11/23/2012 CURS PHOTO Curs photo Photography From the Greek the means "painting or writing with light.

" Aparat(camera): I. II. I. Body Optica Body

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Body. The light-tight box that contains the camera mechanisms and protects the film from light until you are ready to make an exposure. Autofocus TTL (through-the-lens): Allows the camera to automatically focus through the lens, rather than by moving the lens back and forth manually. Focus: To adjust the distance between the lens and an image to make the image as sharp as possible. SLR Single Lens Reflex; a camera with one lens (as opposed to Twin Lens Reflex like the Rolleiflex) that involves a mirror and prism that the viewer looks through (as opposed to a point and shoot or rangefinder where the viewer looks through a separate viewfinder.

1. Shutter speed=timp expunere - apasind pe buton declanseaza timpul de expunere - permite luminii sa se imprime pe film Shutter: A mechanism in the camera that controls how much light reaches the film. Shutter Speed How fast the camera's shutters open. Determines how long the film is exposed for. Shutter speed: The length of time the shutter remains open when the shutter release is activated, expressed in fractions of seconds. 2. pe obiectiv avem diafragma: mai mica mai mare functie de setare

Diaphragm A series of metal "blades" that can be manipulated to form a larger or smaller opening through which the light is admitted. Diaphragm: The adjustable aperture of the lens. It restricts the amount of light allowed into the camera. This term can also be applied to shutter types, i.e. iris diaphragm shutter, which is a set of interposing leaves, which open and close at a variable rate to produce a between-the-lens shutter.

11/23/2012 CURS PHOTO 3. Aperture=diafragma+timp expunere combinare manual+automat filmul are un anumit timp de expunere, functie de sensibilitatea lui diafragma inchisa-timp mai lung de expunere diafragma inchisa-timp mai scurt de expunere diaphragm+exposure time a combination of auto+manual the film has an certain time of exposure in order pf its sensibility when we have a closed diaphragm we have a longer time of exposusre when we have aan opened diaphragm we have a shorter time of exposure

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Aperture The variable opening produced by the iris-diaphragm through which light passes to the film plane. Measured in f/stops. APERTURE The aperture, or f/stop as it is commonly called, is used to regulate the diameter of the lens opening. That controls the luminance on the film plane. Besides controlling the luminance on the film plane, the f/stop also controls image sharpness by partially correcting various lens aberrations. Aperture, or f/stop, is the most important factor in controlling the depth of field. The smaller the f/stop opening, the greater the depth of field; for example, at f/16, a normal lens focused on a subject 16 feet from the camera may show everything in focus from 8 feet to infinity. At f/5.6, depth of field may range from about 3 feet in front of the subject to about 6 feet behind the subject. At f/2, only the subject focused on is sharp. A shallow depth of field results in a blurry foreground and background, whereas greater depth of field results in more overall sharpness. You know that a small aperture like f/16 provides more depth of field than a wide aperture like f/2. With experience, you can predict the best aperture for the depth of field desired. Even with experience, you do not always have to guess the aperture setting or calculate the hyperfocal distance, near distance, and far distance by using formulas. Most lenses have a depth-of-field scale to guide you (fig. 4-13). The depth-of-field scale indicates the distance range from the camera that the subject(s) appear in acceptably sharp focus. The depth of field on an SLR is marked between the aperture ring and the focusing scale. Use the depth-of-field scale as follows: 1. Focus on the subject. 2. Select the f/stop. 3. Look at the depth-of-field scale and locate the marks that correspond to your chosen f/stop. The f/stop appears twice, once on either side of the scale center line. Read the two distances on the focusing scale that are adjacent to the two f/stops on the depth-offield scale. You may have to estimate the distances

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Modurile de functionare ale aparatului 1. Functia manuala: - se marcheaza cu m=mod de lucru ce permite: - reglarea diafragmei individual(cum vreau) - timpului de expunere O

Scara gradate in interiorul aparatului: la 0 este correct la - = subexpusa la + = este supraexpusa imaginea se intimpla doar pe functia manuala

Its marked with m and it s a mode which allows the setting of the: o diaphragm individually(as I want) o oh the exposure time O

This a gradually scale inside the camera. at 0 it is correct at - it is underexposed at + its overexposed

This happens only on the manual function. 2. Functia aperture A - prioritate de diafragma inchizind diafragma cistiogam profunzime Ex: alegem o diafragma si aparatul isi seteaza timpul de expunere automat Aperture Priority Autoexposure systems wherein the photographer selects the aperture and the camera selects the appropriate shutter speed. Aperture. The lens opening formed by the iris diaphragm inside the lens. The size is variable and is adjusted by the aperture control.

11/23/2012 CURS PHOTO 4 / 38 Aperture control. The ring on the camera lens (a pushbutton on some models) that, when turned, adjusts the size of the opening in the iris diaphragm and changes the amount of light that reaches the film. Aperture-priority mode. An automatic exposure system in which the photographer sets the aperture (f-stop) and the camera selects a shutter speed for normal exposure.
Aperture Aperture blades within a lens control the amount of light that passes through the lens when a photograph is taken. They do this by closing together, or 'stopping down'. How far these blades close together is determined by the aperture setting. Aperture settings are stated in f-stops. The smaller the number, the larger the aperture. For example, f/4 is a large aperture setting that allows a relatively large amount of light to pass. F/16 is a small aperture setting that allows a relatively small amount of light to pass. Aperture settings are marked on the exterior of a lens and/or displayed on the cameras viewfinder screen. The most commonly used f-stops are f/2.8, f/4, f/5.6, f/8, f/11, f16, and f/22. Each of these f-stops varies by one full stop. An adjustment of one stop either doubles or halves the light passing through. For example, f/8 results in twice as much light as f/11. You are usually not limited to setting the aperture in full-stop increments. Exactly how this is accomplished is determined by the specific camera and lens you are using. For example, with a manual camera and lens you should be able to physically set the aperture between f/8 and f/11, even if there is no click-stop on the lens for that intermediate setting. Aperture The technical definition of aperture value, or f-stop as it is often known, is the ratio of the focal length of the lens to the diameter of the lens opening. In other words, it is the number of times the diameter of the hole through which the light has to pass will fit into the focal length of the lens. The size of this hole, known as the aperture, may be controlled by turning a collar usually located at the base of the lens. On automatic cameras, aperture priority mode is often denoted by Av which means "Aperture value". Typical values may be f2, f2.8, f5.6 and f16 where the "f" denotes the f-stop, often referred to as f-numbers. Fortunately, for most of the time we don't have to think of the aperture value in terms of its technical definition or precise meaning! All we need to know is that smaller f-numbers (f2, f2.8 etc.) represent wider apertures (i.e. more light can pass through the lens in a given time) and higher f-numbers (f11, f16, f22 etc.) give narrower apertures (meaning that less light passes through in a given time). The clever bit about this confusing arrangement is that the fstops are calibrated to allow exactly half as much light through as the previous setting and twice as much light through as the next setting (in a given time of course). For example, a lens set at f8 will allow twice as much light through as one set at f11 but only half as much as one set as f5.6. It's no coincidence that shutter speeds are also calibrated to be twice as fast or slow as the next or previous setting which allows us to see how changing the aperture affects the shutter speed required and vice versa.

The aperture influences two things: exposure and depth-of-field.

11/23/2012 CURS PHOTO Exposure Light striking a sensitized material (film or paper emulsion).

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Exposure Compensation Modifying the shutter speed and/or lens aperture recommended by the camera's light meter in order to produce special creative effects or to meet special requirements. Exposure: Exposure explains how light acts on a photographic material. The lens opening controls light intensity, while the duration is controlled by the shutter speed. A camera with autoexposure can automatically control the exposure. The same principle works with digital cameras where film is replaced by the CCD. Exposure Compensation: A system that allows "dialing-in" or adding or subtracting evaluation values (EV) for a given image. Compensating involves deciding whether or not the meter reading is under or over exposing and correcting the error. This method allows bringing out details in dark zones or lessening the intensity of bright zones, raising image quality.
1 - Determine the Proper Exposure Yourself When taking a photograph, the aperture setting and the shutter speed together influence the amount of light that reaches the film. Therefore, determining the appropriate combination of these two settings is needed to achieve proper exposure. This determination may be done manually, by the photographer, or automatically, by the camera. Virtually all 35mm SLR cameras made today offer through-the-lens (TTL) metering. There are different types of TTL metering. The most common types are: 1 - Center weighted metering - places a strong emphasis on the light near the center of the frame 2 - Matrix metering - uses a complicated algorithm to place more emphasis on the light in certain portions of the frame; this is an attempt at 'intelligent' metering 3 - Spot metering - meters the light appearing in a very narrow angle of view in one portion of the frame

Depth-of-field: The zone of in-focus elements, from front to back. Another way to put this is the range of distance that is acceptably sharp within a photograph. Depth-of field varies inversely with the aperture opening. In other words, a wide-open lens with an aperture of f/1.8 has little depth of field; if stopped down to f/16, almost everything from front to back will be sharply in focus. Depth-of-field, depth-of-focus The depth of field is the range of distances, from the camera, in which objects will be in focus. From an aesthetic point of view, depth of field is important because it allows you to put areas of the image, which fall in front of or behind the area of interest, out of focus. This removes visual clutter from your images and concentrates the viewer's attention where you want it. Using Depth of field to control focus can also give a feeling of authenticity to an image, since we are used to constantly focusing our eyes in everyday life. An image in which everything, from a distance of a few inches to infinity, is in sharp focus may seem artificial

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Depth of field can be thought of as the amount of the image which has acceptable sharpness. This means that either side of the selected point of focus, there is a region in which the image remains in focus. Moving outside of this band of focus (towards or away from the lens), the image becomes progressively more unsharp and out of focus. The amount of depth of field is controlled solely by magnification and aperture. Since the magnification is normally fixed for a given suject, the depth of field is usually controlled by aperture alone. Wide apertures (such as f2, f2.8) give less depth of field whilst narrow apertures (such as f16, f22) give much more depth of field.

3. Functia S shutterspeed - semiautomat - este inversul functiei A, respectiv setam timpul de expunere si aparatul allege diafragma - timp de expunere minim 1/30 (a 30-a parte din secunda) - (se ridica perdeaua, se inchide) la superangular pina la normal - ex: ptr. A poza un sportive alergind vom folosi un timp de expunere de 1/200 Shutter Priority When the photographer selects the shutter speed and the camera automatically sets the corresponding aperture

Shutter Speed The shutter speed determines how long the shutter remains open and allows light to pass through. The most commonly used shutter speeds are (in seconds) 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, and 1/500. Many cameras also allow the shutter to be manually opened and closed. This allows for very long shutter speeds. Each increment listed varies by one full stop. An adjustment of one stop either doubles or halves the light passing through. For example, a shutter speed of 1/15
second allows twice as much light as does a shutter speed of 1/30 second. Shutter Speeds Shutter speed is a measure of how long the shutter remains open when the picture is taken. On manual cameras, it is usually set by means of a dial on the top of the camera or, less commonly, a ring around the base of the lens.

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Automatic cameras usually denote shutter priority mode with the symbol Tv which simply means "Time value". Typical shutter speeds are 1/1000s, 1/250s, 1/15s and 1s. Note that shutter speeds are calibrated to be approximately twice as fast as the previous setting and twice as slow as the next setting. For example, 1/250s is twice as fast as the previous setting 1/125s but is twice as slow as the next setting 1/500s. There is often an extra shutter speed for bulb exposures in which the shutter remains open for as long as the shutter release button is held down. This is handy for exposures of several minutes, such as this night-time shot on the left. Most modern SLR cameras have shutters known as focal-plane shutters. Associated with this type of shutter is a flash-sync speed which is the fastest permitted shutter speed when using flash. SHUTTER The shutter is a device that opens and closes at varying speeds to determine the amount of time the light entering the aperture is allowed to reach the film. Shutter speed is measured in fractions of a second. 125 means 1/125 of a second, 60 means 1/60. Typical shutter speeds range from 1 second to 1/1000. A shutter speed setting for a bright, sunny day - using an aperture of F11 might be 1/125 second. A cloudy day might use 1/60 second with the same aperture, exposing the film to light for a longer period of time. The settings for a good exposure are determined by a light meter. (Most 35mm cameras have a built-in light meter that shows you the appropriate settings, or automatically controls them.) Aperture and shutter settings work together. Because the shutter (like the aperture) approximately halves or doubles the light reaching the film with each change in setting, a number of different combinations of settings can result in the same exposure. Aperture F22 F16 F11 F8 F5.6

Shutter 1/30 1/60 1/125 1/250 1/500

4. Functia P- program - in acest caz aparatul devine total automat, respective isi allege singur timpul si diafragma (incadrezi, declansezi si gata) Se allege din meniul mode In this case the camera becomes totally automatic and choses itself the time and the diaphragm. You choose it from the : mode menu.(frame, , release and thats it) Obiective Assembling = thred(filet) and bayonet(baioneta) pe obiectiv exista intotdeauna diafragma ce se noteaza cu f=luminozitate, plecind de la cea mai deschisa pina la cea mai putin deschisa

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1,4 2,8 3,5 5,6 8 11 16 22 32 64

1/10 = timp lung = timp de expunere 1/100 = timp mai rapid Un timp maxim de sincronizare cu blitzul este de 250, perdeaua se ridica si se inchide=la mazim declanseaza blitzul si se inchide F-stop: The number assigned to a particular lens aperture (or opening) size. !!!!!!!!!!!!!!!! Rolurile diafragmei (TEST)

1. PERMITE O ANUMITA CANTITATE DE LUMINA(FUNCTIE DE DESCHIDEREA EI) SA AJUNGA LA FILM 2. CU CIT INCHIDE MAI MULT DIAFRAGMA, CU ATIT NE CRESTE CIMPUL DE PROFUNZIME. (Obiectiv superangular=imagine mai larga)

!!!!!!!!!!!!!!

The roles of the diapfragm

(TEST)

1. ALLOWS A CERTAIN QUANTITY OF LIGHT (IN CONCORDANCE WITH ITS OPENING) TO REACH THE FILM 2. AS MUCH CLOSED THE DIAPHRAGM IS AS MUCH THE DEPTH-OF-FIELD GROWS

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1. Obiectiv normal Standard focal length -are distanta focala intre 50-70 mm(intre expunere si lentila). Ca effect este imaginea reala, nedeformata Ce se poate fotografia cu el: - tot ce exista dar imaginile nu vor fi spectaculoase - grupuri pentru a nu deforma It has the focal length between 50-70 mm (between exposure and lens). As an effect we have the real image, not deformed. We can photograph w ith it groups of people for not deforming, the images wont be spectacular Standard focal length lenses are around the 50mm mark. Focal Length The distance from the optical center of a lens to the image plane when the lens is focused to infinity. Focal length: The distance from the rear model plane of a lens to the focus when the lens is focused at the infinity position.
Focal Length One of the most significant properties of a lens is its focal length. Loosely speaking, the focal length of a lens is the distance that it should be held from a screen in order to project a focussed image on that screen. This is not exactly true for camera lenses which are actually made from complex combinations of single lenses. Fortunately a 500mm lens does not necessarily have to be 500mm long!A standard lens has a focal length of 50mm. Generally speaking, lenses with a focal length less than this are considered wide-angle lenses. Lenses with a focal length longer than this are considered telephoto lenses. Wide-angle and telephoto lenses have unique characteristics. The wider or longer the lens, the more these characteristics increase.

2. Obiectiv superangular wide angle distanta focala 35, 28(sub 50 mm), 17, 14-si ne apropiem de fisheye are un cimp de profunzime mult mai marit Ce se poate fotografia cu el: o In spatii restrinse cuprinde tot ce este intr-o incapere o Nr. Mic=deschidere mai larga o Arhitectura marginile vor fi drepte, imaginea bine incadrata. o Spatial cit mai deschis focal; length: 35, 28 (under 50 mm), 17, 14 and we are closing to fish eye it has a depth field much bigger(larger) We can take pictures of: In a room will photo everything, every detail Small number-larger opening Architecture the edges will be straight, the image very well framed

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CURS PHOTO The space must be realy opened Groups(will not be with the edges straight)

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Fisheye An ultra-wide angle lens which purposely introduces barrel distortion so straight lines near the edges of the frame appear to curve out. One of the advantages of using a 35mm SLR camera is it allows for interchangeable lenses. Whether you have several fixed focal length lenses or a small number of zoom lenses, you have any focal lengths to choose from. The length of lens you use will affect the photograph. The importance of focal length is the angle of view obtained. The longer the focal length, the narrower the angle of view and the more magnified the image is (at a fixed distance). Short focal length lenses are known as wide-angle with typical focal lengths of 20mm, 24mm and 35mm. Angle of view. The amount of a scene that can be recorded by a particular lens; determined by the focal length of the lens. Wide-angle lenses place more of an emphasis on objects in the foreground, so compose your photograph appropriately. Get close to your subject. These lenses also provide a relatively large depth-of-field. This makes them suitable for situations requiring both near and distant objects to appear in focus. Due to their limited magnification, it is easier to handhold these lenses without losing sharpness (but it is still best to use a tripod for serious photography). 3. Teleobiectiv-telephoto lenses detasezi fundalul de subiect, portret, detalii distanta focala:50, 70, 105, 200, 300, 500 cimpul de profunzime este foarte redus = claritate pe op plaja foarte mica Portrete:plan intreg; (de la nivel abdominal) La orice fotografie trebuie sa fim perpendiculari pe subiect, laturile paralele DiafragmaTimp expunereSensibilitatea filmului Subexpunere imagine stearsa, gri

Lumina-

Supraexpunere Arsa !!!!!!!!!!!!TEST Scamele pe o poza alb-negru ies albe

Scamele invizibile respective firele de praf din laborator ies negre.

you have to detach the background from the subject, portrait, details the focal length: 50, 70, 105, 200, 300, 500 the dept-of-field is very small=clarity on a smaller area Portrait full plan At any photo we must stay perpendicular on the subject, with parallel edges

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Light-

Diaphragm-

Exposure Time-

The Film sensibility

Overexposure Burned

Underexposure Gray image, fade

Over-exposure: Expression used to indicate that the light sensitive material has been excessively exposed. This can be the result of light that is either too bright, or has been allowed to act for too long. In digital imaging, over-exposure is also referred to as blooming. Under-exposure: The result of too little exposure in the camera. In digital imaging, underexposure can sometimes be corrected by the use of image editing software. The range 80mm-300mm are considered telephoto lenses. Anything above 300mm is regarded as super-telephoto

Telephoto lenses compress distant objects together, visually reducing the distance between them. This provides for a different perspective than with wide-angle lenses. These lenses also provide a relatively small depth-of-field. This can either be an advantage or disadvantage, depending on your objective. Due to their high level of magnification, these lenses are very prone to loss of sharpness caused by lens movement. Therefore, it is important to mount them on a tripod, and since these lenses are usually heavy, this tripod needs to be especially sturdy.

!!!!!!!!!!!!TEST The lints on a white and black picture are white The invisible lints black Functii la obiectiv pe manual focus Shuff S = single = face clarul (pe ceva de contrast cind focalizezi) Makes the clear (on something of contrast when focalizing) C= continue = tine clarul spre subiect

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Transfocator = zoomlens = distanta focala variabila apropii sau departezi imaginea cum doresti Zoom lens: A lens whose focal length can be continuously adjusted

Timpi de expunere incepind de la 30 sec: timp lung long time fara blitz without flash pe trepied -on a tripod

B position = expunere atita timp cit tinem apasat butonul bulb Exposure as long as we keep the finger on the bulb

20, 15, ..1 sec peste 1 sec: 1/5; 1/10; 1/15; 1/30; 1/60; 1/125; 1/250; 1/500; 1/2000 Timpi de expunere rapizi ingheata imaginea in miscare, imagine clara Fast exposure times freeze the moving image, a cleare image A se evita folosirea blitzului direct, in fata. ! Avoid using the flash right in the face of the subject, directly.

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Flash: An electronic device that produces a burst of light the consumer can use to produce more exposure on the film. using flash can be very easy and also very creative! However, first it is necessary to understand the following simple technical details about flash:
Flash-Sync Speed: We have already seen, in the section on shutter speeds, that most SLR cameras have a maximum shutter speed for use with flash called the flash-sync speed. Commonly this will be about 1/125s and is often marked with an "X" or a flash icon on the shutter speed dial. You must select a shutter speed at or below this setting, eg. 1/60s. Exposure Control: The amount of light reaching the film from the flashgun is controlled purely by aperture and distance. Shutter speed plays no role in determining flash exposure but can be important in balancing flash exposure with ambient light (see fill flash). With a manual flashgun you will need to calculate the aperture from the guide number (see next item). Automatic flashguns have a sensor on the flash which measures how much light is reflected from the subject and tells the flash when to cut off. Dedicated flashes use through the lens (TTL) flash metering in which the flash sensor is inside the camera and the camera controls the flash duration directly. Guide Number: The guide number (GN) of a flashgun is a measure of its power. For a manual flashgun, the aperture required for a subject distance d is given by GN/d. For example, for a flashgun with a guide number of 32m and a subject 4m away the required aperture is f8 (i.e. 32/4). With automatic and dedicated flashguns, the maximum range at a given aperture is determined by the guide number formula, above. Note that guide numbers are almost always for a film speed of ISO 100 and allowance must be made for faster or slower films by adjusting the aperture accordingly.

Red-eye: Red-eye is the term used to describe the effect that can occur in photographs where the pupils of the eyes can take on a red color. The red color appears when the pupil of the eye is dilated, usually in a low light environment when the light of the flash strikes the retina at the back of the eye, reflecting the light through the wide-open pupil. (Also see Red-eye Reduction) Red-eye Reduction: A system that causes the pupils of a subject to shrink by shining a light prior to the taking of the flash picture. This prevents the red-eye effect.

!!!!!!!!!!!!!!!!!!!!!! BLITZ DEDICAT DEDICATED FLASH!!!!!!!!!!!!!! TEST CU PICIORUSE CITESTE APARATUL, ZOOM-UL LA CARE TE AFLI, DISTANTA, DIAFRAGMA, TIMPUL DE EXPUNERE SI ITI DA INTENSITATEA LUMINII CU BLITZ INDIFERENT DE LUMINA TRECE LA TIMPUL DE 1/60 Pe program, aparatul citeste lumina de ambianta si deci: o Deschid blitzul trece la 1/60

11/23/2012 CURS PHOTO 14 / 38 o Nu mai conteaza timpul de expunere plaja este mult mai mare; expune la lumina blitzului WITH LITLE LEGS READ THE CAMERA, THE ZOOM WHERE YOU ARE, THE DISTANCE, DIAPHRAGM, EXPOSURE TIME, AND GIVES THE INTENSITY OF THE LIGHT WITH FLASH NO METTER OF THE LIGHT PASSES TO 1/60 TIME On the P program camera reads the light and: o Open the flash it passes to 1/60 o It does not matter any more the exposure time the area is much bigger; expose to the light of the flash !!!!!!!!!!!!!!!!!!!!!! CUM LUCRAM CU BLITZ !!!!!!!!!!!!!! TEST Pot redirectiona alumina Cind fotografiezi persoanele o faci cu blitzul in tavan si scoti carteluta din blitz, care va compensa lumina si fotografiile vor iesi fara umbre sub ochi, pe linga nas si linga gura Pe blitz exista filtru de difuzie care imprastie lumina uniform, mai placut daca lucram la o distanta mai mica(ex:foto a unei biserici) La superangular imprastie lumina si in capete Redirect the light When taking pictures of persons put the flash up orientated and take out the card from the flash and the pictures will be without shadows under eyes, near nose or near mouth

11/23/2012 CURS PHOTO 15 / 38 - On flass there is a diffusion filter which spread the light uniform,more pleasant if we work from a short distance At wide angle spread the light even in extremities

!!!!!!!!!!!!!!!!!!!!!! PENTRU O POZA BINE EXPUSA !!!!!!!!!!!!!! TEST -ex: nu avem tavan, panou, etc blitzul are pozitia: - slow - real Slow ca si cum as lucra fara el, expunere corecta (timp 1/8), lumineaza subiectul foarte bine si reda si detaliile din spate citeste lumina de ambianta dar in acelasi timp da si blitzul, expunere normala (dar blitzul declanseaza) (ex: intr-o sala intunecoasa nu se lucreaza din mina)

Real - este identica cu pozitia slow, diferenta este ca declanseaza flash-ul la sfirsitul expunerii (inainte sa termine)

Most important of all, you should get to know your flashgun intimately. If it has different settings or a distance calculation scale, play with them - don't be afraid to experiment; waste some film if necessary! Some flashguns even have a separate manual - read it! Together with the basic details above, at the very least you will have fun and you might end up with some great pictures!

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Fill Flash Very often you will be faced with a subject in which the contrast between highlight and shadow is too great for the film to handle. Pictures of people standing in direct sunlight or with their backs to the sun are just two examples. In the first case, harsh shadows will be cast across the subjects' faces, making eyes look sunken and noses very prominent. In the second case, the exposure for the subject will leave the background overexposed and washed out. Fill flash is one way to reduce the contrast in these situations by balancing the available light source (known as ambient light) with a controlled flash exposure. For a more natural effect, the flash exposure should be less than the ambient light exposure. Normally the ratios are 1:2 (1 stop flash underexposure) or 1:4 (2 stops flash underexposure). Fooling the flashgun into providing the correct flash level depends on the flashgun you are using. Some have a power reduction facility, others you will have to "lie" to i.e. tell it you are using f5.6 when you are really using f8 for a 1:2 ratio. In this photograph, right, a blip of fill flash from an automatic flashgun was used to separate the bird (in shadow) from the brightly lit background.

Other Uses for Flash The light output from a typical flashgun lasts between 1/1000s and 1/10,000s (depending on power) which is enough to freeze most subjects, moving or not! Unfortunately, most fast moving subjects will be out of range of a flash exposure, but when it is possible to get close enough a good technique is slow-sync flash. The idea is to select a slow shutter speed (metered for the ambient light) and at the same time "freeze" the subject with the correct flash exposure. Results can be unpredicatable, but depending on shutter speed, you will see the moving subject frozen in time with a streaky "ghost" image in front or behind. This is a very good technique to indicate movement in sports such as cycling or rallying. If you try this then find out about rear-curtain sync (if your flashgun/camera has it).

Slow-sync flash can also be useful during long exposures (such as an floodlit building at night) to provide illumination to the foreground. Flash is particularly useful in close-up and macro photography where small apertures would normally require long shutter speeds leading to problems with camera shake. The very short distances involved (< 1m) mean that even the most pathetic flashes (GN around 10) can be used with small apertures. Specially for close-up work, a ring-flash, which is a flash with a tube shaped like a doughnut, is designed to fit around the front of the lens and provide shadowless lighting. Great photographs usually have at least a portion of the subject in sharp focus. A slightly blurry subject detracts greatly from the overall quality. One factor that often leads to images that are not sharp is camera movement. Camera

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movement is most likely to have a negative impact while shooting at slow shutter speeds or at large magnifications (as with telephoto lenses), although it easily happens at other times as well. While some people boast about their ability to handhold a camera completely steady, to consistently get great results you should do two things. First, mount your camera on a decent tripod. This is the best thing you can do to eliminate camera movement. In addition, this locks in your composition, allowing you to concentrate on other factors such as focusing, exposure, light, and wind. If you are bracketing exposures, this will guarantee every frame contains the same composition. There are some situations where using a tripod is not feasible, of course, but you should strive to use one whenever possible. Typical wisdom says to purchase a very sturdy tripod. This is good advice, but these tripods can be expensive. If you use a heavy telephoto lens you probably will need a very sturdy tripod. However, a decent yet fairly inexpensive tripod can be suitable for the average photographer under favorable conditions. Stay away from the flimsy, very inexpensive tripods.

Filme - de la 6-6400 100, 200, 300, 400 - la 200 si 400 sensibilitate la lumina mare dar apare granulatia - recomandate ptr. Interior, timp rapid(sport) Detalii, portrete:100, 50 Fuji Supeior si New Superior 100 24/36 mm=dimensiunea filmului Procesarea lor se face in canal 41=C41, o anumita baie La filmele color: mai multe bai, temperature, spalarea, fizarea Filmele alb negru datorita tehnicii se developeaza si ele in C41 Format poze: 6x9 9 x 13 - prezentari 10 x 15

11/23/2012 13 x 18 - prezentari 15 x 21 20 x 30 - prezentari 17 x 25 - prezentari 25 x 38

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Film# 126 127 128 129 130 220 616 620 828 35

Photograph Area (inches)

110 126 135 335 144 pr-10 film disc 15

110 126 135 335

4 1/4 x 6 1/2 1 5/8 x 2 1/2 1 1/2 x 2 1/4 1 7/8 x 3 2 7/8x 4 7/8 2 1/4 x 3 1/4 2 1/2 x 4 1/4 2 1/4 x 3 1/4 28mm x 40mm 1 1/4 x 1 3/4 Sizes in inches unless otherwise noted Films not on Flanged Spools Film# Photograph Area 13 x 17 mm 28x28 mm 24x36mm 22 x 24 (for 35mm stereo cameras) 67x91 mm (instant print film) 67x91mm (as above) 8x10mm - special magazines Films not on Flanged Spools Film# Photograph Area 13 x 17 mm 28x28 mm 24x36mm 22 x 24 (for 35mm stereo cameras)

11/23/2012 144 pr-10 film disc 15

CURS PHOTO 67x91 mm (instant print film) 67x91mm (as above) 8x10mm - special magazines

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Full frame image size for 35mm Paper size 5x830 8x10 11x14 16x20 20x24 20x30 Full frame 5x7.5 6.75x10 9.25x14 13.25x20 16x24 19.5x30

Standard sizes from 35mm: 3.5x5 and 4x6 Sizes from 35mm wallet size 3.5x5 4x6 5x7 8x10(full frame) 8x12 8.5x11 10x15 Panorama Sizes from 120 4x5,5x5 5x7 8x8,8x10 10x10

11/23/2012 CURS PHOTO 20 / 38 If you want the "full" picture image from 35mm, we'd suggest ordering one of the "full frame" sizes; 5 x 7, 8 x 12, 14 x 20, or 20 x 30. While these sizes will crop a small amount of the picture they will show most of the picture and are often the best choice for wide angle scenics and group shots Film: A piece of plastic with a light sensitive mixture spread on it. Film processing: The process where chemicals remove the unexposed silver on the film, then fix or stop the developing process and stop the negative's sensitivity to light. Now with PowerShot digital cameras, you are freed from the expense of film buying and processing. Film speed: The film's sensitivity to light. For example, an ISO 100 film requires twice as much light as an ISO 200 film. Film speed is a measure of how sensitive the film is to light and is measured by an ISO number (previously known as ASA and DIN). High sensitivity films are often called fast and low sensitivity films are called slow. Standard film speeds are ISO 100, ISO 200 and ISO 400. A film rated at ISO 200 needs half as much light to form the same image density as one rated at ISO 100. Note that ISO 400 is one stop faster than ISO 200 and two stops faster than ISO 100. ASA (American Standards Association), ISO (International Standards Organization): Film ratings, expressed as a number indicating a film's sensitivity to light. The larger the number, the more sensitive and faster the film is. While traditional cameras don't have a specific ISO rating, digital cameras do as a way to express their sensitivity to light ISO International Standards Organization; the number represents the film's sensitivity to light. A higher ISO number indicates the film is more sensitive and requires less light for a proper exposure Discutia pe poza: pozitia (slow sau real) position: slow, real timp expunere- exposure time felul iluminarii; what kind of ilumination cum a picat lumina si de unde a venit; from where the light camed and how incadrare: subexpusa sau nu; framing: underexposed or not de la ce inaltime; from what height(ex: abdominaly for portariat) tip de obiectv:what kind of lenses cum este amplasata imaginea; how is the image

Fast films can also be used in daylight to obtain the fast shutter speeds required to freeze action sports. Slow films are best used for subjects which keep still such as landscape, architecture and still-life. The use of a tripod and a cable release is advised to avoid the dreaded camera shake associated with slow shutter speeds.

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The trade-off between using fast and slow films is that the grain (the crystals from which the image is made up) of fast films is much more visible than that of slow film. Therefore, slow films generally show more crisp detail than fast films, and colours can be much more vibrant and saturated. Having said that, modern fast films (in particular those around ISO 400) can give amazingly good results for very little loss in image quality! All films are rated at a specific speed, usually stated in terms of an ISO (International Standards Organization) rating. The higher the ISO number is, the faster the film. Some common ISO speeds include 25, 50, 64, 100, 200, 400, 800, 1000, and 1600. A films speed indicates how quickly it reacts to light. Therefore, a slow film such as ISO 50 will require a longer shutter speed than a fast film such as ISO 400. Doubling or halving the ISO speed results in a one stop difference. For example, ISO 100 is one stop slower than ISO 200. Fast film makes it easier to photograph in limited light or with fast shutter speeds. However, slow film generally produces a sharper, finer grained image with richer colors. This becomes especially important when an enlarged print is created. Film is either negative film or slide (transparency) film. Negatives are developed and then used to make prints. Slides only need to be developed as they directly record an image. There are significant differences between negatives and slides, and this is often a source of confusion and frustration for aspiring photographers. Unfortunately, there are few easy answers. Negative film is widely used by casual photographers for many reasons. It is normally inexpensive. It is available in fast speeds. There are many places to have it developed. It is made into prints, which are easy to view, store, share with others, and digitally scan. It is easy to have enlargements made. It has a long shelf life and does not need refrigeration. It has wide exposure latitude. Wide exposure latitude means it is able to record a relatively wide range of light conditions accurately on one photograph. This makes it easier to record images with high contrast subjects and also makes it more difficult to overexpose or underexpose a photograph.

A STEPS

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TTL (through-the-lens): Refers to a metering system that utilizes a light-sensitive mechanism within the camera body to measure exposure from image light passing through the lens. TTL viewfinders reveal exactly what the lens sees, avoiding parallax problems. See also Autofocus TTL.

Autofocus TTL (through-the-lens): Allows the camera to automatically focus through the lens, rather than by moving the lens back and forth manually. See also TTL Pe aparat: Av= aperture vaue Tv=time value Mode P=program Lenses Lens: One or more pieces of glass, specially shaped, arranged to bring together rays of light so they can be recorded on film or paper. One of the advantages of a 35mm SLR system is that it provides for interchangeable lenses. One camera body is able to accommodate a wide range of lenses, from a 16mm extra wide-angle lens to a 500mm telephoto lens Below are some important features to consider regarding lenses: Lens Focal Length One factor that defines a lens is its focal length. The focal length determines the amount of magnification and the angle of view provided by the lens, and is identified by a measurement such as 50mm or 180mm. Lenses are often classified into three groups of focal lengths: wide-angle, normal, and telephoto.

11/23/2012 CURS PHOTO 23 / 38 Wide-angle lenses provide the least amount of magnification and the widest angle of view, making distant objects appear relatively small. Some common wide-angle lenses are 20mm, 24mm, 28mm, and 35mm. These lenses are able to provide a relatively large depth-of-field. The traditional normal lens has a focal length of 50mm. A telephoto lens has a long focal length. Some common telephoto lengths are 105mm, 200mm, or 300mm. These lenses offer high magnification and a narrow angle of view. This brings distant subjects up close. Due to the high magnification of these lenses they are especially susceptible to camera shake, so it is important to use them with a tripod. Lens Speed Another factor that defines a lens is its speed. Lens speed is determined by its maximum aperture. The larger the maximum aperture, the faster the lens is considered. For example, an f/2.8 lens is faster than an f/5.6 lens because the corresponding shutter speed required at f/2.8 will be two stops faster than at f/5.6. Faster lenses are normally more expensive and heavy and be aware that you may not use the largest aperture setting very frequently since the depth-of-field will be so small. There is no direct advantage to using an f/16 aperture on an f/2.8 lens as compared to using an f/16 aperture on an f/5.6 lens. However, since a lens opens up to its maximum aperture when not in use, the viewfinder display on a fast lens will be brighter. This makes composing and focusing a subject a bit easier. Primary or Zoom Lens A lens is either a fixed focal length lens, often called a primary lens, or a zoom lens. A primary lens offers one focal length, such as 35mm. Zoom lenses provide a variable focal length, such as 35-70mm. Zoom lenses are becoming exceedingly popular due to their ease of use and the fact that it is normally cheaper to own one zoom lens than multiple primary lenses covering the same range. Many inexpensive zoom lenses offer a variable aperture. For example, a 70-210mm f/4-f/5.6 lens has a maximum aperture of f/4 at the 70mm setting but a maximum aperture of f/5.6 at the 210mm setting. This effect is also evident at all focal lengths and aperture settings. For example, f/8 may provide the proper exposure at 100mm, but will result in a slight underexposure at 180mm. Always re-meter the subject when changing focal lengths with a variable aperture zoom lens. Manual Focus or Automatic Focus A lens is either a manual focus or automatic focus (AF) lens. Automatic focus lenses normally have the option to also be used in manual focus mode. Somewhat surprisingly, manual focus lenses are generally about the same price as automatic focus lenses. If you plan to purchase an AF lens and frequently use it in manual focus mode, be sure its manual focusing ring is adequately sized and easy to use. Brand of Lens The brand of lens you need is dependent on the brand of camera you own. Each brand of camera has a different type of lens mount. For example, a Canon lens will not fit on a Nikon camera. You need to buy lenses made by either your cameras manufacturer or by a third-party lens manufacturer, which typically makes versions of their lenses for all popular camera brands. Filter Size Another factor to consider is the filter size of the lens. If you acquire three lenses with different filter sizes of 52mm, 58mm, and 62mm, you will either need different filters for each lens or some type of adapter. This will add to the overall expense and the amount of equipment you need to carry and maintain. Close Focusing Distance

11/23/2012 CURS PHOTO 24 / 38 The close focusing distance refers to the minimum distance from the lens that a subject must be to be brought into focus. For example, with a 24mm primary lens you may be able to focus on a subject one foot (0.3 meters) away. With a 24-200 zoom lens the close focusing distance may be three feet (0.9 meters) away. Look at the lens specifications to determine this. Miscellaneous Factors

Other important factors to consider include: - weight of the lens; heavier lenses require a sturdier camera and tripod - length of the lens - durability of the lens - the markings on the lens (for aperture settings, focus distance, etc.) - the size and ease of use of the manual focusing ring and aperture ring; some automatic lenses provide poor focusing and aperture rings - whether the front element rotates when focusing or zooming the lens, which will affect the use of some filters (especially a polarizing filter) - zoom lenses either rotate or push/pull when adjusting the focal length; either is fine but you may have a preference

The most common types of photography camera's today consist of either the 35mm SLR (single lens reflex), the Medium format, or the latest Digital camera and without going into whole sciences of each, I will explain the best camera and lens to use with each one. With the 35mm camera (uses 35mm film) go for one with either a standard 50 mm lens or one with 35 - 80mm zoom lens (preferred). The lens should have apertures between f1.8 to f.16. In fish photography the pictures taken are mostly portrait mode with little depth of field therefore a lens in the range above will be most suitable. With the standard 50mm lens the person taking the picture has to move close to the angler holding the fish to compose the frame (removing all the background). With the 35 - 80mm zoom lens the person taking the photograph can twist the lens and the angler holding the fish can be either closer or further away depending on which way the lens is turned. With the picture frame composed next comes the depth of field, and the preferred aperture to use would be small (short depth of field) so apertures from f1.8 to f.4 are the best, these will ensure you get the maximum clear definition and focus to show the scales of the fish. If your camera comes with flash then set it to fill flash for each picture because this will get rid of any shadows cast on the angler holding the fish.

Filtre filtru de compensare a temperaturii de culoare:- lumina calda da tenta verzuie o lumina rece da tenta galbena filtru de difuzie de culoare albastru, verde, rosu, galben

Filters are accessories that normally mount on the front of a lens and alter the light passing through the lens. There are many types of filters available and these are often a source of confusion for the average photographer. Filters are normally not required to produce a good photograph. However, they are helpful in some situations. Filters commonly used are a polarizing filter, neutral-density filter, and a skylight or ultraviolet (UV) filter.

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Without a polarizer, blue skies appear a tepid, light blue on film; with a polarizer filter, they come out in a rich, deep color. The filter works by cutting out reflected glare and it's also useful for water (lakes, ponds), window glass, and tree leaves. Note that most autofocus cameras require a special type called a circular polarizer which, of course, is more expensive. There are also "warming polarizers" available, which lend a warm tint, but I prefer to use a warming filter separately. And there are colored polarizers, such as the blue/yellow, which are used to add distinct colors (see below). Warming Filters Warming filters add a light brown tint to the image, to simulate the golden glow of the late afternoon sun. For warm, golden, magazine-style photos. There are generally three filters, named 81A, 81B and 81C. A is the lightest, B is medium, and C is the strongest. I recommend starting with 81B. Of the other two, I use the 81A more, particularly with foliage as it enhances the green of leaves and grass. Tiffen offers their 812 filter which is a warming filter good for skintones (i.e. portraits). For the beginner, I would recommend starting with a polarizer and an 81B warming filter. FL-D This is a magenta filter that I use for most dusk shots. It's designed to color-correct flourescent (artificial) light for daylight film. On dusk shots, street lights and office lights appear green and cold, so use a light magenta filter to make these lights white and to add a nice pink/purple color to the sky. UV/Skylight/Haze This filters are almost clear and reduce blue haze caused by UV. They're used mainly for protection - if you drop your lens, you might just damage the cheap filter instead of the expense lens. They also protect against dust, moisture and scratches. Neutral Density (ND) The advanced photographer sometimes wants to reduce the overall light level in a scene, often to attain a slower shutter speed or a wided depth-of-field. Waterfalls, for example, look more romantic with slower shutter speed so I might use a two-stop neutral density (".6 ND") to "hold back" the light and get a nice long exposure. NDs are often available as .3 (1 stop), .6 (2 stop) and .9 (3 stops). Grads Graduated filters are useful for scenic landscapes, when you want to combine a bright sky with a shady foreground. To photograph some flowers recently, I used a 2-stop graduated neautral density filter to "hold back" (reduce the light level of) the sky to match the light level of the

11/23/2012 CURS PHOTO 26 / 38 shady flowers. On dull, overcast days, I might use a graduated tobacco filter to add a moody brown color, or a graduated moave or graduated blue to make the scene look sunnier. The "reverse grad" has a band of gray in the center to reduce just the light on the horizon, but keep the top and bottom of the shot the same. Sepia I occasionally use a sepia or a light-sepia filter with old buildings. It gives the image an old, weathered, brown look. Low Contrast Scenes with bright highlights and dark shadows (waterfalls by trees for example) are difficult to photograph as the bright areas become overexposed white and the darker areas become black. This is particularly a problem with color slide film which has a very narrow dynamic range. A low contrast filter apparently spreads light from highlights to darker areas (but also mutes colors). Sunset This is a warm/orange graduated filter that adds a light brown to the foreground and an orange to the sky, simulating or enhancing sunsets. Blue/Yellow Polarizer Photographers Daryl Benson and Dale Wilson rave about this filter (Cokin 173) which adds blue and/or yellow to the scene. They use it a lot, often with a graduated moave or a light warming filter, for very colorful images. Color Enhancers (Didymium/Intensifier) It increases the color saturation in a shot, particularly for red, which is useful for fall shots, red barns, red flowers, and the red rocks of Arizona/Utah. Howard Ross claims to have invented this type of filter and has a great description here. Color Correcting (Compensating) Technically color reducers, these filters hold back some colors in favor of others. For example, a CC10G reduces all colors but green by 10%. This is useful for nature shots where you want to increase the power of green in foliage. These filters often come as "gels" (thin pieces of gelatin) which I place in a Cokin holder. The CC30R is often used for underwater photography to bring up the otherwise reduced reds. CC20M is a nice dusk filter, similar to the FL-D (above). CCs are generally available in primary colors - red, green, and blue - and printing colors - cyan, magenta, and yellow. 80 Blue The "80" range of filters is offer degrees of blue for a cooling effect. I use the 80C to make snow scene appear slightly blue, and thus colder. But, since I likee my shots to look warm rather than cold, I very rarely use my 80C.

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There's a variety of filters than "soften" an image by adding some foggy blur. They're sometimes used for a still lake at sunrise, a small bridge, or a woman's face. Most of my effort is spent trying to get sharp, crisp images, so I don't use a fog filter. You might want to consider using a filter system. The most popular is by Cokin and offers a square plastic frame to attach to the end of your lens, with slots to hold up to three of their square filters. The biggest question here is...
Cokin A or P? Cokin offers two sizes of filters. "A" is the smaller size, recommended for amateurs as small means cheap. "P" is larger and recommended for professionals who use larger lenses. I understand that the quality is no different, just the size. I use the "A" system with my 35mm SLR camera and suggest you do the same as the filters are cheaper and easier to carry. Only if you get a lens with a big piece of glass on the front (e.g. a 28200mm lens, a 600mm or larger lens, or a lens for a medium- or large-format camera) would you need the "P" series. cMulti and sMulti Filters create versatile circular or straight, multiple lens, kaleidoscopic effects. Designs Filter has 100 single bit textures and patterns that can be rotated, colored, bent and warped: a "2 1/2 D" effect impossible to achieve manually! Mezzo Line-Screen Filter uses patterned screens within designs to convert your photo to B & W mezzo line-art. Ideal for rich illustrations and image dependent textures. Diffract, Prism and Rainbow Filters have versatile geometric controls to create spectral effects far easier than any gradient tool. Halo Filter provides controlled highlight diffusion. Adjust for direction, spread and intensity. Reflection Filter provides instant clear pool reflections. Adjust position, feathering and opacity. A must for 3D scene creation. Star Filter is the ultimate star design tool for adding single or multiple bright glints, sparks, and glows to your image. View our Star Filter applications for advanced users. Velocity Filter has three unique motion effects. Multiple ghosting highlight smears and fade-out.

What is a filter?
A filter is a piece of high quality optical glass in a mount that screws into the front of your lens. Or it is a square of plastic or glass that fits in a special holder in front of your lens. There are also a few lenses where filters slot somewhere in the middle of the lens, or attach to the rear element instead of the front.

What use are filters?

Filters fulfil two purposes. They can alter your picture by selectively allowing through only part of the light falling on them, and as a very secondary function they can help protect your lenses. This article is about filters in general photography: landscapes, buildings, portraits, groups of people, sports, wildlife etc. If you are doing something specialized like catalogue shots, or reproductions of paintings, or restoration of old photographs, you'll need more detailed and specialized help.

Filters in Colour Photography

In colour photography, the usual problem is that pictures often come out with an unpleasant blue tint. This is especially true near midday, at high altitudes, and on overcast days, as all these variables affect the composition of daylight. Different photographers recommend different solutions:

11/23/2012 Filter Type UV Sky 1A Sky 1B 81A 81B

CURS PHOTO Description Filters out a lot of Ultra-Violet light. You can't see the UV, but film can! Slightly pink - makes colours warmer As 1A but more so Slightly amber - warms up colour more noticeably than a Sky filter As 81 A but more so

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When shooting colour I like to use an 81A or a UV most of the time. I use the UV filter if I want clean accurate whites, which any coloured tint would ruin, otherwise I use the 81 for a rich warm glow. If you shoot indoors, under normal room light, with standard colour film, you will have the opposite problem, keeping an orange cast out of your pictures. To correct this you use a blue filter, an 80A or 80B. I prefer the 80B, as it is also useful with Black and White film.
Filters for Black and White photography Black and White photography, outdoors, suffers from the related problem that the sky is usually very much brighter than anything else. This manifests as washed out, featureless skies. This can be compensated in the darkroom, but it is much easier to make a good print if some correction is made at exposure time. The trick is to use a Yellow, Orange, or Red filter. Yellow has quite a mild effect, whereas Red turns summer skies almost black. Start with either an Orange filter (if you usually shoot in good light) or Yellow (if you can't afford to lose too much light, for example if you like to hand-hold your camera most of the time) as a general purpose filter for Black and White work. After some experience with that you will be in a better position to try the others. This balaning of the sky in B&W is a special case of using a filter to selectively lighten or darken certain colours, to create contrasts. If you are using negative film then the general rule is that a filter lightens its own colour, and darkens its complementary colour. This applies to both B&W and colour negative films, but the efect is clearest with B&W. For example a red filter will make a ripe red apple appear lighter relative to other colours, whereas a blue or green filter will make the same apple appear darker. On the other hand, if you use a green filter to photograph a red fruit against a green background the filter cuts out most of the light coming from the apple, hence little light falls on that part of the film and that area of the negative is almost clear. When you make the print the same area allows lots of light through, so your print is very dark in that part. Conversely, most of the light from the green background is allowed through, so that comes out relatively light in the final print. With slide film the situation is more complicated and depends on whether the film records the real colour of the incident light or its complement, or some other chemical change, and is further complicated by the way that the true colours are eventually generated for the final image.

The Polarizing Filter

The polarizer is useful for both colour and black and white. It works by filtering out light that is not in a particular plane of polarization, for example light that has been scattered by something. The overall result is that colours appear cleaner and richer, and unpleasant reflections are removed (e.g. reflections from windows). A side effect is that blue skies are darkened. The degree of polarization is controlled by rotating the filter. (It has a rotating mount). Used to the full it often produces a very false looking result, but part polarization can greatly enhance your

11/23/2012 CURS PHOTO 29 / 38 shots and still look natural. Many polarizers seem to introduce a slight blue or blue/green cast, so they works well in combination with an 81A or 81B. Polarizers come in two flavours, Circular and Linear. Most AF systems and some exposure metering systems are confused by a linear polarizer. If in doubt, buy the slightly more expensive circular. (Note this has nothing to do with the shape of the filter. It refers to the nature of the materials from which it is made).

Protecting your lenses

The UV filter can be worth carrying for use with both colour and black and white for lens protection. I'd rather clean grime and fingerprints from a relatively cheap filter than from an expensive lens element, so for snapshots this a perfectly valid use. But if you are after the highest possible image quality, don't need a filter for the colour balance, and you are not threatened with heavy dust, salt spray, and similar hazards then it is best to forgo the extra protection and shoot without a filter.

Graduated Filters
These are mainly used by landscape photographers, as yet another way to darken an excessively bright sky, so that the ground can be given the correct exposure, and remain unaffected by any form of filtration. A grad is a square filter that varies from a dark tone at one edge, to clear at the opposite edge. It slides into a special holder that fits at the front of the lens to allow the filter to be raised or lowered for best effect. You can get grads in all colours and many strengths. They are very difficult to use successfully. The usual result is an image that looks false and contrived. Most of the time you can get by without a grad, but every now and again you'll find a wonderful scene that you can't get right without one.
The Cokin System The most commonly available square filters, and amongst the least expensive, are those made by Cokin. If you want to experiment with grads then start with a Cokin holder, and the lightest Grey grad you can find. There are two Cokin systems. The A series which is small and convenient, and the P which is bulkier and costlier, but can cope with much bigger lenses. The filters themselves are plastic/resin, so need to be protected much more carefully than conventional glass filters. It is possible to use a Cokin holder or equivalent for all your filters. The holder has space for a polarizer and two other filters. This is attractive if you have many different lens sizes, as it is simple to move the holder, complete with filters, from lens to lens, and it reduces the weight you need to carry. I've tried this, and on balance I don't recommend it. It makes the camera unwieldy, and awkward to use hand-held. More to the point, with good glass filters I can't see much loss in picture quality from my Nikkors, but the much thicker resins of square filters cause obvious degradation, especially if more than a single filter is used. On top of that the resin filters are easily damaged, and difficult to clean. So I just have one pale grey grad, and I don't use that very often. There are other square filter systems that use glass filters, (e.g. by Lee or Cromatek) but they are much heavier and very expensive. If the front element of any of your lenses rotates on focussing this makes grads more difficult to

use.

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Special Effects

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There are many more special effect, and special purpose filters

(rainbow, starbust, soft vignette ...) but most

(all?) of them are a waste of time and money.

Using Multiple Filters You can, in general, stack up multiple filters, but each extra filter reduces sharpness and resolution. The most you should ever want to use together, and then rarely, is three: a warm-up, a polarizer, and a grad, but you may quite often want to use two. With wide angle lenses even two filters can cause vignetting (cut into the corners of the frame), so you should always try to find the thinnest available filters. The width of the rim on screw-in filters varies greatly from make to make, and with some makes from one year to the next. Exposure Compensation Every filter absorbs some light so you have to adjust the aperture or shutter speed to compensate. The UV, yellow, or 81A won't make much difference, but a deep red or a polarizer can absorb 3 stops or more. If you use TTL metering you might expect that to compensate, but many meters are not sensitive to the whole colour spectrum, so you may have to experiment to find out exactly how much exposure compensation is needed.
Do you really need any filters? There is no doubt that putting a filter in front of a highly corrected modern lens takes the edge of the sharpness. The lens designer has gone to great lengths to focus the image precisely on the film. Anything you stick in front of the lens has not been allowed for in the calculations. A few years ago this image degradation didn't bother me, in fact I didn't notice it, but as I have developed as a photographer I have have become much more critical and have learned to see the difference. So the key question is: Does the enhanced colour balance and/or saturation more than compensate for the tiny loss of sharpness? Finally, don't buy a filter unless you are sure that you need it. They are not cheap, they are hard to sell again, and a bunch of them is surprisingly heavy. You really don't need very many.

Filter thread size

Your outfit will be much easier to use if any accessory will fit any lens. It helps if all your lenses take the same size filter, so it is worth bearing this in mind when you choose your lenses. Common accessory thread sizes are 49mm, 52mm, 55mm, 58mm, 62mm, and 72mm. The bigger sizes (over 62mm) tend to be pricey. The very big filters, like 95mm for the Nikkor 50-300 f4.5, cost more than some pretty good lenses. If you have lenses with different sizes of accessory thread a good solution is to buy filters to fit your biggest lens. You can then obtain a step-up adapter for each of your other lenses. This only works well if you have only a couple of different sizes. Even then it is not always possible, especially if your lenses feature clip-on or built-in hoods.

A Basic set of filters

To summarize, a useful set of filters would be: UV, 81A or 81B, 80B, Orange or Yellow, Polarizer, and Grey Grad. The grad isn't really essential, and if you don't want to use daylight balanced film indoors you can

11/23/2012 dispense with the 80B (blue) as well. You can get by perfectly well with:

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UV, 81 (A or B), Orange or Yellow, and Polarizer, These will let you tackle most subjects, with most film types, and after using them for a while you will know exactly what else (if anything) you need. Filters
Made of gelatin or glass, filters are used in front of a camera lens to alter the colour balance of light, to change contrast or brightness, to minimize haze, or to create special effects. In black-and-white photography, colour filters are used with panchromatic film to transmit light of the matching colour while blocking light of a contrasting colour. In a landscape photograph taken with a red filter, for example, some of the blue light of the sky is blocked, causing the sky to appear darker and thereby emphasizing clouds. Under a blue sky, a yellow filter produces a less extreme effect because more blue light is transmitted to the film. The No. 8 yellow filter is often used for outdoor black-and-white photography because it renders the tone of a blue sky in much the same way that the human eye perceives it. Conversion filters, light-balancing filters, and colour-compensating filters are all widely used in colour photography. Conversion filters change the colour balance of light for a given film. Tungsten films, for example, are designed and balanced for the colour temperature of amber tungsten light. Exposed in daylight, they will produce pictures with a bluish cast. A series 85 conversion filter can correct this. Daylight film, on the other hand, balanced for sunlight at noon, which has a greater concentration of blue wavelengths than tungsten light, will have a yellow-amber cast when exposed under tungsten light. A series 80 conversion filter corrects this problem. Light-balancing filters are generally used to make small adjustments in colour. These pale-toned filters eliminate undesirable colour casts or add a general warming hue. Colour-compensating (CC) magenta filters can balance greenish fluorescent light for daylight or tungsten film. Another type of filter, the polarizer, is used primarily to reduce reflection from the surface of shiny subjects. Polarizing filters are also used in colour photography to increase colour saturation. If you are using a single lenses reflex camera (SLR), then you can attach colored filters to the front of your lens. When used with black and white film, these filters can greatly enhance your photographs. These colored filters can be used in a variety of situations, such as minimizing haze in scenes or to increase the contrast of your images. Since most filters absorb some light, your exposure must be adjusted when using them. If you have an automatic SLR with through the lenses metering, simply screw the filter onto the front of the lens and take your picture. The loss of light coming in through the lens will be detected by the internal light meter and the camera will adjust its setting in order to get a correct exposure. If your SLR is manual, or an automatic with a manual setting, first take a light meter reading through the lens and make a mental note of the reading. Screw your desired filter to the front of your lens and using the Filter factors listed below, either adjust the f-stop (most common method) or adjust the shutter speed, by the amount indicated. To make an object appear darker on film than it does to the eye, select a filter that has a color which is complementary to the color of the object. For example, a yellow, orange or red filter will darken a blue sky. If you use filters of complementary colors, you can make objects in your picture stand out from each other, rather than all being potentially the same shade of grey.

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A dark red filter on a bright day with a partly cloudy sky, will very much enhance and define the clouds. An orange filter will do the same to a lesser degree and yellow to an even lesser degree. A yellowish green filter is very good for portraiture in soft sunlight or with multicolored flowers (remember we are still talking about black and white photography).

Filter factors: - Aperture Adjustment. Factor of 2 (Yellow Filter) open aperture by 1 f-stop - (example - from f16 to f11) Factor of 4 (Orange Filter) open aperture by 2 f-stops - (example - from f16 to f8) Factor of 8 (Red Filter) open aperture by 3 f-stops - (example - from f16 to f5.6) Or Rather than adjust the aperture of the lens (f-stop), you can adjust the length of exposure (shutter speed).

Filter Factors: - Shutter Speed Adjustment. Factor of 2 (Yellow Filter) means you have to double your exposure time (example - from 1/000 to 1/500 of a second). Factor of 4 (Orange Filter) means you have to quadruple your exposure time (example - from 1/1000 to 1/250 seconds). Factor of 8 (Red Filter) means you have to adjust your exposure 8 times (example - from 1/1000 to 1/125 of a second).

Miscellaneous Filters

UltraViolet (Skylight) Filter Factor of 1 (1/2 f-stop) Eliminates foggy appearance in black and white pictures. With color films, will reduce bluish mist to a minimum. Polarizing Filter Factor of 3 to 4 (1 1/2 - 2 f-stops) On a sunny day, depending on the angle of the sun, this filter will virtually eliminate reflections from non-metallic surfaces such as water, show room windows, etc. It will also eliminates

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atmospheric haze and allows you to control the brightness of the sky. This filter is also excellent with color film and makes a great general purpose filter. Although expensive, I consider this filter to be essential! Cross Screen Filter Factor of 1 (1/2 f-stop) This is a clear filter with fine cross lines across the surface. It produces a dramatic cross flare effect when photographing bright lights or reflections.

In studio o lumina presupus naturala, pentru control, care sda vina de sus in spate o lumina de contur: intensitate: mare mica lumineaza zona

ptr a compensa umbra: o lumina de intensitate mica lumina o reglam:- mai aproape=tare mai departe=moale

lumian orientate spre subiect blitzul din studio are o celula fotosensibila si se declanseaza toate dintr-o data

11/23/2012 - umbreluta cu filtru de difuzie -

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filtru polarizare scoate luciul, pune pielea si textura in valoare este bines a avem pe toate filtru de polarizare: - in interior intuneca imaginea o in exterior este mai bine de folosit

cind fotografiem personae afara-soarele in spatele persoanei, deci eu ca fotograf cu soarele in fata dar sa fii in umbra , sa nu pice soarele pe obiectiv

la peisaje sau cladiri soarele in spate, cind fotografiem obiecte, daca folosim filtru de polarizare scoatem anumite unghiuri si la grup, portrete scoatem luciul

cu panoul de reflexive directionam lumina cum vrem(pot fi tenta alba sau aurie) in studio singurul mod de lucru este pe manual: reglam timp+diafragma si folosim lumini aditionale

daca lucram cu lumina ambianta putem lucra si pe program Sorin Cucui are in studio blitzuri Prolinchrom 23 si Profilux

Flashmetru Arata lumina de ambianta+diafragma+timpul La fel daca il pui pe flash Orice aparat are exponometru- doar pentru lumina blitzului(timpul de expunere nu mai conteaza pe flash)

In laborator (la Complex la Radu)

11/23/2012 CURS PHOTO Aparat developare NARITSU QSF V30 Ptr role hirtie NARITSU SYSTEM MACHINE THU M5M T Procesare: NARITSU QSS 1912 1. Numerotare film si lipire pe suport 2. Delopare 20 min

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3. procesare in masina, pe ecran alegem pozele si compensam culoare daca e nevoie, densitate si contrast(se merge pe trei culori de baza)

Principal Processing Factors 1. Time 2. Temperature 3. Agitation 4. Chemical Strength A. Replenishment Rates B. Chemical Mixing C. Contamination
The Color Negative Film and Paper Chemical Processes Both the color negative film process (C-41, C-41B & C-41RA) and the color paper process (RA-4 & EP-2) employ several distinct chemical steps to produce the negative or positive images contained within the emulsion of the film or paper after exposure and processing. All conventional color processes used to produce prints from negative films require four or five separate stages: 1. Development 2. Bleaching 3. Fixing

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4. Washing/Washless Stabilizer 5. Dye Stabilization (C-41 only)

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Process Monitoring The typical lab has at its disposal several tools which are utilized to monitor a process. They include process control strips, which are pre-exposed strips run daily in the film and paper processes. A densitometer is used to read, and in some cases record results from the control strips. In addition, published information on the processes themselves along with troubleshooting manuals and other related information are also typically employed to monitor and maintain a process. These tools are used to match the process to a standard and minimize any deviations 'Tom that standard. Process deviations can result whenever process recommendations are not followed. Although process deviations are not uncommon, the goal is to minimize these deviations and operate the process within an acceptable range from standard. To accomplish this, each of the individual chemical solutions (i.e. C-41 developer) must be operated and maintained within predetermined specifications. These are typically published by the manufacturer of the film, paper, chemicals or equipment. (The exact specifications utilized in any lab will depend on the individual film, paper, chemical and equipment mix for that lab.) Those specifications include among others; processing times for each step, operating temperatures for the solutions, solution agitation specifications, solution replenishment rates and chemical mixing recommendations. These are commonly referred to as Processing Factors. Process monitoring is simply a procedure by which these factors are monitored and adjusted as necessary to keep the process running within specifications. Principle Processing Factors 1. Time 2. Temperature 3. Agitation 4. Chemical Strength A. Replenishment Rates B. Chemical Mixing C. Contamination To produce a top quality product, a sound understanding of processing factors and their effects on film or paper is essential to the lab operator. However, to fully understand how each of the processing factors affects film or paper, it is first necessary to have a basic understanding of film and paper composition and construction, and an understanding of the function of each of the individual chemical steps in the processes. What happened to KODAK Bleach Monitoring Control Strips, Process C-41? KODAK Bleach Monitoring Control Strips were discontinued in March 1997. The strips were intended to monitor Process C-41 for the formation of leuco-cyan dye in color negative films. Because today's Kodak films are much more resistant to leuco-cyan dye formation than older films, it is no longer necessary to use the strips. However, two Kodak films still use couplers based on older technology that are sensitive leuco-cyan dye formation: VERICOLOR Slide Film / 5072 / SO-279 and VERICOLOR Print Film / 4111. You can use the standard KODAK Control Strips, Process C-41, to detect severe leuco-cyan dye formation by monitoring the red LD and HD-LD values. If the control strip plots with low red LD and HD-LD, you should rebleach the control strip in a known good bleach replenisher to confirm the presence of leuco-cyan dye. See Appendix E, "Rebleaching Test for Leuco-Cyan Dye," in KODAK Publication No. Z-131 for details. Although modern Kodak films are far less sensitive to leuco-cyan dye formation, providing adequate aeration of the bleach tank solution to maintain proper bleach activity is still an important process requirement. How often should I run KODAK Control Strips, Process C-41? A good rule of thumb for labs is to run a startup strip in the morning and a shutdown strip at the end of the day. If you are processing a large amount of film or if process quality is paramount in your lab, you can run more control strips throughout the day to monitor the process more closely. What are the control tolerances and limits for KODAK Control Strips, Process C-41? Aim-Value Color-Balance Measurement Adjustment Action Limits Control Limits Spread Tolerances Limits

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D-min LD LD-HD D-maxB -YB 0.03 0.04 0.03 0.07 + 0.03 0.06 0.07 + 0.10

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+ 0.05 0.08 0.09 + 0.12 --0.09 --

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Which process control parameter most closely predicts the color balance I can expect to get from printed negatives? HD-LD (contrast) best indicates the color balance of processed film. When my control-strip plots indicate an out-of-control process, what steps should I take immediately? You should take four steps before making process changes to correct an out-of-control process: 1. Calibrate your densitometer. 2. Check your aims for accuracy by rechecking aim calculations. 3. Check your processor for process specifications, e.g., time, temperature, agitation, and solution concentrations (specific gravity). 4. Run another control strip to verify the accuracy of your control-strip plots. What are the chemical solutions used in Process C-41? Process C-41 includes four chemical steps:

Developer Bleach Fixer Stabilizer or Final Rinse

What is the developer time and temperature for standard Process C-41? The standard developer time for Process C-41 is 195 seconds at 37.8C (100F). How do I mix solutions properly? Start with the recommended amount of water and at the temperature specified in the instructions. Add each component according to the instructions and mix or stir the solution. What is the difference between replenisher and working solution? Replenisher solution is more concentrated than working solution. Replenishers are used to restore the chemical components of the tank solution to maintain photographic performance. To generate fresh working solution that yields results similar to those provided by a seasoned tank solution, starter solution is added to replenisher solution to produce working solution. If I have developer replenisher, do I really need starter to develop film? Yes, if you have developer replenisher, you will need starter to make a working solution to reduce the high photographic activity of the replenisher. What does developer starter do? Developer starter, when used with replenisher, will give results similar to a seasoned tank solution. I am batch processing film. What is the capacity of one litre (one gallon) of developer? Film and Film Size 135-12 135-24 135-36 110-24 120 220 4 x 5 inches 5 x 7 inches 8 x 10 inches Developer Capacity* (rolls/sheets) per 1 litre/1 gallon

VERICOLOR III Professional, VERICOLOR Print and Slide, Commercial Internegative, GOLD 100, GOLD 200 12/48 5/22 4/15 8/32 3/11 1/5 10/38 5/20 3/10

ROYAL GOLD, GOLD 400, GOLD Max, Pro 400, Pro 400 MC, PROFESSIONAL EKTAPRESS PJ400, PROFESSIONAL EKTAPRESS PJ800, PROFESSIONAL T400CN 135-12 135-24 135-36 GOLD 1600, EKTAPRESS Plus 1600 135-12 135-24 135-36 8/35 4/15 3/11 11/42 5/20 3/14

*The capacity for the other solutions (bleach, fixer, and stabilizer) is twice the number of rolls or sheets given for the developer. The recommendations are also in Section 3, KODAK Publication Z-131.

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Mixed Solution (Fresh) Developer or Developer Replenisher Bleach III Replenisher Bleach Tank Overflow awaiting regeneration Other Solutions

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Full Stoppered Glass Bottles 6 weeks 8 weeks 8 weeks 8 weeks

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Tanks with Floating Covers 4 weeks 8 weeks* 8 weeks* 8 weeks

How long with my mixed solutions last? For best results, do not use solutions stored longer than the times given in the following table.

*Because aeration is beneficial to Bleach III Replenisher, do not use floating lids.

What is the difference between Process C-41, C-41B, and C-41RA cycles?

Process Cycle C-41 is used most frequently by commercial / professional labs with equipment that uses a water

wash. Process C-41B is a shorter process cycle than standard Process C-41. This cycle was made shorter by eliminating both washes and reducing fixer time. Originally the process used a final wash, but the most common version in use today is a "washless" cycle. Process C-41RA has a shorter total process time than Processes C-41 and C-41B. To use this cycle, the minilab must be capable of providing the higher fixer and stabilizer agitation, and must use KODAK FLEXICOLOR RA Bleach Replenisher NR, and KODAK FLEXICOLOR RA Fixer and Replenisher. Although Process C-41RA was designed to be a "washless" cycle, you can use it with a final wash. How is the replenishment rate determined? The film manufacturer determines the replenishment rate. Our replenishment rates are starting points for a typical mix of Kodak color negative film by type, population mix, film area, solution carryover, and equipment set. What happens if my replenishment rate is wrong? Replenishment related problems lead to 80% of the out-of-control problems. Under- and overreplenishment issues not only affect the control plot, but can also affect the quality of the color negative original and output. How can I tell if I processed the film properly? If you use control strips and a statistical process control approach, quality is determined by the results. Visually your film should exhibit brilliant, clean D-min with no milky appearance. Upper scale densities should also appear clean with no greenish reflective metallic cast viewed from the base side. Output quality should exhibit clean whites with effective detail and no color cast in the color print. The print should also have rich shadow densities with detail. Overall, the print should exhibit brilliant, rich colors with matched contrast.