If you are interested in pursuing further in photography, understand some basic is no harm. Firstly, you need not have to go very detail into this. But there is nothing wrong in beefing up yourself with a little extra; may be this can lead you to decide whether you can generate any further interest from here. Be begin with, regardless of whether you are using an entry level P&S (point & shoot) camera, or a high-end film/digital-based SLR camera, all you need to understand what are the few elements that can help to make a theoretical perfect exposure to be formed. In this case, it is not that confusing either, because it is actually quite simple where al the essentials can be concluded as a simple equation in Exposure = Aperture + Shutter Speed. To let you easier to digest what I said, an exposure can be interpreted in bare basic form - a developed image that can make you very happy about (minus the sentimental factor), other things like brilliance of colours, good contrast, well focus etc. - it is like things that simply make a cheerful day out of you...
 |  | <<<-- the Growing Years. A simple photo journal of my daughter from 1 to 12 years old. Far left: Esther@one, second picture: Esther@Two
Even if your interest is only confine to recording family events and happenings, what is wrong in having a better command on the camera that you own ? Here, I will just show you who my daughter was being recorded via film over the last twelfth years. She may not be appreciative now but one day, she will... |
Well, in a public medium, to some of you who may have used to the simple click and shoot kind of operation, it may sound stupid why bothers going back to learn bare basic theories from scratch. I do understand in the world of automation, the sheer convenience, speediness and almost foolproof meter/exposure control system provided by any modern camera may always tend to lead people in thinking there is no such necessity turning back to pick up a few tricks on fundamental. While I agree to certain extend, where automation helps a great deal for photographer to concentrate more on the subject matter and usually, will help user makes less mistakes along the way, which means automation can indirectly help to generate higher yield of successful photography. But on the other hand, over-dependency on convenience from full automation can also often limit in exploring potential in individual creative expression via image capture process. Well, if your priority on photography is simply to record, hate or dislike numbers in learning equations - don't stress yourself, forget all these then. But if deep inside you feel a desire to see whether can you go one-step further from all these - TRY to digest something from this site then.
Please bear in mind, this section of my site is solely aimed to inspire what you can do with your hardware owned but not to educate. Actually, comes to think of it, this kind of lecture should be the task of the various industrial suppliers of camera and films. The whole problem is, most prefer in busy servicing existing pool of matured SLR photographers without attempting to expand their market place by inviting potentially new users into the field of serious photography. Anyway, changes occurred in the industries recently may be reflecting their priorities of each could be busy fighting for survival rather on responsibility which resulted in without bothering too much in this development effort. One way or another, I do hope each of them must also understand the market requires continuous stream of budding, new crop SLR camera users to expand the market further. Most likely, the pool can either comes from students from art colleges or individuals but an enormous number of P&S owners may hold the key for market users expansion (imagine if a successful conversion of 15-20% P&S camera users to serious photography should make another few millions new cameras to forma a new sale ). I don't intend to be a hero by pointing my remarks directly to all of them but neither I wish those industrial guys to milk Xtra $$$ from poor consumers like us without performing their duties but when you are living along with these changes in the industries, instead of dependence on others to lead the way, I would rather prefer creating a self-promotion effort via the web by creating this site.
Anyway, simple online photographic resources for beginners on the web are not too many - but you don't have to treat yourself so lowly by getting a " Photographic Basic for Dummies" kind of stuffs to learn some basics. Many years ago, I had my hard times when picked up this hobby, so more of less I can understand where the confusion is for migration from point & shoot to a little seriousness into photography. So, I would think this could have been a bus-stop where will make someone takes an easy ride, going a step further from where you are. This site is not intended to satisfy needs of the experienced ones who may be asking why content posted here is so "SIMPLE" and "BORING".. Boring ? yeah yeah .. May be. But to any seasoned photographer, in fact, the term "simplicity" in photography can mean bloody complex and difficult to reach a simple state in expression via a camera/lense. Well, for those who may think they are technically a superior elite-group of photo-bugs, If you think technically you are very sound, just let me ask you this question:- when was the last time you have used your bare minimum equipment, such as a normal 50mm standard lens, and produced a visually stunning and powerful image which can make you feel very satisfying ?Admittedly, for me, it can still difficult and I'm still struggling to remember when was the "last time I did"....so, you thought you are great huh ? So, when was your last time ? hehe ..
 | |  |  | the Growing Years...
Migration path for my little UGLY duckling to a young teenager...
Esther@three
Esther@Six
Esther@8 |
 | |  |  | Esther@nine
Esther@eleven
Esther@12.2005
If you like what you have seen thus far, WHY DON'T pick up some knowledge in mastering a camera and create a better photo album than MINE ? |
Time really flies - once lapsed; they can only be recovered via photographs & memories behind the visual. So, learn and give your loved ones around you a real treat. okay ? Private: my daughter has earned her first RM1,000-00 at the age of 11 by posting for a Chinese New Year publication for Parkson Departmental Store while I scored mine only late at 23, malu lah .. but market/time changes as well...
I would think majority of us who own a camera and few lenses are not depending on photographic medium to make a living. We are here simply because of a common interest in this creative form. Regardless for leisure photography or just to record a happy, memorable moments in our life could well be the logical reason why we own a camera in the first place. In time to come, some may migrate from casual shooting to recreational hobby or even semi-pros. Everything must have a starting point, so please bears with the simplicity.
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As for any entry-level photographer, the topic here can be quite confusing with all those technical terms, values and figures used. Before you begin, I would suggest you try to overcome this mental block first as they are just a term. You need not have to feel embarrassed or upset from a confusion that might be created via reading between the lines or term used here in this site. Well, as I said, I have been through similar path - a poor fella that used to struggle with all these once, felt as confused as you are now or as you may be experiencing right now. So, I have tried my best to put them in simplest form of explanation where it relates. Don't worry, my friend - my English is not too good either, so, there will be not too many out of this world kind of technical terms used here in this site, okay ? Just relax, hold your camera in your hand, have a cup of tea beside you and look for things on your camera where the pages relate.
Esther@15
What is an "aperture" ?
Aperture is referred to the lens diaphragm opening inside a photographic lens. The size of the diaphragm opening in a camera lens REGULATES amount of light passes through onto the film inside the camera the moment when the shutter curtain in camera opens during an exposure process. The size of an aperture in a lens can either be a fixed or the most popular form in an adjustable type (like an SLR camera). Aperture size is usually calibrated in f-numbers or f-stops. i.e. those little numbers engraved on the lens barrel like f22 (f/22),16 (f/16), f/11, f/8.0, f/5.6, f/4.0, f/2.8, f/2.0, f/1.8 etc. Each of this value represents one time the amount of light either more or less in quantity. Meaning to say, f/16 will let in 1X the amount of light than a diaphragm opening of f/22 and so forth; while on the other hand, an aperture of f/4.0 will let in 1X lesser than that of f/2.8 etc. |
 | Note: the diaphragm blades inside this manual focus Canon FD lens control the amount of light passing through the lens that eventually hitting to the film during an exposure process. The 'amount', or simply explained in layman term -opening changes according to selection of aperture (f/number). In this case, it is indicated by the f-numbers that imprinted on the lens barrel. |
LENS SIDE:- If a simple word "diaphram" can be confusing to you, just try to think numbers engraved on the lens barrel are NOTreferred to aperture diaphragm BUT rather, there are just number to let you refer the size of the lens diaphragm. So, if you are new to this, just memorize these numeric settings that will do, as they represent the corresponding size of the lens diaphram inside the lens and let you determine and control how much light you would require to let into the camera for a proper exposure by way of selecting an appropriate aperture diaphragm from large to small (lens opening). But technically, these numbers refer to the relative physical opening of the lens diaphragm. So, don't worry about the confusing part of them.
NOTE:- When you are one level up:- *.. These numbers are very significant to the lenses because they are calculated based on the properties of the lens they're on. f/5.6 on a wide angle lens will not have the same diameter as another, say on a long lens. There are simple lens formulas which help calculate the different properties. But the f number diameter is unique to each lens..". Benoit Aubry (benoit_aubry@hotmail.com but I would rather teach a new budding photographer whio may be interested in picking some pieces rather than serving technical request of a more seasoned photographer. But ant=yway, thanks, pal.
Modern Autofocus SLR cameras may have a different ways in manipulating the aperture. One of the trend is - the aperture value is now control via a thumb wheel on the camera (usually near the shutter release button) and the AF lens has no aperture ring to alter the value. Each camera manufacturer usually has their own series of lenses under a trade name to verify its usage, various compatibility issues with their previous camera model's function etc. For an instance, Canon manual focus lenses are called "FD" or "FL"; while their newer series of autofocus lenses (AF) designed for their Canon EOS Series cameras are referred as "EF" (Electro Focus). Each of these MF/AF lenses has their own respective way to illustrate the control of aperture in the camera. When you turn the aperture ring on a lens to vary the aperture, you will be able to check visually the set opening of the lens diaphragm (Opens bigger or stopping smaller). * here in this section, I am confining the discussion within the MANUAL FOCUS lenses ONLY because the proportion of used equipment forms the basis for a cheap, easy entry for potential new serious photographers.
* Some lenses such as those made by Canon (See above), the lens diaphragm will not react to turning, unless you press the aperture pin.
There are many camera brands out in the market, thus, it is indeed very difficult for me to compile all of the labels into a single site. Anyway, I am using three popular camera brands to illustrate the whereabouts of these aperture on the lens. (A) is a typical FA lens by Pentax; (B) is a typical manual focus Nikkor zoom lens from Nikon; while the (C) is a Zuiko lens by Olympus.Reminder:- the key to an theoretical good EXPOSURE = Aperture + Shutter speed
| Aperture value(s): | f/64, f/32, f/22, f/16, f/11, f/8.0, f/5.6, f/4.0, f/2.8, f/2.0, f/1.8/f1.4 etc. (WE ARE HERE) | Control via the lens section |
| Shutter speed(s): | 1/8000, 1/4000, 1/2000, 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 sec, etc. | Control via the Camera section |
Remember: For a theoretical "perfect" exposure to be formed i.e. nice colour balance, every details shown or simply a photo that you are happy about, take a good combination between using an aperture with the appropriate matching shutter speed for any given film speed (ASA/ISO) are required. The latter refers to the film speed of the film roll used. i.e. ASA 100, ASA 200, ASA 400 etc. the faster the film speed used, you can use to capture lower lighting situation but at the expense of grainer output of prints / slides. Next, a little confusion may create for you to learn here: - each step increment in the use of film speed will also indirectly correspond with one step of aperture OR shutter speed.
I know you must be asking a mind boggling question while you read until here: Ooi....HOW THE HELL WOULD I KNOW WHAT APERTURE TO SET on my lens when I take a picture ? Frankly, you need not have to ! Inside any modern camera, there is a metering cell residing internally which measures the light intensity of the scene you are trying to capture/pointing to. Its metering circuitry will SUGGEST an exposure for you. For an instance, the exposure suggests by the camera's internal metering circuitry indicates 1/125 sec. (camera) with f/8.0 (lens) will deliver a decent exposure for your intended capture. You can override the camera setting (depends on whether the camera has such option for you to manipulate the aperture on the lens OR shutter speed on the camera, most P&S don't offer such options but a SLR camera usually does). For an example, change the f/8.0 to f/4.0 (let in more light by 2 steps 4.0-->5.6-->8.0) and compensate the shutter speed by few stops by limiting light entering the camera shutter i.e. 1/125--->1/250--->1/500. The compensated 2 steps on the shutter speed still delivers the SAME EXPOSURE as the earlier camera suggested reading. The difference is now with a f/4.0, you can achieve a narrow Depth of Field (refer to below WHY and WHAT difference it will bring to your picture with such alternation).. |
However, the MOST confusing part for any new photographer is: Just remember in photographic term: a BIG aperture is actually referring to a smaller number engraved on the aperture ring of the lens i.e. f/1.4, f/2, f/2.8, f/4.0 etc. while small apertures mean bigger numbers i.e. f/22, f/16, f/11, f/8 etc. Once you have "overcome" such "mental block" in calculation, it should help you greatly understand / enjoy reading more in other sections that follow. So, it is important that you OUGHT to digest this paragraph. (CLICK HERE to understand the relation of those numbers found on the lens where how the lens diaphragm inside at each aperture set. Well, I am not sure who was the hell was the bloody smart guy who first started by inverting the number on the aperture on the lens - where small number (f/2.0, f/2.8 etc.) is actually referring to a larger lens opening while big number(s) such as f/11, f/16, f/22 etc. is actually smaller aperture. Basically, large aperture (f/2.0, f/2.8 etc.) lets in more light to the camera shutter for an exposure, while small aperture (f/11, f/16, f/22 etc.) has a smaller opening in the lens diaphragm to let in LESS light for a given exposure. The confusion usually causes a beginner who might be poor in mathematics gives up serious photography from here @#$^*#&*!!. Well, I guess you are not within that figures-fophia group, so - why don't just be patience and spends a few minutes to DIGEST this part. Trust me, it worth the time and could reward you with plenty of joy with the camera you own. |
About aperture and its direct relation that might affect in your photography:- i.e. Other than controlling the amount of light entering into the camera, What else does "apertures" do ?
When the shutter button is released, light passes through the aperture diaphragm and hit the film, an exposure is formed. Basically, aperture, along with duration/timing of the shutter curtain opening, BOTH contribute to a the formation of an exposure. But aperture also affects an important photographic element called "depth of field" (short form "DOF"). You may ask, what is hell is this "Depth of Field" ? Depth of field is just technical term used to describe the 'zone' of sharpness' between nearest and furthest of a subject in focus (to be more exact, distance of sharp focus in front and behind, subject on which the lens is focused). There are a few elements that will affects Depth of Field in a picture (Note:- Factors on lens ONLY, shutter speed never affects depth of field):
| 1 | the lens opening (diaphragm inside the lens) | | the bigger the apertures used, the zone of sharpness is shallower or vice versa i.e. smaller aperture used will has extended depth of field |
| 2 | the focal length of the lens(50mm as standard, 80mm above as telephoto; 35mm or shorter as wideangle) | | wide angle lenses have extended field of sharpness than a longer focal length telephoto lenses and/or longest reach focal length on your zoom lens), and |
| 3 | the distance from the lens to the subject | | the nearer the subject is, the shallower the zone of sharpness and vice versa. |
 | <<--creative use of picture frame in composition and small aperture to gain maximum depth of field. |
PhilipChong (41k) Shallow depth of field with combination of close focus with a telephoto lens and a fairly large aperture may limit the zone of sharpness to minimal.
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MC Lau (43k)Top and Bottom:- Typical scenic pictures with a smaller aperture to gain extended depth of field (sharp zone of focus)
| PhilipChong (44k) Lovely blur out (depth of field) on distracting background via use of a combination of telephoto lens with a large aperture which draws viewer attention to the main subject. |
CY Leow (52k) |
In fact, if you still don't understand, just memorize this: Other than it can be used to regulate amount of light entering into camera for an exposure, aperture also will affect the degree of depth of field. When combined with other essential elements that may also contribute to depth of field changes, such as focal length of the lens in use, the distance of your object in focus, you can make use of depth of field for creative control in your photography. For example: use larger aperture (Smaller number like f/2.8, f/2.0 etc.) with a long focal length to isolate or emphasis on expression, such as in portraiture photography; or use a smaller aperture (Bigger number like f/16 or f/22 etc..) to ensure pin-sharp details in both the foreground and the background.
Another factor you need to know is: All the markings on the lens barrel are double in effect . i.e. f/11 doubles the amount of light of f16, f2 allows 1X more light than of f2.8 does into the camera etc.
With a mechanical SLR camera, with the proper exposure GUIDE suggested by the built-in meter in a camera, you need to adjust both aperture and shutter speed yourself (it is termed as "MANUAL" setting in an automatic camera). Usually in the case of an automatic camera, you will still have manual control operating as if you are using a mechanical camera. Typically, a few extra choices of exposure control methods may be provided:- the first is called "Aperture Priority" (some camera uses a symbol "Av" - short for "aperture value"; the next is "Shutter Priority" (Tv - short for "Timing value". Aperture priority means you select the aperture to determine the depth of field yourself and the camera will set to the appropriate shutter speeds to match your aperture selected for a optimum exposure suggested by the camera's built-in electronic metering circuit, while shutter priority will let you select the preferred shutter speed setting and the camera will select the matching aperture values to match your choice. The third option is called the "Programmed Mode"(P - short for "Programmed Auto", where the camera select both the aperture value and the shutter speed for you and you may have no control in determine the depth of field yourself. (some cameras offer a another mode called flexi-program - I think it is too complicated to explain here). Some examples of how an APERTURE PRIORITY AUTO SLR-type cameras shutter speed ring look like
and comparison made with a fully mechanical SLR type (below - far right)
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| | Nikon FA
This is a Multi-modes auto SLR. The ring doesn't have an "A", various modes ae at the side P, S, A and M (Manual) | Nikon FM2n
The Shutter Speed ring of a MECHANICAL / NON-AUTO SLR. no Auto selection button or setting. You need to set the shutter speed on the camera section along with the aperture on the lens. Other brands such as Pentax offers K1000, Olympus has an OM-1 etc. |
 | Newer range of autofocus SLR cameras use a new method of controlling aperture. You will find there is NO NEED to set aperture via the lens aperture ring; instead - aperture is controlled by the thumb wheel for BOTH shutter Speed (B) and Aperture (A). A method first pioneered by Canon on their manual focus Camera, the Canon T90 back in 1986. Although this new electronic input method is different from older SLR cameras, the principle remains the same. The VISIBLE confirmation of the selected aperture used on camera like this type is via the LCD on the top panel OR through the viewfinder. |
 | Note: An exposure control ring found in many modern SLR. The various setting may be represented by a few symbols/letters, "P" is for "Programmed AE", the "Tv" is for shutter priority while the Av (aperture value) is referring to aperture priority - Canon's way of interpreting in their A and T series camera bodies. IF you are a owner of one of those SLR cameras, you can CLICK HERE to find out the exact model you are using. While Nikon Owner may use THIS SECTION OR you may find the specific camera models that I might have developed with a featured section. |
 | Every camera manufacturers have different design of how to adjust shutter speeds with a dedicated AF lens. For an example, Nikon's Nikon F5, 1996/7 finally followed Canon's path in using wheel input for shutter speed and aperture control; followed by its next generation AF film/digital-based SLRs which resulted in newer AF G-series Nikkor lenses now has NO aperture ring on the lens barrel for controlling aperture. However, if an older manual focus Ai lens is used in manual or aperture priority AE mode, it will still operate as an conventional SLR in which you will still make use of the lens aperture scales. Time changes, methods alter but basic principle remains. |
I strongly advise you to consume this section first before you think of proceeding to the next segment on shutter speeds. If you can't ,or finding difficulties digesting what I have prepared here, I'm sorry for my failure in explaining the essentials. In such cases, I would suggest you to buy a better illustrated photographic reference book or join a local photographic club. But if you do understand and have picked up something from this section, you are encouraged to click at the button underneath and continue...
T H E R E S O U R C E P A G E
 | What is shutter speed ? The aperture diaphragm of a lens (bigger or smaller values) AND timing (open and close) of the camera's shutter curtain - BOTH perform the tasks of regulating the amount of light entering the camera and expose onto the film. The shutter speed scales engraved on the shutter speed dial of conventional camera bodies with a shutter speed ring OR via some flickering digital numerals on the LCD screen like: 1/8000, 1/4000, 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 or -1, -2 etc. are essentially indicators of the duration (timing) at which the shutter curtain opens up and closes during an exposure process. A 1/125 setting means the shutter curtain open and close within one hundred and twenty five of a second while 1 means an one full-second the shutter opens up during exposure to absorb the available light source onto the film to form an exposure. |
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The shutter speed dial provide the selection of shutter speeds, and indicates the timing of the shutter open and closes. A fast shutter speed such as 1/500 sec will close faster than, say 1/2 sec exposure time. In this case, the shutter curtain will close very fast and thus resulting in less light entering the film. Illustration used here is a older horizontal shutter design, more info is available by <clicking here >. | |
 |  | Most conventional SLRs have a shutter speed dial (or ring) on the top panel of the camera body to adjust shutter speed. But it evolves with the development of modern electronic SLRs. |
Before the advent of LCD, multi-modes electronic SLRs such as Canon A-1 has a dual input dial for shutter speed (B) and aperture control (Green). But again it depends a lot on camera design. For an instance, ALL Olympus and mechanical Nikkormat SLRs have their shutter speed scales located just next to the lens mount, you have to make use of a grip designed to turn the scales (A) !
 |  | Again, NOT all SLR cameras have shutter speed selected visible from the top or the front, instead, changes and selection can only be viewed inside the viewfinder. A good example is this Pentax push button that controls (C) the shutter speed. |
But ALL these may not be applicable to a new wave of modern AF SLRs which use a different kind of input to control shutter speed in the camera. Most would have use thumb or finger wheel(s) such as illustrated earlier on the aperture control section. Well, it is hard to cover and satisfy everybody's desire all in a single page, and my prime interest is still to selling you the idea of how to make use of an old, cheap manual focus SLR of yesteryears. As for an modern AF SLRs, there are plenty of useful resource sites on the Net for you to browse through and gather such information. At this moment in time, I won't be able to offer too much of a help here in this site. But whatever it is, basic principle remains. What does shutter speeds do ?
In principle, shutter speeds, like aperture value detailed on earlier section, contributing as the next half of the main components for any exposure process - the interval at which the shutter opens to allow a specific amount of light (also depends on the opening of the lens diaphragm) to pass through and expose the film inside.. Different selection of shutter speeds will yield different kind of visual effect on a final photograph. Generally, a fast shutter speed can freeze action while slow speed can blur your image. I am not indicating these are fixed rules. If you understand the nature of how various shutter speed(s) will affect an exposure, you may put them to creative use to enhance the effect - like other than freezing a fast action scene, a slow shutter speed can also put to good use in portraying movement. You can try on to "PAN" a moving subject by following its direction or simply generates a sense flow of movement. But MOST people relates SLOW means BLURRING AN IMAGE which leave little for them to select this alternative to try them out. Well, it is excusable because in most PR-type of photography (photo session on public relation matters like wedding, gathering, seminars, or personal domestic duties for some privileged group - includes your wife, mistress or girl friends..), who would appreciate a defocus or blurry images ? BUT - for the creative minded photographer, slower shutter speed sometimes may create a more powerful visual impact than images taken with action-freeze high shutter speed(s), say, a free flowing river, traffic, a flock of birds taking off or even speed-demons on a race track.. etc..
A basic mechanical SLR camera body like the Nikon F2S of the mid-seventies only offers manual exposure control. AE may require accessory such as DS-1 to transform it into an shutter priority AE camera. | A camera operating in manual mode or a mechanical camera requires you to set the shutter speed and aperture value on the lens manually. In an automatic camera, there is usually at least one type of automatic exposure mode is available. Because of complication of mechanism involves, most camera manufacturers offer only Aperture Priority AE or Programmed AE modes on their EARLY electronic camera models. A good example is Minolta and Canonwith their MD and FD mount cameras and lenses while in some exceptional case, such automation was made possible using a mechanical device such as Nikon's F2 with their EE Aperture Control Unit.
However, by early '80 with development and refinement made on both cameras and lenses (Most would require a new series of optics), majority of them started to offer "Shutter Priority AE" and "Intelligent Programmed AE" as well. |
OFF-TOPIC SUPPLEMENTS: "Shutter Speed Priority AE": An exposure mode with an automatic or autofocus camera that lets you select the desired shutter speed; the camera will then set the matching aperture value for a proper exposure. If you change the shutter speed, or the light level changes, the camera adjusts the aperture accordingly "Aperture Priority AE": An exposure mode on an automatic or autofocus camera that lets you set the aperture while the camera sets the shutter speed for a proper exposure. If you change the aperture, or the light level changes, the shutter speed will change automatically. Apart from the sport or action photography, aperture priority is the most common & effective automatic mode used in photography. It can also explained as: An automatic exposure process in which the lens aperture is set by the photographer, and the camera sets the shutter speed. It can also be used in the stopped-down mode with any lens that does not interfere with the metering system e.g. bellow unit or non-auto extension rings etc. "Programmed AE": An exposure mode on an automatic or autofocus camera that automatically sets BOTH aperture and shutter speed for a proper exposure. "Intelligent / Flexi-Programmed (flexible-Programmed Auto) AE": The camera's electronic circuit will determine based on the information gathered from the lens coupling to provide HIGHER shutter speed in a program mode if a long focal length lens is used to minimize chances of image blur caused by slow shutter speed. In most cases, Aperture Priority AE is usually represented by a "A"; Shutter Priority AE is represented by "Tv" or "S"; while Programmed AE is denoted as a simple "P" or "PH" in a high speed program AE mode.
Picture courtesy of Vincent Thian, AP; Nick Kalatha, US and Swan pictures by David Hofmann, Germany
Selection of FAST or SLOW shutter speeds may yield different visual effect in a photographbasically, it is FREEZE or MOTION CREATING. The FREEZE can also be use to minimize hand shake, the BLUR may be use for artistic effect; in some situations, you may use slow shutter speed because the permitting ASA/ISO range of the film in use or aperture on the lens are at their limit. The swan pictures by David was a very good example as side by side comparison between sue of HIGH shutter speed and LOW speed is used.
Beginning with some highly successful AE camera models that was very well received during the mid-seventies (a very good example is a shutter priority AE mode, Canon AE-1 camera that has sold more than 5 million units worldwide !), camera manufacturers realized the inevitably route to AE which resulted to a huge volume of automated SLR camera models flooding onto the market during the early seventies. These newer range of camera models usually came with all the essential automatic exposure control modes mentioned earlier within a single body, either fitted with buttons or with exposure information display through LEDs or LCDs panels.
 | With just a twist of a button, you can convert your camera into either shutter or aperture priority mode or a more sophisticated multi-programs AE. Such complexity in the exposure control also demands a new method of display essential exposure information and/or other camera functions. The conventional analog method was best represented with camera model such as Canon A-1 of 1977 (which has its aperture set on the dial instead of turning the aperture ring on the lens) or a refined method used in multi-modes SLR camera such as the Nikon FA in 1983. (See earlier Notes) |
 | Beginning with the Nikon F3 in 1980, camera manufacturers found a new flexible and more power efficient way in LCD (Liquid Crystal Display) to handle the increasingly complex camera functions. An illustration below was from an autofocus Nikon F90x camera, the LCD display was in full display status (In practice, it will only show related information relates to an exposure or status quote of the camera in operation). The Canon T series models like the Canon T-70 at left has more than 5 automatic exposure modes with power film advance and rewind feature built-in. LED display is used in the viewfinder information display, while a large LCD panel is a top of the camera body. |
 | Modern AF cameras, with a wealth of sophisticated features incorporated within, are more complicated, as shown is a full featured LCD screen. Substituting all conventional mechanical dial and levers by computer circuits. So, gone are the traditional shutter dial or ring on the camera. Highlighted part represents usual location (generally big and bolder numerals or figures) of the digitally displayed shutter speeds OR aperture values. |
Some SLR cameras like the FD-mount Canon Canon T-80 even has LCD's "pictograph" to help the photographer in each of the exposure control mode or progress status. IF you owns a modern autofocus SLR camera, the display can even be more confusing (but most often the LCD willnot shown all the info except for related characters for any particular shooting modes used):
TO SEE HOW A MODERN CAMERA LOOKS LIKE IN ITS VARIOUS FUNCTIONS AND CONTROLS.
The camera is a professional grade Canon EOS-1N. Others may or may not share the same form and appearance.
Confusing ?
No. As I said earlier the display system ONLY SHOWS related data directly associates with a particular shooting mode and exposure. Other info for adjustment may also be shown but it is less clustered as illustrated here.
Well, All you need to digest from this SHUTTER SPEED section is:
Shutter speed is, apart from aperture, the other main component required to form a proper exposure. It is control by the shutter speed dial. Shutter speed means timing and duration of opening and closing of the shutter curtain at the back of the camera. A fast shutter speed will freezes action while slower speed creates blurring effect. A shutter speed of 1/125 will allow one time more the amount of light to reach the film than 1/250, the amount of light is double on the next scale of 1/60 to 1/125 etc.
Since both the aperture and shutter speed control amount of light reaches the film for a exposure, there is a very strong relationship between the two:
- The aperture (how big or small the lens diaphragm inside a lens opens up) allows different amount of light falls onto film through the lens that attached on your camera body and;
- The shutter speed (the shutter curtain - duration and how long it opens up to absorb the amount of light falls onto film);
Although mechanically it differs in function and operation, but the objective is the same - both control and regulate light reaching the film plane to provide a proper exposure.
So, the next section, we will talk about exposure.
T H E R E S O U R C E P A G E
 | A command dial commonly found in current Canon's AF EOS SLR cameras are a newer way of input and selection of various camera function. Conventional way of setting aperture value on the aperture ring on the lens is not required unless you are in manual override mode. Other manufacturer such as Nikon has also followed this method in their newer series of AF SLR cameras, where your pointer finger is used for controlling input such as aperture value and the thumb is used for shutter speed selection. |
What is an Exposure ?
It can be explained as the quantity of light allowed to act on a photographic material; a product of the intensity (controlled by the lens opening) and the duration (controlled by the shutter speed or enlarging time) of light striking the film or paper (darkroom or in the color-lab).
First, you MUST understand a fact, i.e. there is no such thing call a "perfect exposure". It is all a matter of personal preference - well, only the photographer who did the image capture process will "hold" the rights and judge whether it is or it is not a "good" exposure. Virtually all modern cameras have a reflective photo cells (see SPD or Cds) built in to give you a indication what a recommended proper exposure is - basing on the brightness of the scene with the type and speed of the film in use. The term "proper exposure" is built around a reference where the photo cell read a 18% gray reflectance (most neutral in photography and resemble most outdoor environment) and give you the "suggested" reading (you may override those values).
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Exposure can a very subjective matter. I would think it is more like a personal interpretation. In this series of three pictures on the magnificent Kuala Lumpur City Centre(KLCC) beside my office (once the tallest human-made structure as at year 2003). I preferred the center image as the start-off photo for my first of the Asia Landmark series.
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If you trust the meter reference and happy with it, just trip the shutter release button, and here you go, you got a photograph with proper exposure (don't worry, unless you are using slides, most modern print film have enough exposure latitude in tolerance of your mistake in exposure reading).
 | Shown at right is a typical focal plane shutter curtain for a SLR camera, it can be either horizontal traveled or traveled vertically to protecting film from fogging during viewing and metering; it will open during an exposure process (The span of time opens depending on your selected shutter speed); this combines with the aperture opening on a lens to form an exposure. |
The correlation between shutter speed and aperture size is a direct one. Since both the aperture and shutter speed (forget about the elements of depth of field, action freezing or movement by blur factors) control the amount of light reaching onto the film. And since both double or reduce in a scale of one time (1X or 100%): It means you can FREELY interchange the settings on shutter timing and lens opening for respective effects and YET retaining your preferred exposure setting.
| Aperture value(s): | f/64, f/32, f/22, f/16, f/11, f/8.0, f/5.6, f/4.0, f/2.8, f/2.0, f/1.8/f1.4 etc. | Control / adjust via the lens section* |
| Shutter speed(s): | 1/8000, 1/4000, 1/2000, 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 sec, etc. | Control / adjust via the Camera section |
*Referring to older manual focus-type SLRs only. Newer series of AF SLRs may have it controlled via camera body via Sub-Command Dial
For an example, let us just take an example with a scene of waterfall, the camera meter reading suggested a exposure of f/8 at 1/125sec., your preferred effect is to freeze every single droplet of water to show the power of the waterfall, with a setting of 1/125, you may not achieve that kind of effect, but a shutter speed of 1/2000 may be able to convey that effect. Just set the camera's shutter speed dial to '2000' (1/2000 sec - just compensate it with five steps in shutter speed scale) with the reduction of light of five steps by open the lens aperture bigger by five steps; in this case, i.e. f/2.0. Now you are using a alternate combination of f/2 at 1/2000 sec.while the exposure is still equivalent to f/8 at 1/125 sec set earlier BUT the eventual effect of the photograph varies now with what you have envisioned to achieved. On the other hand, if the same scene needs to portray a sense of poetic movement, you may adjust the speed down to, let's say, 1/8 sec to make the waterfall have a sense of flowing water. The uncompensated figure for aperture might cause over exposure (from 1/125sec to 1/8 sec., there are four step down, more light will reach the film and cause overexposure).
 | In this case, by adjusting the selected aperture to reduce the same equivalent amount of light to i.e. f/32 can retain the same exposure and yet achieve of what your desire - a free flowing waterfall.
 | | The photo shown at left is another picture to illustrate an example of creative combination use between selection of a SLOW shutter speed with a flash to create certain visual effect.
Credit: Image courtesy of Mr. Jochem Wijnands ® Credit:Image courtesy of Mr. Manuel Angel Toral Fernandez®.images. Image copyright © 2005. All rights reserved. |
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 | If, for an instance, an exposure combination of 1/15 second on the shutter speed scale and an aperture value of f22 setting on the lens is needed, the aperture would get wider as the shutter speed increases. e.g. 1/15 sec at f/22 = 1/30 second f16 = 1/60 second f11 = 1/125 f /8.
Note:- Newer series of AF SLR camera that only has LCD display, the dial in front of the LCD is dedicated for variable apertures selection - such a design is commonly found on modern autofocus cameras. |
Depth of field ("DOF")also plays an very important part of the creative segment in photography. It has a direct relationship with aperture value selected (the other two factors affecting depth of Field are being the focal length of the lens in use plus distance of the subject from the camera). When you understanding these factors, creative use of depth of field can add a lot of depth in your photography especially involve very much in the field of portraiture, travel, product and scenic photography. You can select a bigger aperture (Smaller number such as f2.0, f1.4 etc.) to throw undesirable background out of focus and thus put more emphasize on your subject of interest in a photograph. On the other hand, if the background of a scene is equally important or the subject is a group of people or objects at different distances from the camera where each one must appear sharp, a small aperture (f16, f22 etc.) can be used to make sure from near to far will appear in pin-sharp focus. You MUST understand the compensated combination between apertures and shutter speeds in order to put them to good use. Most often, we always heard photographers complaining: "what turned out are different from what I saw inside the viewfinder during that moment...". Although it forms only a segment of how it can influence a eventual image, but you can get close to your desirable effect in your photography if you have a good knowledge of how each of these elements may affect your photography. Still confuse ? Let take an example, e.g. to throw all the undesirable background out of focus, select a larger aperture. We use a meter reading of f/8 at 1/125 sec. for discussion here, an aperture of f2 might achieve better result than a f8 for this purpose, but the selection requires you to compensate for the increase of light by four steps, it means unless you reduce the light by means of increasing the shutter speed to four steps in equivalent, your photograph will be over exposed. Thus, from f8 at 1/125 sec, the exposure is the same as f/2 at 1/2000 sec while you can have your background blurred out.
i.e. f/8 at 1/125 sec = f/5.6 at 1/250 sec = f/4 at 1/500 = f/2.8 at 1/1000 = f/2 at 1/2000.
Lastly. after all this explanation; all you need to know is, for an example, a photograph taken at 1/4000 sec. and f/1.4 and one taken at 1/30 sec. and f/16 will have the same exposure value. However: the eventual effect in your photo taken with the respective choices on shutter speed selection (on camera) and/or aperture selected (on the lens) will be totally different.
A short Summary on the few sections in this site:
Shutter speed(s) (Duration/timing of the shutter curtain closing inside the camera section) :
It controls the degree of movement in your pictures (fast speed to freeze a movement or slow speed to create creative motion effect).
Aperture(s) (lens section) :
It determines the depth of field (zone of sharpness in front and behind) of the focus subject of interest. It adds depth and dimension in your photos.
Exposure:
Camera metering circuitry suggests an exposure (combination of shutter speed set in your camera + aperture selection on lens). User decides whether to override camera's metered / suggested combination for specific effect in the final image based on personal interpreation best expressing his/her thought.
It is so easy, isn't it ?
I do hope these can generate some interest for you to pursue further in photography.
still having Problem understand all these ? Either beat me up or shows me what you had picked up thus far by rewarding me with a good picture or simply mail me ! 
(Probably my only e-mail contact you can find in my PIM site now but since you are still having difficulties, I permit you to reach me via email contact)
Depth of Field: One of the most important elements in photography.
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Depth of field is the amount of distance between the nearest and farthest objects that appear in acceptably sharp focus in a photograph. A preferred selection Depth of field ("DOF") in a focused subject in an image can be quite subjective. Remember this, adequate selection of DOF for one situation, application may be unacceptable for another photographer. It is all a matter of personal preference when trying to determine the appropriate use of DOF to enhance an effect in a photograph.
 | A typical example of a photo withshallowdepth of field control. (only the main suject of interest is enhanced by throwing other elements out of focus. |
 | A typical example of a photo with extended depth of field control (From near to far in sharp focus) |
You have to recognize the eventual effect of depth of field control that can bring to your photo but HOW TO ?? Simple, read on and digest.
In simpler term, we define depth of field as the zone of sharpest focus in front of, behind, and around the subject on which, when lens is focused on a specific subject; with TTL (through the lens) SLR camera, DOF can be previewed in the viewfinder of a camera - the preview is very handy for critical type of work. For an example, when taking a product shot, when you require absolute certain if DOF is adequate to cover the object you intend to photograph Generally, the closer the subject to the camera, the more evenly with the distribution of depth of field in front and behind the subject. As distance of focus extends, DOF usually will be more behind than in front of the focused area.
A few factors may have a direct relationship with depth of field, they are: 1) the diaphragm opening of the lens (the Aperture), 2) the focal length of the lens in use, and 3) image size (it has a direct relation to distance). T h e R e l a t i o n s h i p : The general rule of thumb for selecting the right aperture for a desired depth of field is: give the same object distance and the image size, the bigger lens opening (aperture) used (like f/2.8, f/2, f/1.4 etc.) will have a narrower band of depth of field - meaning critical focusing will be required in this kind of situation because when you use a large aperture (in particularly when focuses at a near to the subject), the zone of sharpness (DOF) can be very limiting; while on the other hand, if extended depth of field is required, you can just choose a smaller lens opening like f/8, f/11, f/16, f/22 to make the plane of sharpness is extended, so everything will be in sharper focus.
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Depth of field increases with distance. The farther you place the camera from your subject, the more depth of field you can obtain. Landscapes have great depth of field, while macro photographs tend to have very little depth of field because the subject is so close to the lens.
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<<<--A wide angle lens combined with a smaller aperture should be good enough for great depth of field to register a crystal clear details from near to far. Copyright ©-Free image collection 2000. leofoo ® Malaysian Internet Resources The "amount" of light allows to strike the film plus the duration (time) for the light to strike the film forms an exposure. The camera has two mechanisms to control exposure, the lens diaphragm (lens section - aperture) and the timing of the OPEN/CLOSE of the shutter curtain (camera section - shutter speed). If this confuses you, the lens diaphragm (inside a typical SLR camera lens) consists of multiple blades which can be open and closed to certain size openings, the variations in the lens opening is called aperture. The size of the aperture determines the amount of light which will fall on the film. Various sizes of the lens opening are indicated by a set /series of numbers called f/stops or f/numbers. Each f/stop represents a specific quantity of light that pass through the lens. The smaller numbers are called large f/stops while the larger numbers are called small f/stops. This is because the larger numbers represent smaller apertures and allow less light to pass through the picture taking lens. Each time you move from one f/stop to the next smaller f/stop (larger number the amount of light allowed through is exactly halved. In effect, the amount of exposure itself is also halved. Using f/2 as an example, the amount of light reaching the film will change according to f/stop as indicated below:
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| f/stop | 1.2* | 1.4 | 1.8* | 2 | 2.8 | 3.5* | 4 | 5.6 | 8 | 11 | 16 | 22 |
| Brightness ratio | 3 | 2 | 1 1/4 | 1 | 1/2 | 1/3 | 1/4 | 1/8 | 1/16 | 1/32 | 1/64 | 1/128 |
| * Half f/stops. |
The largest f/stop on the lens is called the lens maximum aperture. The smallest f/stop on the lens is called the lens minimum aperture. The maximum and minimum apertures differ according to the lens-types. The maximum lens aperture is important because it indicates the largest amount of light that the lens will transmit through it to strike the film "hiding" behind the camera shutter.
 | NOTE:- Certain camera/lens manufacturers have their lenses with the maximum aperture providing half-f/stop reading rather than a full f/stop as printed on the aperture scale. Now supposing you have the camera set for a certain exposure value ("EV"), say the exposure you get with f/4 at 1/60 sec. You can recalculate other combinations (aperture and shutter speed) which will effectively give you the same exposure as that above. As we use the above data as reference, some of these combinations in the above example includes f/5.6 at 1/30 sec. and f/2.8 at 1/125 sec. You simply move up and down the f/number and shutter speed scales as well as adjust the speed via camera settings to achieve that. |
Quick Reference Guide: Depth of field is governed by three factors: aperture, lens focal length and shooting distance. Remember the following relationships: - The smaller the aperture, the deeper the depth of field (the other two factors remaining the same). For example, if the lens focal length and the shooting distance stay the same, the depth of field is much deeper at f/16 than at f/1.4.
- The shorter the lens focal length, the deeper the depth of field (the other two factors remaining the same). For example, comparing a 28mm lens with a 50mm lens at the same aperture and shooting distance, depth of field is deeper with the 28mm lens..
- The greater the shooting distance, the deeper the depth of field. i.e. other two factors remaining the same). For example, if the subject is photographed from three and then from seven meters away, the zone of sharpness in the foreground and background is greater at seven meters.
Another characteristic of depth of field is that it is generally deeper in the background than in the foreground. |
Depth of field decreases with increasing focal length (given equal subject distance) In other words, if subject distance stays the same, a long lens gives less depth than a short. (A new theory emerges lately, indicating contradictory report that focal length is depth of field independent, I have to find out this in real life application).
 | One of the most used application is using Depth of Field control for portraiture photography. A clever photographer would use Depth of Field intelligently to emphasize a specific effect of the main suject of interest (in this case, the model) by limiting DOF away from confusing background via use of a larger aperture and/or using a smaller aperture to enhance the visual with pin sharp details from near to far (such as scenic, travel , landscape etc.). Below are more examples. The photo at the left hand side is achieved with the intended result via combination of a long telephoto (300mm) lens + a larger aperture (f/2.8).
<<<-- Oh.. Morris.(35k JPEG) leofoo ® Malaysian InternetResources Copyright ©-Free image collection 2000. |
 | Another example of a shallow depth of field effect for close up as the distracting background is "thrown" out of focus to draw the viewer's attention to the main subject. Next, remember we discussed earlier:- the nearer of the subject in focus to your camera, depth of field will be more "shallow". |
 | This is theOPPOSITE. Maximum depth of field is required to show the details of the scene that attracted my interest and so, if I want to show the entire scope of the scene from NEAR to FAR in sharp focus. A smaller aperture is used along with a28mm wideangle lens to achieve the objective. |
 | It works on other usage such as dealing with scenic, candid, portraiture or even street photography.
Here is another example of smaller aperture is used on the lens section for MAXIMUM depth of field to ensure all the elements are in focus. |
There are times when you need to affect the amount of depth of field for a particular scene. In a scenario like low light where you need to to shot wide open and wish to have extended depth of field or cases where you are force to live with a fixed-aperture mirror lens, if you suspect that the aperture is too wide to deliver adequate depth of field, simply move back. The depth of field surrounding your subject will expand.
Please note it may has some compromises when you decide to do this:
First, the apparent perspective is different from your original when you move backward to gain the extended depth. It affects the both your original composition and the relative image size in the frame. I put up a simple trick that may help to resolve your problem, that is by mean of cropping. You may be able to achieve the desired extended depth of field with no compromise on your original composition and image size except slight trade off with sharpness and decrease in resolution. In fact, with today's modern film & emulsion technologies, slight cropping of 5 to 7% won't see the differences with the original. If you don't agree, let me ask you this, except some top of the line pro 35mm cameras, virtually all 35mm cameras can only show you 92-95% of the actual image in the viewfinder and yet no one is complaining. In short, provided you are not cropping from a tiny segment from a picture frame, the increased grain and the slight decreased resolution will not be even notice at all.
Generally, most photographers hate cropping with their original - what I trying to suggest is a way where situation you may need to do a trade off or the slight extra in depth is of priority to you.
 | When combining the relative characteristic of short focal length lenses with depth of field, it can help you to be more reactive in responses. Note: Most manual lenses have hyper focal distance indicated on the lens barrel (the modern autofocus lenses have less definition) but more useful can be the depth-of-field scale indicated usually by correspondent colored line left and right from the focusing index. |
This is especially handy when you are using a wide-angle lens. Longer focal length lenses is more difficult to determine using the scale (It is recommended to use Depth of field Preview lever or button for longer focal length optic).
 | Older manual focus zoom lenses generally have excellent and considerate continuous colored depth of field scale for you to refer - a feature heavily missed in today's autofocus lenses. |
Note: Some of the newer SLR now only require you to 'lock' the lens at minimum aperture setting or in a "A' setting. The aperture value is input through a input dial to set the aperture on the camera instead of the aperture ring on the lens.
The pity fact is, some lens manufacturers are omitting this useful features with their lenses which generally regarded as a cost saving measure as the colored coded indicators were generally painted by hand. Virtually all autofocus lenses are not color coded anymore and has bare minimum aperture scales painted for such easy reference. I used this feature very often on some of my early "Cari Makan" (MAKING MONEY) days of photography. Given a 28mm wide angle lens set at at a distance of 8 feet at an aperture of f8, the effective depth of field is started from around 6-7 feet to beyond 18 feet! Which mean to say, you can practically use a tape to lock your lens and move yourself around determine the the rough image size, just snap without even have to worry about focusing! Anyway, I learnt this a trick from a news photographer during that time. This technique is more effective when combine with shorter focal length lenses like 28mm & 24mm where the depth of field is more generous and "fail-safe".
There are recent studies on depth of field indicating a soft focus lens can also increase the depth of field other than the general factors mentioned above. I never own a soft focus lens before and I have never tried that. If any one of you have this type of lens, try and give me some illustration to prove this new theory and I will published here for you, home work ? No. Just let us share your finding.
1 comment:
Thanks Mate! Very informative.
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