Photography Techniques PDF

**Photography** - Photography is a **[mixture of art and science]**. It captures fleeting moments and transforms them into timeless stories. The real magic of photography lies in its ability to relive the experiences or the emotions that we felt in the photograph. Photography chan...

**Photography** - Photography is a **[mixture of art and science]**. It captures fleeting moments and transforms them into timeless stories. The real magic of photography lies in its ability to relive the experiences or the emotions that we felt in the photograph. Photography changes how we perceive the world; it reveals the details we might have overlooked and captures fleeting moments that escape us. Frequently, it presents reality more profoundly than our own experiences. 1. **Camera: The Heart of Photography** - It is the **[primary tool that you should use to capture photos]**. However, which type of camera? **Smartphones** - Many smartphones can capture beautiful images. If you are on a tight budget**, using smartphones to take pictures [can serve as your practical starting point]**. **Point-and-Shoot Cameras** - **This type of camera is [considered an upgrade from smartphones]**. It is handy and user-friendly; it also provides better optical zoom and image quality without the need to change the lenses. **DSLR/Mirrorless Cameras** - **This camera is for those who are ready to [invest more and have decided to pursue photography]**. DSLRs or mirrorless cameras offer great control, enhanced image quality, and lens flexibility. 2. **Lenses: Seeing through different perspectives** - **Lenses play a vital role in photography as [this tool is your way, aside from the camera, to see and capture the world]**. There are different types of lenses used for specific photography. However, here are the two basic lenses that photographers use: **Kit Lenses** - **This type of lens is the standard type**. **It** **typically [ranges from 18-55 mm]**, enough to capture scenarios such as landscapes, portraits, street photography, and many others. **Prime Lenses** - **This type of lens is [used to capture small objects or tiny objects]**. It typically ranges from 50mm enough to produce sharper, crisp images, achieving smooth background blur or what we famously call **"Bokeh."** 3. **Camera Bag: Safety and Organization** - **Camera bags are optional however, [this accessory ensures your camera and lens' safety]**. It also offers organization within your camera accessories. 4. **Editing Software: Perfecting the Final Image** - **The [beauty and grandeur of your image can still be enhanced], corrected, and altered with the use of editing software**. The standard editing software in the realm of multimedia arts is the Adobe Creative Suite. However, for beginners like you, tweaking your pictures in GIMP, Snapseed, or any free application software will not hurt. However, it will be an advantage if you wish to practice your editing skills in Adobe Lightroom or Photoshop. **Photography Composition Techniques** 1. **Rule of Thirds: Balanced Framing** - **To make your shot professionally looking, [divide your frame into a 3x3 grid]**. **[To make your photos balanced, position your subject at the intersections of these lines]**. By doing this, the photo will gain visual interest and become more engaging. 2. **Leading Lines: Guiding the viewer** - A **[line naturally leads or guides the viewer's eye]**. Whether it is a row of trees, a zigzag road, or architectural details, this technique naturally aims to gain the viewer's attention and showcase depth and perspective. 3. **Framing: Highlighting the Subject** - **With [the use of objects such as trees, arches, windows, or even shadows, you can create a natural 'frame]**[']**.** Its purpose is to attract the audience's attention directly to the framed subject. 4. **Symmetry: Creating Harmony** - **The goal of this technique is [to produce a sense of balance]**, whether it is a building reflection in still water or a butterfly's wings. 5. **Fill the Frame: Emphasizing Details** - This technique provides a **more intimate view of the subjects [by getting closer or zooming in]**. **Fundamental Camera Settings** 1. **Shutter Speed: Controlling Time** - **It determines [how long the camera\'s sensor is exposed to light]**. A fast shutter speed captures moving subjects sharply, while a slow one creates an intentional blur, like with flowing water. 2. **Aperture: Managing Light and Depth** - Aperture, **measured in f/stops, [controls the size of the lens opening]**. A larger aperture (e.g., f/1.8) lets in more light and results in a shallow depth of field, blurring the background. Conversely, a smaller aperture (e.g., f/16) provides a wider focus range. 3. **ISO (International Standards Organization): Light Sensitivity** **ISO measures the camera\'s sensitivity to light**. - A low ISO setting (e.g., ISO 100) means less sensitivity but clearer images. - High ISO (e.g., ISO 3200) increases sensitivity, helpful in low-light conditions but may introduce graininess. 4. **White Balance: Ensuring True Colors** - **White balance [adjusts for the color temperature of light], preventing unwanted color casts**. Correcting white balance ensures accurate and natural colors in photos. 5. **Focus: Sharpening Your Subject** - **Cameras offer various focus modes**. **Autofocus (AF) is suitable for most general photography, while Manual Focus (MF) allows precise control**, ideal for macro or specific creative shots. 6. **Exposure Compensation: Fine-Tuning Brightness** - **In some cases, automatic settings may not achieve the desired brightness**, **[exposure compensation helps make adjustments]**. Positive values increase brightness, while negative values decrease it. **FRONT**  **F1: Shutter Button** - **[Press to release the shutter]. Half-press activates AF and exposure metering**; full press releases the shutter. **F2: AF-Assist Beam/Red Eye Reduction/Self-Timer/Remote Control Lamp:** - AF-Assist Beam: A red beam aiding AF detection, **[automatically off in Silent Shooting Mode]**. - Red-Eye Reduction: Half-pressing the shutter button **[activates when using the built-in flash]**. - Self-Timer: The **lamp blinks until the picture is taken when the self-timer sets**. **F3: Lens Mount** - **Connects RF or RF-s Lens to the camera body**. Align the lens mount index with a red mark, and turn clockwise until it clicks. **F4: Lens Release Button** - **Press to detach the lens**. The lock pin retracts, allowing free lens rotation. Lock into place before shooting. **F5: Lens Mount Contacts** - **Electrical contact points [transmitting information between the lens and camera body]**. Handle with care. RF mount's 12-pin system enables advanced communication compared to EF. **F6: Image Sensor** - **Converts light into electrical signals** sent for processing. **F7: Sensor Protection Mechanism (on selected cameras)** - **The shutter mechanism [closes over the sensor when powered off], protecting it from dust when changing lenses**. **F8: Built-in Flash (on selected cameras)** - **Fire flash for dimly lit scenes**. Automatically fired in some modes. **REAR**  **R1: Eyecup** - **Prevents external light from [entering when your eye is in contact with the eyepiece],** using soft material to reduce strain on the eye and forehead. **R2: Viewfinder Eyepiece** - **[Small window on the camera for composing photos] and focusing on subjects**, reducing external light to focus attention on the subject and ease tracking of moving objects. **R3: Viewfinder Sensor** - **[Activates viewfinder display when your eye is near]**, with the option to restrict display to the viewfinder or LCD screen through menu settings. **R4: Dioptric Adjustment knob/slider** - **Adjusts clarity of the viewfinder image [by turning or sliding the knob/slider]**. **R5: AE lock/FE lock/magnify button** - **Locks exposure settings [to maintain consistency during recomposition]** (AE Lock), locks flash output during composition changes (FE Lock), and magnifies display for detailed focus checking in playback mode. **R6: AF point selection/Index button** - **Enters autofocus point selection mode during shooting**, allowing movement of AF zone/area using cross keys. **R7: Access Lamp** - **Indicates [writing to the memory card]**; avoid opening the card slot or battery compartment cover to prevent camera malfunction. **R8: Info Button** - **[Toggles between different viewfinder/Live View/playback display screens]**, with customizable options in the menu settings. **R9: Cross Keys - directional buttons for:** \- Menu navigation \- Magnified display adjustment during image playback \- AF point selection movement **Quick Control/SET Button:** - **Press this button [to access the Quick Control screen]**, enabling swift confirmation and adjustment of various camera settings. **R10: Playback Button** - **Use this button [to review captured images]**. A single press displays the last image captured or shown. **R11: MENU button** - **Press this button [to access the menu for adjusting camera functions]**. After selecting a menu item, fine-tune camera settings with precision. **R12: LCD Monitor** - **Preview, review images, and adjust camera settings using the LCD monitor**. Most EOS R camera models feature a Vari-angle LCD touchscreen monitor, facilitating easier capture of self-portraits and low-angle and high-angle shots. The touchscreen enables intuitive camera operation, including touch and drag AF control. **Pre-Production** - As stated in the Cambridge Community TV Green Book: Fundamentals, **the pre-production stage is considered to be the [brain-cracking part]** as it includes but is not limited to setting the goals, writing the program proposals, conducting program conferences, crew meetings, storyboarding, scriptwriting, location scouting, gathering of equipment, and other supplies needed for the project, and this includes many other things. **Fundamental Decisions** **Set your goals** - The first thing that a production crew should begin with is to answer the questions: Who am I trying to reach? What is the best way to reach this audience? Why am I making this production? What is the purpose of this production? What do I want my audience to think, feel, or do from seeing it? Is the video the right tool for the job? Knowing your audience and goals is the most important objective that you and your crew should figure out. **Plan your Content** - **[To decide on which information to communicate through your project]**, you should do two things: Do Research -- know your material. List the most important points to get across. Prioritize and do not compress too much information in the program. Less is sometimes more. **Decide the Format** - **It [gets easier to communicate the message when you know your audience and the information]** that you want to convey. You may ask yourself the following questions: What kind of program are we going to create? (documentary, talk show, news, theatrical, feature, live, interactive, etc.?) What should it look and feel like? This should be a visual and natural feeling. If there are other shows that it should resemble, how are those programs structured? What would happen in the beginning, middle, and last? **Put Your Vision on Paper** 1. **Write a Treatment** - **[It is a detailed summary of a project]**. It is **usually [prepared as a preliminary step in the development of a script]**. It serves as a blueprint or outline for the story, outlining the main key points such as plot points, character arcs, themes, and other important elements. 2. **Write the Script** - **[Film treatments are usually brief]; however, a script can be of any length**. **It only depends on your purpose and how detailed the project would be**. The scripts can serve any number of several important purposes: It makes sure that the program keeps to its intended purposes. Giving the director and/or camera person a clear roadmap as to the producer's intentions. The scripts can also take any number of forms, such as: A list of points to be made, questions to be asked, and/or specific images to capture. 3. **Make a Shot Sheet** - **[This process gets important when you start editing footage]**, **as you will quickly realize what makes a good camerawork**. However, planning and scriptwriting are crucial for a successful shooting. Therefore, knowing exactly the shots that you need before you start filming will make it smoother and faster to edit. 4. **Decide Shooting Locations** - Working in the field and in the studio are two different things. The planning and scriptwriting phase may require the production to film the project in specific places. These two environments have distinct advantages and disadvantages, which may influence the decision on where to film. However, it is worth noting that many programs combine footage from both locations to make the most of each other's environment's strengths. 5. **Crew and Time Requirements** - **Time management is a challenge for every production as it involves the time of every crew**. For example, in a studio shoot, the needed crew is at least six people, while single-camera productions in the field often require only one or two technical staff, like a cameraperson and an audio engineer. **Put Your Plans on Paper** 1. **Do initial paperwork** - **[It is important to send a notice or written permission to the property owner] or managers** for the locations of equipment needed for the project. 2. **Communicate closely with event coordinators** - **[Planning the shots, transitions, staging, lighting, audio, and program setup is crucial]**. It is important to be part of the decision-making process, as once filming begins, your input may not be considered. 3. **Arrange for Talent** - **Talent briefing is important**. **[This will inform them of how they should look on the television]**; they would know the shoot location and their expected arrival time. 4. **Arrange for Crew** - **The equipment needed for the project should be readily available for all the crew**. Crew briefing should also be done, as this will reassure you of their understanding of the shoot location, timing, and the importance of arriving early to assist with the setup. **Make an Equipment List** - **Create a comprehensive equipment list**. It is essential to book facilities and include items such as set supplies, raw videotape, pre-edited footage (roll-ins), duct tape, pens, paper, and many other necessary tools. **Do the Follow-up Paper Work** - **Secure access to the facilities and equipment [by obtaining an approved production number], typically provided within five business days of submitting a Production Contract**. Obtaining signed talent releases from all performers and participants; for minors, ensure that it obtains parents' or guardians' signatures. **Reconfirm All Your Arrangements** - Recruiting talents is not enough. **Make sure to remind everyone involved in the production about the shoot schedule**. Also, it is crucial to make a follow-up about the equipment needed for the shoot. **Post-Production** - **In this phase of film production, we start with a collection of raw materials: visual and audio files captured during filming**. These materials are combined with other elements like visual effects and original music composed for the project. **Film Industry Jobs (MasterClass, 2021)** - **It requires a diverse team of creative and skilled individuals to build a whole audio and video production**. Since there are three stages of production, here are the key roles in getting a project ready before filming: 1. **Screenwriter** - **[They are responsible for the script,] either from scratch or by adapting existing material**. On occasion, they make changes during filming, **depending on the director's request**. 2. **Executive Producer** - **[They gather money for the film], either from a financing company, a studio, or themselves**. They are the bridge to the gap between financers and the producers who manage the production. 3. **Director** - **[They oversee the entire creative process from pre-production to post-production]**. They build the main production team, set the film's vision, choose actors, direct them, manage departments, and give feedback on editing. 4. **Casting Director** - **[They help the director pick actors]** for the movie. 5. **Line Producer** - **[They are responsible for the physical aspects of making the film]**, **[from finding locations to managing the budge]t and daily logistics like catering for the crew.** Their work starts before the filming begins. 6. **Location Manager** - **[They work with the line producer to find and secure filming locations] and permits**. On larger films, they may have assistants and scouts. 1. **Production Manager** - **They are the ones making the [project happen physically]**. 2. **Assistant Production Manager** - **They help the production manager**, as **necessary as possible**. 3. **Production Coordinator** - **They help with the planning of location, equipment, and food catering**. 4. **Assistant Directors (1st and 2nd)** - **They usually [help the director with organizing] everything during filming**. 5. **Production Designer** - **They [make sure everything looks right in the movie]**, like the sets, costumes, and props. 6. **Art Director** - **They help the production [designer visualize the set]**. 7. **Set Designer** - **They are in [charge of the overall creation of the set design].** 8. **Set Decorator** - **They are [the ones who put all the decors into their proper places].** 9. **Construction Coordinator** - **They [lead the team that builds the prototypes] or set designs**. 10. **Prop master** - **They are in** **[charge of all the props]**. 11. **Costume Designer** - They plan actors' outfits. 12. **Make-up Artist and Hairstylist** - **They ensure everyone looks right on camera**. 13. **Director of Photography** - **They [control the cameras] and the [people who operate them].** 14. **Camera Operator** - **They are [assigned to the camera controls].** 15. **Gaffer** - **They are [responsible for the lights].** 16. **Electrician** - **They [make sure that there is enough power for all the lights].** 17. **Production Sound Mixer and Boom Operator** - **They are in [charge of the audio recording] on the set.** 18. **Stunt Coordinator** - **They make sure [stunts are done safely].** 19. **Special Effects Coordinator** - **They help set up shots for special effects.** 20. **Production Assistants (PAs)** - **They [help out wherever they are needed]. It is usually the starting job for people new to the industry.** 1. **Post-production Supervisor** - **The one [who oversees the numerous tasks in post-production]**, similar to the production coordinator during filming. 2. **Video-Editor** - **They are [responsible for shaping the raw footage into a cohesive film]**. They work closely with the director to achieve the predicted final product. 3. **Colorists** - **They are [responsible for enhancing the film's visual appeal through color]** correction and grading 4. **Visual Effects Producer** - **They [manage a film\'s additional visual effects and motion graphics requirements]**. They usually lead a team of specialists. 5. **Sound Engineer** - **They add sound effects and musical score** to enrich the movie's audio. 6. **Dialogue Editor** - **They organize and [refine recorded dialogue]**, potentially overseeing re-recordings. 7. **Composer** - **They are [the one who writes or creates an original] score for the film**, usually after the editing process. 8. **Music Supervisor** - **They [secure the rights for existing music to be used in the film]** and may assist in selecting temporary music. 9. **Music Editor** - **They typically [work with the composer to synchronize] and edit the music**, often assembling temporary tracks. 10. **Sound Editor** - **They [combine dialogues, music, and sound effects into a cohesive audio]** track for the final film. **DRAWING** **Drawing Paper** - **[Drawing Paper The A-series is the most commonly used size in technical drawing]**. The standard size of this A-series is stated by adding the number zero (0) after the final A, while smaller sizes are expressed by adding the numbers one (1) to four (4), for example, A1, A2, A3, and A4 **Draftsman** - **A draftsman should have a variety of good, sharpened pencil leads with varying degrees of hardness**. The grade of a pencil to be used for particular applications is determined by the type of line sought the type of paper used, and the humidity that influences the paper\'s surface. *Standards for line quality* usually will determine the selection. For instance: **6H is [used for light construction lines]**. **4H is [used for re-penciling light-finished lines]** (dimension, center, and invisible object lines). **2H is** **[used for visible object lines]**. **F and H are [used for all lettering and freehand work]**. **Rulers** - Rulers Aluminum, plastic, or plexiglass **are [used to make professional rulers for technical drawings]**. They have an \"inking edge\": a small gap between the template edge and the paper that stops ink from flowing between the paper and the rule. Rulers are **[used to create straight lines, measure distances, and define angles]**. **Compass** - On technical drawings, **[compasses are used to create an arc or circle with known proportions]**. It is typically composed of steel and has two legs. The needle is at the bottom of one leg, while the other leg has a ring in which a pencil is put. The needle tip is placed at the desired location, and the pencil tip is set to a height of at least 1mm, slightly above the needle tip. **T-Square** - On a drawing sheet, **[T-squares are used to draw horizontal and vertical lines]**. It is in the shape of a \"T\" and is constructed of wood or plastic. The vertical part of the **T is known as the blade, while the horizontal part of the T is known as the head**. The head\'s edge is uniformly level and linked to the board\'s edge. The working edge is used to draw lines anywhere on the sheet by sliding the instrument from top to bottom. **Set Squares** - **[Set squares are used to create lines that intersect at an angle]**. The **most prevalent lines in most structures are 30, 45, 60, and 90 degrees**. Set squares make drawing angles easier. **Protractor** - **[Protractors are used in drawing to draw and measure the angles of lines]**. It is constructed of plastic and is translucent. It has the shape of a semi-circle, and the edge is made up of one-degree readings. The bottom line\'s center is labeled \"O\" or \"C,\" from which the angles are measured. **French Curves** - **[French curves are composed of plastic and come in a variety of shapes]**. The design sometimes calls for irregular curves, forms, or arcs that cannot be sketched with a compass. In general, French curves are better suited to tiny and lengthy curves. **Drawing Templates** - **[A Drawing Template is a flat piece of plastic with numerous cutout shapes]**. It is intended to speed up the drafter\'s job and improve the accuracy of the produced drawings. Templates are available for drawing circles, ellipses, plumbing, and fittings, among other things. Templates are available in various sizes to accommodate the scale of the drawing. It should also be utilized whenever possible to improve accuracy and speed. **The Visible Line** - **[Visible Line is a thick line that indicates an object\'s visible edges]**. They should stand out clearly from other lines so that the contour of an object may be seen. **Hidden Line** - **[A Hidden Line represents surfaces, edges, or corners] of an item that are obscured from view**. These lines are represented by medium thickness, tiny, equally spaced dashes. **Center Line** - **[Center Lines are used to indicate the location of the center of holes] and symmetrical features**. These thin, alternating long and short dashes are typically used to indicate hole centers and the center positions of circular elements. **Extension and Dimension Lines** - When displaying the measurements of an object, Extension and Dimension Lines are employed. - **Dimension lines are [drawn with]** [ **arrowheads on each end and placed between extension lines**]. - **Extension lines are [used to extend dimensions from the related objects]**. **Leader Line** - Leader lines are **thin lines** **[used to show which section of the design a note pertains to]**. **The [arrowheads make contact with the object lines]**, whereas the dot sits on a surface. **Break Lines (Short, Long, and Cylindrical)** - When it is desirable to shorten the view of a long part, break lines are utilized. - Short break lines are freehand drawn **[thick, wavy, solid lines]**. - Long break lines are **[thin, solid lines with zigzags in them to denote a break]**. **Cutting-Plane Line** - The **[Cutting-Plane Line is used to indicate the location of an imaginary cutting]**. These are thick lines with alternating long lines divided by two short dashes. **Section Lines** - **[Section Lines are thin crosshatching lines drawn at an angle]** that denotes the surface in the section view that is thought to have been sliced along the cutting plane line. **Phantom Line** - **Phantom lines are thin, long-short-short lines that** **[are commonly used to depict the movement or travel of an object or part in various places]**. It can also be used to display nearby objects or features. **Oblique** - **[Oblique drawings are created by sketching one plane of the item] (the front) parallel to the drawing surface**. The angle of the side or other visible component of the object is usually 30° or 45°. Take note that just one side is at an angle. These types of drawings are frequently not done to scale. The receding lines will be produced at a different scale than the vertical and horizontal lines, at 45° or 30°. This gives the drawing an \"out of shape\" appearance. This sort of drawing is not commonly utilized in industry.  **Perspective** - **Perspective drawing is the [most realistic type of drawing]**. Artists employ one-point, two-point, and three-point perspectives to generate visual depth. Architects utilize perspectives for industrial pictorials of plan layout, machinery, and other subjects requiring realism. Perspective objects become smaller as they recede onto the horizon **Isometric** - Because **isometric drawings have less distortion than oblique drawings, [they are more commonly utilized in industry]**. Both visible surfaces of an isometric drawing are rendered at 30° angle. These are the most commonly used kinds of drawings in the plumbing business and require significant practice to completely learn how to create. They best portray what is being created and how it will appear from various angles with a single drawing **Orthographic Projection** - **The term \"orthographic projection\" [refers to drawings with three (3) viewpoints]**. **[The top, front, and right sides are frequently chosen as the three viewpoints]**. Of course, alternative viewpoints, such as the left or bottom, are available. The top, front, and right sides are often visible to the person reading the prints.  - **[One advantage of orthographic projection is that it allows the person reading the print to view]** **the inside or surfaces of an object** that would otherwise be invisible; with sophisticated objects, this can be quite beneficial. In the example, the hidden lines result from a square hole through the middle of the object. **Curved Surfaces** - **[Curved surfaces can be difficult to \"see\"] until you recall that the curve is only visible in one view**. You must visualize the curve and place **it in the other views yourself**. Consider how a dramatic change in direction, such as at a corner, will produce a line visible in another view. When the direction change is smooth, such as a curve, no line is visible. **Inclined Surfaces** - **[Inclined surfaces are ones that are slanted or at an angle]**. In other words, they are neither horizontal nor vertical surfaces. When viewing orthographic drawings, keep an eye out for angles and inclined surfaces, as these are frequently found on the prints you will be reading. **Sketching a rectangle** - **[Locate the corners of the rectangle first]**. Then, place your paper in a comfortable position for sketching and sketch downward for vertical lines and left to right for horizontal lines. Use the grid lines as a guide to maintain lines parallel and at 90 degrees to each other **Sketching a circle** - **First,** **[locate the center of the circle], and then very lightly box in the size of the circle (using the diameter as a guide), as in the top right**. Sketch in the circle, one quarter at a time. You may find it necessary at first to add light points along the projected circumference to help guide you through each quarter. Remember to move your sketchpad so that you can maintain a comfortable sketching position.