Você está na página 1de 58

BASIC PHOTOGRAPHY

HISTORY
The word photography was first used by the scientist Sir John F.W. Herschel in 1839. It comes from the French photographie which is based on the Greek (phos) light + (graphis) stylus / paintbrush or (graph) representation by means of lines / drawing, together = drawing with light. Photography is the science and art of recording images by means of capturing light on a light-sensitive medium, such as a film or electronic sensor. Light patterns reflected or emitted from objects expose a sensitive silver halide based chemical or electronic medium during a timed exposure, usually through a photographic lens in a device known as a camera that also stores the resulting information chemically or electronically.

THE PINHOLE

The Chinese were the first people that we know of to write about the basic idea of the pinhole camera. About 2,500 years ago (5th Century BC) they wrote about how an image was formed upside down from a "pinhole" on the opposite wall. About 2,400 years ago (4th Century BC) the famous Greek philosopher Aristotle talked about a pinhole image formation in his work. He wondered why "when light shines through a rectangular peep-hole, it appears circular in the form of a cone?" He did not find an answer to his question and the problem was not answered until about 1600 years later in the early 1000s AD.

CAMERA OBSCURA

The invention of the camera obscura is attributed to the Iraqi scientist Alhazen and described in his Book of Optics (1011-1021). English scientists Robert Boyle and Robert Hooke later invented a portable camera obscura in 1665-1666. In the 1500s many artists, including Michelangelo and Leonardo da Vinci, used the camera obscura to help them draw pictures. This drawing below, made in 1652, shows an outer shell with lenses in the center of each wall and an inner shell with transparent paper for drawing. The artist entered by a trap door in the bottom.

HELIOGRAPHY
In 1816 Frenchman Nicephore Niepce made a crude wood camera fitted with a microscope lens. He invented Heliography around 1826, which he used to make the earliest known permanent photograph from nature Louis Daguerre: Daguerreotype Louis Daguerre (1789 - 1851), in collaboration with Nicephore Niepce, invented the first practical photographic process in 1837 which was widely used in portraiture until the mid 1850s.

CONTINUATION

A brass plate coated with silver was sensitized by exposure to iodine vapor and exposed to light in a camera for several minutes. A weak positive image produced by mercury vapor was fixed with a solution of salt. In 1839 the French government purchased Daguerre's French patent and offered the daguerreotype as "a gift free to the world". Daguerre, however, did maintain control of the patent throughout the rest of the world.

HENRY FOX TALBOT - CALOTYPE


In 1839 William Henry Fox Talbot presented a paper to the Royal Society of London describing his invention, the calotype. This paper negative process, although producing an image inferior in quality to the daguerreotype, had the great advantage of allowing multiple copies to be made. Current film-based photography is based on the same principle.

CARTE DE VISITE

Photographic "visiting cards" were invented by Andre Adolphe Eugene Disderi in 1854. They were usually an albumen print mounted onto card. Albums for the collection and display of cards became a common fixture in Victorian parlors.

AERIAL PHOTOGRAPHY

The first aerial photograph showing the Place de l' Etoile, Paris, was taken by Gaspard Felix Tournachon (aka Felix Nadar) in 1858. It was shot from an altitude of 520 meters in a tethered balloon.

Dry Plate Photography

Dr Richard Maddox discovered a method of using gelatin instead of glass as the plate material for the light-sensitive solution.

CONTINUATION
This discovery led to the invention of dry plate photography, a less cumbersome process that did not require the photographer to use a darkroom tent for immediate plate development as had been required by wet plate processes. Eastman Kodak Camera 1888 George Eastman introduced celluloid based film in 1884, and the small portable easy-to-use box camera in 1888. Photography could now reach the masses: once the 100 shots on the camera had been taken, the camera was sent back to Kodak for film processing, new film was loaded, and the camera was returned ready-for-use to the owner.

TWIN LENS REFLEX CAMERA

The TLR camera has two objective lenses of the same focal length. One of the lenses is the photographic objective (the lens that takes the picture), while the other is used for the waist-level viewfinder system. The fixed mirror deflects the light rays coming through the lens to a top screen, which shows the image upright but laterally reversed. Light from the object also goes through the taking lens, which is mounted on a common panel with the viewing lens, and is projected on the film. (1994 Encyclopaedia Brittanica, Inc.)

RANGE FINDER CAMERA

In 1913 a German design engineer, Oskar Barnack, produced a prototype 35mm camera. In 1924 the camera went into production at the Leitz factory in Germany. It was called the Leica from the initials of "LEItz CAmera".

SINGLE LENS REFLEX FILM CAMERA

Pentax Medium Format 6x7 SLR from the 1980s. Used 120/220 roll film and featured an electronically-timed focal plane shutter and interchangeable lenses and prisms. Asahi's first model, the AsahiflexI, went into production in 1952, making it the first Japanesebuilt 35mm SLR.

CONTINUATION

The historic Contax S (1949), the first pentaprism SLR for eye-level viewing. The first 35mm SLR, the Ihagee Kine Exakta, produced in 1936, had a left-handed shutter release and rapid film wind thumb lever, folding waist level finder and 12 to 1/1000th second focal plane shutter.

DIGITAL SINGLE LENS REFLEX CAMERA

The basic operation of a DSLR is the same as a SLR. For viewing purposes, the internal mirror set at a 45 degree angle reflects the light coming through the lens up at a 90 degree angle into a pentaprism where the image is inverted so it can be seen through the viewfinder the right way up.

CONTINUATION
During an exposure, the mirror swings up, the aperture stops down to the selected size, and the shutter opens exposing the electronic sensor placed on the focal plane to light. At the end of the exposure, a second shutter closes back over the sensor, the mirror drops back into place, and the first shutter resets.

BEGINNERS GUIDELINES TO SIMPLE PHOTOGRAPHY

There are 3 things that affect your image quality in photography; ISO, aperture and shutter speed. All 3 of these things depend on one other factor which is light. A photograph is basically a chemical process in which light is exposed to film, or a sensor in digital cameras, and registers an image.

CONTINUATION
Theres a device in the camera called the diaphragm, which is directly connected to aperture. The different aperture settings are called f-stops, and are represented by the numbers you see on the image. The larger the number, the smaller the aperture, so for example, an f-stop of f1.4 would be very large, while an f-stop of f16 would be very small. Typically, most consumer lenses have a range of f2 to f16. Dont be overwhelmed by the technical terms and numbers and things like that, once you try everything out on the actual camera, it will all start to make sense. When I first went over the module on this it was all gibberish to me, until I actually took some pictures trying all the different settings. Thats when it all made perfect sense.

Now, usually a faster shutter speed will require a larger aperture to allow enough light into the camera, and a slower shutter speed will need a smaller aperture to prevent too much light from getting in. You see, shutter speed is how long the shutter is open to allow light into the camera. Shutter speed is always measured in seconds. To demonstrate the effect of ISO, see the below image. Each photo was taken at 1/250th of a second, and the aperture set to f5.6, while the ISO was changed. The ISO is simply how sensitive the film, or censor in a digital camera, is to light. The lower the ISO is, the less sensitive it is to light. The higher the ISO is, the more sensitive it is to light. You can see from the photo, that at 100 ISO, the picture is quite dark. At 400 ISO, the picture is better, and at 1600 ISO, the picture is far too bright. Depending on the ISO you are using, your shutter speed will have to be adjusted to allow the right amount of light for what you want to achieve.

The more light that is available, the faster your shutter speed can be. The type of light will also change things, but that gets more complicated. All light has a temperature in degrees Kelvin, which also affects things. I wont get into that yet, as its a little more advanced.

Now, lets talk a little about why shutter speed is important. Its pretty simple, actually. The faster your shutter opens and closes, the less you have to worry about a blurry image. For most people, a shutter speed of 1/60th of a second is the slowest you can hand hold the camera before experiencing blur due to camera shake. If you are photographing a still object, or a slow moving object, a fast shutter speed isnt as important. If you are photographing a fast moving object, a fast shutter speed suddenly becomes a necessity most of the time. Now remember, the higher the ISO, the more sensitive the film/censor will be to the light. So one might think its best to always use the highest ISO possible, right? The correct answer is; sometimes. In the next image we see something new, called grain.

Grain is essentially how nice your photos look. Most of the time, you wont be able to tell the difference in grain at standard print size of 4x6. However, if you ever have a photograph youd like to enlarge, ISO suddenly becomes very important. The higher the ISO, the grainier your photo will look. Below I cropped just the face of an image, one at 100 ISO and the other at 1600 ISO. The first photo looks smoother, while the second looks, well, grainy. Most consumers wont need to be making a lot of enlargements, so this doesnt always matter. But even an amateur will sometimes get that one perfect shot they just would love to hang on their wall. Unfortunately, if that perfect shot was taken with a high ISO film, or using a high ISO setting on a digital camera, the size of the enlargement will be limited before it starts to look bad. I find for the average every-day John and Jane Q. Normal, 400 ISO is best. It gets more complicated of course if youre looking at it from a professional level, and I may get into that another time.

Most likely, in the first frame, your eye is attracted to the figurine. This is because the back round is blurred, and unobtrusive. In the second frame still focused on the figurine, but a little distracted. In the last frame, your eye was probably drawn first to the red box, and when you look at the figurine, youre distracted by the box in the center. So as you can see from the pictures, depth of field is essentially the area in front and behind the object that is in focus..
Each photo was taken with the same ISO, but both the shutter speed and aperture were changed. As you can see, the back round became less blurred the smaller the aperture. The entire time I kept focused on the figurine. Anything in front of, or behind the figurine would appear blurry. You can set things up however so that your depth of field is infinite (to a degree) and everything is sharp. The further away something is, the more infinite the focus can be. The closer it is, the more limited that becomes. For example, if taking a macro photo of a small insect, you can have the insect in focus, but no matter what lens or camera you have, you can focus on both the insect up close and mountains in the distance. The closer something is, the more limited the depth of field will be.

Depth of Field is probably the most confusing to beginners, because reading about it can be complicated, as there are many different factors that will affect your depth of field. For example, a telephoto lens will have a more sensitive depth of field, while a wide angle lens will be less obvious. Its easiest to tackle this one factor by taking your camera out and just trying the different aperture settings and distances from objects. Some cameras will have a depth of field preview button, that will show you in the viewfinder how the depth of field will look. This is a very helpful function to have, but if not, trial and error must be used for the beginner. The best thing to do is buy or rent an old, fully manual film camera. The biggest problem most beginners face is the ease of automatic features. Buying a fully manual camera forces you to learn these beginner concepts, which will aid greatly in how all you photographs will look in the future. My 2 favorite manual cameras are the Pentax K1000 and the Canon AE-1 (But do not get the Canon AE-1 Program, as it is largely automatic if you want it to be).

The settings for all these functions will be available on most digital cameras, not just SLRs. Chances are if your camera is 3 megapixels and up, it will have the right functions. Youll have to consult your manual for help on where to find them and how to set them on your camera however.

TERMINOLOGIES
Aperture: The lens opening that changes in diameter,thereby determining how much light passes through to expose the film. Aperture Priority Setting: An exposure setting taken with a camera where the photographer chooses the aperture setting and the camera sets the shutter speed for proper exposure. If the photographer changes the aperture, the camera automatically changes the shutter speed to match. Aperture Ring: The ring located on the outside of the lens, usually behind the focusing ring. It controls the size of the aperture opening.

Auto Exposure Bracketing: A camera option that automatically sets the exposure of the film to varied shutter speeds and/or aperture settings. Autofocus (AF) System: A common system on SLR cameras where the camera lens automatically focuses the image using a selected part of the picture. Automatic Camera: A camera with a built-in exposure meter that automatically does the work of adjusting the aperture, shutter speed, or both for proper exposure. Automatic Setting or Program Exposure: An exposure setting where the camera sets both the aperture setting and shutter speed for proper

Bulb Setting: An exposure setting on SLR cameras labeled with a "B." The bulb setting opens the shutter and keeps it open as long as you keep pressing the shutter release. The bulb setting is best used for photographing fireworks and other things that need a long exposure time. External flash: A supplementary flash unit attached to the camera. External flashes are used for many things including increased flash range and red-eye reduction. Film: A photographic emulsion of an image that is fixed on a flexible, transparent base. Filter: A colored or transparent round glass the size of a camera lens which a photographer attaches to the camera by either screwing it onto a lens, holding it in front of the lens, or inserting it in a filter holder. The filter gives different effects to the photographer's images, depending on the type of filter.

Finder or Viewfinder: The area on the camera where the photographer views the subject area that will be recorded on the film. Fixed-Focus Lens: A non-adjustable camera lens, which is set for a fixed distance. Flash: A brief, intense burst of light from a bulb or flash unit. F-Stop or F-Number: A number that indicates the size of the aperture lens opening such as f/1.4, f/4, f/5.6, f/16, and f/22. The larger the f-stop number, the smaller the lens opening. F-stop determines your depth of field.

Focal Length: The distance, as marked on the lens, between the film and the optical center of the lens when the lens is focused on infinity. The distance is often listed in millimeters, such as 50mm. Focal-Plane Shutter: The shutter system on cameras with a built-in lens. When the shutter is pressed an opaque curtain containing a slit moves directly across in front of the camera film, exposing the film. Focus: The act of adjusting the focus setting on a lens in order to sharply define the subject. Hot Shoe: The area on a camera that holds a small

Image Stabilization or Vibration Reducing: A lens with an internal system to detect camera shake and compensate for it. Internal Flash. A flash integrated into the body of the camera, usually on the top. Lens: Optical glass or a similar material that collects and focuses light to form an image on film. Lens Hood or Shade: An attachment located at the front of a lens to keep unwanted light from striking the lens and causing image flare.

Light Meter or Exposure Meter: An instrument that measures the light reflected from or falling on an object for proper exposure. Cameras often have an internal light meter but external light meters are more effective. Macro Lens: A lens which changes the perspective to focus from an extremely close distance to infinity. Manual Focus: The process of setting the focus using the focus ring on the lens instead of using the camera's auto-focus system. Manual Setting: An exposure setting where the aperture setting and the shutter speed are both set by the photographer. It gives the photographer more freedom in choosing shutter speed and depth of field when composing.

Motor Drive or Continuous Mode: An electronic mechanism that advances the film to the next frame and continues taking photographs. Continuous mode is often used in Sports Photography. Normal Lens: A lens that does not change the perspective of the image like a telephoto or wideangle lens. Reflector: Any device which reflects light onto a subject. Shutter Blades: A movable cover in a lens that controls the aperture setting and the time when light reaches the film.

Shutter Priority: An exposure setting taken with a camera where the photographer chooses the shutter speed setting and the camera sets the aperture for proper exposure. If the photographer changes the shutter speed, the camera automatically changes the aperture to match. Single-Lens-Reflex (SLR) Camera: A camera in which you view the scene through the same lens that takes the picture. Soft Focus Lens: A special lens that creates soft outlines in the image. Telephoto Lens: A lens which changes the perspective to make the object appear closer.

Time Exposure: An exposure that takes seconds or minutes to complete. Tripod: A three-legged support that holds the camera steady. Unipod: A one-legged support that holds the camera steady. Wide-Angle Lens: A lens which changes the perspective to make the objects appear in a wider field of view. Zoom: A lens which changes the perspective like a telephoto or wide-angle lens. The zoom, though, has a wide range of focal lengths, allowing the photographer to change the perspective from close in to far away.

EXPOSURE TERM

Bracketing: The process of taking a series of photographs of the same subject through a range of exposures, both lighter and darker, to insure a correct exposure. Some SLR cameras have settings that allow automatic bracketing. Film Speed: Your choice of film speed as reflected in an ISO number.

Highlights: The brightest areas of a subject.

ISO Number: A rating of the film's sensitivity to light. The higher the number, the more sensitive or "faster" the film; the lower the number, the less sensitive or "slower" the film.

Overexposure: The washed-out, overly bright areas of a photograph due to too much light reaching the film. Shutter Speed: The duration for which the aperture will remain open. On an SLR camera the shutter speed can be adjusted. The numbers represent either seconds or fractions of a second. For example, 1 = 1 second, 15 = 1/15 second, 60 = 1/60 second, etc.

The degree of lightness or darkness on a print. Underexposure: The muddy, dark areas of a photograph due to too little light reaching the film. White Balance: A function on the camera that compensates for different colors of light being emitted by different light sources.

Tone:

LIGHTING TERMS
Ambient Light: The natural, available light in a scene. Backlighting: The light coming from behind the subject. Bounce Lighting: Light that is bounced off a reflector to give the effect of ambient light. Diffuse Lighting or Soft Lighting: Lighting that is low or moderate in contrast. Existing Light: Any available light regardless of time of day and at any location.

Fill Flash: A technique to brighten dark shadow areas, often used when the subject is located in the dark shadow. Fill-In Light: Light added to the existing light by use of a lamp, flash or reflector. Frontlighting: Light shining from the direction of the camera toward the subject. Sidelighting: Light shining on the subject from the side relative to the camera, often casting long shadows.

EXAMPL ES

AERIAL PHOTOGRAPHY

CALOTYPE

DAGUERREOTYPE

DRY PLATE

WET PLATE ERA

THE END!!

Você também pode gostar