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SUBJECT: ADVANCED PHOTOGRAPHY COURSE
NATIONAL INSTITUTE OF PHOTOGRAPHY
Advanced Course in Photography

Class Notes: Debashish Ghosh
Teachers
Rakesh Kulkarni & Pranath Soares
Definition
• Photography
• Photo = Light, Graph = To Write or Draw

• “Writing with Light”
• Art of recording Ideas / Events pictorially with the help of mechanical and chemical or
Electronic Means
• Camera Body = Mechanical, Film = Chemical, Image Sensor = Electronic
Basic Principles of Photography

1. Silver Salts (Chloride / Iodide / Halide etc) are sensitive to light
2. As they are exposed to light they turn into pure black metallic silver
3. These are added with sulphur compounds + gelatin (acts as adhesive)
• Together this is called - “Layer of Emulsion”
• This emulsion is pasted on a Celluloid base / Transparent Film
4. This makes the Photographic Film
5. The Layer of Emulsion causes a “chemical reaction” when exposed towards light
Basic Principles of Digital Photography

1. At the rear end of the camera is an Electronic Chip
2. This has a grille / grid of Pixels on it.
3. Individual pixels contain one Photo diode in them
4. These photo diodes are sensitive to light
5. As light falls on them they start emitting electronic signals
6. These signals are brought together and converted into Digital Data
7. This Digital Data is saved on our Memory Card.
• Which is called a File / Image File
8. This file can be displayed on Film / Computers / LCD Panels
9. Image Sensors can be used multiple times and hence Digital Photography is risk / error free.
• Unlike a Film camera where a film once exposed - cant be used again.
• Hence in Digital Photography you can take multiple images without worrying about wastage.
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DEBASHISH GHOSH’S NOTES

The Camera
1. A Camera is a “Light Tight” Box
2. The Lens has a Diaphragm - made of metal plates that define the “Apperture”
3. Parts of a Camera
• Film Winding
• used for advancing the Film
• Shutter Release Button
• Focussing Arrangement - Focussing ring on the camera lens
• Distance Scale
• Not important now - was important in Analogue Photography
• Used because photographers had bad eyesight - possibly
• Now a days the Small dial next to the view finder adjusts for this.
• This is known as the Dioptre
• Lens Release Button - to attach and detach a lens
• Flash Socket - on top of the Camera
• Hot Shoe - the Electronic connection between the camera body and the flash
• Monitor Screen
• for Preview of pictures
• various settings of the camera can also be seen
• Exposure counter
• Keeps count of the number of images one can take in a DSLR
• Keeps count of how many images have been taken in a regular SLR
• Lens Cap
• Tripod
• to be used primarily for Night Photos
• to avoid “Ghost” Images
• Lens Hood
• for Protection
• for Light / Lens Flare protection - when using against bright light / Sun
• Filter
• for protection of Lens and Photographic effects
• Incompatible Memory cards slow down the performance of the camera
• hence its important to chose high speed and compatible cards
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History - Salient Points

1. 1727 - Silver Salts were discovered
2. 1988 - Introduction of Film Negative by George Eastman
• Formed “Eastman Kodak” as the company
3. 19th August - World Photography Day
Classification of Camera based on Size of Film

1. 35mm format camera (also known as 135 Camera) / Small Format Camera
• Because it takes a film which is 35mm in width
• Size of film is 24mm in height/length and 36 mm in width
24mm 35 mm
36mm
• No of Film Exposures / Photos in a Film- 36 / 24 / 20

• 35mm Cameras could be used by anyone
2. 120 Camera or Medium Format Camera (70mm Camera)
• The film is 70 mm in width
• The sizes of film and corresponding number of exposures possible in such cameras may vary
• 6cm x 4.5cm = 15 Exposures
• 6cm x 6cm = 12 Exposures
• Semi professionals and professionals use this camera
• All kinds of above exposures can be used in this camera
• For bigger sized images (in film photography) larger format film is required
• This is megapixels in equivalent terms for Image Sensors in Digital Cameras
• Film size is equivalent to sensor size in Digital Cameras
• Cost of such cameras is high - Rs 10 Lacs Plus
• Best advantage of Medium format Cameras is that by changing the Back of the camera you
can convert the same into a Digital Camera / Transparency Camera / Colour or b/w Camera.
3. Large format Cameras
• Also called Sheet film Cameras
• Generally mounted on a Tripod as it is heavy
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• Used only by professionals

• Costing more than Rs. 20 Lacs
• Gives Best Quality of images
• Size of film is 7in x 5in or 10in x 8in
7” 10”
5” 8”
• These films are no longer available

• Used to give only 1 exposure per film (one image at a time)
Classification of Camera based on Focussing System

1. Box Cameras - Regular cameras (Now in Mobile Phone Cameras)
• No focussing arrangement
• Fixed focal length
• Direct optical view finder (no LCD Panel)
• Small Flash
• Results were good only in sunlight
2. Autofocus / Point and Shoot Cameras
• Autofocus + Auto Rewind box cameras
• Good Flash
• With Direct optical viewfinder
3. SLR Cameras
• SLR = Single Lens Reflex
• Focussing arrangement of SLR (Uses Prisms these days) has a mirror at 45Degrees
• This causes the light to be thrown up on the focussing screen
• So we can see the image from the top
• And Top is where the view finder is
4. TLR
• Twin Lens Reflex Cameras
• Two lenses are used
• The lens on top is focussing the image on the focussing sensor
• The lens below is used for capturing the image
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• TLR / Box / Point and Shoot cameras lead to Parallax Error
• Leading to image being cropped

• Because of Parallax Error the TLR camera was outdated
• Plus there was no facility to change the focal length substantially and
• there was no facility for changing lenses
• Printing facilities for such cameras were also stopped
Back to SLRs
1. Today Pentaprisms are used to send the light from the lens to the viewfinder
2. Plus the mirror is placed at 45Deg which goes up when the shutter is released
• And thus the light falls on the Image Sensor / Film
3. Now a days Penta mirrors have also come in place of Pentaprisms
4. In Live View mode, the mirror stays up and light falls on the sensor
• But this leads to some shutter lag in live view mode as the mirror needs to go up and down
mechanically - multiple times.
5. Now a days there is a new technology called SLT - Single Lens Transparent Mirrors that
allow for the Mirror to remain in its place without moving up or down
6. Now a days electronic view finders also show the image that is on the sensor
7. Disadvantages of an SLR:
• Restriction of view (since your eye is glued to the viewfinder) when taking a Photo / Image
• Restriction of Synchro Mode (to be discussed later) when using a flash
8. Main features of an SLR:
• Long series of Aperture / Shutter Speed Settings
• New features are most available in SLRs
• All kinds of Photography is possible using SLRs.
5. Polaroid Cameras
• Have printing paper and developing solution inside it
• Chemical solutions + paper is not easily available now
• Quality is not all that good
• In the Film Camera era - it was used as a reference camera for effects - before using a proper
camera for the actual shoot - basically for preview purposes.
• These needs are gone now with the availability of Digital Cameras
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Characteristics of Lenses (Generic Characters)

1. Optical Quality (Sharpness and Clarity) always depends on the lens
2. The Tonal Quality of the image depends on shutter speed, aperture and ISO
3. Convex lenses (+ve Lens) make the image form
• since it converges light though the lens in to a point
4. Convex lenses (-ve Lens) cannot form a Real Image
• since it diverges the light
5. Focal Length
• Length / distance from the edge of a lens to the point of convergence (focus) of light rays
passing from the lens.
• FOCUS is the point at which the light rays converge
• Defn: Distance between the Optical Center of the lens and the Focus is Focal Length
• The Minimum practicable distance between the optical center of the lens and the film or
image sensor is when the focus is at infinity.
• So, the closer the subject, the focal length is increasing
• Focal Length is always measured in mm on a Lens.
• For Fixed Focal length lenses, the focal length cannot be changed.
6. Angle of View
1. The Angle through which a scene is recorded on the image sensor / film is known as AoV
• Wide Angle Lenses are required for Wider AoV
• Telephoto Lenses are required for Narrower AoV
2. Angle of view is always measured Diagonally in a Frame and measured in Degrees.
AoV Frame
7. Lens Elements
• Consists of a Lens Barrel
• Which contains a mix of convex and concave lenses - called compound lenses
• This what is used by our current day cameras
• Compound lens are responsible for creating Real Images - in practicality
• Optical Defects and Aberrations (lack of clarity) are removed by compound lenses.
• Lenses having 5-8 lens elements is considered a Good Lens
• Less or more number of lenses can lead to Optical Defects + Aberrations
• Question: Why are zoom lenses preferred over normal / fixed focal lenses even if it is having
more than 10 Lens elements?
• Lens Coating
• In the front and back of each lens element there are lens coatings
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• If the coating is not there the light rays may not meet at a point and either get reflected or
be scattered (reduces Reflection + Diffraction)
• Lens coating also prevents Lens Flare
8. Speed of the Lens

• The highest light transmitting power of the lens is known as the speed of the lens.
• Denoted by the Widest Aperture of the lens (smallest f-Stop)
• Widest Aperture is beneficial in low lighting conditions
9. Taking Care of the Lenses

• Silica Gel or a Lighted Compartment is required to prevent Moisture
• In case of moisture accumulation in the lens - just start the camera and take come shots to heat
up the lens a little
Tonal Quality - of a Camera / Exposure depends on:

Shutter Speed:
1. Shutter is a mechanical arrangement that prevents the light falling on the film or image
sensor
2. It controls the light falling on Image sensor by controlling the time duration
3. This time duration is called Shutter Timing or Shutter Speed
4. There are a standard series of shutter speeds
• 1, 2, 4, 8 - Slower Shutter Speeds
• 18, 30, 60, 125 - Medium Shutter Speeds
• 250, 500, 1000 - Faster Shutter Speeds
• These denote fractions of a second in terms of speed of shutter.
5. The slower the shutter speed the more the light that goes in.
6. Factors for Setting Shutter speed:
1. Lighting conditions
• Shutter speed needs to be adjusted along with lighting conditions
• Low Lighting - Slow shutter speed
• Medium Lighting - Medium shutter speed
• High / Bright Lighting - Faster Shutter speed
2. Hand Shake
• Anything less than 1/30 shutter speed will give Hand Shake / Blur
• More than 1/30 shutter speed is preferred without a Tripod
3. Freezing the moment
• Faster shutter speed is required for moving objects - allowing the moment to be frozen.
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7. Newer cameras allow for much faster shutter stops - upto 1/8000 of a second.
8. For General lighting conditions have shutter timing greater than 1/500 of second.
9. Also Slow shutter speed can go to 30 second shutter speed - when you will definitely need a
Tripod.
10. “Bulb” Mode allows the shutter release button to be for more than 30 Seconds also
• As much time as it is pressed
• Upto 5 mins or so.
11. Now as days - each shutter stop is broken down into further 3 separate parts / stops
• This is called the 1/3rd series
• Check shutter stops in camera
• This is for DSLRs only - not for SLRs.
12. Types of Shutters:
• Between the lens, In lens, leaf shutter
• Made of Metal blades shaped like a leaf
• Either placed inside lens elements or behind the lens
• Found in regular digital cameras
• These are discontinued today.
• Electronic Shutters
• These days the Image Sensors decide the shutter speed / time as in the case of
Electronic Shutters.
• In case of DLRS the shutter is placed in front of the Image Sensors
• Made of 2 opaque cloths
• Called the 1st curtain and 2nd curtain
• The time gap between the movement of these two curtains decides the shutter
speed
• The curtain can move horizontally or vertically - depending on the camera model
• First the 1st curtain moves and then the 2nd curtain moves when the shutter is
pressed
• The 1st curtain prevents the light from falling on the image sensor
• Therefore you can change lenses without exposing the image sensor / film to
light
Diaphragm & Aperture:

1. A Mechanical arrangement made of metal plates to form a more or less circular opening -
which is known as aperture.
2. The Aperture scale is often available on the lens in case of the DSLRs
3. Aperture controls the Amount of light falling on the film / image sensor.
4. Diaphragm is akin to the Iris of the eye while the Aperture is akin to the pupil of the eye.
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5. Aperture is standardized by the F Number.

6. Formula for calculation of F Number:
• F.no = Focal length / Diameter of Diaphragm
7. Now a days however a standard series is available on the Lens itself.
• 1, 1,4, 1.8, 2, 2.8 - Wide Apertures
• 4, 5.6, 8 - Medium Apertures
• 11, 16, 22 - Small / Narrow Apertures
8. Each Aperture is set such that it allows half the light in than its preceding Aperture number.
• Hence 1.4 throws half the light of 1 and so on.
• 2.8 throws double the light of 4 and so on.
9. Aperture numbers are calculated on a Sq Root basis
10. Factors or Setting Aperture
1. Lighting Condition
• The lower the light the lower (by number) or wider the Aperture
• The higher the light the higher (by number) or Narrower the Aperture
2. Depth of Field
• Discussed in Detail later
• But to remember:
• Wider the Aperture, shallower the Depth of Field
• Narrower the Aperture, higher the Depth of Field
• Subjects at a distance are blurred or defined depending on shallow DoF or Higher
DoF
• Therefore the lower the Aperture No the DoF is shallower, allowing for blurring
of surrounding elements other than the primary subject.
11. Standard Aperture series / stops are also broken into 3 parts
• Called the 1/3rd Series
• Can be checked in the DSLR Cameras
• And available only in DSLRs
12. The widest Aperture available in a lens is the “Speed of the Lens”
• Wider Aperture lenses (Smaller Aperture Numbers) are the more expensive lenses
Terminology / Pro Lingo:

• Set Aperture Fn at Sutter Speed 1/x”
• Set Fn / x
• Fn / x is known as Exposure.
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Exposure:
1. Certain Amt of light (by way of Aperture Setting) enters the Camera for Certain Duration (by
way of Shutter Speed)
2. The Total Amount of light that falls on the Image Sensor known as the Exposure and it
depends on Aperture and Shutter Speed.
3. Setting the exposure depends on Lighting conditions and is also based on speed of film.
4. Various Ways of setting the exposure:
• Human Judgement
• Summary 16 Rule
• TTL (through the lens) exposure meter of our cameras.
• Inbuilt in our cameras
• Based on Light levels that the light sensor on the camera which takes light through the
Lens.
• Match Needle Technique to be followed for setting the Exposure using the inbuilt meter.
• Needle at Zero means Image is perfectly exposed.
• increments on the scale are of 1/3rd stops
• A blinking needle at the end of the scale means it is higher / lower than the scale itself /
beyond the scale.
• Which will result in the image being overexposed or underexposed.
• Get the needle in the middle every time Manual settings are done for a proper
exposure.
• By changing the Shutter Speed or Aperture - based on fixing one and setting the
other - depending on whichever is more important.
5. Equivalent Exposure Setting for Shutter Speed and Aperture:
• The Ratio at which Aperture and Shutter Speed settings need to be adjusted - in inverse ratio.
• So for EES if you increase shutter speed by some stops, you need to decrease Aperture by
the same number of stops and vice versa
• In case of DSLRs this is simple these days as you can use the Match Needle Technique very
easily.
Film and Image Sensor:

1. Image sensor is a grid of Pixels with Photodiodes that emit electric signals / charge.
• The Density of the Grid is one of the factors that determines the Resolution of the camera /
Image Sensor
• More the pixels, the more the sharpness in an Image.
2. Types of Image Sensors (Solid State)
• CCD - Charged Couple Device
• CMOS - Complementary Metal Oxide Semiconductor
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• FOVEON - Sigma’s image sensor

• CMOS today is far better than CCD
3. Speed of Film:
1. Some Films are more sensitive to Light than others
• These are “Faster Films”
2. Various Measurements are there for Film Sensitivity
• ASA - American Standard
• DIN - German Standard
• ISO - International Standard - which is what is used today
3. ISO has a standard Series
• 100
• 200
• 400
• 800
• 1600
• 3200
• The Higher the ISO number the more light is thrown on the Image Sensor (or more
sensitive the Film is to light)
• ISO is the third parameter for setting an exposure properly.
• Light level increases with higher ISO Setting
• Less than 100 ISO = Low ISO
• Upto 400 ISO = Medium ISO
• > 400 ISO = Higher ISO
• If we do NOT want to change F-Stop of Aperture in Sync with Shutter Speed (as in
the case of Equiv Exp Setting), then ISO can be used.
• Similarly, to not change Shutter speed with F-stop changes - ISO can be used.
4. In case of DSLRs, the higher the ISO, the signals from the Image Sensor will be amplified
more.
• Hence even ISO can be adjusted using the TTL Meter
5. When there is abundant light - use Lower ISOs, when Light is low use Higher ISOs
6. ISO also has 1/3rd Series an 2/3rd Series
• But these are not seen in normal cameras - Only available in SemiProfessional and
Professional Cameras
• 12/12
• 16/13
• 20/14
• 25/15
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• 32/16
• 40/17
• 50/18
• 64/19
• 80/20
• 100/21
• 125/22
• 160/23
• 200/24
• 250/25
• 320/26
• 400/27
• 500/28
• 640/29
• 800/30
• 1000/31
• 1250/32
• 1600/33
7. Equivalent Exposure Setting using ISO (Examples)
1. If EES is 5.6 / 60 for 100 ISO
• Then for ISO = 400
• EES will be
• 5.6 / 250 or
• 11/60
2. If EES is 11/125 for 400 ISO
• EES will be
• 11/250 or
• 22/125
• EES will be
• 4/60 or
• 5.6/30
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• EES will be
• 8/1 or
• 2.8/8
Graininess:
1. The Grains in pictures or Noise
2. The Dotty appearance that is seen in an image is termed as graininess in Film and Noise in
Case of Digital Cameras
• Makes the image lose its sharpness
3. Taking pictures at higher ISO tends to put grains in an image (typically when much higher
than 400 ISO)
4. Higher ISO - Increased Graininess
• In DSLRs higher ISO produces unwanted signals which become Noise
5. Larger the size of the Image Sensor - the lesser will be the Noise
6. We need to switch Noise Reduction Setting on only when going over 400 ISO
7. When the Image is more important than Image Quality then using higher ISO is OK.
• Like taking pictures in low light conditions without letting the subject know (hence not using
Flash)
Contrast:
1. The Difference between the brightest tone and the darkest tone of an image is Contrast
2. Medium Contrast is always preferred
3. In case of Film Photography factors influencing Contrast are:
• Lighting condition
• Developing time and procedure
• Speed of Film
• Slower Film has more contrast
4. In case of Digital Cameras the factors influencing Contrast are:
• Lighting Condition
• Camera’s internal Software Setting
• Editing software like Photoshop
5. In Foggy conditions it is important to Increase Contrast
Exposure Latitude of a Film:

• Tolerating the errors in Exposure is known as an Exposure Latitude of a film
• Digital Cameras have no such tolerance since Image Sensors do not have Exposure Latitude.
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Lens:
1. Normal or Standard Lens
1. The lens that, when mounted on a camera records the scene that a normal human eye
can see is known as a Normal Lens
2. The Angle of View is the same as what Human eye can see in case of a Standard Lens
3. Technical Term:
• Normal Lens is a lens in which the focal length is numerically equal to the diagonal
Picture Format of the camera.
• Picture Format = Image Sensor
• Therefore on a 35 mm format camera, a lens which is 43 mm in focal length is called
a Normal or Standard Lens
• For a Medium format camera a 80mm lens is a normal lens
• For a Large format camera a 150 mm lens is a normal lens
• However in reality a 50mm (rounded off) lens is called a Normal or Standard lens for
35mm cameras.
4. Fixed focal length lenses where Focal Lengths are fixed and they cannot change.
• e.g 30mm, 40mm, 50mm lenses etc.
5. Now, in case of 35mm DSLRs the sensor size is as follows:
• For Canon - 22.8 x 14.9
• For Nikon - 23.2 x 15.8
• Both of which are nor the same as in the case of a 36 x 24 mm Film
• These are called APS-C Sensors / Cameras
• Thus:
• For Canon a Normal Lens = 27mm Lens
• For Nikon a Normal lens = 29mm Lens
• Hence 30mm (Approx rounded) is considered a Normal Lens for APS-C Cameras
6. The Sensors for regular Digital Cameras are smaller and hence the normal lens = 15 mm
7. For Mobiles the sensors are even smaller and hence the Normal lens = 3mm
2. Wide Angle Lens

1. The lens where he focal length is shorter than the Normal Lens is a Wide Angle Lens
2. Shorter the Focal Length, the wider the angle of view and hence Wider area of Focus
• On 35mm Cameras:
• 6mm and 8mm lenses are called Fish Eye Lenses since they give 180deg and
160deg views respectively.
• These are used for Perspective / Spatial photography
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• 10mm, 12mm 15mm, 16mm lenses are called Medium Wide Angle Lenses
• Used for Photography of Interiors and Industrial work
• 20mm, 24mm, 28mm, 35mm Lemses are called Semi or Moderate Wide Angle
Lenses
• Used for Press Photography / Events / Birthdays etc.
3. All of the above can be used for Nature or Landscape Photography
4. Using a wide angle lens if you come too close to a subject you will create distortion of the
image.
• This distortion is where the distance between two objects of a subject look
exaggerated (nearer - broader / Further - Narrower)
5. So Do not take Portrait pictures with Wide Angle Lenses - Maintain a 5 to 6 Feet
distance at least.
• If taking photo of a standing person ensure that the picture is taken from the middle of
the person if using a Wide Angle Lens.
3. Telephoto Lens
1. The Lens which consists of a Focal Length longer than the Normal Lens is a Telephoto
Lens
2. Using Telephoto Lenses the image starts appearing closer to you (Telescopic effect)
3. The more the focal length increases the AoV reduces and the subject comes closer to
you.
4. Types of Telephoto Lenses available on 35mm Cameras:
• 70mm, 80mm, 90mm, 100mm, 105mm, 135mm - Moderate Telephoto Lenses
• 200mm, 300mm, 400mm, 500mm, 600mm - Medium Telephoto Lenses
• 800mm, 1000mm, 1200mm - Super Telephoto Lenses
5. For 70mm to 135mm Lenses there are no distortions and images are recorded in best
proportions.
• Hence these lenses are also known as Portrait Lenses
• Used widely for Fashion Photography
6. 200mm to 600mm lenses are typically used for Bird or Wild Life Photography
7. As you increase focal length more than 300mm you need a tripod - as the lenses become
heavy.
8. 800mm to 1200mm lenses are used for Astronomy.
• You can get a tight composition of the moon with these lenses
• Normally these cant be used for Wild life or moving Sports Photography as these
lenses are very very heavy.
9. When using a telephoto lens which is more than 200mm, you will get distortion.
1. But this is not so “eye visible”
2. Here the Distortion is such that the distance between two objects seem to be
compressed (Opp of Wide Angle lenses)
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10. Any lens more than 30mm is a telephoto lens in an APS-C Camera.
11. Lenses with Fixed Focal Lenses are also known as Prime Lenses.
12. For a Lens:
• Focal Length Defines AoV
• Focus Defines Sharpness
4. Field of view Crop Factor (FoV Crop factor) or Focal Length Multiplier
1. For Canon the Crop Factor = 1.6
2. For Nikon the Crop Factor = 1.5
3. Therefore the actual focal length = Set Focal Length in the camera / Crop Factor
• This is relevant only when we are using a Defined focal length + distance and trying to
compose a certain picture
4. This happens since the size of the sensor is different
• e.g. Canon 5D Mark II is a “full frame” camera
• where image sensor size is 24mm x 36mm
• and not 22.3mm x 14.9mm as in the case of APS-C cameras
• Thus a 70mm lens on a 5D Mark II will get converted to a Zoom lens on a 550D
for instance (or any APS-C camera)
• A lens used on a full frame camera gives more zoom on an APS-C Camera by a factor
of the Crop Factor (1.6 for Canon)
5. In Nikon - FX range of Cameras are Full frame cameras and DX range are APS-C
Cameras. In Canon you cannot use APS-C camera lenses on a full frame camera (eg.
EF-S lenses dont work on the 5D or 1D)
5. Zoom Lenses:
1. Is a lens that serves the purpose of various lenses having various focal lengths
2. Types:
• 14-35, 20-40 - Wide Zoom
• 28-105, 28-135, 28-70, 28-85, 35-70, 35-105 - Normal / Standard Zoom Lens
• 28-200, 28-300 - Super Zoom Lens
• 70-210, 70-300, 80-200 - Tele Zoom Lens
3. For better optical quality newer elements are introduced in Zoom lenses now a days
• e.g.: XR Lens element on Tamaron Lenses - Refractive Index Lens Element
• this helps reduce the lens size since one lens does the job of 3 lenses
• Aspherical lens element
• Removes Distortion + optical Defects
• Types LD (Low Dispersion), ED (Extra low dispersion), UD (Ultra low
dispersion
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• Chromatic Aberration (resulting in Non-Rich, Non Specific Colours) - is reduced in

good quality lenses.
• Sigma used APO lenses (Apochromatic)
• L Series lenses of Canon have all these features and hence gives great colours and
pictures
• SP Lenses in Tamaron and EX lenses in Sigma are good Lenses
4. Therefore invest more on lenses rather than on Camera bodies
5. In case of a zoom lens if Focal length changes the F Number will also change.
• Every Focal Length has its highest aperture preset
• Only in a constant lens, the Aperture remains the same.
• Like in the case of Canon 24-105/f4 L series lens
6. Zooming Factors in Digital Cameras:

1. Optical Zooming
• When the size of the subject / image increases or decreases due to change of Focal
length itself.
2. Digital Zooming
• When the final image is cropped and Expanded
• Therefore required pixels are lost and quality of the image suffers / reduces
• Can be used when the image is more important than image quality
7. Macro Lens
1. For Food / Product and Insect Photography
2. You can go Really close to the subject and enables capture of real finer elements which
are often difficult to see by the naked eye
3. Uses finest class of optical elements
4. It is possible to go closure to subject with minimum distortion
5. Types:
• 50mm, 100mm, 180mm, 200mm
6. Macro lenses are marked with Magnification Ratios
• When 1:1 then can get life sized images
• Now Canon has introduced MP65 Lens where the ratio is 5:1
• So one can magnify images 5 times and take pictures
• But these lenses are very heavy
7. Macro Lenses can be used for good portraits as well.
8. Auxiliary Lenses:
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1. Teleconverter:
1. Can never work independently
2. Needs to be attached between Camera Body and The Lens
• Found in Ratios of 1.4 x, 2x and 3x
3. Using a Teleconverter the Focal Length is doubled along with Fno / Apperture.
4. Hence Teleconverters are generally best to be used in Lighted conditions (by Increasing
ISO if required)
5. In case of a Teleconverter since there is one more thick glass element between the
camera body and the lens, the following wont work:
• Auto Exposure Setting
• Auto Focus
• IS / VR (Image Stabilisation)
6. Therefore it is disadvantageous to use a Teleconverter most of the times.
2. VR / IS (Vibration Reduction / Image Stabilization) :

1. Generally to Reduce Vibration we need to:
• Set Shutter Speed = Focal Length OR
• Set Shutter Speed = 3x Focal Length
2. But this is not always possible / practical
• Hence IS / VR reduces the shake of the lens elements within the lens
• This is good in case of longer focal lengths or slower shutter speeds.
3. IS / VR must be set to off when using a Tripod
3. CloseUp Lens:
1. The Flower Symbol on the Lens signifies the Minimum focussing distance of the lens
2. If we have to take photographs closer than the min focussing length then we need
CloseUp Lenses
3. CloseUp lenses are available with Diopter No as +1, +2, +3 and +4/Macro Close up
Lens
4. These are attached in front of the lens
5. But you will need to switch to manual focussing on the lens
6. Cost of the whole series of CloseUp Lenses is only around 1000K
9. Composition of a Lens:
1. Aspherical Glass elements are used to correct spherical aberrations in lenses .
2. Chromatic Aberrations are corrected by Apochromatic Lenses
• Chromatic Aberrations occur due to diff wavelengths of the different colors of light (7
Colors)
PAGE 18 OF 32


• Some Lens elements improve the quality of the lens like UD Glass elements (Ultra Low
Dispersion). These are used to make light travel in a straight line within the Lens Barrel.
10. Other Pointers relating to Lenses

1. DSLR Cameras have “Focal Plane Shutters”
2. In order to Prevent Handshake, the Min shutter speed should be the reciprocal of the focal
length at which the exposure is being set (thumb rule).
3. Types of Zoom Lenses:
• Normal Zoom Lens - when the Normal Focal Length of the lens is contained in the range
of the lens
• Wide Angle Zoom Lens - when in a Zoom lens all focal lengths are lesser than the Normal
Focal Length
• Telephoto Zoom Lens - Where the focal length is more than the Normal Focal Length
4. VR / IS / OS (Optical Stabilization - Sigma)
1. How does it work and how effective is it?
• Is enabled due to ONE floating glass element which is not fixed to the Lens Barrel
• A Gyro-sensor is present inside the Lens
• This senses the lens movement direction and speed of movement
• The Floating lens (attached to a motor) moves in accordance to the lens elements so
that the distance between subject & floating lens always remains the same
• This allows for Optical Stabilization
2. Another type of Stabilization is “Sensor Shift Stabilization”
• This is effective upto 1 and 1/3rd Stop
• Here the Sensor moves in order to compensate for the movement of Lens Elements
3. Optical Stabilization differs by Brand
1. VR = 3 Stops of Shutter Speed for Nikon
2. IS = 4 Stops for Shutter Speed for Canon
3. VC = 4 Stops for Shutter Speed for Tamaron
Depth of Field
1. Part of the picture around the point of focus that is exceptionally / acceptably Sharp is called
Depth of Field. (Other surrounding areas are Blurred in Focus)
2. Smaller the f-No, smaller the depth of field
• This 50mm 1.8f lens give good DoF results
3. As size of Aperture decreases, the DoF increases
• This DoF is inversely proportional to f-no.
4. DoF = “Area around Point of Focus”
5. DoF field preview button closes the aperture to the f-No that has been set
PAGE 19 OF 32


• In order to give an idea as to how the preview will be when clicked

6. Smaller the Focal Length, Higher the Dof
7. Distance also influences DoF. As distance between the subject and camera decreased, DoF
also increases
8. All 3 factors above influence DoF- working together
9. Also, as the distance between the subject and background increases DoF also decreases
10. 4th Factor controlling DoF is the size of the recording medium (image Sensor or Film).
• As the size of the recording medium decreases - DoF increases
• Therefore in Mobile Phone Cameras the blur of the background is negligible, whereas in 5D
Mark II the blur is noticeable.
11. Spread of DoF is always 1/3rd in the foreground and 2/3rd in the background
• Therefore you should focus in the 2nd row in case of a Group Photo
• For Portraits - focus on the eyes - for the same reason
• Hence always focus 1/3rd distance at the base of the beginning of the subject.
Lighting
1. 4 Parameters of light are to be controlled to take good pictures
1. Quantity of Light
• Determined by:
• Apperture
• Shutter Speed
• ISO (Sensitivity of Sensor)
2. Quality of Light
1. Harsh Light - when the source of light is small it creates well defined shadows
• e.g. in Built Flash
• Sun
2. Hard Light - Contrast in images is higher and Saturation of colours is high
3. Soft Light - Contrast is less and Saturation of Colours is low
4. Hard Light can be converted to Soft light - but not vice versa
• To convert hard light to soft light, cover the hard light / filter it with something that
diffuses the light (Diffuser)
• Like an Umbrella / Studio Umbrella to diffuse the light
5. Soft Light is preferred for Portraits / Product Photography
PAGE 20 OF 32


3. Angle of Light
1. Frontal Light
• Whenever the source illuminates the front of the subject
• The Subject is lit properly
• No Shadows are cast
• Actually a disadvantage sometimes - as the picture will look flat and in one plane
• Shadows give information about the depth, form and texture of the subject
• So having some shadows is good
• Thus frontal light / flash is not the best lighting condition for pictures
2. Side Lighting
• Whenever the side of the subject is illuminated
• Creates images with high contrast
• But when we do side lighting, the texture of the subject is highlighted
• So its ideal for food photography, Jewelry etc
• Not for Portraits
• Highlights / Shadows / Midtones are all required when we take a picture
3. Back Light
• Back of the subject is illuminated
• More care needs to be taken
• Chances of lens flare are there
• So cover the lens with a hood or hand
• Also use a reflector in the front to reflect the light back to the subject in a diffused state
• When it is not possible to carry reflectors, use a secondary source of light to fill in the
shadows (e.g.: Camera’s Flash / External Flash)
• The in-built flash in normal SLRs have 15 feet limit
• Back lighting allows silhouette pictures to be taken
• In such situations under expose the exposure by one or two stops to make the
silhouette more dark.
4. Cut Light / Hair Light / Rim Light
• Focussed 135deg from the front of the subject
• Gives a pictorial effect
5. Conventional Model Lighting
• 45deg from the front of the subject and slightly above the subject
• Illuminated triangle on the side of the face that is on the side of the face that is not
directly exposed to light - shows that the lighting is correct
Illuminated Triangle
PAGE 21 OF 32


• Plus the subjects eyes should have a glint / “Catch Eye” between 10-11 o’clock or 1-2
o’clock depending on which side the light is falling from
6. 3 most popular lighting methods
1. Flat Lighting
• Used for Identity / Passport
Photos
• Subject
• Distributed Main
Sources of light
• Camera
2. Conventional Model Lighting

• Spot light in the back
for Hair Light (Back
Light)
• Reflector
• Secondary Source (Fill
light of lower intensity)
• Used instead of
reflector
• Main Light
• Back light should be on Opposite side of the Main light
3. Lighting for Product

Photography
• Use a seamless
background
• Big source of light for
Soft Light
• Reflector or Secondary
Source of Light
7. Flash Photography
1. 2 Types of Light are there
• Constant Source (Ambient Light)
• Instantaneous Source (Flash)
2. Types of Flashes
• Built in Flash
• Portable Flash
• Studio Flash
PAGE 22 OF 32


3. Internal Capacitors are charged (by Batt) which times / charges the flash
4. After every flash there is a time that is taken by the capacitors to get charged again
• This is call Flash recycle time.
5. Flash Recycle time of built in flashes are higher and it is much lesser for portable
flashes. Studio flashes are charged by electricity and hence their charges are fastest.
6. Duration of a Flash is 1/5000th of a Second to 1/25000th of a Second.
7. When taking pictures with a flash, the shutter speed does not play any role in setting
the exposure.
• When using a flash the movement of the subject will be frozen
• Do not use a fast shutter speed in Flash Photography or else you will get partial
exposure
• Keep it around 1/100 or 1/150 - Max 1/200
8. The fastest shutter speed beyond which you will get a partial exposure is called Flash
Synchronisation Speed (FSS)
9. The built in or Portable Dedicated Flashes automatically adjusts the shutter speed
to the FSS if the shutter speed is more than the FSS
10. Power of portable flashes is mentioned in terms of some Distance
• Called the guide no
• e.g. 42 meters at 100 ISO
11. For built in Flashes the guide no is typically 5 meters at 100 ISO
12. Speedlite 580 EXII has a power of 58 meters at 100 ISO or 191 feet at 100 ISO
13. It is always better to use lower ISO when using Flash
14. Formula for using Fno when using a manual mode flash
• Fno = Guide no of Flash / Distance between subject and Flash
15. Studio Flash
• Draws power from a power socket - no Batt.
• Has a modeling lamp along with the flash. This acts like a guide.
• Can have various attachments
• Can fire multiple flashes through the Xenon Light Sensor
• Shutter speed should be 1/125 for Studio Flashes
16. Red Eye

• When the amount of light is low, the pupil of the eye widens. So the light reflects
on the retina and comes back as a red light because of the blood in the retina of the
eye.
• Generally happens in case of improper direction of light in case of flash
photography
PAGE 23 OF 32


Autofocus
1. 2 Kinds of systems for Focussing
1. Active System
2. Passive System
2. Active System uses two kinds of techniques
• Ultra Sonic Sound (US) - used in USM lenses
• In this, with the use of sound the camera senses the focus automatically. The sound waves
reflect off the subject and the distance is calculated by the camera to focus
• Infrared Light (IR)
• In this case the camera emits an Infra Red Light which helps in focussing
• These do not work in shooting landscapes however - since the subject is too far away
3. In the Passive System, the sensor detects different intensities of light and analyses highlights
and shadows. Based on this the distance of the subject and light levels are determined.
• Once the distance of the subject is determined, the focus ring on the lens begins to move.
• If the intensity of light is low, the passive system does not work well.
4. The Autofocus points denote whether or not focus has been achieved and which part of the
frame is in focus
5. Sometimes the AF goes on focussing and this is due to the poor lighting conditions. If there are
no highlights or shadows present, then the autofocus goes on focussing.
6. AF points are horizontal as well as vertical
7. The Center AF point is called the Cross light auto focus sensor because it is square in shape
and bigger than the other points of focus.
• The sensitivity of the Center AF point is higher than the normal AF sensor points
8. Ways to achieve AutoFocus:
1. One Shot Focus:
• Pressing the shutter release button halfway, the camera focusses just once. This is known
as One Shot Focus.
2. AutoFocus Continuous (AI Focus in case of Canon):
• In this mode the camera keeps on focussing continuously.
• Ideal when the subject is moving.
• The camera goes on focussing if the distance between the camera and subject is changing.
• Used to do “Panning” Shots in case of moving objects.
• Put Camera on TV mode and shutter speed as 1/30
• Set aperture as per ISO 200 - 400
• Half press shutter release button and focus on a moving object coming towards you
from far. Follow the object at the same speed as its movement and when it is in center
of the frame in front of you - press the shutter release button fully.
• You should get the object in sharp focus and the background in blurred view.
PAGE 24 OF 32


3. Auto Focus Auto (AI Servo in Canon)

• Here the Camera decides if the focus has to change or remain steady.
• The Camera will keep on Calculating the focus
• Used to do shots that signify movement of subject.
• Put camera on 1/500 on TV mode
• Set aperture as per ISO 400
• Put camera on Burst mode / continuous shoot mode
• Shoot a subject for instance from a height to the ground and the objective is to capture
the movements of the subject from the time he jumps till he lands on the ground.
9. In Canon:
• USM = Ultra Sonic Motor
• EOS = Electronic Optical System
10. AF lock
• When composing a shot select the middle focus point. Then press the shutter release buttom
half way down to achieve focus on the subject. Then shift the camera to recompose the shot
and then click. The subject will remain in focus.
• Remember not to release the shutter release button.
• In case of DSLRs the Phase Detect system (Passive System) of focus is used.
11. Contract Detect
1. In compact cameras there is no dedicated AF sensor in the camera
2. The data from adjacent pixels gets merged, the contrast is minimised and hence the image
gets sharp.
3. It is slower than the Phase Detect System
Some Camera Modes (other than the obvious)

1. In High end Cameras the C1, C2, C3 modes are used to register custom exposure settings:
• e.g.:
• C1 = f5.6, 1/125, ISO 100
• C2 = f8, 1/500, ISO 800
2. B = Bulb mode - for extra long exposures (delayed Shutter Speeds over 1 min)
3. CA = Creative Auto Mode
• A Semi Auto mode meant mainly to allow amateurs to shoot near professional pictures.
4. A-DEP = Auto Depth of Field.
• This mode is used to keep the Depth of Field sharp through out the photograph.
• Used to give maximum sharpness to the image
PAGE 25 OF 32


Composition Tips
1. Rule of Thirds:
• Divide the frame vertically and horizontally into 3 imaginary parts
• The points are known as Points of Primary Focus, points of intersection or Points of
dominance.
• The subject should be placed in one of the four points.
• The Lines are known as lines of Secondary focus
2. The picture should be composed keeping in mind the side that the subject is looking
3. If the person is on the right of the frame looking to the left then the space on the left should be
more.
4. If you want to create a difference between the subject and the background, then try and give a
difference in tone for either one.
5. Either the colors or focus can be used as elements to highlight the background or the subject.
6. Include guiding lines in a Photo to make it more interesting - like a flight of stairs or a stream
etc.
7. Avoid composing the picture at joints of the subject - like arms, legs, wrist etc.
Types of Filters
1. UV Filters - Clear Glass filters for indoor shooting / studio setup. Primarily used these days as
a lens protector.
2. Radial Filter - Has a hole in the centre surrounded by thick glass to create a blurring effect
3. Star Filter - Gives a star effect to a small source of light
4. Defraction Filter - Gives circular effects
5. ND filters - Natural Density Filters - Blocks out light upto a certain amount (depending on
strength - ND2/ND4/ND8 etc) equally.
6. Polarising Filter - CPL (Coloured Polarised Light) Filter - Light is made to move in one
direction. Use in outdoors to minimise reflection.
Colour of Light
1. RGB - Red/Blue/Green - Primary Colours
2. When these 3 colours are mixed in equal proportions they form white light
3. When Red and Blue is mixed it produces Magenta
4. When Red and Green is mixed it produces Yellow
PAGE 26 OF 32


5. When Green and Blue is mixed it produces Cyan

6. C,M,Y are secondary colours - when secondary colours are mixed together it will produce grey
or black.
• Secondary colours are used for printing
Red
• Primary colours are used for Photgraphy and Videos
7. Complementary colours
• Red + Cyan Yellow Magenta
• Green + Magenta
• Yellow + Blue
8. Yellow is a Warm Tone, Blue is a Cool tone. Green Blue
Cyan
White Balance Setting
1. AWB - Camera Decides sensitivity towards light of different colours
2. Presets:
• Daylight - When the colour of light is white
• Shade - when we take pictures in the shade, with this mode the colour of blue is reduced to
make it more yellowish
• Cloudy - Reduces the blue hue upto a certain limit
• Tungsten - This setting reduces the yellow tone in an image and gives it a more bluish tone
• Custom White Balance is when we shoot an 18% gray scale card and set that as “white” for the
camera.
• Using white balance we can tell the camera what is defined as “White” and the camera will
set all other colours in accordance to that “defined white”.
3. Normally AWB does a good job and we do not need to change this usually. At best Daylight or
Custom WB can be used. The rest of the presets are really not needed.
Ideal Photography Settings

1. Macro Photography:
• Shutter 1/30, Aperture 5.6, ISO 400, Manual Mode
• Shutter needs to be adjusted as per lighting conditions
2. Portrait Photography:
• Shutter 1/800, Aperture 5.6, ISO 400 - AV Mode
• Shutter speed changes as per lighting conditions
• Using the sun as a source of light at a 135deg angle
• hence the hair light will also be seen
• The Light can be balanced with a reflector in front
• Can also be shot using the 45deg lighting angle where the illuminated triangle can be seen on
the face. Shutter 1/2000, f4.0, ISO 400, AV mode
PAGE 27 OF 32


3. Landscape Photography:
1. Composition being the key for landscape photography, using the rule of thirds compose the
shot.
2. Shoot in Manual Mode with Shutter 1/160, F11 to get sharper depth of field, ISO 200-400
depending on the lighting conditions OR
3. In AV mode - shutter speed auto for F11 and ISO 400
4. You can also use A-DEP mode along with auto selection of Focal points.
Metering (for Light readings)

1. The 550D has a 63 zone metering system which captures the average light reading and transfers
the same to the TTL light meter.
2. Whenever there is more contrast (the background or subject is more brighter or darker than the
other) then the subject / background will become underexposed since the metering system will
get confused (as the average reading will be wrong).
3. One solution is to manually over expose / under expose on the light meter as the case may be
appropriate.
• Exposure compensation needs to be done for such cases.
4. Metering Modes:
1. Evaluative Metering - for full frame exposure
• When light distribution is even
• Required to lock exposure and take Photos
2. Center weighted average
• When central part of the image is to be given the most importance (upto 70% of the frame)
• Used when light distribution is not even - eg. Background is brighter than subject
3. Partial Metering
• In this case Only the light coming in from the center of the subject / frame is considered
4. Spot Metering
What Cameras to Buy

1. Entry Level
• Nikon (with Kit lens)
• D3000 - Rs. 21.5K
• D3100 - Rs. 27.0K
• D5000 - Not recommended
• D5100 - Rs. 34.5K
• Canon (with Kit Lens)
• 1000D - Rs. 21K
• 1100D - Rs. 25.5K
PAGE 28 OF 32


• 500D - Rs. 30.0K

• 550D - Rs. 34.0K - Recommended
• 600D - Rs. 42.5K - Recommended
2. Semi Professional
• Canon
• 60D - Rs. 56K (Body)
• 7D - Rs. 74.5K (Body)
• Nikon
• D90 - Rs. 50K (Body)
• D7000 - Rs. 68K (Body)
3. Professional Cameras
• Canon
• 5D Mark II - Rs. 1.07 Lacs (Body)
• 1DS mark III - Rs. 3.5 Lacs (Body)
• Nikon
• D3x - Rs 5.2 Lacs (Body)
• D7000 - Rs. 1.07 Lacs (Body)
4. Canon is reputed to be better amongst professionals due to image quality
5. The * button on a Canon camera is for Auto Exposure Lock
6. Use a 18% Grey Card for Auto Exposure Lock Settings
How to handle un-realistic colours

1. Black and White / grey scale images taken using B/W film are made of 256 tones
2. But the same if taken in a Colour Film will have 300 tones from Black to White
3. Grey Scale is an 8 Bit image - having 2^8 values = 256 tones
4. Colour images are also 8 Bit images - but these are 8 bits each for R, G and B. Therefore this
leads to 16.7 Million colours (256x256x256).
5. When we shoot in RAW mode then we get a 12 bit image - which leads to 68.4 million colours
6. A 12 bit image has more information than a 8 bit image. Noise is also less in this case.
7. Hence RAW is the best format to shoot pics in. However these will need to be opened in an
imaging software like Photoshop
8. Colour Chart for Sun and Surroundings and Colour Temp
• Early morning / Sunrise - Red / Orange - < 3000deg Kelvin
• Around 8 o’ clock - Yellow - 3200K to 3500K
• Around 9 o’clock - Light Yellow - 4700K
• Around 10 o’clock - almost white - 5500K
• Around 11 o’clock - Sky is light blue - 5800K
PAGE 29 OF 32


• Around 1 pm - Sky is Blue - 6500K

• 3:30 to 4:00 pm - Sky is light blue - 5800K
• 4:00 pm - White sky - 5500K
• 4:30 pm - Light Yellow - 4700K
• 5:30 pm - Yellow - 3500K
• Sunset - Red / Orange - 3000K
9. When setting Custom WB the histogram of the picture taken for “white definition” should be in
the center or lil bit towards the right. This is important.
10. Solution for Wedding Pics becoming Yellow since the Videographer uses hard yellow light for
Video Shooting.
• Use Yellow coloured Gelatin paper on your flash and Put the camera on Tungsten WB.
11. When you want to render colours as it actually is put WB as Daylight (if AWB is not working
well / giving colour cast / tints).
12. White Balance Bracketing and Shift
• Is to be used for Landscape Photographs - to get the best composition tones as possible.
13. Colour Temp
• A certain code is assigned to light depending on it colour
• This is measured in DegK (Kelvin) (1deg K = 278+1deg C = 279deg C)
• A colour meter is to be used to find out what Deg Kelvin to use.
• Then you can set colour temp for exact colour rendering
Selective Metering Technique

1. When there is one part on the subject that is very bright (in sunlight) and the other part very
dark (in Shadows)
• Set Fstop as the middle of the two aperture settings (average)
• But this also leads to loss of some detail on both sides (one or two Fstops on either side)
• Thus in this case it is better to use “Auto Lighting Optimiser” (Generally keep it at Low and
increase it to Strong depending on need).
• This will give details in highlights and shadows
• This needs to be generally used in Cloudy / Foggy situations as well.
• If light is harsh like in summer time - set ALO to “Low”
2. When taking pictures with high brightness areas if clipping occurs in highlight areas, then set
the exposure lower a bit until the clipping goes away and you get details. Use Exposure
compensation here.
Shooting in Sunlight
1. Advantages
1. Light is abundant so any kind of Photography can be done
2. Generally setting an exposure is not a problem in this case.
PAGE 30 OF 32


2. For Shooting Landscapes

• Use the Rule of Thirds + Balanced Horizon
• Try to shoot before 11 AM and after 3 pm for best lighting conditions
• Narrow Aperture should be preferred - 11/16/22 etc
• If light level is not abundant - set ISO accordingly
• Carrying a tripod is better - esp when light level is low
• Put IS / VR = off when using a Tripod
• Put exposure on Self Timer
• Enable Mirror Lockup
3. Disadvantages of Sunlight
• Sunlight produces harsh light
• ND4 filter is needed if light level needs to be reduced by 2 stops
• for example in cases where we need to shoot at F1.4 where the shutter speed normally
would go as high as 1/16000 due to harsh light conditions
• Panning requires 1/30 shutter speed so aperture required could be F32 - which may not be
possible sometimes. Then we need to use ND2 filter.
• Use bounce back technique (using a reflector and a flash) to highlight low highlight areas.
Shooting with Artificial Lights

1. Use tripod for Interior / Industrial Shootings
2. Set Narrow Aperture for DoF
3. Set AWB / Daylight WB
4. Mirror lockup / Self Timer is to be used
5. Close windows or use external studio lights in case windows are to be kept open
• In this case bounce the Flash from the Top
6. When using slow shutter speeds - use the “2nd Curtain Flash Option”
7. FEL - Flash Exposure Locking
• This is required for having the flash go down to the last row in a classroom / group photo
• Press * when the inbuilt flash is up to lock the flash on the subject at the back and then press
shutter release button.
Reading Light Meters when taking Studio Portraits

1. In a light meter the readings are given as per Fstops and a Decimal.
2. The interval between one Fstop and another is distributed into 10 decimal places.
3. The decimal suggests the 1/nth stop after the nearest Fstop.
• e.g 5.6.3 = 1/3rd stop after F5.6
4. The decimal round off rule can be used to fix on the closest FStop to be set - by reading the
Light meter.
PAGE 31 OF 32


5. When reading the readings from 2 Light Meter readings of different parts of a subject, we need
to calculate the difference by subtracting the Fstop readings and the decimal readings
separately.
• e.g.: Diff between 5.6.3 and 4.1 = 1.2
6. From the Top to Bottom light meter readings in case of a Portrait, the difference should be
only 0.5 Stop.
7. In Conventional Studio Lighting the Diff in light meter readings between Main Light and
Secondary Light should be 1-1.5 stops and between Main light and Back light should be 3 stops.
End of Notes
Rest can be referred to in the handouts given by NIP and also from the Camera Manuals of your
respective cameras - especially for Menu options.
Also Practice shooting in all kinds of situations - using the Photography book as a Guide.
PAGE 32 OF 32


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SUBJECT: ADVANCED PHOTOGRAPHY COURSE

NATIONAL INSTITUTE OF PHOTOGRAPHY

Advanced Course in Photography

• Photo = Light, Graph = To Write or Draw

Basic Principles of Photography

Basic Principles of Digital Photography

History - Salient Points

Classification of Camera based on Size of Film

• No of Film Exposures / Photos in a Film- 36 / 24 / 20

• Used only by professionals

• These films are no longer available

Classification of Camera based on Focussing System

• TLR / Box / Point and Shoot cameras lead to Parallax Error

• Leading to image being cropped

Characteristics of Lenses (Generic Characters)

8. Speed of the Lens

9. Taking Care of the Lenses

Tonal Quality - of a Camera / Exposure depends on:

Diaphragm & Aperture:

5. Aperture is standardized by the F Number.

Terminology / Pro Lingo:

Film and Image Sensor:

• FOVEON - Sigma’s image sensor

Exposure Latitude of a Film:

2. Wide Angle Lens

• Chromatic Aberration (resulting in Non-Rich, Non Specific Colours) - is reduced in

6. Zooming Factors in Digital Cameras:

2. VR / IS (Vibration Reduction / Image Stabilization) :

10. Other Pointers relating to Lenses

• In order to give an idea as to how the preview will be when clicked

1. 4 Parameters of light are to be controlled to take good pictures

2. Conventional Model Lighting

3. Lighting for Product

16. Red Eye

3. Auto Focus Auto (AI Servo in Canon)

Some Camera Modes (other than the obvious)

5. When Green and Blue is mixed it produces Cyan

Ideal Photography Settings

Metering (for Light readings)

What Cameras to Buy

• 500D - Rs. 30.0K

How to handle un-realistic colours

• Around 1 pm - Sky is Blue - 6500K

Selective Metering Technique

2. For Shooting Landscapes

Shooting with Artificial Lights

Reading Light Meters when taking Studio Portraits

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