the photo too
• Can prevent camera shake
because of clicking the
shutter release button in low
light photography
• The camera must be set on
a tripod or level surface

Burst
• Lets you take pictures in
quick succession (say 3 fps)
• Ideal for capturing sporting
events or objects in motion

© Saurabh Garg 45
 Camera Settings and
Ope at o s
Operations

© Saurabh Garg 46
 Colour

Saturated Color (default)

• Gives
Gi a more vibrant
ib t llook
k
to all colors in your
pictures

Neutral
N t l Color
C l
• Gives a more balanced
and natural look to all
colors in your pictures

Black & White

• For black and white
pictures

Sepia
• For pictures with a
edd s b o , a
reddish-brown, antique
t que
look

© Saurabh Garg 47
 Film Speed
p

AUTO - Sets an ISO speed (100-

(100
200) based on scene brightness.
Ideal for general picture taking.

ISO 80/100 - For daylight

p
pictures in bright
g sun,, when fine
detail is needed. Ideal for
f portraits
or nature scenes.

ISO 200 - For cloudy, overcast

days. Ideal when you need extra
speed without sacrificing image
quality.

ISO 400 - For dusk or night

pictures when flash is prohibited.
Ideal for sporting events and
excellent for indoor shots with or
without flash.

ISO 800 - extends your shooting

p
capabilities in low-light
g or fast-
action when flash is prohibited.

© Saurabh Garg 48
 White Balance

Auto (default)—
(default) automatically
a tomaticall
corrects white balance. Ideal
for general picture taking.

Daylight —for pictures in

natural lighting.

Tungsten —corrects the

orange cast of household
incandescent (tungsten) or
halogen light bulbs. Ideal for
indoor pictures without flash.

Fluorescent —corrects the

green cast of fluorescent
lighting. Ideal for indoor
pictures under fluorescent
li hti
lighting without
ith t flash.
fl h

© Saurabh Garg 49
 Flash

Common Flash Modes

Auto-Flash
In most camera modes, Auto-flash is enabled by
default and will automatically fire if the camera
detects it needs more light.
light

Disabled Flash
The mood of the photograph can sometimes be
more dramatic when the natural light
g is used.

Forced Flash/Fill Flash

When forced, the camera will always fire the flash
regardless of necessity. To be used to prevent
shadows
h d in
i bright
b i ht light.
li ht

Red eye Reduction

Flash fires once so the subject’s eyes become
accustomed to the flash,
flash then fires again when the
picture is taken.

© Saurabh Garg 50
 Digital
g Camera Flash

Flash has following modes :

Automatic mode

Red-eye reduction - fires the flash several

times just prior to exposing a photo.
photo
Reduces the reflection in a subject's eyes
which produces red eyes. The rapid flashes
cause a subject's pupils to contract and
helps minimize the red-eye effect.

Suppressed flash - turns the flash off

Forced (fill-in) flash - keeps the flash on in

situations where automatic mode would
keep it off. Used when additional
illumination is needed such as when the
main source of light is in the back of a
subject or shadows prevent details from
showing.

© Saurabh Garg 51
 Digital
g Camera Metering
g

Automatic exposure
Standard feature on all digital
cameras. The metering system
measures the amount of light in
a frame and determines the
best exposure.

Centre-weighted metering Matrix metering: underexposed

Area near the centre of the
frame is evaluated for exposure
calculation.

Matrix (evaluative) metering

Entire frame is referenced
referenced.

Spot metering
Only centre of the frame is
used to calculated auto- Spot metering: correct exposure
exposure settings.

© Saurabh Garg 52
 Controlling
g Exposure
p

Balancing
B l i Shutter
Sh tt and d Aperture:
A t
Exposure is about different combinations of shutter and f-stop settings. These combinations
can drastically affect the finished picture. For example, the above three pictures have been
given an equal amount of light, but the f-stop and shutter combinations make each one
unique.

Why is the background all blurred in the right picture, and sharpest in the left ? Because if the
exposure is made with a wide aperture ( like f2.8 ), then objects farther away from the subject
are thrown farther out of focus.

So.. if the aperture is small (like f22) then objects in the background (and foreground ) will
appear sharper
sharper. However
However, since more light was required to make the exposure on the left (
1/4 Second ) the subjects became blurred from MOTION. At 1/250th of a second, the shutter
is fast enough to freeze motion.

© Saurabh Garg 53
 Exposure
p Compensation
p

The camera's
Th ' metering
t i system
t
will sometimes determine the
wrong exposure value needed to
correctly expose the image.

This can be corrected by the "EV

Compensation" feature.

Typically
yp y the EV compensation
p
ranges from -2.0 EV to +2.0 EV
with adjustments in steps of 0.5
or 0.3 EV.

It is
i important
i t t tot understand
d t d that
th t
increasing the EV compensation
by 1 is equivalent to reducing EV
by 1 and will therefore double
the amount of light.

© Saurabh Garg 54
 Aperture
p Priority
y & Shutter Priority
y

Aperture Priority
In "Aperture Priority" mode,
mode the camera allows you to select the
aperture over the available range and have the camera calculate the
best shutter speed to expose the image correctly.

This is important if you want to control depth of field or for special

effects. Note that because of their high focal length multiplier, a
shallow depth of field is often very hard to achieve with digital compact
cameras, even at the largest aperture.

In "Shutter Priority" mode, you can select the shutterspeed over

the available range and have the camera calculate the best aperture to
expose the image correctly.
correctly

Shutter speed priority is often used to create special effects such as

blurred water on a river/waterfall or to freeze action in action scenes.

© Saurabh Garg 55
 AutoFocus Modes

Single (or one) area focus

Camera focuses on a subject
j in the central area of
the screen. Focus adjusts according to the distance
of the subject.

Continuous autofocus
Focuses continually on a subject; useful when
shooting
g slow movingg subjects.
j Continuous
autofocus
t f consumes more b battery
tt power.

Spot focus
Camera focuses on a very narrow, center area of the
screen.

3, 9-area focus
Camera automatically focuses using one or more
focus points. The focus positions change according
to each subject, focusing on a number of objects
within a scene.

Face-Priority AF
In 2005, Nikon introduced a Face-Priority autofocus
mode which is activated when select CoolPix digital
cameras are switched to Portrait mode. According
to Nikon, "A special digital detection program will
scan for facial details and then control autofocus
operation based on the location of the detected face
in the scene.

© Saurabh Garg 56
 AutoFocus Bracketing
g

Center AF
Most digital cameras use
contrast detection to auto
focus (AF). Usually, the focus
point is a small rectangle in
the middle of the viewfinder
frame (Center AF), though
many digital cameras now
also offer additional AF points
(Multi-Point AF).

Multi-Point AF
Multi-Point AF automatically
selects between a number of
AF points (the most common
seems to be 5 or 9 AF ppoints -
- i.e.
i 4 or 8 AF points
i t
clustered around a center
focus point) and finds the
most contrasty subject among
those AF points.

© Saurabh Garg 57
 Focusing
g

Focus is Essential
If you don
don'tt get the focus set correctly
for the distance of your subject to the
camera, it will appear blurred - out of
focus. Occasionally photographers will
deliberately use an out of focus blur
for artistic effect, but normally it is
simply
p y an error.

Autofocus (AF)
In autofocus mode the camera
automatically focuses on the subject in
the focus area in the center of the
LCD/ i fi d
LCD/viewfinder.
Autofocus is usually based on
detecting contrast and therefore works
best on contrasty subjects and less
well in low light conditions, in which
case the use of an AF assist lamp is
very useful.
f l

Manual Focus (MF)

Focusing is done by either by hand
rotating the lens ring, or is motorised.

© Saurabh Garg 58
 Autofocus Assist Lamp
p

An Autofocus Assist Lamp assists a digital camera

focus when taking photos in low-light. When the
shutter-release button is depressed half-way, a light
beams from the camera to illuminate an area where
the camera focuses on the subject
subject.

Some digital cameras have an AF Assist lamp that is infrared. Because

infrared light is invisible, a subject won't be startled as they may be by
a visible light. Always use the AF Assist Lamp within the
recommended range.

If your digital camera doesn't

doesn t have an AF Assist Lamp, turn off
continuous autofocus or multi-area focus (or focus manually). Use a
single area focus mode when shooting in low light. If your camera fails
to achieve focus, aim at something which has contrast and is of the
same distance as your subject. Press the shutter
shutter-release
release button half-
half
way down, recompose your shot, then fully depress the shutter button.

© Saurabh Garg 59
 Two-step
p Shutter Release Button

Shutter Release is a two step process

when using a digital camera
camera. When the
shutter-release button is depressed
half-way, exposure and focus are
locked as long as you hold it in that
position.

Controlling focus and exposure

Confirming focus and exposure lock

- An indicator on the LCD or a light on
the camera near the viewfinder will
glow steadily to confirm the lock. Once
the camera confirms focus and
exposure, then fully depress the shutter
button.
button

Pressing the shutter-release button

down correctly helps prevent camera
shake. Even the slightest
g movement
during the record time of a shot can
cause photos to be blurred.

© Saurabh Garg 60
 Correct way
y to hold the camera

© Saurabh Garg 61
 Camera Grip
p

The INCORRECT Way The CORRECT Way

•Arms extended •Arms close to the body

•Shaky grip •Firm grip with both hands
•Unsteady hands •Steady Hold

© Saurabh Garg 62
 Digital Photoshop

© Saurabh Garg 63
 JPEG

The most commonly used digital image format is JPEG

(Joint Photographic Experts Group). Universally
compatible
tibl with
ith browsers,
b viewers,
i and
d image
i editing
diti
software, it allows photographic images to be
compressed by a factor 10 to 20 compared to the
uncompressed original with very little visible loss in
image quality.

The Theory in a Nutshell

JPEG rearranges the image information into colour and

detail information. This is achieved by combining several
mathematical and compression methods.

Practical Tips

When editing an image in several sessions, save the

intermediate image in an uncompressed format such as
TIFF When saving in JPEG,
TIFF. JPEG closing it, it and repeating
again and again, the file size will not reduce further, but
quality will have degraded further. So only compress after
all editing is done.

TIP: Cameras usually have different JPEG quality

settings,
tti such
h as FINE,
FINE NORMAL,
NORMAL BASIC
BASIC, etc.
t ShShoott iin th
the
highest available JPEG quality setting.

© Saurabh Garg 64
 EXIF

Besides information about the pixels of

the image
image, most cameras store additional
information such as the date and time the
image was taken, aperture, shutterspeed,
ISO, and most other camera settings.

These data
data, also known as "metadata"
metadata are
stored in a "header". A common type of
header is the EXIF (Exchangeable Image
File) header. EXIF is a standard for storing
information created by JEIDA (Japan
Electronic Industry Development
Association) to encourage interoperability
between imaging devices.

EXIF data are very useful because you do

not need to worry about remembering the
settings you used when taking the image.
Later you can then analyze on your
computer which camera settings created
the best results, so you can learn from
your experience.
y p

© Saurabh Garg 65
 Photo Editing
g

It's like having a darkroom in

your computer - photo editing
software puts the power of an
entire photolab at your
command.

Taking the picture is only the

first step. Don't forget about
photo editing.

You can adjust :

Brightness and Contrast

Hue and Saturation
Adjust Levels
Add Noise
Sharpen and Blur
Selection Masks
Feather
Clone Brush

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 Digital
g Darkroom

© Saurabh Garg 67
 Sneak Peak

© Saurabh Garg 68
 Topics
p for Session 2

Composition
Ch i off subject
Choice bj t
Subject Positioning
Creativity
Proper
p Lighting
g g
Framing
Seeing in two dimensions, like a camera does
Rule of 1/3rd
Focus
Flash
Camera Angle
Shutter Speed
A t
Aperture size
i
F-stop
Pre-visualizing depth of field
Exposure
p compensation
p
Holding your camera steady - Use a tripod!, Stay still!
© Saurabh Garg 69
 “Learning by Doing”

Thank You!

© Saurabh Garg 70