Photography Crash Course, Tips, and Rules of Thumb

The following is a quick crash course in photography, with some things I have learned over the years from experience and multiple sources. All of this information is available from a multitude of sources, but I hope you might find this compilation, and my illustrative photos, helpful.

Exposure

Components

Exposure is the “correct” amount of light for the desired image. Obtaining this involves juggling several interrelated factors analogous to factors in filling a bucket of water.

Exposures are usually changed by “stops” – doubling or halving one item requires a corresponding change in one of the other two, given the same amount of available light.

Example: suppose, for a given amount of light, the “proper” exposure, for ISO 100, is 1/250 second at f/8.

• If the ISO changes from 100 to 200, half as much light is needed, so either
  • change from 1/250 second to 1/500 second, or
  • change from f/8 to f/11.
  • If you wish to keep the ISO at 100, but want a faster shutter speed, each doubling of the shutter speed requires one f/stop number smaller.
    • 1/250 second at f/5.6
    • 1/500 second at f/4
    • etc.

    

    Example ISO 100, f/16, 1/6 second

    

    Example ISO 100, f/22, 1/3 second

  Note that “proper” is in quotes for “’proper’ exposure”. You may wish to “play” with the exposure a bit to capture a certain mood, such as darker than indicated for a more somber mood.
  

  Example: dark tunnel

  Note that different cameras have different ways of measuring exposure, and some high-end cameras offer multiple modes. Cameras typically try to set the exposure for the selected area assuming that it is the same brightness as a standard “gray card”
  offered by photo supply stores. This can cause problems when shooting a snowy scene outdoors.

  One technique to use is to shoot multiple exposures, using “bracketing”. For example, shoot one shot at the indicated exposure, one at “+1 stop”, and one at “-1 stop”. Given a white background, such as a snowy scene, for which autoexposure will typically underexpose, you may wish to shoot only “+” exposures – e.g. “+1” and “+2”.

  
  Example -1 stop

  
  Example +0 stop

  
  Example +1 stop

  
  Example snow shot at +0 stop

  
  Example snow shot at +1 stop

  RULE OF THUMB: Sunrise / morning and sunset / late afternoon lighting generally provides more pleasing light for outdoor photos than midday sun. The shadows and colors are more “interesting”.

  
  Example morning shot

  
  Example midday shot

  RULE OF THUMB: Cloudy days usually provide more pleasing lighting than sunny days, since the lighting is more even, producing less harsh shadows and less contrast between brights and darks, making it easier to set an exposure that works for the entire image. It is also better when taking photos of people, because it reduces the risk of squinting due to getting sun in the eyes.

  
  Example cloudy day photo

  
  Example sunny day photo

  Other Mechanical Factors

  Focal Length

  Defined as “the distance between the center of a lens or curved mirror and its focus” or “the equivalent distance in a compound lens or telescope”.

  Basically, the longer the focal length, the closer the object appears to be.

  Focal lengths around 50 mm. are considered “normal” lenses – items look about as they do to the eye.

  Shorter focal lengths (< 50mm.) are considered “wide angle” lenses.

  • Take in a wider angle of view than “normal” lenses; this makes objects look further away.
  • Increases appearance of “depth” – exaggerated difference between near and far objects.
  • “Fish-eye lenses” – extremely short focal distances (< 15mm. or so) – spherical images, nearly 180° view.
  • Large depth of field – greater range of distances in focus.
  • Generally not good for close-up portraits: give look of big nose – a rule that can be broken for certain desired effects.
    
    Example of exaggerated perspective from 35 mm. wide angle lens
  • Camera phone and compact cameras tend to have wide-angle lenses. Be back far enough from subject if using for an individual portrait; group shots should not be a problem.

  Longer focal lengths (> 50 mm.) are considered “telephoto” lenses (think “telescope”).

  • Zoom in closer on subject, narrowing field of view.
  • Decreases appearance of “depth” – “flattens” the image.
  • Good for portraits (opposite of wide-angle effect). Shorter-length telephoto lenses sometimes called “portrait lenses” for this reason.
  • Shallow depth of field – shorter range of distances in focus – good for isolating subjects.
  • Good for sports, wildlife, and action shots – especially the faster and longer focal length lenses.
    
    Example wildlife shot with 200 mm. lens
  • Macro / Micro lenses – telephoto lenses with close-up focusing capability: great for flowers and other close-ups.

  Lenses get more expensive the more extreme the focal length (very high telephoto / very low wide-angle / fish-eye).

  Zoom lenses offer a variety of focal lengths.

  • Much more versatile – use one lens in place of multiple fixed (prime) lenses of multiple focal lengths.
  • Offered by some camera phones and compact cameras.
    • “Digital” zoom vs. “physical” zoom – physical zoom lens will offer much better image quality.
  • Generally slower than fixed focal lengths.
  • Heavier than fixed focal lengths of same (maximum) focal length.
  • Images produced generally not as sharp, especially in the corners.

  As the focal length increases, the greater the chance that shaking hands will blur the image.

  • RULE OF THUMB: use the reciprocal of the focal length (or the shutter speed closest to it) as the SLOWEST shutter speed at which to attempt a hand-held shot; otherwise, use a tripod. Examples:
    • 28 mm. lens: 1/30 second slowest shutter speed.
    • 50 mm. lens: 1/60 second slowest shutter speed.
    • 210 mm. lens: 1/250 second slowest shutter speed.
  • Try to hold the camera as steady as possible and press the shutter release as gently as you can. It helps to hold the camera (or phone) with both hands and hold your elbows next to your sides, with your feet firmly planted on the ground.
  • If a tripod is not available in situations where one would be helpful, you may have options like sitting and balancing the camera on your knee, or balancing the camera on a fixed object, which fall somewhere between using a tripod and hand-holding the camera.

  Depth of Field

  The range of distances that are in focus for a given focal length, aperture and focus setting.

  • The shorter the focal length, the greater the depth of field. This can be seen by the focus settings shown on manual lenses.
    • e.g. 28 mm. lens with no marks between 5 ft. and infinity: once objects get past 5 ft. away, not much difference between the “perfect” focus setting and infinity – easy to get everything between 5 ft. and infinite distance away in focus.
    • 70-210 mm. zoom lens: marks at 5 ft., 6 ft., 8 ft., 12 ft., 20 ft., 30 ft., 70 ft., and infinity – much more sensitive focus until objects are very far away.
  • The smaller the aperture / higher the f/stop, the greater the area in focus.
    • High f/stop good for something like a landscape photo: get both nearby items and clouds on horizon in focus.
      
      Example f/16 shot: streetlamp in foreground and clouds both in sharp focus
    • Low f/stop good for something like flower photography: focus on particular parts of flower, blur distracting elements in background.
      
      Example f f/5.6 image: flower in focus, background blurred
  • The nearer the focus is set, the narrower the depth of field.
    • Extreme close-ups: only part of a flower may be in focus.
    • Far-away objects: perhaps everything from 10 ft. away to infinity in focus.

  Some higher-end cameras have a “depth of field” preview that shows how much of the image is in focus for the selected aperture setting – this can help you choose the optimal combination of ISO, aperture, and shutter speed.

  Focus

  Autofocus can be very handy, especially when shooting fast action (e.g. kids running around!).

  Check your camera’s manual to see what autofocus modes are available. If only a center-weighted focus is possible (the default or only option on most cameras), see if there is a way to lock focus (and exposure) on a selected object, then recompose the photo and shoot. Otherwise, a subject much closer to the camera than the background may be out of focus.

  Smart phone cameras may offer the option to touch on the area of the photo to focus on and expose for.

  At least try the manual focus mode on your camera, if it offers one. This gives you total control, and can be very useful when you have a bit more time to set up the shot you want than fast shooting situations better suited to autofocus.

  For something like bird photography with a telephoto lens and manual focus capability, try focusing on the point where you expect a bird to be (nest, bird feeder, etc.) and wait for the bird to appear, rather than relying on autofocus, which may be too slow or focus on the wrong thing.

  Flash

  Very useful for dim, indoor photos when needed. Just keep in mind their limitations.

  Pro:

  • Gives a light color much closer to sunlight than indoor lighting, avoiding the yellowish look photos shot indoors with only such lighting used.
  • The flash freezes action, even though it must be used at a minimum shutter speed somewhere between 1/60 and 1/250 of a second, depending on the camera – giving you the equivalent to a shutter speed much faster than the fastest available on the camera – no issues with camera shake.
    • This can be especially useful with cameras / flash that have “trailing shutter” option when used with longer exposure times – freezes the action at the end of the shot, giving a blur effect.

  Con:

  • Flash can only light areas a distance of about 12-20 ft., depending on flash and aperture. So, for example, all those annoying flashes going off during a concert are not reaching the stage – only the people immediately in front of you are getting properly exposed.
  • Flash directly on the camera – either built-in or directly attached – shines straight on subject, casting harsh shadows and giving very “flat” image.
    • For higher-end cameras, this can be reduced by such things as having a flash off the camera or using the “bounce flash” technique.
  • Battery consumption – especially for built-in flash!

  
  Example on-camera flash shot: normal colors for illuminated area, but harsh shadows and dark beyond range of flash
  
  Example indoor lighting shot: yellowish cast, but gentle, even lighting

  Composition

  Rule of Thirds

  Photographs are usually more interesting and appealing to the eye when the subject is roughly 1/3 of the way from the left or right edge, top or bottom edge, or both, of the frame, rather than dead-center.
  
  Example: horizon roughly 1/3 way from bottom, with building slightly less than 1/3 way from right edge

  • Take the previously-mentioned precautions with exposure and focus.

  Focus on subject and avoid distracting backgrounds

  It is often better to take several photos of different details in a scene than to get everything in one shot. Determine what the subject of the photo is to be, and try to have the background not distract from it:

  • Get closer, so that the subject fills more of the frame, and you reduce distractions on the edges of the frame.
    
    Example: concrete mouse fills the frame
  • Use a fairly monochromatic (single-color) background.
    
    Example: sky-blue background
  • Use a wide aperture with low depth of field to blur the background.
  • A variant: have a silhouette against a sharp background. The simplicity of the silhouette makes it stand out.
    
    Example: shadow self-portrait

  Portraiture / candids

  • Group shots are always a challenge – it is hard, if not impossible, to get that “perfect shot” in which everyone looks “perfect”. Take several photos to try to get at least one good one, but be sure to take them in a short period of time so people don’t get restless – some to the point of leaving.
  • One trick: if counting to three before taking a posed photo, trigger the shutter release just before saying, “three”.
  • Look for opportunities for good candid shots before or after a posed shot.
    
  • Keep a camera handy to be ready for opportune candid shots.
    
    Example candid

  Final Suggestions

  • Shoot photos often!
  • Experiment with different techniques.
  • Try both applying rules of thumb and breaking rules.
  • Learn what your camera can do – try sessions focusing on one new item / control at a time.
  • Try different types and styles of photography and find those you like.