Tag Archives: mathematics of photography

DIY Photography Course

Welcome to our Free Online Digital Photography Course!

Music and Photography are my passions.

Teaching Mathematics, Photography, MultiMedia, and ICT is my “Day Job”, but I manage to get out and about most weekends working as a Photographer.

Modern Digital Photography actually involves quite a bit of behind the scenes Mathematics.

An understanding of this Mathematics can definitely make you a better Photographer, even if it just means you know the best Viewpoints, Angles, and Geometric Composition to use when taking pictures with a Mobile Phone.

I have found that understanding the Mathematics of a DSLR Camera really helps me do fast effective problem solving on Photoshoots.

But don’t let a bit of simple mathematics put you off doing Digital Photography. There are lots of proactical examples and explanations to get you through.

Digital Cameras have preset Auto Modes which work well in about 80% of situations, but there are other times when a Camera needs to be put into full Manual Mode and some Mathematical Problem Solving invoked.

 

Here at Photos By Passy we have produced a comprehensive series of articles on Digital Photography, including plenty of real life examples as well as selected Videos which can be viewed.

We recommend working through these articles in the order in which they appear in the Overview Below.

The eight Digital Photography articles are as follows:

– Photo Composition Rules

– Digital Camera Settings

– ISO Light Sensitivity

– Aperture Settings

– Shutter Speed Settings

– White Balance Settings

– Combining Settings for Correct Exposure

– Flash Photograpy and Diffusers

Contained below is an outline of each article followed by a clickable link to the full article.

It is important to work through the articles in the order they are given here.

 
 

Mathematics of Photography 02

Like great Works of Art, the elements in a Photograph need to be arranged in a manner which is interesting and pleasing to the eye.

In addition, Photography is a two dimensional medium. Therefore we need to make use of the elements which are present in the photo to create a sense of depth and three dimensions.

Photos also need a main focal point, as well as leading our eyes on a journey through the picture.

Having these things makes for great photos, which are pleasing to the eye, and we call this “Composition”.

There are a Number of Composition Rules involving Percentage, Geometry, Symmetry, a Grid of Thirds, and even the “Golden Ratio” and its spiral.

To find out about these rules and their Mathematics, click the link below:

Photo Composition Rules

 
 

Mathematics of Photography 03

Most people use their camera on “Auto” mode, and get plenty of good pictures.

However, there are many items on a camera which can be adjusted manually to get even better pictures!

In this “How To” article we introduce several of these camera settings, and show how they can be used to create quality photos.

An overview of the three main Variables: “ISO Light Sensitivity”, “Aperture”, and “Shutter Speed” is provided.

This provides the preliminary background to more detailed articles on each of these three key items.

It is therefore vitally important to read this article before proceeding forward to the specific detailed articles.

To read the Introductory Article about Camera Settings, click the link below.

Digital Camera Settings

 
 

Mathematics of Photography 04

ISO sets a Camera’s sensitivity to light

Effectively it works like a Brightness Control on your camera, and you can turn it up higher if you are in a dark room, or in a shady forest.

If you are in Bright Sunlight, then you need to turn the ISO down to a low value or else your photo will come out all white and washed out with too much brightness.

Camera ISO is one of the three key Variables of Photography, the other two being Aperture and Shutter Speed.

Every photographer needs to understand ISO in order to get bright and clear pictures from their equipment.

The ISO sequence is: 100, 200, 400, 800, 1600, 3200, 6400 and etc. For every step up in this scale, the brightness of your picture doubles.

To get the full story on ISO and how to set it correctly on Digital Cameras for a variety of lighting conditions, click the link below.

How to Do ISO

 
 

Mathematics of Photography 05

Aperture is one of the key variables in Digital Photography. The other two are ISO Light Sensitivity and Shutter Speed.

An understanding of Aperture is critically important to isolate subjects in portraits and get full detail in Landscape pictures.

The Aperture Scale consists of a seemingly odd set of decimal and whole numbers, and getting your head around these values is not at all easy for Beginner Photographers.

In this article we examine Aperture in detail, and mathematically explain where the Aperture “f-numbers” come from.

Click the following link to read the full article.

How To Do Aperture

 
 

Mathematics of Photography 06

Shutter Speed is mainly used for creating dramatic effects by either freezing action or blurring motion.

The Speed is expressed in a fraction of a second, and is how long we let light in through the camera lens to the sensor.

Think of the Shutter as like opening and closing a set of venetian blinds quickly to let a burst of light into a darkened room.

Shutter Speed, (also called “Exposure Time”), becomes critically important in situations outside of the norm, such as the following:

1) Fast Moving Sports Action

2) Dimly lit indoor areas such as Bars and Clubs

3) Night Time Photography

4) Theatre and Musical Performances

5) Indoor Photos using Flash

6) Indoors Photos where we do not use Flash

7) Photos where we want motion blur for fast moving objects

8) Bird and Wildlife Photography

9) Photographing Young Children and Animals

In this article we will show you what Shutter Speed is, what the speed numbers mean, and how to set shutter speeds to values which should produce great photos.

Click the following link to read our article on Shutter Speed.

How To Do Shutter Speed

 
 

Mathematics of Photography 07

Different light sources produce light with slightly different colour tints, but our eyes do a great job correcting these variations.

Humans do not see a shift in colour as we move from a sunny garden into a shaded area, or go into a room and turn a light on.

Generally wherever we are, a piece of plain white paper always looks white.

However Digital Cameras DO detect light source differences, and sometimes create pictures with incorrect looking colours in them.

We need to know how to perform “white balance” adjustments, so that we can obtain pictures with realistic colours in them.

White Balance involves the Primary Colours of the Spectrum forming a Kelvin Temperature Scale from “cool” blue/violet through to warm “red” candle light.

What we have is a Mathematical Scale of color, and White Balance blends various colours together so that a white sheet of paper will look white, no matter what coloured lighting we are in.

You can read the full article on White Balance at the following link:

How To Do White Balance

 
 

Mathematics of Photography 08

In this article we look at Combining Variables for Correct “Exposure”.

We tie together the three key Digital Camera Variables: ISO, Shutter Speed, and Aperture, and discuss how to set these up to get good exposures in Camera Manual Mode.

When these three variables are optimised and unified together, we get a nice clear picture with great contrast and highlights. We say that the photo is correctly “Exposed”.

You can read the full article on Getting Correct Exposure Using Key Variables at the following link:

Combining Variables for Correct Exposure

 
 

Mathematics of Photography 09

In this article we discuss Flash Photography and how to use Light Diffusers to make Flash Photos look so much better.

Diffusers come in all types of Geometric Shapes and Sizes and create softened light which is more like Daylight.

The Intensity of Light from a point source like an on camera Flash follows an Inverse Square Law with the Distance the Flash is from the subject.

This is very important to have an intuitive idea about Inverse Square Law when changing the Power on a Flash, or when we move further away from the subject being photographed.

The full article about Flash and Diffusers can be read at the following link:

Flash Photograpy and Diffusers

 
 

Working through this series of articles will definitely make you a better photographer.

Keep in mind that I spent a couple of years working with Digital Photography to reach this level of understanding to a point where I could write about it to share my knowledge with others.

So if you are a complete beginner and feel a bit overwhelmed, then that is okay, these things just take practice and time.

It is best to work through all of our eight articles a bit at a time, try things out, and then come back to the articles to pick up a bit more of the finer detail.

The Maths is helpful, but the main thing about being a Photographer is to get out there taking lots of pictures!

Life is short and there can never be too many photos of its little magic moments!

Enjoy,
Passy

How to Do Flash

In this article we discuss Flash Photography and how the use of Light Diffusers can make Flash Photos so much better.

Diffusers come in all types of Geometric Shapes and Sizes and create softened light which is more like Daylight

Photos by Passy Flash Photography 01

 
 

Most Digital and Pocket Cameras come with a built in electronic flash which provides an intensely bright light source so that photos can be taken indoors.

These flashes do a basic job, but often they light up too much of the scene and remove the natural ambience of the setting.

Photos by Passy Flash Photography 02

The band in the above photo are “Two Phase The Duo” who are a great Covers Band who play venues, parties, and functions.

For more information about this band check out their Facebook page at the following link:

Two Phase The Duo Facebook Page

Here are some Photos of the Two Phase Duo taken using a mountable camera flash with a light softening Diffuser attached.

Photos by Passy Flash Photography 03

 
 

Light Softening Flash Diffusers

Diffusers are various semi transparent plastic devices attach over the face of an electronic flash and soften the light on the people in the photo.

The Diffuser which is our favorite is the Gary Fong Gamma Blade Diffuser, which was specially designed by Gary for use with the Sony A77 Digital camera.

One of its best features is that it is completely flat and can fit in a suit coat pocket, or the leg pocket on a pair of cargo pants.

It looks like a cheese grater and has elevated circular “bumps” on it (hemispeheres), which turn the flash into a simulated set of soft white LED lights.

Photos by Passy Flash Photography 04

There are several other types of Diffuser: the “Puffer”, the “Stofen”, the “Light Sphere”, the “Soft Box” and various others.

If you are ever stuck for a Diffuser, you can always fold up some white paper and cardboard and tape it onto your flash. You then tilt the flash upwards at 90 degrees and use the white as a reflective “bounce card”. The light from the Flash bounces off the white cardboard and this bounced light illuminates the subject with soft white light.

 
 

The Puffer Diffuser

If you have a pop up flash on your Digital SLR Camera, a “Puffer” Diffuser can be mounted onto the front of the Flash to soften the harsh burst of flash light and create a nicer photo.

Photos by Passy Flash Photography 05

The only problem with Puffer Diffusers is that if you have a large zoom lens on your camera, and/or a Lens Shade Hood, there might be a round reflection shadow formed on the bottom of your photos.

This happens because the Flash pops up and is not high enough up in the air away from the lens.

Photos by Passy Flash Photography 06

The other problem with just using a “Puffer” on an onboard pop up flash is that we cannot adjust the power of the flash. The flash simply sends out a big burst of light which might actually be too bright for the scene being captured.

To overcome these problems of shadow and power most photographers invest in an attachable external flash for their digital camera.

 
 

Attachable External Flash

When we attach an external flash it is designed to be as far as possible above the camera lens. This produces light which shines downwards at the person a bit like real sunlight does.

Attachable units can also be rotated through various angles, (such as 45 and 90 degrees), so that light can be bounced onto the subjects from the walls or roof.

This produces much better looking photos than the pop up onboard flash.

Photos by Passy Flash Photography 07

Another great thing about attachable flash units is that they can have their power and angle of dispersion adjusted to better focus the light on the main subject matter, and not aimlessly light up the whole room.

Photos by Passy Flash Photography 08

 
 

Light Intensity Mathematics

When using a Flash you might think that if you double the distance between yourself and the subject, that the intensity of the light on your subject will halve.

This is not actually the case, the instensity will actually be 1/2 x 1/2 = 1/4 of the original brightness.

This is known to anyone who has studied Physics as the “Inverse Square Law” and it also to both light and sound.

Photos by Passy Flash Photography 09

The “Inverse Square Law of Light Intensity” is not nearly as complicated as it sounds.

“Inverse” means that when we move further away, we only get a FRACTION of the light we used to have.

“Square” means that we do “Distance x Distance” to work out the bottom number in this 1/ fraction.

This makes things get very dark very quickly as we move the Flash further away from the subject.

Photos by Passy Flash Photography 10

The Inverse Law of Light Intensity Reduction from a Concentrated “Point Source” also applies to Projectors and Candles, (but not to fluorescents or light globes in rooms).

Photos by Passy Flash Photography 11

We do not need to make actual 1/d x 1/d calculations when doing Flash Photography, but we do need to be aware that illumination of subjects can decrease rapidly as we move ourselves further away from them.

 
 

Flash Power – Auto and TTL

Most attachable Flashes have three modes: Auto, TTL, and Manual.

Photos by Passy Flash Photography 12

TTL mode is supposed to make the Flash and Camera do all of the thinking for you; however I have found for my particular setup, I get better results controlling everything myself in Manual Mode.

“TTL” stands for “Through The Lens” and the flash fires off some preliminary flashes to work out what it thinks should be the correct exposure power for the final shot it takes.

Quite a few articles and Videos on the Internet have mentioned that TTL is great when it works, but is often inconsistent.

At the end of this article are several videos about TTL if you are interested in trying it out.

 
 

Flash Power – Manual Mode

Rather than using Automatic TTL mode on our external flash, we have found that the best results are obtained from our Sony A77 Camera by setting the Flash to Full Manual Mode.

We usually start off with the power around 1/16, and if this is too dark we increase it to 1/8.

For the angle of dispersion, we set it to a 50mm lens for Night Life People Pictures.

Shooting at ISO 1250, we find that this gives nice bright results, with the background containing ambient lighting rather than bright flash lighting.

We have also found that it is better to shoot photos slightly brighter than normal, rather than darker, as we can always tone down the brightness later in Photo Shop without losing crispness and detail.

Photos by Passy Flash Photography 13

For night time venues with plain Red, Green, Blue, coloured lighting, we have found that as long as the Band does not mind a bit of soft diffused flash, we can get clear pictures of them at a power of 1/16, but still maintain some ambience.

Photos by Passy Flash Photography 14

Let’s now look at a few of the common types of diffusers for DSLR external Flash Units.

 
 

Stofen Diffuser

The Stofen Diffuser is a semitransparent rectangular cap which goes on top of an attachable flash.

I started off originally with a cheap $50 Chinese Yongnuo Flash and a Stofen diffuser, shooting all of my pictures in Manual Mode like the one shown in the image below.

It did a reasonable job, and angled up at 45 degrees it produced better results than just using the plain manual flash, or a white bounce card.

Photos by Passy Flash Photography 15

 
 

Light Sphere Diffuser

The next Flash setup I tried was a proper compatible Sony Speedlite Flash, with a Gary Fong Collapsible Lightsphere Diffuser.

This produced cleaner and better results than the Stofen Diffuser, but was a bit bulky on top of the camera in crowded nightclub situations.

Photos by Passy Flash Photography 16

There is a video about this Diffuser in the videos section at the end of this article.

 
 

Blade Diffuser

The final Diffuser I have settled on as my permanent setup is the Gary Fong Lightblade Diffuser because it is flat and compact and gets great results.

Photos by Passy Flash Photography 17

There is a video about this Diffuser in the videos section at the end of this article.

 
 

Soft Box Diffuser

These type of diffusers are too large and bulky to carry around for night life photo shoots, but are used for studio photography.

They are also called “Pillow Boxes” because they have soft white translucent material like a pillow case, which is formed as part of a box containing a special photography light bulb.

Effectively they create soft daylight for doing Portrait Photos indoors.

Photos by Passy Flash Photography 18

 
 

Fill Flash

When we use a Flash in bright sunlight it can blast away shadows off people’s faces and also illuminate the person with correct exposure when the surrounding background is very light.

Even just using the camera’s normal onboard flash with the camera set to “Fill Flash” mode can achieve this, as in the Birthday Party photos shown below.

Photos by Passy Flash Photography 19

 
 

Typical Flash Set Up

For night life and party photos we use the following Flash setup for our Sony HVL-F43M Flash mounted on the Sony A77 DSLR camera.

Photos by Passy Flash Photography 20

We hope this article has enabled you to better understand Flash Photography using Diffusers, and there is lots of further information in the Videos which are embedded and lsited below.

Happy Snapping!

 
 

Videos About Flash Photography

First up we have a great 30 minute video with both Theory and Real World Examples of Flash Photography.

 
 

Here is a five minute video about the Flash I am currently using: The Sony HVL-F43M.

 
 

Here is a great video all about Diffusers from the excellent “Nightclub Photography TV” YouTube Channel.

Part 1

Here is Part 2 of the above video:

 
 

The following video is all about the Gary Fong Light Sphere Diffuser

 
 

This next video is also by Gary Fong and describes the excellent “Gamma Light Blade” Diffuser

This particular video is for the Sony Flash, but the “Light Blade” is also available for Canon and Nikon Speedlite Flash units.

 
 

The following video is an excellent six and a half minute video all about using “Fill Flash” for outdoor Portrait shots.

 
 

Here is a great twelve minute video all about using a Flash to do Outdoor Portaits.

 
 

This next sixteen minute video is all about using on camera flash, with an emphasis on Canon Camera Equipment.

 
 

This video is a one hour video about NOT using flash, but instead just using ambient light with light meters and reflector panels.

 
 

Videos About TTL

Here is quick two and a half minute video explaining what TTL Flash Mode is and how it works.

 
 

This next Video shows how to see the TTL Verify Light working on Canon, Nikon, and Sony Flashes.

 
 

This next Video discusses TTL Flash Mode versus Manual Mode.

 
 

The following video is a full one hour Webinar on TTL versus Manual for Flash Photography.

 
 

Related Items

For more great articles about How to Do Digital Photography, see our “How To” page at the following link:

How To Articles by Photos By Passy

 
 

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Go to the subscribe area on the left hand sidebar, (or down the bottom of the page if using a mobile phone), fill in your email address and then click the “Subscribe” button.

Enjoy,
Passy

Photo Composition Rules

Subject: Photo Composition

Like great Works of Art, the elements in a Photograph need to be arranged in a manner which is interesting and pleasing to the eye.

In addition, Photography is a two dimensional medium. Therefore we need to make use of the elements which are present in the photo to create a sense of depth and three dimensions.

Photos also need a main focal point, as well as leading our eyes on a journey through the picture.

Having these things makes for great photos, which are pleasing to the eye, and we call this “Composition”.

Photos by Passy Photo Composition 02

In this article we look at a set of rules which pertain to good composition.

These “Rules” are as follows:

1) Fill the Frame
2) Beware the Background
3) Avoid the Middle
4) The Thirds Rule
5) Leading Lines
6) Depth and Scale
7) Symmetry and Patterns
8) Viewpoint and Angles
9) Space to Move
10) Cropping Body Parts

These rules are not exhaustive, and there are other additional ways of making photos look great. These are discussed in the Videos and Reference Items at the end of this article.

The material which follows covers the main general rules of composition, and shows lots of practical photo examples.

Portrait Photography is a whole other world involving poses, background blurring, lighting angles, and using off camera flash. This material is not covered in our article.

Landscape Photography is another separate genre of work, involving the use of filters and long exposure times. This level of detail is not part of our article, but we hope to do a separate article on this another time.

Even with the above exclusions, the article which follows is still a very long one, and so take your time working through it.

At the end of the article there is a Quiz that contains several example photos for you to work through and make composition assessments on.

So let’s get started with our Top 10 Rules of Composition.

 
 

Fill the Frame

It is easy to take a picture which has lots of “empty” or non-important space in it.

With the high number of Megapixels on many digital cameras, this is not a problem, and we can “Crop” or Reframe the picture in Photoshop later on so that at least 60% of pour photo is filled with the main subject.

Photos by Passy Photo Composition 03

However, it is a good idea at the time of shooting, to zoom in if we can, and fill up the frame with the important subject material we want to capture.

Photos by Passy Photo Composition 04

 
 

Beware the Background

Sometimes a great picture is ruined by having a busy distracting background in it.

Other times there may be strange items in the background, which directly interfere with the main subject.

Photos by Passy Photo Composition 05

Often there are distractions in the background which are unavoidable.

We can use Photoshop to “Crop” (or Reframe) the picture, and then use additional tools to fix or even totally remove all distractions.

Photos by Passy Photo Composition 06

Remember: The background behind our subject can sometimes dramatically interfere with the final result.

Usually this is not good, so be careful!

 
 

Avoid the Middle

For beginner photographers, especially when using Auto Focus, the main subject of the photo ends up directly in the middle of the picture.

This creates a rather boring photo, and a better composition effect is to place the main subject off to the side in the photo.

Photos by Passy Photo Composition 07

Here is another example of an original shot being too centred in the Middle.

Because this was a large 24 megapixel photo, we were able to use cropping in Photoshop to change the composition and make a “new” improved picture.

Photos by Passy Photo Composition 08

In the “Thirds Rule”, (which we look at in detail in the next few sections), there are ways to compose our pictures which avoid having the main subject in the very centre.

There are always exceptions to every rule, and we often have a single person pose in a Landscape photo to supply a reference point for us to visualise the actual size of the vista.

Photos by Passy Photo Composition 09

We can also make somebody in a Group Photo the “centre of attention” by placing them directly in the middle of the picture.

Photos by Passy Photo Composition 10

Here are some more exceptions in some photos taken in New York City by Musician/Photographer: Nicholas Roy.

Photos by Passy Photo Composition 11

The Sunflower and the Newsagency are “Framed” by the rest of the picture, and well placed to be the centre of attention.

“Framing” is another Composition technique which works really well in photos like these.

 
 

The Thirds Rule

The “Rule of Thirds” is one of the cornerstone rules of composition, where we divide a picture into vertical and horizontal thirds.

This creates 9 rectangular areas divided by 2 vertical and 2 horizontal lines.

Because there are nine reactangular areas created, it is sometimes also called the “Rule of Nines”.

The idea is to position the most important elements in your scene along these lines, or at the points where they intersect.

Doing this adds balance and interest to the picture. Some cameras even have an option to superimpose a rule of thirds grid over the LCD screen, so it can be referenced while setting up your picture.

Photos by Passy Photo Composition 12

In this first example, the Rule of Thirds has been followed “Religiously”, and we have placed key features so that they sit right on the thirds grid lines.

Photos by Passy Photo Composition 13

However, in the next example of cropping the same original photo, we have placed key items inside the boxes formed by the thirds grid.

Sometimes a better image is obtained by not placing key features directly onto the grid lines, but instead placing them inside the thirds boxes.

Photos by Passy Photo Composition 14

We can also use Diagonal Thirds for placing key features onto the grid lines.

Photos by Passy Photo Composition 15

Another aspect of the Thirds Rule is to place land/sea, sea / sky, and other key boundaries onto one of the horizontal thirds lines.

Photos by Passy Photo Composition 16

Here are some New York City Photos from Musician/Photographer: Nicholas Roy which use the thirds rule very well.

Photos by Passy Photo Composition 17

It is often important to have a balancing element, and not empty space, when we position our main subject off center into the left hand one third of a picture.

This is covered in the next section “Thirds Rule – Major and Minor”

 
 

Thirds Rule – Major and Minor

When we have a main subject, and other items around them, it is a good idea to use the Thirds Rule and place key minor objects on the thirds crossover points.

Photos by Passy Photo Composition 18

Here is another example of using Major and Minor within the Thirds Rule.

Photos by Passy Photo Composition 19

The Major and Minor items do not have to be directly on thirds Gridlines; they can be contained within thirds boxes.

Photos by Passy Photo Composition 20

In some cases we can apply this rule the other way around, and place the Major object onto the thirds gridlines.

Photos by Passy Photo Composition 21

 
 

Leading Lines

When we look at a photo our eye is naturally drawn along lines. These can be curved lines, zig zag lines, or diagonal lines which lead us into the picture.

This gives the picture a three dimensional story to it, and makes us go on a “Journey” through the scene.

Photos by Passy Photo Composition 22

Leading lines are often used in Landscape and Nature photos to add interest to the pictures.

Photos by Passy Photo Composition 23

Here are some great examples of Leading Lines in photos taken by Musician/Photographer: Nicholas Roy in New York City.

Photos by Passy Photo Composition 24

 
 

Depth and Scale

Photography is a two-dimensional medium, which can make it difficult for us to convey the sense of depth that was present in the original scene.

We can create depth in a photo by including objects in the foreground, middle ground and background.

It is also a good idea to include people in Landscape and Nature files to act as a scale reference for the Picture.

Photos by Passy Photo Composition 25

Depth is often combined with Leading Lines when we compose Landscape Photos.

Photos by Passy Photo Composition 26

 
 

Symmetry and Patterns

Our eyes are trained from when we are babies to look for the face of our mother, which has a nose and eyes either side.

We are highly trained to look for symmetry, and for this reason we find it to be an attractive trait in photographs.

Photos by Passy Photo Composition 27

In Group Photos, especially Groups of Three, we can use people turned inwards as “Bookends” within the balanced Symmetry.

Also to preserve symmetry, put either the Tallest or Shortest person in the Middle, also place people with blonde or bright hair or bright clothes in the middle.

Photos by Passy Photo Composition 28

Use Symmetry and balance the left and right hand side of the Group, by placing brightly clothed, or blonde haired people in the middle of the photo.

We do this because blonde haired people reflect light more, and always come out much brighter in Flash Photos.

Photos by Passy Photo Composition 29

Finally for Groups of Two, we can make them mirror reflections, or make the man dominant and the woman submissive (even if this does sound sexist, it is classic portraiture composition – think of old style Hollywood Movie Posters like “Gone With The Wind”).

Also use Major / Minor with blonde brightly dressed person to the front and brunette or dark clothes slightly to the back.

Photos by Passy Photo Composition 30

 
 

Viewpoint and Shooting Angles

Different subjects look different if we shoot them from different angles rather than just straight on.

Shooting from above or below is one option, but we can also tilt the angle of the camera to create a different viewpoint.

Photos by Passy Photo Composition 31

When you shoot Groups of People, such as sports teams, it will be boring of all the photos are the same front-on straight line composition.

We need to mix it up a bit by using Angles, Interesting People Arrangements, and sometimes taking one or two steps sideways so that we are not directly front-on to the group.

Photos by Passy Photo Composition 32

When shooting sports, often the best place to shoot from is where the umpire or referee stands most of the time. This gives us the best viewpoint.

Eg. For Basketball shoot from behind the rim to the right, and have the rim in the shot. For tennis shoot from the middle of the court at the net.

Photos by Passy Photo Composition 33

For certain sports it is good to shoot at a particular angle (up or down).

For Mountain bikes, it is generally a good idea to get down as low as you can on the ground and shoot upwards, especially on jumps.

However when riders are going up a long hill, it is better to get at a vantage point up high at the side of the track and shoot downwards.

Photos by Passy Photo Composition 34

For athletic events, get down as low as you can to shoot upwards for high jump and long jump so that the jump height is emphasized.

Getting down low kneeling on one knee, a few meters down from the start or finish line, is a good viewpoint for shooting running races.

 

For People shots at parties, start front-on, then move one or two steps to the left or right, and then lift up your camera up and shoot from above looking down.

Shooting from above and off to the side gives great jawline emphasis which is a very flattering look.

Shooting with Flash from above also creates a shadow under the jawline, further enhancing this feature.

Photos by Passy Photo Composition 35

Here are some more photos where we have shot at a down angle, rather than front on.

Photos by Passy Photo Composition 36

NEVER SHOOT PEOPLE FROM BELOW OR ALLOW THEM TO LEAN BACK.

Shooting too low emphasizes the neck in a bad way, and loses all that nice jawline profile.

Basically if you can see a person’s nostrils at all, then you are shooting from too low down.

Photos by Passy Photo Composition 37

Straight up and down shots of people can become boring, and so tilt the camera while taking pictures to add angles and interest.

Photos by Passy Photo Composition 38

Camera Tilting is a good composition effect to use in music photos.

Photos by Passy Photo Composition 39

(The photos above are of “Kisstroyer” from Melbourne Australia. If you like Kiss music, then these guys will rock your socks off!)

Another use of Viewpoint is to get up high by lifting the camera, or using any available upstairs area when doing Dance Floor or very large Group Photos.

Photos by Passy Photo Composition 40

 
 

Space to Move

In certain types of Photos such as Music, Sports, Dance, and Theatre we do not “Fill the Frame”, and we do not follow “The Rule of Thirds”, because we need to leave space to move.

Having some space for the viewer to see where some action has come from, and where it is going to, is the main priority.

Photos by Passy Photo Composition 41

When we photograph performances it is a great idea to have some shots which include the audience, so we can see who the performance is going out to.

Photos by Passy Photo Composition 42

When photographing musicians we need to include all of their intruments, so we can imagine where their playing might be going to next on the instrument.

Photos by Passy Photo Composition 43

 
 

Cropping Body Parts

We often cannot include all of a person’s arms or legs, which is fine, as long as we do not cut off the arms or legs below the knees or elbows.

Eg. If we crop or frame a photo we must always “Cut Off” above the joints on the arms and legs.

It is best to take the shot wide and big enough to have the full body along with some space to move, and even have some extra background space we may not need.

There are plenty of Megapixels, and from a shot that is “too big”, we can easily crop out what we do not need from the background, and have all limbs fully intact.

Photos by Passy Photo Composition 44

In the example below, the top left shpot has the guy’s arms cut off below gthe limbs. Aslo shown to the right and underneath ways we could shoot or crop this photo to solve this problem.

Photos by Passy Photo Composition 45

 
 

The Golden Ratio

We did say at the start of this article that we would only be covering ten rules; however there is one final rule which is above all others.

This final rule is the “Golden Ratio” or “Golden Spiral”.

This rule is believed to be the Penultimate Composition Rule for Art, Photography, Facial Corrective Plastic Surgery, and Architecture.

The following three minute video does a great job of explaining the Golden Ratio of 1.618 called “phi”.

The “Golden Ratio” is famous throughout history in Architecture, Art, and Photography as shown in the video.

Watch this video before reading the material below.

 

If key elements in a Photo fall onto the Golden Spiral containing rectangles and squares with side lengths in the “Golden Ratio”, then this should theoretically form the most pleasing picture possible.

The Golden Ratio Spiral is not easy to picture whenever I am busy taking a photo, so what I did was check some of my favorite photos in Photoshop by overlaying a Golden Spiral from Wikimedia.

I had originally composed each of these photos using only the general composition rules like symmetry, thirds rule, major/minor, and so on.

To my surprise I found that these photos did in fact contain elements of the Golden Ratio.

Photos by Passy Photo Composition 46

The Golden Ratio is used a lot in Portrait Photography, but can be applied to Landscape Photography, Sports Photography, and People Pictures.

The highly used “Rule of Thirds” is in fact an extremely simplified version of The Golden Spiral and Ratio.

 

The “Fibonacci Spiral” looks just like the Golden Spiral, and it is a very close approximation to the “Golden Spiral”.

The two spirals are very similar to each other, so either can be used for analysing the composition of a photograph.

In fact the two spirals are often confused with each other because they are so similar.

If you want to delve into the mathematical details of the two Spirals, then check out the following web page:

Wikipedia article about the Mathematics of Spirals

Here is three minute video about the Golden Ratio in Photographs:

 

Finally, here is a PinInterest Board where I have posted a number of interesting Golden Ratio Photos:

Photos by Passy Golden Ratio on PinInterest

 
 

Composition Quiz

What follows are a series of Photos, and it is up to you to think about whether or not they follow any composition rules and look good.

If the photo does not look quite right, think about how it might be fixed to be a better looking photo.

Answers are provided immediately after each set of Photos, so scroll down slowly without looking ahead at the answer.

 

Have a look at these first two photos, and see what composition rules are present, or perhaps should be present to improve the photos.

Photos by Passy Photo Composition 47

 

Here are the Answers to these first two photos.

Photos by Passy Photo Composition 48

Picture A was actually a Birthday Party photo, and if the girl in the white dress was the “birthday girl” then it would be okay to have her as the dominant feature at the front.

However, it was not her birthday, and so she probably should have been arranged to be in the center of the group.

 

Here are the next photos in the Quiz which need to be considered, and their composition effectiveness assessed.

Photos by Passy Photo Composition 49

 

Here are the answers to the Photos.

Photos by Passy Photo Composition 50

Photo B is not actually all bad, it does have the right two thirds containing the brightly colored people with flowers, and the left one third having the plainly dressed person.

However, my personal take on the photo is that it would be better with “Bookending”.

 

The next two photos in the Quiz are these ones.

Photos by Passy Photo Composition 51

 

Here are the answers to the Photos: Photo A was quite okay, but Photo B stands out as having some serious issues.

Photos by Passy Photo Composition 52

 

Two more photos for checking are from the same “Doors of Perception” band shoot album, and are shown below.

Photos by Passy Photo Composition 53

 

Here are the answers to the Photos.

Photos by Passy Photo Composition 54

“The Doors of Perception” Band from Melbourne Australia are highly recommended to see for anyone who loves all the The Doors classics played to perfection.

 

The next two photographs were taken by Photographer/Musician Nicholas Roy in New York City.

Nicholas has a great eye for photography, and his post processing of pictures using Photoshop is very artistic and creative.

Photos by Passy Photo Composition 55

 

Here are the answers to the Photos.

Photos by Passy Photo Composition 56

 

These last two photos are also of New York City by Nicholas Roy.

There is a lot going on in these photos, and it might not be easy to see which Composition Rule(s) are making these pictures look so good.

Photos by Passy Photo Composition 57

 

Here are the answers to the Photos. We saved the best till last; and these two photos are great examples of The Golden Ratio creating eye catching pictures.

Photos by Passy Photo Composition 58

 
 

Videos About Photo Composition

The following ten minute video goes through a lot of the Photo Composition Rules we have covered in this article.

One of the key rules covered fdor example is that in portraits the eyes are the most important feature, and so should ensure they are on a thirds boundary.

 

This next twenty minute video has some interesting ideas about composition, especially for Group Shots and Family Photos.

 

Finally, here is a three minute music video which shows some really well composed photographs.

There are many other Composition videos available on YouTube, especially for the area of doing Portrait Photos.

We recommend regulary searching YouTube and watching these one or two of these types of videos as part of ongoing learning and study of Photography.

 
 

Videos About Portrait Photography

Here is a good five minute video about six basic composition rules for doing female portraits

 
 

Here is a one hour extensive lesson about Poses for Portraits, including the “Triangle Rule” and several others which we have not covered in this basic composition article.

 
 

Additional Reading

Here are some good articles on Composition which we found on the web while researching this article.

The first article is a basic summary of composition rules, including several that we have covered in this article.

10 Top Photography Composition Rules Article

Another excellent article on Composition is the following one.

Digital Camera World Composition Article

This next article covers 18 rules of Composition.

18 Composition Rules For Photos Article

The next article includes composition using the Golden Ratio.

Composition Article including The Golden Ratio

Here is an article that gives five quick easy composition rules.

Five Quick Easy Composition Rules

The next article shows some tips for Portrait Photography.

Composition Rules for Portrait Photography

Here is a link to Nicholas Roy’s Website (The guy who did the great New York City Photos contained in this article)

Nicholas Roy : Musician/Photographer Website

The following is a short article on the Golden Ratio and Golden Spiral by Photographer Jake Garn.

Jake Garn Golden Spiral and Rule of Thirds Article

 
 

Related Items

How To Do Camera Settings

How To Do ISO Settings

How To Do Aperture Settings

How To Do Shutter Speed

 
 

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Go to the subscribe area on the left hand sidebar, (or down the bottom of the page if using a mobile phone), fill in your email address and then click the “Subscribe” button.

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Passy

How To Do Shutter Speed

Shutter Speed is one of the three key variables in Digital Photography. The other two are ISO Light Sensitivity and Aperture Light Levels.

We suggest that before going through this article on Shutter Speed, you go through our previous articles on Camera Settings, ISO and Aperture.

These lessons can be found at the following links:

How To Do Camera Settings

How To Do ISO Settings

How To Do Aperture Settings

 

Shutter Speed is mainly used for creating dramatic effects by either freezing action or blurring motion.

It is a good idea to read our previous articles listed above about Camera Settings before working through this Shutter Speed Article.

 

Understanding Shutter Speed is critically important to isolate items and have them crisply in focus without any motion blur occurring.

In normal conditions, such as outdoors in bright daylight, shutter speed is usually not a problem. We can simply set our camera to Auto Mode and its processor will calculate and use a shutter speed which gives good results.

However, in various other situations, we need to be critically aware of what needs to happen with Shutter Speed and how it affects our photos.

Shutter Speed, (also called “Exposure Time”), becomes critically important in situations outside of the norm, such as the following:

1) Fast Moving Sports Action

2) Dimly lit indoor areas such as Bars and Clubs

3) Night Time Photography

4) Theatre and Musical Performances

5) Indoor Photos using Flash

6) Indoors Photos where we do not use Flash

7) Photos where we want motion blur for fast moving objects

8) Bird and Wildlife Photography

9) Photographing Young Children

In this article we will show you what Shutter Speed is, what the speed numbers mean, and how to set shutter speeds to values which should produce great photos.

The article is a very long one, and so we recommend going through it several times, as well as watching the videos at the end of the article.

 
 

Definition of Shutter Speed

Every digital camera has a shutter which opens and closes quickly to let light through the lens to the image sensor. Think of the shutter as like being in a dark room during the daytime, and opening and closing a set of venetian blinds quickly to let a burst of light into the room.

Basically a camera shutter is like a curtain in front of the camera sensor that stays closed until the camera fires and goes “click click”.

When the camera fires, the shutter opens and fully exposes the camera sensor to the light that passes in through the lens.

After the sensor is done collecting the light, the shutter closes immediately, stopping any more light from hitting the sensor.

The button that fires the camera is called the “shutter” or “shutter button”, because it triggers the shutter to Open and Close.

Photos by Passy Shutter Speed 02

The speed at which the shutter opens and closes is usually a fraction of a second, such as 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000.

The bigger the number in the bottom of the Fraction, the faster the shutter opens and closes.

A “Fast Shutter Speed” is needed for Sports to freeze the action. But a fast speed lets in less light, and so we need good lighting conditions.

Photos by Passy Shutter Speed 03

A “Slow Shutter Speed” lets in more light (for indoor lighting conditions).

However this can result in blurring if people are moving.

Usually we cannot shoot at speeds lower than 1/60, because we will get camera shake as well as blurring of our photos.

Photos by Passy Shutter Speed 04

Shutter Speed is not usually a problem if we are in bright sunlight, but for other situations speed is critically important.

Photos by Passy Shutter Speed 06

 
 

Standard Shutter Speeds

“Shutter Speed” is measured in seconds or fractions of seconds:

1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000, 1/5000

Note that the bottoms of the fractions always double, except for the jumps between 1/8 and 1/15, and 1/60 and 1/125.

The jumping of 1/60 to 1/125, instead of 1/60 to 1/120, is deliberately designed that way so that the doubling pattern is simpler for the 1/125, 1/250, 1/500 end of the Range.

There is also the out of sequence jump between 1/8 and 1/15 for the same reason.

Photos by Passy Shutter Speed 05

Note that the Speed is usually displayed as whole numbers on cameras, due to LCD and Viewfinder sizes.

Eg. 1, 2, 4, 8, 16, 30, 60, 125, 250, 500, 1000, 2000, 5000.

Photos by Passy Shutter Speed 07

 
 

Shutter Speed Geometric Progression

Typically, Shutter Speeds start from 1 to 1/60 (slow), and go up in in value following a “Geometric Progression” (with a Multiplying Factor of One Half).

Eg. Speed Sequence is: 1, 1/2, 1/4, 1/8, then 1/15, 1/30, 1/60, then 1/125, 1/250, 1/500 etc.

As discussed previously, there are deliberate jumps in the sequence, (which do not follow a multiplying factor of 1/2).

These jumps are at 1/8 to 1/15, and 1/60 to 1/125, which keeps the shutter speed fractions at simple whole numbers.

So this means that the entire Sequence actually consists of three separate Geometric Progressions, with a Multiplying Factor of 1/2 in each of them.

Photos by Passy Shutter Speed 08

The important consequence that photographers need to understand, is that each step between the numbers effectively halves the amount of light reaching the sensor.

Eg. If we give the shutter an open/close time which is twice as fast, we only let half as much light in.

Photos by Passy Shutter Speed 09

Many modern Digital SLR cameras also have in between Shutter Speeds which can be dialled up and used.

For example in between 1/60 and 1/125, there might be speeds of 1/80, or 1/100, which are also available.

These in between values allow finer increments of speed increase and consequent light reduction.

 
 

Shutter Speed Guide

Photos by Passy Shutter Speed 10

“Panning Blur” involves tracking the moving subject with the camera using multishot mode.

This creates motion blur in the background to give the viewer a sense of the speed.

Eg. For Panning Blur on a Runner in the Park, use speeds of 1/30, 1/60, or 1/100 so that the subject is captured, but the background is blurred.

The following video shows an example of how to do “Panning Blur”.

 
 

Fast Shutter Speeds for Sports

Capturing the action in Sports can be a trade off between freezing the action, and having enough light coming in through the shutter to get a good clear picture.

Outdoors in bright sunlight we are usually okay, and if we set our camera to “Sports” Mode, it will use a very fast speed like 1/2000 and get good clear shots.

Photos by Passy Shutter Speed 11

However for Indoor Sports, even if the stadium appears to have good lighting, a Shutter Speed of 1/2000 will make our shots come out too dark.

We need to remember that our human eyes adjust extremely well to reduced lighting conditions, but cameras do not!

If in “Sports” or “Auto” mode, we take an indoor shot, and it comes out too dark, then we will not be able to use our camera in automatic mode.

In these situations we can do some basic mathematics and figure out that 1/2000 + 1/2000 = 2/2000 = 1/1000.

This means that if we reduce shutter speed from 1/2000 down to 1/1000 we will get twice as much light onto the camera’s sensor.

If we change 1/2000 to 1/500 we will get four times more light, and reducing 1/2000 down to 1/250 will give us 8 times more light.

We will need to put our camera into either “Manual” mode “M”, or “Shutter Priority” mode “S” to be able to make these changes.

Photos by Passy Shutter Speed 12

The trade off will be that we might not freeze the action perfectly, but sometimes a slightly blurred ball can help show some fast movement in the photo, and so it is actually a good thing.

 
 

Using Multi Shot for Sports

For fast moving ball sports, especially tennis, a lot of shots will be unusable because the ball moves so fast it is often out of frame by the time the camera fires.

The solution to this issue is to make sure “Multi Shot” or “Rapid Fire” is turned on, so that several photos are quickly taken in a row, while the camera makes a machine gun type sound.

We can then pick the best photo from the multi shot sequence and use that one in our photo album.

Most cameras have a rapid shoot preset mode that can be dialled in, and/or they have “Sports” as one of their Scene Modes, and “Sports” mode will automatically turn multi shot on.

Photos by Passy Shutter Speed 13

Multi Shot mode is also very useful to use at young Children’s Parties.

Kids move around a lot and are very easily distracted. It often takes several shots to get one where they are all sitting still and looking at the camera.

Photos by Passy Shutter Speed 14

 
 

Shutter Speeds for Flash Photography

Photos of People need to be done at a shutter speed of 1/125 to 1/250 to ensure that all movement is frozen.

If we are indoors and we want to capture the indoor lighting background, (like at a Club or a Bar), then using 1/125 combined a High ISO of 800 to 1600 will usually do a good job of this.

Photos by Passy Shutter Speed 15

The reason that it works, and the photo does not come out too bright, is because when we use Flash the camera basically takes two pictures and merges them.

Eg. The Flash freezes subjects that were initially dark.

The following two part video explains this concept, as well as setting Shutter Speed for Night Club Photos.

Here is the second part of the above video:

 
 

Very Slow Shutter Speeds

Some cameras also give you the option for very slow shutter speeds that are not fractions of seconds but are measured in full seconds.

Eg. 1 second, 10 seconds, 30 seconds etc.

These are usually used in very low light situations, and/or night time, to produce special effects, or for capturing a lot of movement in a shot.

In daylight, slow shutter speeds can be used to make seawater, rivers or waterfalls appear “milky” with blurred water, and many people find this effect visually pleasing.

However we also use to use an “ND Filter” over our lens to reduce the bright daylight coming in over such a long exposure time, so that the photos do not turn out way too bright.

Slow Shutter Speeds are also used to create an effect called “motion blur”, where moving objects appear blurred along the direction of the motion.

This effect is used quite a bit in advertisements for cars and motorcycles, where a sense of speed and motion is communicated to the viewer by intentionally blurring the moving wheels.

Slow Speeds also create interesting car light trails in night time city photos.

Photos by Passy Shutter Speed 16

Some cameras also give you the option to shoot in ‘B’ (or ‘Bulb’) mode. Bulb mode lets you keep the shutter open for as long as you hold it down.

Bulb Mode can be used for getting photos of the Stars Moving Across the Night Sky.

The following video shows how to shoot car light motion at night.

 
 

Shutter Speed and Lens Size

Different Lenses are different sizes, and have various “Focal Lengths”, where Focal Length is basically the distance from the end of the lens to the sensor inside the camera body.

Photos by Passy Shutter Speed 17

Longer focal lengths, (like when you zoom right to 200mm for a shot), have a reduced subject area, and are far more sensitive to camera shake.

If you have ever used Binoculars or a Telescope, you will know how hard it is to keep it steady when you have zoomed right in on a person or object.

To overcome the shake, we need to choose a faster shutter speed (unless we have very good image stabilization built into the lens, or our camera is mounted on a Tripod).

The ‘rule’ of thumb to use with focal length is to choose a shutter speed with a denominator that is larger than the focal length of the lens.

For example if we have a standard 50mmm or 55mm lens then 1/60th is probably ok. But if we have zoomed right in with a 200mm lens, we need to shoot at around 1/250 to be safe from shake blurring.

Photos by Passy Shutter Speed 18

 
 

Shutter Speed and Lens Aperture

A Faster Shutter Speed will let us freeze the action, but will let less light into the camera.

In bright daylight sports this will probably not be a problem as there is plenty of bright light available.

For sunny outdoors, we can capture action sports using a cheap f3.5 to f5.6 Zoom Lens.

However for indoor sports, with less light, using a high / fast shutter speed to freeze the action can result in very dark pictures.

This is because we do not have enough light entering the camera when the shutter speed is higher than 1/250.

Increasing the ISO Light Sensitivity to lighten up the photo, will probably result in ugly dotty grainy effects on our photos.

The only solution is to get more light in using a wider aperture, and for this we need an expensive f2.8 lens.

Photos by Passy Shutter Speed 19

This is why f2.8 zoom lenses, and f1.4 portrait lenses are called “Fast” Lenses.

It is because these lenses can supply enough light using their wide open apertures to allow us to use a high shutter speed of 1/500 to 1/1000.

f2.8 Fast Zoom lenses are very expensive: eg. $2500 to $15 000 to even $45 000.

These lenses can be used for both Indoor Sports and Outdoor sports and are usually White in Color, and can look like “Bazooka Guns” mounted on cameras.

The other great thing about expensive f2.8 zoom lenses is that they are great for shooting high quality clear videos indoors.

 
 

Shutter Speed ISO and Aperture

To get a great Photo, we need to manipulate the three key camera variables of Shutter Speed, ISO, and Aperture to values which are optimal for the given set of lighting conditions, and the speed at which subjects are moving.

Photography in bright sunlight conditions is not a problem, because there is an abundance of natural light to make great photos.

But Photography indoors without flash is always a trade off between these three variables.

The simultaneous manipulation of Speed, ISO, and Aperture is quite involved and is the subject of an entirely separate photography article at the following link:

How to Combine Exposure Settings

 
 

Videos About Shutter Speed

Here are some videos that cover everything we have discussed in this article and are well worth watching.

The following three minute video gives a basic explanation about Shutter Speed

 
 

This next eleven minute video fully explains shutter speed, and is well worth watching

 
 

Sony Video About Shutter Speed

Here is an excellent video all about Setting Shutter Speed on Sony Alpha Cameras.

 
 

References

Digital Photograpy School Shutter Speed Article

Photography Life Shutter Speed Article

 
 

Related Items

How To Do Camera Settings

How To Do ISO Settings

How To Do Aperture Settings

 
 

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If you enjoy visiting Photos By Passy, why not get a free subscription to the website.

You can then receive notifications of new items and updates directly to your email address.

Go to the subscribe area on the left hand sidebar, (or down the bottom of the page if using a mobile phone), fill in your email address and then click the “Subscribe” button.

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Passy

How To Do Aperture

Aperture is one of the key variables in Digital Photography. The other two are ISO Light Sensitivity and Shutter Speed.

It is a good idea to read our previous article on “How To Do Camera Settings” before working through this Aperture Article.

You can access this article at the following link:

How To Do Camera Settings

 

An understanding of Aperture is critically important to isolate subjects in portraits and get full detail in Landscape pictures.

The Aperture Scale consists of a seemingly odd set of decimal and whole numbers, and getting your head around these values is not at all easy for Beginner Photographers.

In this article we examine Aperture in detail, and mathematically explain where the Aperture “f-numbers” come from. The mathematics might be challenging for some people, but do not worry too much about the detail if it is challenging for you.

The main thing we need to understand as Photographers is how the “f-stop” number values relate to the amount of light made available for our image, and how the background can be deliberately blurred using Aperture settings.

 
 

Definition of Aperture

Camera Aperture basically imitates the function of the human eye.

In dark conditions we require more light entering our eyes and camera, but in bright light we need far less light.

Our eyes adjust to these conditions using our “pupils”, (the central dark circles inside our eyes).

Photos by Passy Aperture in Photography 02

A camera mimics the action of our pupils using a setup that creates various size circles; and we call this camera function “Aperture”.

Photos by Passy Aperture in Photography 03

 
 

Using Camera Aperture Values

We go to detail about this later in this article, but just as a starter, here are a couple of examples where we use different sized Apertures, which mimic the function of the human eye.

Photos by Passy Aperture in Photography 04

 
 

Lens Aperture Values

The Aperture function is performed in the Lens of the camera, and not in the Digital Camera Body. (The “Lens” is the cylindrical barrel on the front of the camera, and the “Body” is the back part of the camera with all the buttons and dials on it.

Each lens we mount onto a DSLR camera has its own Aperture System, and as we will see later on, different sized lenses need to have their own particular Aperture systems.

Lens Apertures are specified using f Numbers which are called “f-stops”.

These numbers make little sense at all when we first look at them, as they are what seems to be some weird random collection of decimal and whole number values.

Photos by Passy Aperture in Photography 05

A first look at these strange f-numbers reveals that there are doubling patterns in the list of numbers from f1.4 to f22.

Another very confusing aspect of these f-numbers is that as they go up in value, the size of the circular Aperture openings actually goes down in value, and the cicular “Aperture” openings become progressively smaller.

In fact each circle becomes exactly half the size of the one before it.

This is indeed very confusing, as the smallest number 1.4 represents a large fully open camera lens letting in lots of light, but the largest number at f22 represents a tiny cicular opening in the lens which is not letting much light in.

 
 

Mathematical Patterns

The standard f-numbers are: 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 .

We can always form the next number in the pattern by multiplying by 1.4, which is the square root of 2 as a rounded off decimal value.

1.4 x 1.4 = 1.96 = 2

2 x 1.4 = 2.8

2.8 x 1.4 = 3.92 = 4

4 x 1.4 = 5.6

5.6 x 1.4 = 7.84 = 8

and so on.

In the f-numbers we have a sequence of numbers, where we always multiply by a common value of 1.4 to generate the next number.

In mathematics this is called a “Geometric Sequence” or a “Geometric Progression”

The common multiplying value, in this case 1.4, is called the “Geometric Ratio”.

The 1.4 (Square Root of 2) value results because we are dealing with Circles when we are doing Apertures.

Photos by Passy Aperture in Photography 06

 

If we want to make a Circle twice as big, it turns out that we need to increase its Radius by a factor of Square Root of 2, which in decimal is 1.4.

Photos by Passy Aperture in Photography 07

So if you are wondering where the 1.4 multiplying factor comes from, it is all due to the way the area of circles is doubled.

The f-numbers sequence is set up so that in real terms the amount of light due to the circular opening halves as we move up through the f-numbers.

Photos by Passy Aperture in Photography 08

 
 

F-Stop Formula

We are nearly through the Mathematics of Aperture.

As a Photographer you do not need to memorise all this mathematics, you simply need to understand the consequences in relation to light entering your camera.

There is a Mathematical Formula for f-stop which relates the 1.4,2,2.8,4,5.6, etc values to the actual Aperture Circle Diameter, and the size of the Lens you are using.

Photos by Passy Aperture in Photography 09

Aperture is not just related to how wide we make our circular opening, (the “Diameter”), but it is also related to the size of the Lens we are using which is specified as the Lens “Focal Length”.

We will confine our discussion to fixed size lenses, called “Prime Lenses”, and talk about “Zoom” lenses later on.

A 28mm Lens is a short lens, which gives a very wide angle of viewing.

A 50mm or 55mm lens is a standard size which is supposed to be a lot like the angle of viewing, or field of vision that is in focus when we are looking at something with human eyes.

A 200mm lens is a “Telephoto” type lens which will make distant objects look a lot closer, just like a set of Binoculars would.

The 28mm lens with its wide view lets in the most light, and the 200mm long lens lets in the least light.

Photos by Passy Aperture in Photography 10

Thinks of it like being at the Beach.

If you were at the beach looking at the whole scene there would be lots of light from the sun, and its reflection on the water. This is what a 28mm lens gives you, a nice wide picture where you can see everything, and there is plenty of light.

If you were just looking at some children building a sand castle, then this is the type of view from a 50mm lens.

If you were using a 200mm lens to look at some guys fishing in a boat off the shore, then this is a zoomed in type situation, and you only get the light from the boat and people, and not lots of light like when you are looking at the whole beach scene.

This is the reason why we need to take “Focal Length” or lens size into account. To get the same f-stop amount of light, we actually need different sized circular openings on different sized lenses.

Photos by Passy Aperture in Photography 11

In the example shown below, the two lenses are set to the exact same f-stop, so that the exact same amount of light can reach the interanl camera sensor.

However, to get the exact same amount of light into the camera body, we need to use a much larger physical Aperture opening on the long 200mm lens.

 
 

Video About Aperture

By now you might be totally overwhelmed by all of this Mathematics, but do not worry about it, because the main thing you need to understand is that Aperture changes the circular lens opening to let in more light or less light.

If we adjust our current F-Number UP to the next F-Number we HALVE the light.

If we adjust our F-Number DOWN to the previous F-Number we DOUBLE the light.

We need to adjust the light to get a picture that is not overly bright and washed out, and not overly dim and too dark to see its contents.

The following 15 minute video explains what we have covered so far.

 
 

Some Final Mathematics

Here is one last set of Mathematical calculations to show how Aperture works for different sized lenses.

We will work backwards to find the actual mm diameters of the circlular openings we would need in two different lenses to get the same amount of light which would mean we had the same f-number or “f-stop” set on each of the lenses.

To find the Diameters required, we rearrange our previous f-stop formula as follows:

Photos by Passy Aperture in Photography 12

 

Once we have the diameter required, we can halve it to get the circle radius and then calculate the actual Area of the circular opening we would need in the lens to create given f-stop amounts of light.

These calculations are shown below:

Photos by Passy Aperture in Photography 13

The above calculations were obtained from an excellent article on Camera Mathematics from Mr Martin which can be viewed in full at the following link:

Mr Martin Mathematics of Photography Article

 

By examinng the results of the above calculations we can see the following patterns and results:

Photos by Passy Aperture in Photography 14

 
 

One Third F-Stops

Finally just to add another layer of complexity to everything, if you check the Aperture f-number values on your actual camera, it is likely that there will be more than just the standard values we have been discussing:

1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22

Your camera (thanks to the wonders of modern technology) will have the standard values, plus a whole lot of extra in between values.

These values allow you to change your Aperture light up or down by 1/3. This way you can open the Aperture up to 1 and 1/3, then to 1 and 2/3, and then up to Double the amount of light.

Your camera will possibly have this full set of one third f-stops, resulting in a sequence like this:

1.4, 1.6, 1.8, 2, 2.2, 2.5, 2.8, 3.2, 3.5, 4, 4.5, 5.0, 5.6, 6.3, 7.1, 8, 9, 10, 11, 13, 14, 16, 18, 20, 22

Photos by Passy Aperture in Photography 15

 

Photos by Passy Aperture in Photography 16

 
 

Aperture Blades

Anyone who has ever tried to draw a perfect circle freehand knows exactly how hard it is to do.

It is also very difficult to mechanically make circles of different sizes, and often the Aperture openings are not actually circular, but might be Pentagons, octagons, or other multisided geometries.

The lens uses a series of adjustable “Aperture Blades” to make the best circles it can.

Photos by Passy Aperture in Photography 17

Basicially the more you pay, the more blades in the system, and the better the circles will be.

Two lenses sitting side by side might have drastically different prices, because one of them has a many blades quality system inside it.

If you have a cheap lens with not many blades, blurred lights in the background will not be round, and you may also get some slightly dark tinges in the four corners of your photos.

 
 

Aperture and Zoom Lenses

Most people have an adjustable zoom lens on their camera, which can do wide angle shots, through to zoomed in telephoto pictures.

As we saw previously, the field of vision narrows as we increase lens focal length, and so it is tricky for the Aperture system to continually adjust to different focal lengths as you zoom in and out.

Photos by Passy Aperture in Photography 18

This is why there are cheap and very expensive zoom lenses.

A Cheap Zoom Lens for $300 might only allow Apertures from f4 to f8 and the picture will darken as you zoom in.

An expensive f2.8 Zoom for $1500 to $15000 will allow you to use all Apertures no matter how far you are zoomed in or out.

Those giant white “bazooka” looking lenses you see at sports events can cost anywhere from $5000 to $25000 !

 
 

Aperture and Blurring

Well that is all the Mathematics and Technical stuff done with, and now we can talk about actually taking some photos!

A really nice side effect of using wide open Apertures is that we end up with our subject at the front of the picture crisply in focus, and the background we are not interested in all blurred out for us.

Photos by Passy Aperture in Photography 19

However, if we want to see our whole photo in clear focus, like on a landscape shot, we need to do the opposite and set a very narrow (high f-number) Aperture.

Photos by Passy Aperture in Photography 20

 
 

Group Shots and Blurring

However, with taking “Group Shots” of people we run into a problem.

If we use f1.4, or f2, or f2.8 to get nice background blurring, we will find that people in the back row of the group will be blurred out of focus.

To get the whole group in focus we typically need to use an Aperture of f4 or f5.6, which will make sure everybody in the group is in focus.

However, the background we are not interested in will also be in focus and clearly visible.

The way aorund this problem is to use Blurring Tools in Photoshop, as has been done below.

Photos by Passy Aperture in Photography 21

 
 

Aperture and Sunsets

Sunset Photos can also be interesting for setting up the Aperture correctly.

We might use a really narrow Aperture like for a landscape, and our image will be too dark; or we might use a wide open Aperture and have our photos turn out too bright and look like daylight.

The best Aperture to use is between f8 and f11, as shown below in these great photos taken by our friend Nicole Cooper.

Photos by Passy Aperture in Photography 22

The following page has thirty great tips for taking good sunset photos:

30 Tips for Taking Sunset Photos

 
 

Video About Aperture and People Shots

Finally here is a two part video totalling around 25 minutes all about how to set your Aperture when doing Night Club Photography, or really any Photos at Events like Birthdays, Baptisms, Parties, and so on.

Here Part 2 of the above Video.

 
 

Sony Video About Aperture

Here is an excellent video all about Setting Aperture on Sony Alpha Cameras.

 
 

References

Click the following links for more articles on the web about Aperture.

Digital Camera Mathematics

Very Technical Maths Explanation of Aperture

Mathematics of Aperture

How Aperture Blades Work

Mathematical Explanation of F-Stops

 
 

Related Items

For more great articles about How to Do Digital Photography, see our “How To” page at the following link:

How To Articles by Photos By Passy

 
 

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