Photography

All that you need to know

David Codina





Text copyright 2016 David Codina
All Rights Reserved

Authors Note.

In modern times, where everything seems to have room on the internet, can seem
somewhat absurd to spend the least effort to acquire a book like you are reading in this
moment. Surely, you have doubts about whether your decision was correct. It is our wish
to congratulate you on this, and our duty to justify why.

Beyond considerations of value of work, no longer contain a certain amount of
subjectivity, the really important thing is time. Your time. That time you have NOT had to
invest in the search among hundreds, perhaps thousands, of links within the Internet to
find what you are really looking for.

You have acquired this book with the intention to find specific information. Well, you got
this information here: complete, rigorous,The entire compilation and research work and
all tasks associated with the elimination of irrelevant issues have already been made for
you.

You have come here out of a motivation. And the answer to that reasoning will find it in
the next pages. Where, I guarantee you will not regret.

David Codina

We do not lose our time; perhaps it had them more beautiful, but this is ours
Jean Paul Sartre (1905-1980) Philosopher and French writer.

Foreword
Today, photography has become an important component in the life of each one of us.
With the development of new technologies is very common to have at hand a device
capable of taking photographs. Small digital cameras and mobile phones allow us to
immortalize all times relevant to our lives. In recent years, the photographic production
has grown exponentially and today, there is no social or family event in which someone
does not take a picture that almost certainly will subsequently appear in one of the many
existing social networks.

How many times has happened that this photo that seemed so fun is out of focus? Or the
image of that journey that will never be repeated has not gone as we had hoped? It is for
this reason that we ask: Given that photography has become a common occurrence in our
lives. Why do not you know those little tricks that allow us to perform them optimally?

This book aims to provide an overview of what is photography. Beyond listing the
different components of a camera, it explains the reason of each of the functions contained
on it. Regardless of the camera is being digital or traditional; we try to explain the
different concepts related to taking photographs. Words such as shutter, horizon law,
diaphragm or foreground will take a new meaning after reading these pages.


Many of us, the day we purchased our new camera, we decided to choose the automatic
mode of operation (configured by the manufacturer) and do not care anymore. However,
with additional knowledge as those discussed here, we can greatly improve our pictures
and get into a really fascinating world. Because the world of photography goes far beyond
mere smile and pressing a button.
We wish you the best of the photo sessions.

Table of content
Authors Note.
Foreword
The camera
The display
Shutter
Speed
Photometer
The sensor
The Flash

Camera Programs
The Advanced
Parameters

The optical
Diaphragm
Lenses
Aperture and depth of field
Hyperfocal distance
Exposure
The contrast of scene

Measurement
Contrast scene
Photographic Composition
The focus
Fill the frame
Lines
Play with the direction
Repeated elements
Colors

Groups of three
The rule of thirds
Negative zone
Foreground and background
Framing
Curves
Horizon Rule
La law of the gaze

To conclude .

The camera

We will start, directly, to know a bit what we have at hand, namely the camera.

Parts of the Camera
The main parts of a camera are:
The display
Shutter
The photometer
Sensor

The display
Can be defined as the optical system that allows us to framing shots, ie, decides who
enters and who does not enter the scene into our photo. Compact cameras used to have
that was called direct viewer, allowing the scene while shooting.
The main disadvantage of this system was the parallax error, which occurred because the
optical and the viewfinder were not in the same optical axis.

Currently, most compact cameras ignore the viewfinder, and make the frame and direct
view through the LCD. SLR cameras are named precisely because the so-called reflex
viewfinder, which is a mirror placed at 45 degrees that projects its image to a pentaprism
which allows us to see the image in perfect agreement that will appear in the photo.

Shutter
The device allows us to control the time during which light reaches the film or sensor.
There are 2 types, the central shutter, that is commonly found on the lenses and whose
main characteristics are that it allows flash sync at any of their speeds, but usually these
are limited to 1 / 500 s. (aperture blades radial). On the other hand, the most widespread,
this is incorporated in all the SLR is the focal plane shutter that is located in front of the
film or sensor, and consists of 2 curtains.

With the shot, the first curtain opens allowing the passage of light over time that we have
selected, the second curtain closes. The main disadvantage of this system is that your sync
speed with flash is usually between 1 / 90 and 1 / 250, so if you shoot at higher speeds, the
shadow of the second curtain is being shown in the foto. Going a step in the speed range,
the time that light exposes the film or sensor is doubled.

Speed

Scale
B 30 20 15 10 8 6 4 3 2 1,5 1 0,7 /2 /3 /4 /6 /8 /10 /15 /20 /30 /45 /60
/90 /125 /180 /250 /350 /500 /750 /1000 /1500 /2000 /3000 /4000 /6000 /8000
Appear in bold the whole steps, namely those that if we choose them, the light pass is at
double or half the time and the others are intermediate steps.

Photometer

The device for measuring the light in the scene. There are two
types, hand-held light meters and the light meters built into
cameras. The handheld photometers are more versatile. Through
these devices the light can be measured in two ways, as incident
light, or reflected.

The light meters built into cameras, can only measure reflected light, although there are
three metering modes, depending the part of the sensor that we give more importance, are
the point mode, the center-weighted mode, and matrix. The first uses only the central part.
The center-weighted mode, the central part, but takes into account the immediate area, and
the matrix mode the entire sensor array, and also by the internal software of the camera
makes some corrections as the scene that is measured.


The sensor
Is the device responsible for recording the scene, ie, the charge to produce the file. An
important parameter is the number of megapixels you have, you tend to believe that a
greater number of megapixels, better quality, but this is not really so, it must also consider
the size of the sensor. Where the number of megapixels is equal, the larger sensor will
produce higher quality images. This is because when the photocells are closer between
them, the noise is greater and the image becomes somewhat degraded image. There are
several types of sensor:
The CCD
The Super CCD
CMOS
The Foveon
Today the most widespread is the CMOS because its consumption is lower. Its present in
Nikon, Canon and Pentax. The CCD currently almost is not used in photography, but it
was the first to be mounted on a camera.

The Super CCD is used by Fuji SLR cameras, and finally
the Foveon, whose peculiarity is that it is structured in
three layers such as film, which is present in Sigma
cameras.

The Flash
All flash are basically composed by a torch and a generator.

Torch: Is the flash tube, which is based on a xenon gas discharge. The flash has the
following characteristics:
It has a color temperature of 5600 K, ie, white light.
It produces a hard and directional light.
He has high energy efficiency, ie, produces little heat, and has a long useful life.

Generator: Is the electronic circuitry that fed to the torch. One major component is the
capacitor, whose mission is to accumulate energy to release it almost instantly in the
shooting. At the time of shooting, the capacitor discharges all their energy in a fraction of
a second going to the xenon lamp and becomes a flash without any delay. A concept that
should be taken into account when working with flash, regardless that if comes built into
the camera or is independent, is the inverse square law, which states: The area
illuminated by a point source of light, is four times greater every time you double the
distance, or it is the same, the same area receive four times less light each time it is
placed at twice the distance from the source.

This law reminds us that like any other device, the flash device also has its limitations, and
we must know to use it properly. The flash power is expressed through what is called
Guide Number, which is usually provided by the manufacturer in the manual, but is

usually somewhat below the technical specifications. For example, a flash with a guide
number 32 is more powerful than one with guide number 22.
An important specification you need to know is the speed of synchronization that allows
the camera, as they work at higher speeds would result in the emergence of the shadow of
the shutter curtains cutting the picture. The flash can work in different ways:
Manual: The user has to adjust into the lens, the aperture indicated by the flash either
through the LCD screen in the most current models, or through a table in the older
models depending the focus distance.
Automatic A: In this mode the user has to indicate to flash the ISO sensibility and
aperture you are using and it decides when he has to cut the flare using a sensor on the
same flash.
TTL. Its name comes from the acronym of the expression Through The Lens, and in
this mode, the flash uses the information that facilitates the cameras light meter, so it
is more accurate the two previous modes, as it takes into account other information
such as the focal length that is being used, the presence of filters, etc. It is the most
easy and practical way to use the external flash.
The flashes built into the cameras, both compact and SLR have the same components and
work exactly like the external, but its power is much less and therefore also its usefulness
is limited. Basically they should be used to fill in shadows, or illuminate a nearby object in
low light conditions, for example, indoors. No one should think of them as a light source
itself but rather as a light of support. Moreover, in most cameras is possible to regulate the
power of flash, and it would be advisable, especially when used as fill flash mitigate this a
bit.

Camera Programs
Automatics: They work quite well in most situations, however do not leave, or leave very
little choice to the photographer. Are based on standardized patterns that are programmed
into the camera software. The most common are:
Portrait
Landscape
Nocturne
Macro
Auto
We do not entertain to explain these modes. Its name suggests their utility.

The Advanced
P: This program gives the full control to the camera. It is designed to aim and shoot.
AV: The photographer sets the aperture and the camera decides the shutter speed. This
mode is more practical when trying to control depth of field, for example, when
shooting landscapes or when you are taking pictures of approximation.
TV: In this mode you choose the shutter speed and the camera chooses the aperture. It
is useful when you want to fix a movement, for example, in photography or sports
action.
M: In this way the total control of the shooting conditions belongs to the photographer.
The cameras light meter measures light from the scene and indicated on the display if
the shutter speed and aperture you have chosen will produce a proper exposure, but we
are able to ignore or not.
A dep: Its a way that taking into account all points of autofocus that are available into
the camera and the light conditions that exist at the scene, decide the parameters that
will be used to achieve the greatest depth of field.

Parameters
It is important to know before taking a picture how are configured the different camera
modes. Basically we need to know in which metering mode (point mode, center-weighted
or matrix) we have our camera, in which autofocus mode (it is best to fit the center of the
viewfinder or LCD, and then recompose your picture to our choice). We must also adjust
the ISO (remember that the more sensitive the sensor generates more noise, resulting in a
blurred image in general) depending on the lighting conditions before we shoot. With this
in mind we can start worrying only in the photography composition and other aesthetic
considerations.

The optical
Lets talk a little bit about lenses and their importance in obtaining the final image as well
as some technical aspects to consider. An important concept to know is referred to when
talking about focal length. The distance or focal length of a lens is the distance between
the optical center of the lens and the focus (or focal point) which collects the image (in
digital cameras, the sensor). So when we say we have a perspective of 100, 50, 24 mm
were talking about the focal length.
Once understood what is the focal length, the following is to explain that there are, based
on this concept, two types of lenses: fixed focus lens (single focal length) and variable
focal lenses, known as lenses zoom.

Focal lengths are in millimeters. So, when we see a lense identified as 50mm, you know
that we face a fixed focus lens 50 mm. The variable focal length objectives are identified
with the lowest and highest focal length covering. So when we meet a lense identified as
18-70, we know that we have a shorter focal length lens which is 18 mm and longer focal
length is 70 mm. It should explain that, to what most may think, the best lenses are fixed
focal length. This is justified by the higher optical quality and therefore the better quality
of the achieved image. His explanation is that the crystals found in a focal length lenses
are also fixed, while a zoom type lens bases its operation on the lengthening and
shortening of the glass tube containing the lens, thus altering the distance between these
crystals for different focal covered. It is technically complex to maintain optimal image
quality in different positions corresponding to the focal lengths covered by a zoom type
lens, but obviously, to the end user is infinitely more comfortable to carry a single lens
(zoom) that carry multiple focal fixed lens.

Fisheye: The objectives with an extreme visual angle of 180 degrees or more. Because of
its great distortion, transform the scene in a circular image, similar to that produced by
looking through the peephole of a door.
Angle: The objectives with a lower viewing angle than the fisheye, but higher than
normal. Wide angles are considered which provide a visual angle between 60 and 180
degrees.

In 35 mm focal length varies from 18 to 35 mm. With

them, the objects near the camera appear very large in

relation to distant objects and a strong distortion in

perspective, the greater the more you move outside the
optical axis

Its main uses are:
Reports, to encompass the whole subject when working in reduced spaces inside rooms,
cars, etc.
Exaggerating the perspective of objects. This deformation will be greater the closer we
get.
Achieve greater depth of field.
In macro photography, using inverted for maximum extension when working with
bellows extension.

Normal: These are those covering a visual angle of between 43 and 56 degrees, which is
close than to the human eyes visual field.

Its situated between the wide angle and telephoto lenses. The
focal length of these objectives are matched on 35-mm SLR
cameras and the zone between 40 and 55 mm.

Telephoto: those are considered telephoto lenses with a visual angle of less than 31
degrees.
Its main feature is to form large images of remote objects. Their focal lengths are always
greater than the normal lenses. In 35 mm ranging from 80 mm onwards.



Within the telephoto is usually done the next substream:
Telephoto short, between 80 and 135 mm focal length;
Telephoto normal, between 135 and 240 mm,
Super telephoto lenses, between 240 and 500 mm
Ultra telephoto lenses, beyond the 500 mm.
There are some accessories known as converters, teleconverters or duplicators, which
are sandwiched between a lense and the camera body to modify the lens focal length.
Thus, a 2X converter, coupled with a 100 mm telephoto lens, it becomes a lense of 200
mm. Are used to increase the focal cheaply, reducing somewhat the quality and brightness
of the image.
Telephoto lenses are usually used to:
Shooting from the distance when we cannot approach to the subject (Nature, reporting,
sports, etc.).
Portraits foreground (135 to 150 mm)


Parts of an optical

Diaphragm
The diaphragm is a device that regulates the opening of an optical system. On older
cameras, it was only a perforated plate. Disc is usually present in compact cameras and a
set of blades provided on the objective of the lens reflex cameras, to restrict the passage of
light in an adjustable way. The progressive changes in aperture are specified using the fnumber, which is the ratio between focal length and effective aperture diameter.

F-number scale is as follows:
f / 1, f/1.4, f / 2, f/2.8, f / 4, f/5.6, f / 8, f/11, f/16, f/22, f/32, F/45, f / 64, F/90, f/128, etc.
In modern cameras can also find scales that are progressing as a fraction of step (1 / 2, 1 /
3
or even 1 / 8 step):
Half-step scale
f1, f1.2, f1.4, f1.7, f2, f2.4, f2.8, F3.3, F4, F4.8, f5.6, f6.7, f8, f9.5, f11, f13,
f16, f19, f22
Scale 1 / 3 of way
f1, F1.1, f1.2, f1.4, f1.6, f1.8, f2, F2.2, F2.5, F2.8, F3.3, f3.5, f4, f4.5, f5, f5.6,
F6.3, F7.1, f8, f9, f10, f11, f13, f14, f16, f18, f20, f22


Lenses
There are different types of lenses each with specific characteristics. Two types of lenses
whose qualities should know are:
Aspherical: A type of lens whose curved surface is not spherical, in order to eliminate
spherical aberration. Through one aspherical element is possible to replace several
spherical, which simplifies the design of the objective, which normally consists of
several crystals inside.
The apochromatic a type of lens that is corrected for situate, in the same focal plane,
the wavelength of the three primary colors. Designed to correct chromatic aberrations.

Finally we have the rings, enabling us to monitor different parameters,
Focus ring: The ring of the lens that allows us to focus at a given distance, is usually
scaled in meters and feet
Diaphragm ring: Rarely is incorporated into optics. Formerly, with this ring we
controlled the aperture, but today is the camera that electronically tells you the opening to
the lens.
Zoom ring: With this ring we decide the focal length that are using in the variable focus
lens.
Other items to consider about the optics are the following:
Digital conversion factor: Since most digital cameras have a smaller sensor the size of a
35mm negative, for obtain the focal length of a lens in 35mm equivalent terms we have to
multiply the focal length by the number of times that our sensor is smaller than a 35mm
negative. Is usually 1.5 or 1.6. For example if we have a focal length of 50mm, used in a
digital camera, would have really a focal length, 50mm x conversion factor 1.5 = 75mm.

Brightness: The maximum aperture of the objectives diaphragm measure the ability to
capture light. Keep in mind when buying a lense, especially if you are using restricted
lighting conditions. In the case of telephoto lenses, the maximum aperture lens is restricted
because to get a good opening, for example, f2.8 would be necessary to increase the
diameter of the lens, which translates into more expensive and bulky optics.
Focus: The focus on digital photography refers to a specific point within a certain distance
where the objects of our picture appear well defined and very detailed. Back and forth
from this point the objects will be blurred or unfocused.

Depth of field: For depth of field in photography is traditionally understood as the area in
which the image captured by the goal is clear (ie focused), so that into the photograph,
people and objects that are within that area will also appear sharper.

The depth of field is not an area in which the photograph is

perfectly focused, but the area of photography where the
focus is close enough to the plane clear as to be acceptable.
The depth of field does not dictate how fuzzy are the planes
away from the plane clear, a common confusion. The depth of
field increases in inverse proportion to the opening, ie when
more closed the aperture or what is, the larger the f number
selected.

For example, with an aperture of f5, 6 the depth of field will

not be very large, while an aperture of f11 or f16 will be
considerable. On the other hand, the closer you are the
reason you want to photograph, the lower the depth of field,
regardless of the selected aperture. When using telephoto
lenses also reduce depth of field. But with wide-angle lenses,
depth of field increases.

Aperture and depth of field

The diaphragm also has a direct impact on the sharpness of the image. The more closed is
(higher the number) clarity should be greater on the contrary, the more open (smaller f
number), the lower the sharpness. At the moment of truth the sharpness also depends on of
diffraction.
Diffraction is the effect of light diffusion suffers when passing over a sharp edge, in this
case the diaphragm blades. As a result, in photography when using very tight
diaphragms the images are less clear. So while on one hand the sharp increases to close,
the other decreases with increasing diffraction. There comes a point where what is gained
diaphragm is the same as what is lost by diffraction. From there we dont gain clarity
when you close the diaphragm. Usually is regarded that the greater sharpness occurs when
diaphragms are one or two steps more open than the maximum of the lense.

In short, the factors that determine the depth of field are:
DIAPHRAGM. Greater depth of field is produced when greater is the number f, (the
more closed is).
DISTANCE TO LENSE. The depth of field is greater with increasing distance between
camera and object.
FOCAL DISTANCE. As the focal length increases, it decreases the depth of field.

Hyperfocal distance
The hyperfocal distance is the distance of approach that achieved the greatest depth of
field, extending it from half that distance to infinity. Focus on this distance will help us to
achieve maximum clarity in our photos, for example, landscapes. In fact, the
manufacturers pre-focused its compact cameras like this, by default, to come out focused
as much as possible. Hyperfocal distance depends on the focal length of our lens, the
diaphragm aperture used and the crop factor of your camera sensor. That will vary
depending on the zoom we apply, the number f that we will shoot and model of your
camera. Obviously were not going to take pictures with a meter and we will apply this
approximately. You can also greatly help button depth of field preview, which allows the
viewer to preview depth of field that will have with the current camera settings. In
Internet, there are many hyperfocal distance tables for each particular optical model.

Exposure
The exhibition is the combination of shutter and aperture values, which are indicative of
the amount of light reaching the film or sensor. Nevertheless, we talk about correct
exposure if this amount is sufficient to record the maximum information from the scene
you want to photograph.
Simile: As a mental image, we can think that the film or sensor is a vessel to be filled to
some extent, and we have a tap (diaphragm) that allows us to regulate the flow. Also we
can decide how long we want the tap is open (shutter). If we increase the opening of
diaphragm and we want to leave exposed the photo, we will have to reduce the exposure
time or sensitivity. In plain words, when we open the diaphragm more light enters the
sensor; therefore have to reduce the time the light is reaching the sensor or its sensitivity.
If we increase the exposure time, we will reduce the aperture diaphragm or sensation. In
plain words, by increasing the exposure time, light is more time reaching the sensor, then
we have to reduce the time that light reaches the sensor or lower the sensitivity of the
sensor.
If we increase the sensitivity, we will reduce the aperture diaphragm or the exposure time.
Again, in plain words, if the sensor is capable of capturing more light because it is more
sensitive to it, we will reduce the light or let it go for less time.
Peer-Av / Tv (The law of reciprocity): These parameters that determine the exposure are
linear, meaning that if we open a step aperture and shoot at a one more faster speed will
get the same exposure. For example, f5.6 T1/60 initial condition. We vary values one step
f8 T1/125. We get the same exposure. Only will vary the effects on the image (remember
shutter and aperture). Given the equivalent quantification (double or half) that is
established between each step of shutter speed and aperture, we can find a number of
different peers (speed / aperture) but equal in terms of exposure. The choice of one or
another peer will depend on our intention is to capture the movement that exists in a scene
or to get more or less depth of field.

Failure of the law of reciprocity: Failure occurs in situations where there is too much or
too little light. In these situations we have to give very short exposure times (less than 1 /
2000) or very long (over 1 ).
He always takes the form of underexposure.
All of photosensitive materials exhibit this failure.
Its different for each particular material.
The correction of such failure:
Giving more exposure time or more diaphragm opening

 Knowing the manufacturers specifications of the film, or testing (digital).

The contrast of scene

Scene contrast is called the relationship between lights and shadows of a scene. To
determine the contrast, the most useful is to put the camera in Tv mode, choose any value
of speed, choose the puntual metering mode if we have it (if we cannot use centerweighted mode), and alternately to direct the camera to the direction of the shadows and
lights the scene. By the 2 values obtained f we know what our scene contrast.

In the example photo, we have a scene contrast of 4 diaphragms.

Latitude of exposure / dynamic range: They are relatively equivalent, and both terms
refer to as the margin of maximum differences that a light sensitive material may
reproduce. Put another way, what is the maximum scene contrast that one sensor or film
can reproduce. The table below gives approximate values:
Slide: 4-5 diaphragms
Negative: 7-8 diaphragms
Mid-range digital camera: 5-6 diaphragms
High-end Digital Camera: 8-9 diaphragms
Support high-end digital: 10-12 diaphragms

There are different conditions of light that we can present, but there are basically three:
Scene of normal contrast: The contrast of scene matches the dynamic range of the
sensor (approx. 6 diaphragms). There is information from the shadows to the lights.
High Contrast Scene: In the scene there is more information than the sensor can pick up
(more than 6 diaphragms). There are lights and shadows without detail.
Scene of low contrast: The sensor is capable of capturing more information than in the
scene (less than 6 diaphragms).

Measurement

There are two measurement modes:

Reflected: The photometer, which can be hand held as shown or may be the camera. It
runs from where the camera is located to the scene.

The important thing is that the measuring cell sees the
scene from the same direction as the camera sees. The
reflected light measured the brightness of the scene and
must be corrected because the photometer wants always
to remove the gray from the scene, so if we measure an
object, either white or black, we reproduce it like gray
color.

For proper exposure by measuring with the digital mode we must to looking for the high
lights zone in which we are interested in details, and elevate about 1 or 1.5 aperture,
depending on our team, and taking into account that if we want to be even more precise
we must consider before the contrast of the scene.


Incident: The incident measures the light falling on the scene and we can take it as such.
The photometer is placed in the position of the figure and the cell is covered with a white
hood to prevent glare.

For Measuring, we must to direct the photometer, either
to the camera or to the focus to be measured. As
mentioned, to use this method of measurement a
handheld light meter is needed.

The letter gray: gray cards are technically an 18% gray reflectance, and the measurement
of the photometer is based on it, both on the handheld camera or on the reflected light
option. Can be used for two purposes:
Measuring the light reflected from a point on a surface that reflects 18%, which is what

the gauges are calibrated cameras.

Calculate the color of light to provide greater fidelity in color reproduction of a scene.
You can also use any paper or gray cardboard knowing, through experience, (or testing)
which is the proper exposure correction. One way out of step at times is to use the palm of
your hand. Direct the palm to the light to measure it with the photometer of your camera
and overexpose a step. Is an approximate method but if unwilling or unable to entertain in
photo by photo measurements is usually quite effective.

Histogram: The histogram is a graphical representation of the different light levels that
presents a particular scene. The sensor of a digital camera works in a linear fashion,
meaning that a greater amount of light it receives, the stimulus produced to the sensor is
bigger. Put another way, the sensor generates more information when receives more light.
For this we must understand that it is on the right side of the histogram, which corresponds
to the lights, where there is most of the information in the file that will generate the CCD.
And the sharing of this information is linear, ie (depending on the dynamic range of the
sensor) the information that appears on the left side of the histogram that represents what
the sensor has been captured in the shadows is less significant in volume terms
information (when we said the sensor captures better the lights that shadows refers to it).
Hence, the critical part of the digital exposure concerns as how to expose the light so that
it does not burn too much, or lose shadows.
The following histogram represents the distribution of levels for an 8-bit file, such as a
JPEG file.

However, we must understand that this is a representation of what the sensor captures, no
information is raw, which would be the RAW format, for then we should be us who
interpreted, that information.


In this diagram, the first figure shows how to register and what the distribution of tones is
such as captured on the sensor (in the cameras RAW format). And in the second figure
looks like the software, either the camera itself as an external converter for RAW files
corrects this information, simplifying it.

Contrast scene
Previously we talked about the contrast of the picture; lets look at how each of these
situations is represented by a histogram, and how it can help us to achieve the most
accurate exposure.
Low contrast: It is a situation in which the sensor is capable of recording more
information than in the scene. There are no highlights or deep shadows.
For example, in scenes with low light, or because there is little tonal variety in the scene,
etc... In this situation we obtain a histogram of this type:

Ideal contrast: It is a situation in which information at the scene matches the dynamic
range of the sensor, ie we can record from deep shadows to the high lights. We will obtain
histograms similar to:

High contrast: Those scenes in which existing information exceeds the dynamic range of
the sensor (about 5 diaphragms), so this is unable to record all the details. Overwhelm the
capabilities of the sensor. Obtain histograms like this:

So, when we must take into account that the maximum information is on the right side of
the histogram, in situations of low contrast, would be desirable to overexpose to get the
maximum detail in the highlights, to get a histogram like this:

In high contrast situations, in order to get the maximum information in highlights, it would
be desirable to underexpose to get a histogram like this:

Since it is desirable that the highlights are properly exposed, no matter if some detail in
the shadows are lost. Only if the scene contrast and dynamic range of the sensor are
coincident would not be needed exposure correction.

Color channels
The histogram also shows information about color information in a file, it is presented in
the three channels RGB lighting, ie red (R), Green (G) and blue (B)

This is especially useful when working in RAW and want to have a thorough control of
color, especially if we are to print or make a copy.

The following example shows the histogram of a file that has shooted in the sRGB color
space, and the red channel exceeds the capacity of the color space is busted (just like when
we talk about exposure).

The file is in sRGB color space and the red channel is broken because it does not fit into
this color space. This is going to be solved passing to another broader color space such as
AdobeRGB (if your camera allows the color mode you should use the default), or
ProPhoto (this is a color space used especially for professional jobs, and if we use it we
must ensure that the laboratory or the press with which youre working allowed it)

ProPhoto solves the blowup sRGB red channel. However this is not the only thing to keep
in mind the color, the color channels are mixed to obtain other colors, so that color

histograms will have other areas where will appear cyan, magenta and yellow, and this
will mean that In the case of cyan green and blue channels have ruptured, if there are areas
magenta, are the red and blue channels, and if the area is yellow, red and green channels.

Photographic Composition
Once the basics are mastered how to get a correct picture, we realize that other factors are
aesthetic, cultural and psychological should be taken into account achieved a good
photograph, or at least more effective, more visually powerful. These factors are what
determine what is known as composition. Consist of a set of rules that over the centuries
have been developed based on observation, and have been used by all the classical
painters, architects, etc. We will try to summarize briefly.

The focus
Each photograph has a focus, which basically answers the question: What is the picture? It
seems a truism, but it should be obvious to the observer of a photograph to know what is
pictured.

Although called the center, the focus need not necessarily be the object that is in the
center of the picture or be the object that occupies most of the image. Ultimately only a
matter of deciding before shooting which is why that wants to take the picture. All you
need to do from there is focus on the item you want to focus the interest.

Fill the frame

One way to emphasize the focus may be to occupy most of the frame with it, eliminating
any other accessory item that can distract from the key object. Often trying to show too
many pictures becomes a failure, because what you get is that it is not too clear what we
wanted to show. When in doubt whether something should come out or not in the picture,
you better not be displayed. Less is more.

Lines
The lines are a vital element in the visual arts. The
lines provide us with forms and contours, and with
them the viewer goes from a part of the photo to
another. Here we must remember that we read the
images in the same way that a text, from left to right
and top to bottom.

The horizontal, vertical and diagonal lines are compositional elements that give meaning
to the images. The use of lines creates the illusion of movement. Diagonal lines are
generally considered more dynamic, while the horizontal and vertical lines are
considered more static . A careful balance of static and dynamic elements gives an
overall sense of movement to your photos

Play with the direction

The direction also creates the illusion of movement. If there is something in the
photography that appears to be in motion, has a direction that moves.
An example of this are the lights of pedestrian traffic lights. When it is red for pedestrians,
the figure represents a pedestrian with his legs together and arms lowered.
Visually, it has no appearance of being in motion. However, the green figure which allows
pedestrians to cross has a direction in which they are moving. The direction in
photography can be closed in many ways.

A figure about to cross a street can transmit movement, even if we see it and do not move
his arms and feet, because we can imagine it a second after, crossing the street. Similarly,
the front of a car that is clipped on the left side of a photography, we can imagine it a
second after on the right side of the photo.

Repeated elements
The repetition of some element, give a sense of connection between different parts of an
image.
Sometimes psychological factors can be added, as the sense of togetherness and
fellowship.

Colors
There are many psychological elements associated with the colors. As an example,
blues colors are considered like peaceful colors, while the reds are more temperamental. In
terms of color must also pay attention to contrast. The contrast is defined as the difference
in brightness between the lightest and darkest parts of the photo. There are two types of
colors, warm and cold.
The reds, oranges and yellows are part of the range of warm colors.

The blue, green and violet are part of the range of cool colors.

Groups of three
There seems to be a special psychological perception of the odd numbers in photography,
particularly of groups of three elements.
Somehow we seem to consider that a single
element conveys loneliness or isolation,
with two elements the picture may be too
much balanced and static, and four items
may be too many to distribute, or confuse
our attention.

The rule of thirds

If you look carefully any classical painting and we divide imaginary its surface into grids
of equal size 3x3, the four intersections of the grid within the box mark the points of
interest.

And on those strengths points, falls the fundamental elements of the picture. It is proven
that with transporting our point of interest onto one of the four points we get a picture
much more interesting. In this regard, note that there are cameras with LCD display in a
grid to work with thirds.

Negative zone
Sometimes it is visually very powerful remove the spotlight point, leaving an ample space
frame in white or black.
This move away together to the empty space conveys a sense of isolation, loneliness and
quiet. It isnt a common resource but it is worth knowing. Its faced with the rule of
composition consisting of filling the frame.

Foreground and background

The contents of the first term and the background of a photo are important. Both in
background and in the front have applications other compositional elements such as colors
or lines. The idea is that what interests us is in the front and, in comparison with the
background, where it must not to be too many details that might distract the viewer focus.

The best tool we have to make the difference between
the foreground and background of our pictures is the
depth of field. Thanks to the aperture of diaphragm we
use when taking photos, we will have more or less
sharpness in the background.

Framing
Any element that surrounds the focus will enable us to frame the photo, drawing attention
to the desired item. There are many elements that we can place like a framework to focus
the picture. Some are very obvious, such as doors, windows or bridges; others act in a less
clear, simply orienting our view. This is the case of traffic signs or tree branches.

Curves
The curves are a recurring element in photography.
Give a sense of movement and help direct the look,
as well as relates to the sensuality. A road or the
course of a river, they are very powerful visual
elements that give interest to photography.

Horizon Rule
Consists in to draw three horizontal lines of equal height imaginary, and at the moment to
compose the picture, we will use two thirds to collect the main reason.

La law of the gaze

This rule says you must leave more free space in the frame in the direction of the subjects
gaze

To conclude .
In conclusion, only remains to add that this work only shows a little bit about the world of
photography. That is why we invite the reader to read more about topics of interest in
other books more specifics. However, we are satisfied if the reading of these pages has
served to open a door to this fascinating world.