Macro Tips and Tricks

Some things to watch for shooting macro is:

Lighting (light source)

Divided in 2:

# Natural lighting / natural light / sun / available light

# Artificial lighting (flash and studio lights)

Depth Of Field (DoF)

DOF (depth of focus) in macro photography, the space will be beautiful sharpness of an image can be seen if in accordance with the object that we will capture.

Because the closer the distance between the camera focus point with the object the more thin / narrow DoFnya, can we control this by adjusting the lens aperture diafraga from her. Surely we will not produce images that only kupu2 sharp eye only while the beauty section of the color of its wings to blur.

So if we want to get a wider DoF, but the distance between the lens with objectnya wanted to get closer, the aperture diaphragm should be set to smaller value (usually between f/5.6 can be up to f/16).

Factors affecting the DoF are:

Lens length: the longer the lens the more thin DOF that will be produced

Focus distance: The closer focus distance of an object from the lens, the thin DoF to be produced.

Diaphragm: The larger the aperture lens (f/2.8) the thin DoF to be produced.

So in conclusion, DoF generated is a combination of the 3 variables tsb.

In macro photography, which will be produced relative DoF is very thin (the opposite of landscape photography.)

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Tips to improve your results Landscape nice photo

These tips are written by Pak Yadi Yasin, a senior photographer and member of the FN and his permission I take this to my blog to share with readers of all. Since I own is a landscape enthusiasts, then I think this paper will be very beneficial for myself and the reader.
Maybe these tips are there that seem ancient, oldies and less "revolutionized" but maybe this is the basic tips that can be used at all times, especially for those who want to start studying landscape Photography.
From the tips below will also mention some other things, such as the Rule of the Third, Hyperfocal distance, etc. are only briefly described krn could become a topic of its own.
1. Maximize Depth of Field (DoF)
An approach to the normal concept of a landscape photography is "sharply from toe to the end of horizon". The basic concept of the theory of "oldies" We agreed that an appropriate landscape as much as possible all parts of the photo is the focus (sharp). To get the sharpness wide or with other words the field of depth of focus (DOF) which selebar2nya, can use apperture (aperture diaphragm) is as small as possible (large f number), for example F14, F16, f18, F22, f32, etc..
Of course, with increasingly smaller apperture, meaning the length of exposure.
Because of the limitations of the lens (which is not able to reach f32 and / or f64) or spot position where we stand do not support, a different approach can be used, namely the theory of hyper-focal areas of focus to get the "optimal" in accordance with our scene face. The core of the hyper-focal distance is to put the focus point in the right position to get the focus area which the widest possible so it will be sharply distinguished from the FG to the BG.
With a wide DoF, due to the use and application of hyper-f/20 focal distance to determine focus

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matering photography

Many of us are still not firmly in selecting the metering mode is used when shooting. Though metering mode is a standard feature of digital cameras, even up to modern cell phone cameras are now already provides this feature. This time I try to write about tips on choosing the correct metering mode, hoping we could get photos with good exposure in all lighting conditions.

Photography is playing with light, which will control the light exposure is determined from the three components of the shutter, aperture and ISO. In determining the value of this exposure, the camera measures the intensity of light entering through the lens and the process is called by the term metering. In principle, the camera will attempt to maintain the right exposure in which the resulting image has a dark area (shadow), area middle / gray (midtone) and light areas (highlights) are balanced. Unlike the human eye, digital camera's sensor (or film in analog cameras) have a range of sensitivity to light is not too wide so that there are cases in which the camera fails to reproduce the actual conditions on the ground in a photograph. The most accessible example is the occurrence of clipping highlights or bright areas of the details are gone and this is often seen in photos with high contrast. Conversely, a photo can not be said exactly eksposurenya when many areas are too dark shadow so that it can be said under-exposure.

Choice of metering modes are provided to accommodate various shooting conditions that would have many variations of lighting, ranging from the afternoon heat, high contrast up to a place that is less light. Options mode common in most digital cameras are:

* Multi-segment / evaluative / matrix: measuring light on the whole field photo
* Center weight: measuring light with a priority on the areas middle photo
* Spot: just measure the light in particular small point and ignore the light in other areas

We peeled one by one, yes ....

matrix

In the first metering mode, which is a multi segment / evaluative / matrix metering, the camera determines exposure based on the average measurements of light-graders in all areas of the photo. How, sensors on the light meter module is divided into several small areas of the camera then measures the intensity of light in each and every area earlier. Furthermore, the camera will calculate the average of light intensity and determine the appropriate exposure. This is the mode that is considered most appropriate to give exposure and have a high accuracy.

In this mode, the more areas that serve as a reference the more precise measurements are performed, and the smaller the risk of camera metering misses. This mode is a mode 'default' for most shooting situations and can be relied upon for everyday wear. The problem is, there are situations where this mode can be fooled, as when there is a brighter light outside of the object image and can disrupt the calculation of the camera.

center weight

In the second mode, the center weight, the camera still rely on measurements from many sensors but a priority area measurement in the middle of the photo and tend to ignore the light intensity outside the central area. By using this metering mode, the middle area which is generally a subject of the picture, could get a more precise exposure. This mode is suitable for facial portrait or other needs that are concerned with the right exposure at the center of the photo. But for landscape photos, this mode is less suitable because of the landscape photographs of each section in the photo has the same meaning as important.

spot

In the third mode is called spot metering is the camera measures only a small point of light on the plot (about 5% from the field of photo) and will ignore 95% of the area besides the point earlier. This mode is useful for shooting in places where lighting is very complex if not using spot mode it will not get the appropriate exposure. On DSLR cameras, spot meter can be synchronized with the existing AF point so that the camera will measure the spot meter at the selected AF point (not necessarily in the middle).

General case requires us to use the spot meter is when the entire field of image lighter or darker than the object to be photographed. But if one uses this mode, the resulting image can be too bright or dark, then it needs a lot of practice.

Keep in mind that the value of exposure there is no definite standard. We only rely on eye to assess whether the resulting images have a proper exposure (sometimes a bit dark photos or photos a little light does not mean it failed). If we think the photo was produced by the camera is not in accordance with the wishes, can be compensated with exposure compensation (Ev) toward the negative (darker) or positive (brighter). Can also play lockdown exposure (exposure lock), if we want to create more creative ..

So that I can share tips here:

* Mode evaluative / matrix suitable for everyday wear, especially if the area photographed is relatively flat lighting
* If you want to get a good exposure accuracy in the middle of the image, use the center weight
* Center weight is also suitable for use when there is backlight behind the object image
* Use a spot meter if we fail to get proper exposure on the object image using other modes
* If you do not have a camera spot meter mode, alternatively use the partial metering (such as the EOS 1000D)
* If a given camera exposure is still not satisfactory, with play Ev siasati toward plus (bright) or minus (dark)
* Plenty of practice with a variety of metering modes and observe the difference

Hopefully helpful, greeting ....

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hypefocal cistance

The concept of hyperfocal distance is easy to understand: focus lens on the hyperfocal distance and everything in the photo was from some distance near infinity will be sharp. Landscape photos are often taken with the lens focused on the hyperfocal distance, near and distant objects are sharp in the photograph.

Application of this concept led to many questions: Where is the best lens to use hyperfocal focusing distance? What is hyperfocal distance for the lens? How do I focus on the hyperfocal distance? Do I have to focus squarely on hyperfocal distance? In this article we will look at the basics of using hyperfocal distance to maximize depth of field in the photo.
Hyperfocal Distance Definition
When the lens is focused at the hyperfocal distance, depth of field extends from half the hyperfocal distance to infinity.
Photography, Phil Davis, 1972.
Hyperfocal distance is the focal point where everything from half that distance to infinity are included in the depth of field.
John Shaw's Landscape Photography, John Shaw, 1994.
... hyperfocal distance settings ... is just a fancy term meaning the distance on every aperture setting that produces the greatest depth of field.
How to Use Your Camera, the New York Institute of Photography, 2000.
Choosing a Lens

Normal to wide-angle lens (50mm and shorter lens on a 35mm camera) is a good candidate for distance hyperfocal focus. This lens has a hyperfocal distance is relatively short when set to a larger f-number For example, the hyperfocal distance for 28mm lens set to f/16 on a 35mm camera is about 5.5 meters. Everything from 2.75 meters to infinity will be sharp in a photograph taken with the lens is focused at the hyperfocal distance.

Rarely used a telephoto lens to hyperfocal distance focus. Hyperfocal distance far enough with this lens. For example, the hyperfocal distance to 200mm lens set to f/16 on a 35mm camera is about 275 meters. Everything from about 138 meters to infinity will be sharp in a photograph taken with the lens is focused at the hyperfocal distance. You can see that the 200mm lens is not useful to take a landscape photo where you want near a sharp object.
Calculate Hyperfocal Distance

If you are lucky enough to have a lens with a depth of field scale, you do not need to calculate the hyperfocal distance. Read the "Focus on Hyperfocal Distance" section below to learn how to use the scale.

You can calculate the hyperfocal distance with a simple equation hyperfocal distance. This is a function of focal length, f-number, and the circle of confusion (or, more precisely, a little circle of confusion.) However, you may not want to use the equation when you're out shooting. Instead, you can only use one of the many graphs, tables of values, and software are available. These tools will show hyperfocal distance to the lens set to a certain amount-f.

As stated above, hyperfocal distance is a function of the circle of confusion. You might be confused by the many explanations circle of confusion. The debate over the circle "right" of confusion has been raging for more than 70 years and probably will rampage forever.

Discussion of the circle of confusion is beyond the scope of this article. (See "Circle of Confusion" for explanation.) However, I recommend that you use 0.030 mm for 35mm film. "Circle of Confusion for Digital Cameras" list of values ​​for many cameras. This circle of confusion handy calculator to calculate values ​​for the other cameras.

Links to many sources on the page links from this site. You can find dozens of charts, tables of values, and a calculator on the internet by searching for "hyperfocal distance calculator" or "hyperfocal distance chart" in Google.Com.

The DOFMaster Hyperfocal Chart software for the Windows operating system print a hyperfocal distance chart.

DOFMaster software for the Windows operating system emulates the depth of field scale that used to be engraved on the lens barrel. Printing scale (circular slide rule) that you can take to the field. This scale provides a quick and easy way to find the hyperfocal distance for any combination of lens and f-number.

LE DOFMaster program for Palm devices is an easy program used to calculate the depth of field and hyperfocal distance in the field. On-line Depth of field calculator also calculates the hyperfocal distance.

Focusing on the Hyperfocal Distance

You should focus the lens on the hyperfocal distance after determining the lens focal length and f-number combinations that give hyperfocal distance you need. This is easily done when the lens has a distance scale and depth of field scale. However, many modern lenses that have no distance scale and most do not have the depth of field scale handy. Methods to focus with this lens is described below.

It is important to note here that you do not have to change the focus after the lens has been focused on the hyperfocal distance. When you look though the viewfinder of the SLR camera you will notice that closer objects are not sharp when the lens is focused at the hyperfocal distance. The reason is that the lens aperture wide open. The depth of field you see in the viewfinder is not the same as those produced by the lens when stopped to take pictures. You may be able to see what depth of field will be produced by the lens if your camera has a depth of field preview.

It is common for beginners to adjust focus for close objects in focus when they look through the viewfinder. Have confidence that the objects of half hyperfocal distance to infinity will be accepted sharply in photographs and avoid the temptation to change focus.

Three methods to focus on the hyperfocal distance are described below:
ethical lens has a distance scale and depth of field scale
This picture shows the depth of field scale on the lens. There are color-index code for each number-f on each side of the focus index.

Focus the lens at the hyperfocal distance for a certain number f-simple: set the index f-number on one side of the depth of field scale with infinity symbol on the distance scale. The lens will be focused on the hyperfocal distance for the appropriate f-number. The depth of field will range from half a hyperfocal distance (which can be read from a distance on the index scale focus) to infinity.

The lens in the picture above focused on the hyperfocal distance for f/16. Index cyan-colored to f/16 focus to the left of the index is placed under the infinity symbol on the distance scale. Index cyan-colored to f/16 focus on the right index is located at about 9 feet in the distance scale. Index focus is about 18 feet. So, for example, the hyperfocal distance of about 18 meters, and depth of field ranges from about 9 feet to infinity when the lens set to f/16.

picture below illustrates how to focus the lens on the hyperfocal distance for f / 8 and f/16.
photographs show the distance scale on 28mm-80mm zoom lens for 35mm cameras. The lens set at 28mm focal length.

Follow these steps to focus on the hyperfocal distance with a lens similar to the lens in the image:

*

Calculate the hyperfocal distance to the lens focal length and aperture. The figure below shows how to use DOFMaster to calculate the hyperfocal distance for 28mm lens at f/5.6, using a 0.025mm for the circle of confusion. Note that the scale in DOFMaster work the same way as scales on the lens described above. Index to f/5.6 on the right side of the index focus is placed below the symbol of infinity. Hyperfocal distance (18 feet) read from a distance scale on the focus index. Near acuity acceptable limits (9 feet) read from a distance scale on the right index index f/5.6 focus.
#

*

Focus the lens at the hyperfocal distance as shown in the picture. For 28mm lens at f/5.6, hyperfocal distance of about 18 feet. The depth of field will range from half a hyperfocal distance to infinity.

Distance scale on the lens hyperfocal distance rarely show exactly where you should focus. For example, the scale shown above shows only 4 feet, 5 feet, 7 feet, 10 feet, 20 feet, and infinity. You must estimate where the hyperfocal distance lies in the scale. See "Depth of Field Theory Scales" for an explanation of how the distances marked on the scale. Its best to focus a little beyond the hyperfocal distance if you're not sure where the hyperfocal distance is the distance scale, see "Estimating the Hyperfocal Distance on the Ground" below for an explanation of why this is so.
#

When the lens has no distance scale

Many lens has no distance scale. Here's how to focus the lens on the hyperfocal distance:

*

Calculate the hyperfocal distance to the lens focal length and aperture. The figure below shows how to use DOFMaster to calculate the hyperfocal distance for 50mm lens at f/16, using a 0.025mm for the circle of confusion. Hyperfocal distance for this example is about 21 feet.
Focus the lens on the object (ground, tree branches, your child ten years that does not run when you take a camera, etc.) at the hyperfocal distance. Focus a little outside the hyperfocal distance if you are unsure of your ability estimate. Stop under one roof (for example, estimates hyperfocal distance for f/16, and stop the lens to f/22) to give yourself a little time to spare. See "Estimating the Hyperfocal Distance on the Ground" below for more details.
Hyperfocal Distance Measuring in the Field

You do not need to measure the hyperfocal distance of the lens when you have a distance scale. As described above, you can only adjust the lens focus distance on the scale opposite the index. With other lenses you have to measure the hyperfocal distance so you will know where to focus. You also can only estimate the distance as described in the next section of this article.

Use a tape measure is the only accurate way to measure the hyperfocal distance from the camera position. When you usually will not have a meter on the field, you probably can not accurately measure the precise distance hyperfocal. In addition, the hyperfocal distance is calculated using the formula just a reasonable estimate for real lens photography. Hyperfocal distance equation comes from the equation of "thin-lens", which assumes a single-element lens with a thickness not. This does not apply exactly to any real lens photography.

You do not have to focus the lens right at the hyperfocal distance. The focus of the lens as possible, and focus a little beyond the hyperfocal distance if you are unsure of your ability estimate. Say, for example, focus on about 15 feet when the hyperfocal distance is 12.2 feet. Then, stop under one roof (eg, from f/11 to f/16) to get a little more in-depth field. See "Estimating the Hyperfocal Distance on the Ground" below for more details.

Here are two ways to measure the distance from the camera to the hyperfocal position in the field:

*

Pocket scouts focus on an object on the hyperfocal distance. Then, focus your lens there.

Laser distance measurement is available but is usually too expensive to buy just for the photographic work. Also, most of the distance measuring laser distance measure is not normally used for distance hyperfocal focus.

From 1930 to the 1960s, many vendors make distance measuring pocket that can be used to measure distances. Although measuring the distance are not produced today, they can be purchased on eBay for $ 15 - $ 20US. A reconnaissance pocket Hugo Meyer described below. eBay Search "scout pocket", "range finder pocket", and "Kodak scout service" to search for these devices.

Use a simple meter to measure the distance hyperfocal distances. This is just a triangular piece of cardboard that you calibrate your eye to mark the distance on it. Using this device may be a bit better than just estimating distance.



Estimating Distance on the Ground Hyperfocal

You can only estimate the measurement with hyperfocal distance when your lens has no distance scale and you have no gauge for it. Fortunately, hyperfocal distance is close to the camera position for normal and wide angle lens. So, you should be able to estimate the distance with reasonable accuracy.

By using your knowledge about the length of many things, you can make some reasonable estimate of the distance in the field. For example, I can estimate a distance of about 25 feet and 40 feet with some accuracy because of my familiarity with the width and length of my house. My car is about 12 meters long, so I use that knowledge (for example, "it's about a car length away") to estimate the distance focus.

Use your best estimate of where the hyperfocal distance from the camera position and focus your lens there. Then, apply these rules to give yourself some leeway:



Everything from at least one-half the distance to infinity focus will be on depth of field when the lens is focused outside the hyperfocal distance.
*

Better to focus beyond the hyperfocal distance than the focus in front of him when estimating the focal point.
*

Stop down one stop from f-stop is used to calculate the hyperfocal distance.

Let's see how these rules apply to focus the lens to hyperfocal distance photos.

Everything from at least one-half the distance to infinity focus will be on depth of field when the lens is focused outside the hyperfocal distance. Boundary near acuity actually received is less than half the distance focus. Say, for example, is 12.3 meters hyperfocal distance for f / 8 and the distance scale of your lens' shows 7 and 15 feet. Focus the lens at 15 feet. Everything from at least 7.5 meters to infinity will be in the depth of field. Note that for this example you have to give up, at most, 1.4 feet of depth of field (15 / 2-12,3 / 2 = 1.4). Stop down one stop to f/11 to include an additional 1.4 feet in depth of field.

Better to focus beyond the hyperfocal distance than the focus in front of him when estimating the focal point. Distant objects will not be sharp if you focus in front of hyperfocal distance. Say you have a 35mm camera with 50mm lens set to f / 8. Hyperfocal distance for this example is 12.2 feet. Everything from at least 7.5 meters to infinity will be sharp when the focus point is 15 feet. The depth of field ranges from about 5.5 feet to 50 feet at the focal point is at 10 feet; objects outside 50 feet will not be sharp.

Stop down one stop from f-stop is used to calculate the hyperfocal distance. For example, focus on the hyperfocal distance for f/11 and set the lens f-stop to f/16. Stopping down to bring a short distance acuity is received closer to the camera position. Stopping down will generally provide a deep enough extra field to account for the focus error or estimate.

Using Hyperfocal Distance on the Ground - An Example

Here's how I set a focal point for the photograph of Lake McDonald:
I do not have the depth of field scale or hyperfocal distance tables for the lens Canon G2 (enlarged to 8mm). However, I know that at f / 8 hyperfocal distance is something less than 10 feet. So, I focus to 10 feet. With a focus outside the hyperfocal distance I know two things. First, the depth of field will extend to infinity. Second, everything in the outer half focal length (of all things outside of 5 feet in this case) will be sharp.

According to the depth of field scale for the lens G2, actual depth of field is 3 feet to infinity for 8mm lens set to f / 8 and focused at 10 feet. Hyperfocal distance is 4.5 meters. If I focused on the appropriate hyperfocal distance, depth of field will range from 2.25 meters to infinity. So, in actual practice I have lost about 9 inches foreground sharpness, focusing on 10 feet. They are 9 inches is not even in the picture.

Conclusion

Remember that the hyperfocal distance is only a reasonable estimate for the actual lens photography. Focus a little outside the hyperfocal distance and you will know everything that was of at least half the distance to infinity focus would be acceptable sharply in the photograph.

Answers to these questions in the introduction is:

How do I calculate the hyperfocal distance, or where I find the tables or graphs of hyperfocal distance for my lenses? Calculate using hyperfocal distance equation, use the calculator DOFMaster (link at left), using one of the many calculators on the Internet, or download a chart or table from the internet.

What's the best lens and f-stop to use? Normal to wide-angle lens (50mm or shorter lens for 35mm format) and relatively large f-number (small holes) will produce hyperfocal distance close to the camera.

How do I focus on the hyperfocal distance? Try one of these methods.

How do I focus on the hyperfocal distance of the lens when I do not have the depth of field scale or distance scale? Try this method.

Do I have to focus squarely on hyperfocal distance? No. Make your best estimate of where the hyperfocal distance is from camera position. Focus a little outside the hyperfocal distance, and everything from at least half the distance to infinity focus would be acceptable sharply in the photograph. Stop under one roof to give yourself some leeway.

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Other programing camera

Other programing camera

Exposure meter, light meter. Almost every modern camera has an internal light meter. It is also available external light meter.

Exposure metering (often abbreviated as metering only), the method of light measurement
1. Average metering, measuring the average light the entire frame.
2. Center-weighted average metering, measuring the average light with emphasis on the middle.
3. Matrix / Evaluative metering, Measuring light in various parts of the frame, to then be calculated with certain automated methods.
4. Spot metering, measuring the light only on a small section in the center of the frame only.

Exposure compensation, 18% gray. Exposure meter is always measuring the light and yielding measurements so that the light image produced ranges at 18% gray. So if we shoot a piece of white cloth and use the exposure settings as shown by the meter, then the white cloth will become gray in the photo. To overcome this we have to do exposure compensation. Exposure so we added a white cloth.

Under exposured, images are too dark because of lack of exposure.
Over exposured, images are too bright because of excess exposure

Terms stop. Rose 1 stop, meaning that exposure was increased to 2 times. Ride 2 stops, meaning that exposure was increased to 4 times. Down 1 stop exposure be lowered to half time. Down 2 stops exposure was reduced to 1 / 4 times.
1 stop increase in aperture as follows: f/22, f/16, f/11, f / 8, f / 5.6 f / 4, f / 2.8 f / 2. The difference f-stop number of each is 0.7 times (1/Ö2).
Increase of 1 stop on the district. Rana as follows: 1 / 2000, 1 / 1000; 1 / 500, 1 / 250, 1 / 125, 1 / 60, 1 / 30, 1 / 15; 1 / 8, 1 / 4, 1 / 2; 1. Different speed of each stop is 2 times.

DOF, depth of field, depth of field. DOF is the sharp area around the focus.
The depth of field is influenced by a large aperture, focal length, and distance to the object.
1. Aperture, the larger the aperture (smaller f number) then the DOF will be more shallow / narrow.
2. Focal length (real), the focal length, DOF more shallow / narrow.
3. The distance to the object, the closer the distance to the object then the DOF more shallow / narrow.

Election DOF
If a narrow DOF, FG and BG will blur. Narrow DOF used if we want to isolate / highlight the object from the surrounding environment for example on portrait photos or photos of flowers.

If the DOF wide, FG and BG looks sharper. DOF wide use if we want almost all parts of the image appears sharp, as in landscape photos or photo journalism.
sources: from various sources

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JENIS FILTER CAMERA

Filter
Filters in the form of translucent glass that has the average thickness. Filters are usually installed at the front end of the lens. There are several types of filters, including:

- POL COLOR FILTER:
Filter consisting of a sheet of gray and polarisator polarisator colors, there are various color combinations that can be used for certain effects.

- POL CONVERSION FILTER:
Polarisator filter consists of a piece with the color conversion filter (85B). Usually also used for this type of Kine camera, allowing the tungsten film is used to sunny days and have effects such as polarization filters.

- POL FIDER FILTER:
Filter consisting of two linear PL filter are combined into one. The number of incoming filter can be adjusted by turning the ring filter.

- Circular polarizing FILTER:
Filters are made from sheets and keeping polarisator linear quarter wave Retardation, dilapi between the two filter bands. The effect is similar to the polarization filter, normally used for camera Kine.

- Polarizing FILTER:
Polarizing filter, used to eliminate the reflection of all the shiny surface. This filter consists of two parts, one with the other parts can be twisted around untukmendapatkan eliminate most ideal angle of reflection, adding color saturation and penetrates atmospheric haze. Also useful for blueing sky.

- ND FILTER:
ND filter. This filter serves to reduce the beam power 2 times to 8 times. This filter is pitched light gray or moderate and did not change the color of the image.

- NEBULA FILTER:
Filter that produces an image with the effect of radial rays that berpelangi.

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MACAM MACAM FILM

Movies
Film is a medium to record images that consist of thin plates with light sensitive emulsion. Because sensitive cahayalah that makes the film should be stored in a box or tube that is not exposed to light. The film has a size of 35mm and medium format 120mm or called.
There are several types of films. Among them:

- NEGATIVE FILM:
Negative film or a cliche, is the name for the image formed on the film after dipotretkan and after developed, in which the part that looks dark on the image, the object looks bright. Arising opposite color because the light from the object reflects a lot of light to film and produce a dark area

- X-RAY FILM:
X-ray film. This film is the contrast and wrapped in tin foil. Because x-rays can penetrate solid objects bleak leather, textiles, etc., then the shooting will seem disturbing shadows. The film is commonly used in medicine and treatment.

- Polaroid FILM:
Polaroid film is a film that is used to generate images in a short time but has no negative. Previously, many professional photographers use this camera today but getting the camera and the film of this type was abandoned. Only some photographers who still use them. Polaroid film was discovered by Dr. Land.

- ORTHOCHROMATIC FILM:
The film is sensitive to blue and green but not in red.

- MEDIUM FILM:
At medium speed film (ISO 100, 200). The group's most popular films and much in demand photographer. Ideal for shooting in bright weather / sunny.


8. Iso
Iso is a standard for the category of films that are used to indicate major film's sensitivity to light. The smaller number iso, the lower the sensitivity to light. Light sensitivity is a priority in the shooting. Usually when we want to take pictures in bright light, the atmosphere, we are encouraged to use films with ISO 100 or film with low speed.
Size of Iso on the film there are different types of size: 25-50-100-200-400-600-800 and 1600.

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phography basic 3

Speaking composition it will always be associated with sensitivity and "sense" (sense). For that very necessary effort to train our sensitivity for can take pictures with good composition.
There are several ways that can be used to produce compositions baik.Diantaranya:
A third section (Rule of Thirds)
In general rules of photography, photo field actually divided into 9 equal parts. A third part is a technique where we place objects on the third part of the photo. This is very different from what the General did, where we always put the object in the middle of the photo.

a. Shooting Angle (Angle of View)
One element that builds a photo composition is the angle of the object. Angle of this object is determined by the goal shooting. Therefore, if we want to get a moment and get the best results, we should never be afraid to shoot from different angles. Start from the standard (parallel to the object), then try with different points of view from the top, bottom, side to the extreme angle.

b. Diagonal line pattern Composition, Horizontal, Vertical, Curve.
In the shooting of Nature, the pattern of lines is also one element that can strengthen the object image. The pattern of this line was built from a mix of other elements that exist within an image. For example, trees, twigs, leaves, line the horizon, mountain, road, roof lines, etc. ..
The elements which form the pattern of this line should be placed in the third part of the photo. The pattern of these lines can make images become more balanced composition of dynamic and not rigid.

c. Background (BG) and foreground (FG)
Background and foreground are the objects that are behind or in front of the core objects from a photo. Ideally, BG and FG is a support to reinforce the impression of the eye and focus attention on the object.
It also "mood" of a photograph is also determined from the elements that exist in the BG or FG. BG and FG, should not be more dominant (too obvious) than the core object. One way is to blur (Blur) BG and the FG through the diaphragm settings.

d. Several technical point of making a photograph, namely:

- Limited view of the eye (eye-level viewing);
The most common, limited shooting eye in the standing position, the results are reasonable / normal, do not generate special effects that make it stand out except for the effects arising from the use of certain lenses, such as using wide angle lenses, fish eye, telephoto, and so on because in most cases the camera is parallel to the subject.

- The view of birds (bird-eye viewing);
Shooting from above, the subject visible effects appear low, short and small. It sounded like a "small" / contempt towards the subject. Benefits such as to provide a location or landscap.

- Low angle camera;
shooting is done from below. The effect is a distortion of perspective which technically can reduce image quality, for which it is used creatively to create special effects. The impression of this effect is causing great personal figure, tall, strong and dignified, too arrogant. People should look a little short "normal." Describes how children view the "world" of adults. Also included in this type of shooting stage, the person making a speech on a high dais.

- Frog-eye viewing,
limited view of the frog eye. In this position under the camera, almost parallel to the ground and not directed to the above, but flat and carried her down. Angle is used in an image war, fauna and flora.

- Waist level viewing,
shooting waist. The direction of the lens is adjusted with the direction of the eye (without having to peek through the window observer). The angle is often used for candid photos (in secret, unknown subject of the picture), but taking photos like this is speculative.

- High handheld position;
shooting with the camera way up high lift with both hands and without aiming. There is also a speculative element, but there are tricks that is by using a wide angle lens (16 mm to 35 mm) by positioning the focus ring at infinity (fixed) and then play it back a little. Shooting as is often done to photograph the crowd to break through the crowd.

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phography basic bag2

. Lens
The lens is a device consisting of several mirrors that function change the object into the shadow, inverted and real. The lens is located in front of the camera. There beberpa types of lenses. Normal lens, wide lens (wide) and a long lens or commonly called a telephoto lens.

- Normal-sized lens focus as long as 50 mm or 55 mm to 35 mm film size. Point of view this lens is similar to the human eye viewpoint. In addition to a wide lens, there is also a telephoto lens.
- Wide lens usually has a focus 16-24mm wide. These lenses are suitable for taking pictures of landscapes.
- Telephoto lens is a lens that has a long focal length. This lens can be used to obtain sharp short space and can generate near-real facial perspective. These lenses are usually the size 85mm, 135mm and 200mm.

Usually photographers use lenses as needed. If you want to photograph objects or objects near, or photographing the scenery, they usually use a normal lens or wide-angle lens.
But when the photographer wants to capture a particular moment with long distances, usually they use a telephoto lens. Thus, they do not have to bother to target objects, and their work will be more easy.
In addition to the normal lens and a telephoto lens, there are also other types of lenses commonly referred to as lens variations or special lenses (special lense). Usually these lenses are used for specific purposes. For example fish-eye lens (fish eye lens - 180 degrees). Taking photos with this lens the photographer will get a unique result. However, this lens does not function to filter out anything except change the view to achieve the results that deviate from the usual shooting.
If photographers want to take objects with small size or shooting close (photographer closer to the object), commonly used lens is a macro lens. These lenses are usually also used for reproductive purposes because it can provide excellent quality and minimal distortion. For example: to photograph flowers, insects, etc..


In addition to equipment, to produce a good photograph we also must consider several matters, among others: composition, light, line, shape, texture, appearance, color and vertical or horizontal.

6. Composition
Composition is the arrangement of the object image as a whole in the image area for the object into the limelight (POI = Point of Interest). By adjusting the composition of the photograph we also can and will build a "mood" of a picture and balance the whole object.

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phography basic I

Anyone can take pictures. With the addition of creative thought and hard work, we can create great pictures that show all the creations and interpretations of what is seen and snap. Well, the art of capturing images using the camera at call with

Photography.
Photography comes from the Latin is: photos are light, light. Medium graphein means writings, drawings or design of forms. So, photography is widely used to write or draw with light. Figure dead or painting obtained through irradiation process by using cahaya.Karena in making us mengguanakan picture camera equipment then of course we have to really master these tools are also some basic techniques.
In using the camera we know what is called by:

1. Focus
The focus is the point of fire

2. Rana / Speed
Rana is moving down the curtain rose on the camera that function to regulate how long a movie about irradiated. Rana has units with numbers: B-1-2-4-8-15-30-60-125-250-500-1000-2000. The size of the shutter unit can be determined by arranging large and kecilnyanya shutter unit and the size of the diaphragm.
There is some shutter in the camera. Among shutter and shutter slit center. Rana gap there are two, namely: vertical slit and horizonta Rana. Both terletaDia on the camera in charge of closing the curtains and follow its function. Rana vertial close vertically and a horizontal closed horizontally.
Medium is the central Rana, Rana, located on the lens is located adjacent to the diaphragm and closed it with concentric manner.

3. Diaphragm
The diaphragm is a hole in place of light entering the camera lens when taking the picture. The diaphragm has several sizes or numbers. Each lens has different diaphragm openings respectively. Usually, the size of the diaphragm starts with 2,8-4-5,6-8-11-16-22. The size of aperture diaphragm that we choose to produce different images. Aperture small aperture will produce a vast space. Medium large diaphragm aperture will make a sharp narrow space (Blur).
Or simply, it means opening the lens diaphragm. In effect, the greater the aperture, the greater the speed required, the higher speed. Other effects, the bigger the aperture, the sharpness of a narrow space, which means that the greater the blur effect for the area outside the room sharp focus. Many ways and purpose of use / selection of the diaphragm, which among others will certainly affect the context of the image we created
Eg for photographing landscapes, using any camera, try setting to the most narrow aperture (largest number) that may be achieved, then balanced with a long exposure time settings as necessary (note the light meter).
But especially for shooting night, sometimes we can not reach the most narrow openings because of limited exposure time shutter that can not be too long, especially in the prosumer cameras are usually limited to 13 seconds maximum. Fortunately for prosumer digital cameras this is not a problem, because the sensor size is far smaller than a 35mm film frame, the space still sharp wide enough, even though the diaphragm is set to f/3.5 for example. And, it all depends on how the photo we will create.

4. Exposure
Lighting is the process of film illuminated by light coming from outside the camera by controlling the size of the diaphragm and kecepatan.Dalam lighting, aperture diaphragm determines the intensity of light that passed on the film. While the shutter speed set period of transmission of light.
There are several things you can do to determine the appropriate combination of aperture diaphragm with speed. One of them by selecting the aperture priority. That is, the photographer can choose how large aperture diaphragm that will be used. Each of the selected diaphragm aperture will make the outcome different images. When the photographer chose to use high shutter, then it is useful to stop the action. Medium low shutter will make kabur.Sedang action to take pictures in places with less light then to overcome them by the photographer is using high speed film. For example, Iso 400, 600, 800 or Iso 1600.
How to measure the lighting is usually available in every camera. To measure the light to be consistent, we can mensiasatinya by measuring the palm of the hand or bring our camera about 30 cm from the object. So, we'll have this lighting sesuai.Untuk get good light in a photo shoot usually we would choose the photograph on the hour 08:00 to 10:00 a.m. and 4:00 p.m. to 6:00 p.m.. usually in this time, the light in good condition, and not too hard.

In lighting there are some techniques that should be addressed. Among them:
Front lighting: light source comes from the front of the object. This light will produce a flat image.
Rear lighting: light source coming from behind the object. With these light sources such as the object that we take into shiluette (black). Shooting with the light source from behind do if we want to make a photo shiluete.
Lighting Side: Photographs by wearing light source from the side to make objects that we take will seem firm. Usually this light

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