Basics of

Photography

by Xavier Ferrara

A Quick Beginner’s Guide

Introduction

This ebook is designed for complete beginners to the world of photography, whether you're
picking up a camera for the rst time or have just started exploring this fascinating art form. It
serves as the ideal guide for individuals with no prior photography experience, o ering a
straightforward introduction that will set you on the path to becoming a con dent
photographer.

My aim is to introduce you to key photography concepts using a simple and easily
understandable approach. Photography can seem daunting with its technical jargon and myriad
of settings, but don’t worry. Each chapter will focus on a speci c topic, ensuring that you grasp
the information e ectively and build a solid foundation for your photography skills.

So, let's begin your photography journey, unlocking the power of your camera and your
creativity to capture moments in ways you never thought possible. Whether you aspire to
become a professional photographer or simply want to enhance your photography skills for
personal enjoyment, this ebook is your rst step toward achieving your goals.
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 Table Of Contents
Chapter 1: Exposure Triangle 5
Aperture 6
F-Stops 7
Shutter Speed 8
ISO 9
Chapter 2: Light 11
Intensity 12
Direction 13
Quality 14
Color Temperature 15
Chapter 3: Composition 17
Rule of Thirds 18
Leading Lines 19
Depth 20
Chapter 4: Post Production 22
JPEG 23
RAW 24
Conclusion 25
CHAPTER 1
 Ch. 1
The Exposure Triangle
T
he exposure triangle is a fundamental concept in
photography that consists of three main elements:
aperture, shutter speed, and ISO. These elements
work together to determine the exposure of a photograph,
which is how light or dark the image is.
2. In an indoor portrait scenario where the lighting is
Aperture: refers to the size of the opening in the lens when a
picture is taken.
Shutter Speed: is the length of time the camera's shutter is
open to expose light onto the camera sensor.
ISO: determines the camera’s sensor sensitivity to light.
Here are a couple scenarios about how all the three elements
interact together:
1. When photographing a landscape on a bright, sunny
day, setting the aperture to a small size (high f-stop
number, such as f/11 or f/16) is crucial to ensure that the
vast majority of the scene remains in sharp focus,
capturing the intricate details of the landscape. To
counteract the abundance of daylight and avoid
overexposure, a faster shutter speed, like 1/1000s, is ideal.
Additionally, with plenty of natural light available, a low
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ISO setting, around ISO 100, is advisable. This low
sensitivity minimizes the risk of introducing noise into the
image, preserving the clarity and quality of the
photograph.
moderate, choosing a wide aperture, such as f/2.8, serves
a dual purpose: it allows more light to reach the camera
sensor, crucial in an indoor setting, and it creates a
shallow depth of eld, artistically blurring the background.
This focus on the subject is further enhanced by the depth
of eld effect, drawing the viewer’s attention directly to
the subject. A moderately fast shutter speed, around
1/60s, is selected to prevent any motion blur, particularly
important when hand-holding the camera. The speed is
suf cient to freeze the subtle movements of the subject
while still allowing enough light in. However, the
moderate indoor lighting might still pose a challenge for
proper exposure. To address this, the ISO is increased to
around 800. This increase boosts the camera sensor's
sensitivity to light, ensuring the subject is adequately
illuminated without introducing excessive noise.
 Aperture
Aperture refers to the size of the opening in the lens when
a picture is taken. It is measured in f-stops (e.g., f/2.8, f/5.6).
A lower f-stop number means a larger aperture, allowing
more light to enter the camera. This also affects the depth
of eld, which determines how much of the image is in
sharp focus.

Each stop value represents a doubling of light. For example, from f5.6
to f4, you are allowing twice the amount of light to enter the camera.

A wide aperture (like f/1.4) gives you a shallow depth of

eld – great for isolating your subject from the background.
This is perfect for portraits or highlighting speci c elements
in your image. The background blur in a photo is often
referred as ‘bokeh.’ On the other hand, a narrow aperture
(like f/16) provides a deep depth of eld, keeping a larger
area in focus, which is ideal for landscape photography
where you want everything from near to far in sharp focus.

Just remember, the higher the f number, the smaller the

opening of the lens. The smaller the f number, the bigger
This photo was captured at aperture f 1.4. Notice the bokeh in the opening.
the background.
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 What exactly is an f-stop?
An f-stop measures the aperture size of a lens, directly in uencing the amount of light that reaches the camera's sensor. Each full f-
stop change either doubles or halves the light's intensity entering the camera. The best way to visualize this is by imagining you
have one candle in a dark room. You take a photo but realize that it’s too dark, so you open your f-stop number by one full stop on
the lens (e.g., from f/4 to f/2.8) . This is equivalent to adding an extra candle to the room, doubling the amount of light. Next, you
take another photo but it's still too dark, so you decide to open your f-stop number one more full stop (e.g., from f/2.8 to f/2.0). Now
you've doubled the light again, effectively having the equivalent of four candles. Finally, you take one last photo opening your lens
even one more stop, this time from f/2.0 to f/1.4, doubling the light once again (now 8 candles). The main idea of this example is to
help you understand what happens when you adjust your exposure by one full stop, illustrating how each full stop change doubles
or halves the amount of light in your image.

As you open the lens by one full stop, the

amount of light doubles.

F/1.4

F/2.0

F/2.8

F/4.0

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Shutter Speed
Shutter Speed: This is the length of time the camera's
shutter is open to expose light onto the camera sensor. It’s
measured in fractions of a second (e.g., 1/500, 1/60). A
faster shutter speed lets in less light and is good for
freezing action, while a slower shutter speed allows more
light and can create motion blur.

• Understand the Light: Assess the lighting conditions

before adjusting the shutter speed. In bright conditions,
you may need a faster shutter speed to prevent
overexposure. Conversely, in low light, a slower shutter Measured in fractions of a second, the curtain opens and closes to allow light to
enter the sensor.
speed may be necessary to avoid underexposure.

• Control Motion Blur: Decide on the creative effect you

desire. Use a fast shutter speed (e.g., 1/1000th of a
second or faster) to freeze motion, such as in sports
photography. Use a slow shutter speed (e.g., 1/30th of a
second or slower) to capture motion blur, which can add
dynamism to waterfalls or cityscapes.

• Avoid Camera Shake: To prevent camera shake, follow

the focal length rule: choose a shutter speed double the
focal length of the lens. For example, if you’re using a
50mm lens, select a minimum shutter speed of 1/100th
of a second.

A slow shutter speed of 1/4th of a second was used in this photo.

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 ISO
This determines the camera's sensitivity to light. A lower
ISO number (e.g., 100, 200) means less sensitivity and is
suitable for bright conditions. A higher ISO number
increases the camera's sensitivity to light, useful in darker
conditions but can also lead to increased noise or grain in
the image.

The main thing to keep in mind is that the higher the

number, the more “noise” or grain your images will have.
Now, this is not necessarily a bad thing, especially if you
want to create a vintage look similar to the days of lm
photography.
In the lm days, you had to buy the “speed” of your lm before you
went out shooting. If you knew you were going to shoot in low light
conditions, you had to have ISO 800 or higher.

• Start Low for Quality: Begin with the lowest ISO setting
(like ISO 100 or 200) in well-lit conditions to ensure the
highest image quality with minimal noise.

• Don’t be afraid to increase the ISO: It is better to have

images with some noise that are sharp, instead of blurry
images that are clean. This often happens with beginning
photographers who shoot with slow shutter speeds in
low light conditions because they are afraid to introduce
grain from high ISO.

The e ect of high ISO on your photos. Notice the “noise” or grain from the high sensitivity
of the sensor.
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CHAPTER 2

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 Ch. 2
Light

L
ight is the fundamental element that enables us to
capture images, without it, there would be no
photography. It is a form of electromagnetic
radiation that is visible to the human eye and is essential
for illuminating subjects.
The Main Characteristics of Light:
• Intensity - how bright or dim the light is. Bright light can
create vivid, high energy photos, while dim light can set a
moodier, more intimate tone.

The quality, direction, intensity, and color of light • Direction - where the light is coming from relative to the
signi cantly in uence the aesthetic and technical aspects subject in uences the appearance of shadows, textures,
of a photograph. Light can be natural, originating from the and the three-dimensionality of the subject.
sun, or arti cial, provided by man-made sources like ash
• Quality - refers to the hardness or softness of light. Hard
and continuous lights. The way light interacts with subjects
light creates sharp, de ned shadows, while soft light
[how it casts shadows, highlights textures, and affects
produces gentle, diffused shadows. The contrast is also
colors] shapes the mood, tone, and overall visual impact of
directly affected by the quality of light.
a photograph.
• Color - light has different colors or temperatures,
Understanding and manipulating light is crucial for
measured in Kelvin. Warm light (like from a candle) gives
photographers to control exposure, create depth, and
a cozy, golden tone, while cool light (like on a cloudy
convey emotions or narratives through their images.
day) has a bluish tone.

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Intensity
In the photo to the right, the intensity of light is high since it
was taken in the middle of the day on a sunny day. Usually
in bright conditions, the settings in the camera need a fast
shutter speed, low ISO, and high f-stop number (f8 or
higher). Because I wanted to freeze motion of the skater, I
used a shutter speed of 1/1000th, then adjusted the
aperture and ISO accordingly.

In the photo below, the light was quite low because it was
dawn, just before sunrise. With low intensity light, I knew I

Camera settings: Aperture f 5.6 / Shutter Speed 1/1000th / ISO 200

needed a slow shutter speed, and wide aperture. But I had

to make sure the shutter was not too slow that it would blur
the waves. The image has a calm and soothing feeling
because of the low intensity of light.

In photography the term “high key” means high intensity

lighting. This kind of lighting add energy and positivity to a
photo. A “low key” photo is one where the light is dim and
subtle. These images create mood and mystery.

Camera settings: Aperture f 3.2 / Shutter Speed 1/60th / ISO 800

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Direction
Direction of light is pivotal in photography; it in uences
texture, mood, and the overall impact of the image. Before
taking a photo, determine the light's source to better
position yourself or your subject.

Ask yourself, “where is the light coming from?”

Understanding this will help you control how light interacts

with the subject, placing the shadows and highlights where
you want.

This is quite a moody photo because the light is subtle and from above.

In the photo above, I wanted to bring out the texture of the

petals and create drama with deep shadows at the bottom
by playing the light directly above. Also, this is an example
of “low key” lighting.

In the photo to the left, I wanted the sun to whine directly

on the model’s face. Since the sun was low on the horizon, I
knew it would create a long shadow behind her, giving the
image a bit of dimension.

Tip - Find the direction of the light, then move the model or yourself to place the
highlights and shadows where you want them.

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 Quality
There are two things that in uence the quality of light; the
size of the light source and the distance from the subject.

In lighting, a larger light source relative to the subject

provides softer light, with more gradual transitions between
light and shadow. This results in images that are more evenly
lit, with softer, more attering shadows. The smaller the light
source and the further away it is from the subject, the harder
the light will be. A perfect example of this is taking photos at
noon on a sunny day. The sun is high in the sky, and its light

In this portrait taken at sunset, the light is attering because of its softness and
low contrast.

is more direct and intense, causing harsh shadows and high

contrast in photographs. This can lead to un attering images
with strong, sharp lines.

The midday sun creates sharply de ned shadows with high contrast.
On the other hand, at sunset, the sun is near the horizon and
its light travels through a greater thickness of the Earth's
atmosphere, which acts as a diffuser, scattering the sunlight.
This diffusion process softens the light, reducing contrast
and creating a more even, attering illumination.
Additionally, as the sun approaches the horizon, its apparent
size relative to the subject increases, making the light softer.

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Color Temperature
Color temperature impacts your photos in two essential
ways. Creatively, the light's color alters the mood of
your scene. Technically, it's crucial to control the color
temperature of your camera (White Balance) to
maintaining consistency of the colors in the scene.

Kelvin values for typical conditions:

Candle light: Around 1900 Kelvin. Light is a deep

orange.

Sunset/Sunrise: Ranges from 3000K to 4000K. Light

during these times is warmer, giving off a golden or
reddish hue.

Daylight: Typically around 5000K to 6500K. This light is

considered neutral or slightly blue, resembling midday
sunlight.

Cloudy/Overcast Day: Around 6,500k to 8000k, this

light has a blue and cool tone.

The way to control the colors on your scene is to adjust

the white balance in your camera. You can do it in a few
ways; by letting the camera do it automatically, by using
A surfer taking a walk just after sunrise in California. At sunrise the light is warm and soft.
a grey card, or by inputting the Kelvin numbers
manually.

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CHAPTER 3

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Ch. 3
Composition

C
omposition in photography refers to the 2. Leading Lines: The use of leading lines is crucial for
arrangement of visual elements within a guiding the viewer’s eye through the photograph. Lines
photograph. It's a crucial aspect because it dictates can be anything in the environment, such as roads, fences,
how the photo appears and how it communicates its or rivers, which lead towards the main subject or across the
message or story. Good composition can guide the frame. This principle helps in creating a sense of depth and
viewer's eye, create a sense of balance, and enhance the perspective, making the photo more dynamic.
overall impact of the image. Training the eye to create well
3. Depth: Adding depth to a photograph makes it more
balanced and pleasing photos takes time and practice.
three-dimensional and life-like, enhancing its appeal. This
There are many composition concepts, but for simplicity can be achieved by including elements in the foreground,
purposes we will focus on only three. middle ground, and background, or by using techniques
like a shallow depth of eld to blur the background and
1. Rule of Thirds: This principle is fundamental for creating
focus on the subject. Depth adds layers to a photograph,
balanced and interesting shots. By positioning the main
making it more interesting and engaging.
subjects off-center and aligning them with the grid lines
and intersection points, the photo often becomes more
aesthetically pleasing and engaging. It's a versatile
guideline that works well in various types of photography,
from landscapes to portraits.

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Rule of Thirds
One of the best ways to learn how to frame using the rule
of thirds is to go out with the intention to practice this
technic. The rst thing you want to do is turn on the grid
lines inside your camera. All cameras have this option, just
look at the instruction manual.

Assignment

1. Go for a walk with your camera: Choose a location

like a park, street, or any environment with diverse
subjects.

2. Focus on different elements: Try photographing

different subjects – people, landscapes, architecture.
Aim to place these subjects at the intersections of the
grid lines or along the lines. For example, position a
person's eyes at the top intersection points, or align the
horizon with the lower or upper horizontal line.
3. Vary your approach: Experiment with horizontal and
vertical compositions. Notice how placing subjects at
different points on the grid affects the photo's feel and
balance.
In this photo your attention is drawn to the surfboard and the man riding the
bicycle.
compared to centered subjects. This exercise will
enhance your understanding and application of the
Rule of Thirds, helping you compose more compelling
photographs.

4. Review and re ect: After your session, review your

photos. See how the Rule of Thirds placement impacts
the overall composition and what difference it makes

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Leading Lines
Leading Lines uses natural or man-made lines within a
scene to direct the viewer's attention towards the main
subject, guide their eye through the image, or create a
sense of depth and perspective. These lines act as visual
pathways and can signi cantly enhance the impact of a
photograph.

1. Types of Leading Lines: These can be straight, curved,

diagonal, zigzagged, or even implied. Common
examples include roads, pathways, railway tracks, rivers,
fences, shorelines, architectural elements, or even
shadows and light trails.

2. Directing Attention: Leading lines are effective in

directing the viewer's eyes to the focal point of the
image. For instance, a road leading towards a mountain The leading lines of the wooden path take your eyes deep into the eld.

can draw the eye towards the mountain, making it the

primary focus of the photograph. photo. For instance, a winding path can create a sense
of mystery, leading the viewer to wonder what's around
3. Creating Depth and Perspective: Lines can also create
the bend.
a sense of three-dimensionality in a two-dimensional
image. For example, a road or a fence line that starts at 5. Choosing Your Perspective: The effectiveness of
the bottom of the frame and extends into the distance leading lines often depends on the angle and
can create depth, making the scene more engaging. perspective from which the photo is taken. Changing
your viewpoint or camera position can dramatically alter
4. Enhancing the Storytelling Aspect: The direction and
how these lines interact with the rest of the elements in
nature of the lines can also add to the narrative of the
the frame.
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Depth
Creating a balanced and dimensional photograph involves
thoughtful placement of elements in the foreground, middle,
and background. I approach creating depth similar to
storytelling in a movie, where each segment - the beginning,
middle, and end - plays a crucial role in the narrative.

How to create depth:

• Foreground: This is the part of the scene closest to the

camera. Including interesting elements here, like owers,
rocks, or other objects, can lead the viewer's eye into the
image.

• Middle Ground: This area holds the main subject of your

photograph. It acts as the focal point and bridges the
In this photo, the foreground is the people under the colorful umbrellas, the middle is
foreground and background.
the blue sea, and the background is the hotels infant of the green hills.

• Background: Elements in the background provide context

and complete the sense of depth. It could be a distant • Perspective and Angles: The angle from which you take the
landscape or a city skyline. photo can greatly affect the perception of depth. Shooting
from a lower angle can exaggerate the depth, making
• Light and Shadow: The use of light and shadow can give a foreground elements appear larger and more prominent.
three-dimensional feel to the subjects. Side-lighting, for
example, can create shadows that give form and depth to
objects in the photo.

• Scale and Size Difference: Including objects of different

sizes can suggest depth, especially when smaller objects are
placed in the background and larger ones in the foreground.

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AFTER THE SHOT

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 Ch. 4
Post Production

A
fter capturing your photographs, you're faced with I recommend to start shooting in JPEG only. You will learn
two choices: Leave them as they are or Edit how to capture good images faster, since you won’t rely in
them. post production to x exposure problems. It’s important to
learn to do things right “in camera” from the start.
As a beginner, it's important to understand the two primary
le formats: JPEG and RAW. As you become skilled at capturing properly exposed
photos in JPEG format, you'll nd that when you decide to
JPEG is a popular format due to its smaller le size, making
shoot in RAW, your post-production work becomes more
it easy to store and share. These les are automatically
ef cient. This happens from spending less time xing
processed and color corrected in your camera, so they're
issues that could have been prevented at the moment you
ready to use right away, perfect for quick sharing. However,
took the photos. Learn to get properly exposed phots in
JPEGs offer limited exibility for editing, as some image
JPEG and the rest will be easy.
details are lost during compression.
I shoot in both RAW and JPEG because I want to keep a
On the other hand, RAW les are like digital negatives,
copy with all the information incase I want to make edits in
capturing all the data from your camera's sensor. They
the future. But most of the time I just use the JPEGS.
provide the highest image quality and allow for extensive
editing, from adjusting exposure to ne-tuning colors. But Once you are ready to edit your images, Adobe
RAW les are larger and require post-processing using Lightroom or Capture One are the best softwares to learn.
special software, which might initially seem daunting.

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 JPEG
Pros:

• Smaller File Size: JPEGs are compressed, resulting in smaller le sizes that are easier to store and
share.

• Universal Compatibility: Nearly all devices and software support JPEG, making it highly accessible.

• Ready to Use: JPEG images are processed and color-corrected in-camera, requiring minimal to no
post-production work for immediate use.

• Ef ciency: Ideal for situations where quick turnaround is necessary, like journalism or event
photography.

Cons:

• Loss of Detail: Compression leads to a loss in image quality and details.

• Limited Post-Processing Flexibility: The compression and in-camera processing limit how much
an image can be altered or corrected in post-production.

• Lower Dynamic Range: JPEGs have a narrower dynamic range compared to RAW, affecting the
details in shadows and highlights.
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 RAW
Pros:

• Higher Quality: RAW les capture all data from the camera sensor, providing the highest quality images.

• Greater Flexibility in Editing: Offers extensive post-processing exibility without loss of quality, allowing for
signi cant adjustments in exposure, white balance, and colors.

• Wider Dynamic Range: Captures a broader range of shadows and highlights, ideal for high-contrast scenes.

• Non-Destructive Editing: Changes made to RAW les are non-destructive, preserving the original data.

Cons:

• Larger File Size: RAW les are signi cantly larger, requiring more storage space and faster memory cards.

• Requires Post-Processing: Images are unprocessed and appear at straight out of the camera, necessitating
post-production work.

• Compatibility and Accessibility: Requires speci c software for viewing and editing, and not as universally
compatible as JPEG.

• Slower Work ow: The larger le size and need for post-processing can slow down the work ow, especially in
high-volume shooting scenarios.

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Conclusion

I
t has been my pleasure to guide you through the initial steps of your photography
journey. Remember, it is indeed a journey, not only of mastering the skills needed to
become a great photographer but also a journey through life. The way you view the
world completely changes when you hold a camera in your hands. Things that most people
overlook in everyday life become exciting and interesting.

Of course, time and patience are absolute necessities for becoming a great photographer,
but in the end, it will all be worth the investment. I hope this ebook has inspired you to
continue exploring the wonderful adventure that photography o ers.

Cheers to your success!

Sincerely,

Xavier

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 Meet Xavier Ferrara

Xavier is a travel ne art photographer whose adventurous spirit for photography has led him to travel the
world, capturing diverse cultures, landscapes, and telling stories. His work is deeply in uenced by his
musical background, blending his passions for music and photography. His images, rich in emotion and
storytelling, re ect his belief in the deeper beauty of life. Today, he continues his journey, seeking new
adventures and capturing the essence of life’s intricate beauty.

More info at www.xavierferrara.com

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