Mashangpai photography exchange group

Photography for Beginners 1 Aperture and Depth of Field

Hello, class. Have you prepared all the equipment that the teacher asked you to prepare last week? Starting from this week, we will enter the practical course of "Beginners Learning Photography". Today is the first lesson. We are going to discuss two things together: aperture and depth of field.

First, let's talk about "aperture". Aperture is a set of movable blades made in the lens. By controlling the aperture, we can control the amount of light entering the camera in a certain period of time. Generally speaking, in the process of taking pictures, we usually complete the exposure of a photo by adjusting the size combination of "aperture" and "shutter". "Shutter" We will study it next class. The teacher will let everyone recite the following aperture values when they are free:

f 1.4/F2/f 2.8/F4/f 5.6/F8/f 1/f 16/f22/f32

The above aperture values are commonly used in our general camera lenses. The smaller the aperture number (for example, f 1.4), the larger the light input, and the larger the relative aperture number (for example, f22), the smaller the light input. So when we talk about large aperture, we usually mean smaller aperture value, which beginners often confuse.

There is a "one grid" (or "one level") difference in light quantity between each group of adjacent aperture values. For example, f 1.4 and f2 are one grid apart, and the apertures of f5.6 and f8 are also one grid apart. The amount of light entering each aperture is multiplied. For example, the amount of light entering f4 is twice that of f5.6, and that of f2.8 is twice that of f4. In this way, the amount of light entering f2.8 is four times that of F5.6 .. In fact, it doesn't matter if it doesn't count. At present, all you need to know is that the light difference of each aperture is double, and the other thing is to take some time to write down the aperture value above.

Next, "depth of field" refers to the distance range that is completely clear (that is, not blurred) on the negative after focusing. The depth of field is closely related to the length of lens focal length, the size of aperture and the distance of photography. Usually, the longer the focal length of a lens (such as a long lens), the larger the aperture, the closer the shooting distance and the shallower the depth of field; The shorter the focal length of the lens (such as a wide-angle lens), the smaller the aperture and the farther the shooting distance, the deeper the depth of field will be.

Every lens with different focal length and aperture size will have different depth of field changes. Most manual lenses are often engraved with Jing Shenbiao for users to judge, while most autofocus lenses use simplified Jing Shenbiao. In our elementary course, we won't teach you how to watch Jing Shenbiao. On the one hand, it is boring to learn, on the other hand, ordinary photographers really seldom check this function.

Because the depth of field is very important for a photo, in this course, we will experience the change of depth of field when using different apertures and lenses. It will be easier to take pictures in the future after you are familiar with the performance of the depth of field changes of your usual lenses.

First of all, you need a model to cooperate with you (just find your friends and relatives, don't be picky about beauty and ugliness, we are doing an aperture depth of field practice class now, not taking pictures), and then find a venue with a changing background (such as a park) to connect the camera to cable release and put it on a tripod. Because when we shoot with a small aperture later, the shutter speed may be very slow, and if we don't shoot with a tripod, we may get a shaking picture.

Next, prepare a pen and paper for recording. First install your usual lens, check the range of lens aperture value from maximum to minimum, and then record it. Take our lens as an example, starting with the maximum aperture f2.8, then f4, f5.6, f8, f 1 1, f 16.

After asking the model to locate, we started taking pictures. People who use automatic cameras can switch their cameras to "aperture priority" mode. At first, we start with the maximum aperture, and then adjust the aperture in turn until we shoot the minimum aperture. Don't forget to write down the aperture value you used when shooting. People who use an automatic camera can give it to the camera for metering, just change the aperture in sequence. People who use manual cameras (such as FM2) must change the appropriate shutter value to match each aperture. Anyway, just adjust the aperture first and then find a shutter that can expose ok. For those who don't know how to use the "Aperture Prerequisite" or can't make correct exposure, please read the instruction manual of your camera, which will teach you how to operate it.

Step by step for beginners of photography Lesson 2 Shutter and moving track

Today, the teacher is going to tell you about the shutter, which is a set of devices made on the camera body (some shutters of medium and large cameras are made on the lens) to control the exposure time of each film. First of all, let's take a look at the shutter combination on a general camera:

1 1/2 1/4 1/8 1/ 15 1/30 1/60 1/ 125 1/250 1/500 1/ 1000 1/2000

The unit of each group of numbers above is one second, for example, 1 is one second,115 stands for15 of a second,1125 stands for125 of a second, that is. For example, 1/8 and115 are only one space apart, and1125 and 1/250 are also different.

Sharp-eyed students may notice that each shutter time above is increasing or decreasing by multiple, which means that each shutter time is twice as long as the next shutter time. The longer the shutter enters the light, the more light the film receives. When the shutter matches the aperture combination discussed last class, it is the exposure combination of each film we take.

There is also a shutter combination called "B shutter" on the general monocular camera (that is, the shutter marked with B on the shutter dial), which determines the time of each exposure by the length of the shutter press, so there is no certain number of seconds. We will talk about "B shutter" in detail in later classes. As for the above shutter combination, students don't have to force themselves to recite it, but remember the concept that the gap between each shutter is twice.

In the last lesson, we mentioned that the aperture is used to control the "depth of field" of the subject. In this lesson, the teacher will teach you to use the shutter to control the "moving trajectory" of the subject. Similarly, please prepare your camera, tripod and cable releaser, and then we will start the actual shooting.

Step by step for novice photographers Lesson 3 Stability of hand-held photography

Hello, students. After being lazy for a week, the teacher finally forced himself to start working hard, so today I will talk about the stability of hand-held shooting.

In the previous homework, the teacher asked the students to shoot with a tripod for stability. But it is not suitable for tripods in all cases. In fact, many shooting behaviors are done by hand. At this time, the stability of hand-held shooting is the problem that needs attention before shooting.

Whether a photo is clear or not is often an important reference point for people to examine the shooting effect. Most people think that a "successful" photo must have a clear (that is, it must not be blurred) picture. Therefore, how to take "clear" photos is a topic that beginners should pay attention to.

The stability of hand-held shooting mainly depends on the shutter speed and the focal length of your lens. Of course, good shooting habits and postures are also important. In a few days, the teacher will write another suggestion about shooting habits and postures to the students. Now let's look at today's topic: stability.

What kind of bottom line can we take stable and clear photos? Generally speaking, there is a simple formula that can be used as a reference for students to shoot, that is:

Shutter = 1/ lens focal length

This means that taking the focal length of the lens you use as the denominator becomes the safe shutter time (that is, you can take clear photos). For example, if we shoot with a 50mm standard lens, as long as the shutter is not less than 1/50 seconds (but it seems that there is no shutter, so it is considered as 1/60 seconds), we can shoot a clear picture. If you are using a long lens below 200mm, the shutter time should be no less than 1/200 seconds (without this shutter, it is 1/250 seconds).

In this way, we can find that the longer the focal length of the lens, the shorter the shutter time we can use, while the hand-held wide-angle lens can use the shutter of 1/30 seconds. However, the above values can only be used as a reference. Generally speaking, everyone's shooting stability is different. Some people can take very clear photos at a very slow speed, and some people can still take blurred photos even if they use the shutter for a short time with a wide-angle lens (I don't believe the teacher has seen people who can't take clear photos with a wide-angle lens of 1/60 seconds).

The teacher can't tell you where the shutter speed can be controlled, and we don't need to take a photo test in this class, because today you can take a very clear photo in 1/30 seconds, but tomorrow you may be unstable even in1125 seconds because of poor physical strength. You just need to be careful not to match the lens focal length and shutter speed too far. In fact, students can try to see where their approximate stability lies. Teachers, like teachers, claimed to be able to take clear photos with their hands when they were young, but now they often get rheumatism in their wrists because they hold cannons for a long time.

Generally, when we take portrait photos, we usually use hand-held photography in order to have mobility, so students who like to take portraits practice their arms more to make them strong and steady. As for the students who reported to the landscape group, they still used a tripod to shoot. No matter how powerful their arms are, there will be no tripod. For the beautiful scenery, they should take an extra tripod when they go out.

Beginners learn photography step by step Lesson 4 Good shooting posture.

In order to take clear photos, tripod is the best choice, but as we mentioned before, in many occasions and situations, the probability of using hand-held photography is still the highest, so how to master a good shooting posture is an important topic for photographers to take good photos. Interestingly, even an old bird who has been shooting for many years, his shooting positions is not necessarily the most stable. Although he may be a master who can take good photos, he doesn't seem to pay much attention to better posture.

Today, the teacher will tell you a few good shots. Students should pay attention that we don't necessarily need to take pictures according to these actions. After all, everyone's shooting habits are different, but these actions can really help us to take pictures more stably, and students can choose their own ways to try.

Figure 1

First, let's look at the general standard posture. Standing and taking pictures is the most common situation for everyone. From the demonstration of Figure 1, we use our left hand to support the weight of the fuselage and lens, while our right hand is responsible for stabilizing the fuselage and pressing the shutter. Try to avoid sharing the weight of the camera with your right hand, so that when you press the shutter, you can reduce the indifferent shaking.

Hands and shoulders droop naturally. Don't arch your shoulders or shrug. Keep your legs slightly open so that the center of gravity can be smoothly distributed to your feet. The steps of the front and rear arches are also suitable for moving shooting, as long as you don't close your legs tightly, just like standing at attention.

Figure ii

Next, let's look at Figure 2. After the shoulders and arms droop naturally, keep yourself relaxed and take pictures. In addition, it's best to get into the habit of putting your upper arms close to your body, because if you habitually open your arms, then we can't share the weight of the camera with the body under your arm. At this time, the burden will all be transferred to the joints of your shoulders and arms. It won't take long to get sore, and it's not easy to take a stable photo.

Figure 3

Fig. 3 is a reference photo taken in kneeling position. Kneeling posture The posture of the upper body is the same as the standing posture, and the lower body adopts a high kneeling posture, with legs spread out, the right knee touching the ground and the left knee raised. The reason why the left knee is raised is because the left hand in charge of the fuselage can be supported by the knee, and the left hand can be used as a monopod to assist stability. Landing on the right knee and sitting on the heel makes the body a very stable environment, which is very helpful to improve the stability of our photos.

Figure 4

By the way, pay attention to the strap of the camera. For many students, suspenders may only be hung on the shoulders or neck. In fact, the strap is a good tool. Before holding the fuselage with your left hand, wrap the strap around your arm twice as shown in Figure 4, and then tighten it, which will help your camera and your left hand integrate and reduce the shaking caused by the support. This concept should be known to all students who have served in the army and shot at the target. In addition, it can protect the camera from falling out of your hand even if it collides.

Finally, when shooting the shutter, some students may have heard the saying that they should stop breathing. But the teacher didn't think it was necessary to be too reluctant. It is better to focus on the object to be photographed and feel that it is time to press the shutter. Just press the shutter then. If you can hold your breath and take pictures, you might as well try, but the teacher's lung capacity is small, which will only be counterproductive for me.

In the previous class, the teacher has talked a lot about the basic preparation for taking pictures. I wonder how the students are getting along? At the beginning of the next class, we began to take photos happily and formally. Next, let's talk about composition, and we begin to prepare our homework.

Hello, everyone, today's class will discuss the basic composition with you. Before class, the teacher should establish an idea with his classmates. The so-called composition has no "absolute" iron law. In fact, we can choose the way we like to do it. Today, the teacher taught you several ways of composition, which is the basic method when taking pictures. Students can try it, then expand it and find their favorite composition choices.

Figure 1

1. Photographic composition is a subtraction work.

First of all, we should understand that as far as the composition thinking of photography is concerned, it is actually a kind of "subtraction" work. When we take pictures, we must filter out unwanted pictures after capturing them with the landscape window of the camera. Change the focal length of the lens by going forward and backward, and then frame the theme in the picture.

The problem people usually make when taking pictures is to put too many "sundries" in the picture, thus reducing the importance of the theme of the picture. Especially when taking pictures with a wide-angle lens, this kind of mistake is particularly easy to happen because the wide-angle lens easily contains too many things irrelevant to the theme. Sometimes because the photographer is too greedy, he wants to capture too many themes in the picture at once, which makes the whole photo lose its center of gravity.

In the example of figure 1, a 35mm lens is used to take pictures close to the theme (little girl and hat), and the concept of "subtraction" is used to delete unnecessary sundries outside the theme, so as to make the theme of the whole picture more prominent.

Figure ii

2. Taking a complete picture of the theme is the most reliable method.

Writing with the concept of "subtraction" is actually something that needs experience accumulation. To subtract something from the picture, students need to spend more time taking pictures to experience it. If you don't talk about subtraction, this is the most steady way to capture the whole body of the subject.

The example in Figure 2 captures the whole body of the little girl in the picture, puts her in the center of the picture, and clearly shows the theme to be expressed. This is the safest and simplest composition technique. In addition, leaving a little space on the little girl's head can create a sense of stability and let the center of gravity of the picture fall below. Students might as well look at this again and try the difference between leaving space and not leaving space.

Figure 3

3. Fill the whole screen with themes

It is a very pleasing way to make a photo fully present the theme without adding other sundries. Because only the theme appears in the picture, there are no other disturbing items, so the idea of the whole photo will be expressed quite clearly.

In the picture in Figure 3, all the little girls are stuffed into four borders to prevent other things from appearing. Using the same concept, students can also take pictures of only one face, one flower or even one eye.

Figure 4

4. Appropriate blank space can add more artistic conception to the picture.

Speaking of filling the picture, in fact, proper blank space can also give the photo an artistic conception and give the viewer other imagination space. In the monotonous or uncomplicated background, this method can be used to reduce the space occupied by the theme in the picture, and at the same time it is not necessary to put the subject in the center. Sometimes this kind of performance can make the theme more eye-catching and eye-catching

The little girl in Figure 4 only occupies the left half of the picture, leaving room on the right and above. Compared with the figure 1, the charm of the performance is different.

Beginners learn the basic composition of photography lesson 5 step by step

Figure 5

5. Line shifting is one of the conditions to consider the blank position.

Speaking of blank space, where blank space should stay is a very interesting question. There is a simple decision method, that is, we can use the "moving line" of the theme to decide the position of blank space.

What is a moving line? Take Figure 5 as an example. This photo takes the direction of the little girl's eyes as a reference for line shifting. The little girl's eyes looked to the right, so she decided to leave a blank space on the right side of the whole picture. Taking this as a reference point to extend, students can also decide the position according to the movement track of the body and the movement track of the object.

The premise of this choice is that the theme should have obvious dynamic lines, which may not be judged by the general still life. Teachers always think that blank space has a lot to do with "feeling". Students might as well try to use their feelings to blank space, shoot more and see more different artistic conceptions.

Figure 6

6. Carefully decide the location of the cutting theme.

When we take pictures, we don't have to present the theme completely, and sometimes we cut off some parts as a way to express the theme. The cutting method of the theme needs to be thought out, because if it is not cut properly, it will often destroy the coordination of the whole picture.

So how do we choose to make a coordinated performance? This knowledge is very extensive, which is not something that our novice class can finish at once, so the teacher is here, taking the shooting of characters as an example first.

The biggest taboo in shooting the subject of figure cutting is to cut the frame line at the joints of the figure (such as neck joint, wrist joint, leg joint, waist joint, etc.). As long as the lines of the composition are cut off at the joints, the characters will look "broken".

Take Figure 6 as an example. Students try to take a piece of paper and cover it at the joints of the theme, then they will understand what the teacher said.

Today's composition example teacher mainly takes the character performance as an example, because the composition of character photography is more contextual and the things to be considered are not too complicated. In addition, in order to simplify the picture, this example was taken on a monochrome background. Students try to expand the course taught today and think about the composition of other shooting topics. If there is an opportunity, the teacher will invite other people who have more experience in landscape photography to tell you about the composition of landscape photography.

In addition, answering the question mentioned by netizen Kai Weixin, he mentioned "How to decide how fast the shutter is used and how big the aperture value is?" How do we usually combine? 」

First of all, the teacher asked students to take test photos of various apertures and shutters in order to let everyone know what photos taken with different apertures and shutters are like. After understanding, we can decide the aperture shutter value according to the needs of the shooting theme.

Get into the habit of choosing whether to use "aperture priority" or "shutter priority" before pressing the shutter. The so-called "aperture priority" and "shutter priority" are to decide whether shooting conditions should be based on aperture or shutter.

Take "aperture priority" as an example. For example, if we want to take a photo with a human theme and a blurred background, we must choose a large aperture (for example, the aperture is set to f2.8), and then start metering, and adjust the shutter value to complete the metering setting.

Now take "shutter priority" as an example. For example, if we want to make a waterfall into a silver satin, we should choose a slow shutter (for example, set the shutter to 1/4 seconds), and then start rotating the aperture value to cooperate with photometry.

In this way, students should be able to understand that aperture value relates to depth of field and shutter value relates to speed performance. We will decide whether to adopt "aperture priority" or "shutter priority" according to the needs, and then change a value combined with metering action.