Welcome

Department Photomedia Creative

Puncak Alam
• Mohd Shahrizal B. Mat Hussin

+ 6012 3386221
pica_qq79@yahoo.com
lucky guy
photography gear
Type of Digital Camera
http://www.littlesproutphotography.com/blog/wp-content/uploads/2010/07/newborn-photographer1.jpg
 200mm

70mm
The-Digital-Picture.com
Telephoto
end
What is the fundamental photography?
ISO / ASA
Set the ISO to the lowest native value on your camera,
which is usually ISO 100 or 200, and focus the lens on
your subject or scene. You can use your lowest ISO because you use longer
exposures to make up the difference in the light-gathering capability of your camera,
and this technique helps cut down on extraneous digital noise in the image. The longer
you shoot and the darker it gets, the more you have to bump up the ISO, but this is a
good place to start.
Aperture
Shutter Speed
 DSLR Camera
(Digital single Lens reflect camera)
The Anatomy of a Digital DSLR

Main Parts of a Digital

SLR

Body
Lens
Aperture
Lens Elements
Flip-Up Mirror
Viewing System
Shutter
Sensor
Understanding The Camera
Settings
 Understanding Image Size and Quality
Digital photographs are actually mosaics of millions of tiny
squares called picture elements— or just pixels.

A digital image that looks sharp and has smooth transitions

in tones (top) is actually made up of millions of individual
square pixels ( bottom). Each pixel is a solid, uniform color.
 Number of Pixels
The quality of a digital image depends in part on the number
of pixels used to create the image (sometimes referred to as
resolution).
At a given size, more pixels add detail and sharpen edges.
However, there are always size limits. When you enlarge any
digital image enough, the pixels begin to show—an effect
called pixelization.
 Exposure Controls
- The Shutter and Aperture -
One of the most important aspects of photography is
getting the exposure right because it determines how
light or dark an image is and what mood it conveys.

Less light makes an image darker (left)

and more light makes it lighter (right).
The aperture adjusts the size of the
opening through which light passes to
the image sensor. The aperture can be
opened up to let in more light or closed
(stopped down) to let in less. In respect
to just exposure, smaller apertures let
less light strike the image sensor so the
image is darker. Larger apertures let in
more so it's lighter.

f/11

f/2.8
Depth of Field Depth of Field

For maximum depth of field, with the entire scene

sharp from near to far, you need a small aperture
 Exposure - Seesaw
Analogy
1. Here the aperture is f/4 and
the shutter speed is 1/125.

2. If you reduce the

aperture one stop to f/5.6
the shutter speed has to
decrease one stop to 1/60 to
keep the exposure the same.

3. If you reduce the

aperture one more stop to
f/8 the shutter speed has to
decrease one more stop to
1/30 to keep the exposure
the same.
 Depth Of Field
Depth of field (DOF) is a term which
refers to the areas of the photograph
both in front and behind the main
focus point which remain "sharp" (in
focus).

prepared by m shahrizal m hussin

 Depth Of Field
• Depth of field is affected by the
aperture, subject distance and
focal length.

prepared by m shahrizal m hussin

 aperture
• A larger aperture (smaller f-number, e.g. f/2)
has a shallow depth of field. Anything behind
or in front of the main focus point will appear
blurred.
• A smaller aperture (larger f-number, e.g. f/11)
has a greater depth of field. Objects within a
certain range behind or in front of the main
focus point will also appear sharp.

prepared by m shahrizal m hussin

prepared by m shahrizal m hussin
Shallow Depth of
Field
Depth of Field
Depth of Field
 Shutter speed and movement
subject

Slow speed : blur effect

Fast speed : freeze the motion
Creative used of shutter speed : panning,
zoom in, spin / twist the camera, slow
speed with flash
slides prepared by m. shahrizal m. hussin
photomedia.dept
 Photo by sabkimdnoh
slides prepared by m. shahrizal m. hussin
photomedia.dept
Slow Shutter
Speed
Slow Shutter
Speed
Slow Shutter
Speed
Slow Shutter
Speed
Fast Shutter
Speed
Fast Shutter
Speed
Fast Shutter
Speed
end
 Exposure
• To get a rich image with realistic tones, dark
but detail shadows, and bright, delicate
highlights, you need to expose your film /
image sensor correctly
 Exposure ?

The exposure is the amount of light received

by the film or sensor
 Light Exposure
We express ‘exposure’ by using 3 terms :
• Over exposure
(too much light)

• Normal exposure
(just enough light)

• Under exposure (less light)

 Normal exposure
Exposing film / image sensor properly, letting
the right amount of light into the camera, involves
understanding three (3) things:
1. How the shutter speed and the aperture work together to
control the amount of light that reaches the film/ sensor
2. ISO rating or sensitivity of the ccd in your digital camera
3. How to meter the amount of light & the set the camera’s
control, either automatically or manual.
 Shutter
• Shutter : a mechanism in a camera that opens
and closes to admit light into a camera for a
measured length of time.

More higher no (..60, 125…..1000, mean more faster the speed—more

less amount of light entering to a camera)
More smaller no as …60, 30, 15, 8…., mean more slower the speed &
more amount of light entering to a camera …)
 aperture
• Aperture: the size of lens opening through
which light passes.

The plates in the iris diaphragm fold in on

each other to shrink the aperture and expand
out to make it wider.
 F number can be set

In digital camera we see F no at the display panel- by rotate the dial button you
can change F no.
Size of opening represent by F No / F stop series :
more small F no : more wider opening-more amount of light
enter …
more big F no : more small opening-more less light
 ISO : International standard organization
• ISO speed – 50, 100, 200, 400, 800, 1000, 1600, 3200
Low sensitivity (slow reaction to light) High sensitivity (Fast reaction to light)

• A rating of a film's sensitivity to light. Though

digital cameras don't use film, they have
adopted the same rating system for describing
the sensitivity of the camera's imaging sensor
ISO : 50,100, 200, 400, 800, 1600, 3200
end
 COMPOSITION

Elements of Composition
in Photography
 Composition in Photography
Rule of Thirds Framing
Pattern Perspective
Symmetry Space
Texture Balance
Depth of Field Colour
Line
 Rule of Thirds

The basic principle behind the rule of thirds is to imagine

breaking an image down into thirds (both horizontally and
vertically) so that you have 9 parts.
With this grid in mind the ‘rule of thirds’ now identifies
four important parts of the image that you should
consider placing points of interest in as you frame your
image.
Rule of Thirds
Rule of Thirds
 Pattern

There are patterns all around us if we only learn to see

them. Emphasizing and highlighting these patterns can
lead to striking shot.
 Filling your frame with a repetitive pattern can give the impression of
size and large numbers. The key to this is to attempt to zoom in close
enough to the pattern that it fills the frame and makes the repetition
seem as though it’s bursting out (even if the repetition stops just outside
of your framing).

Pattern
Pattern
Pattern
 Symmetry

Depending upon the scene - symmetry can be something to go

for - or to avoid completely.
Symmetry
 Texture

Images a two dimensional thing yet with the clever use of ‘texture’
they can come alive and become almost three dimensional. Texture
particularly comes into play when light hits objects at interesting
angles.
Texture
 Lines

Lines can be powerful elements in an image. They have the power to

draw the eye to key focal points in a shot and to impact the ‘feel’ of
an image greatly.
Diagonal Lines
Horizontal Lines
Vertical Lines
S-Curve Line
 Framing

‘Framing’ can be used within the composition of a shot to help you

highlight your main point of interest in the image and and/or to put
it in context to give the image ‘depth’.
Framing
Framing
Framing
Framing
Framing
 Perspective
The perspective that a shot is taken from is another element that can
have a big impact upon an image.

Shooting from up high and looking down on a subject or shooting from below
looking up on the same subject drastically impact not only the ‘look’ of the image,
emphasizing different points of interest, angles, textures, shapes etc - but it also
impacts the ’story’ of an image.
Perspective
Perspective
 Space
There can be a fine line between filling your frame with your subject (and creating
a nice sense of intimacy and connection) and also giving your subject space to
breath.

Either technique can be effective - so experiment with moving in close and

personal and moving out to capture a subject in its context. Sometimes it is what
you leave out of an image that makes it special
Space
 Balance

The positioning with elements in a frame can leave an image feeling balanced or
unbalanced. Too many points of interest in one section of your image can leave it
feeling too ‘heavy’ or complicated in that section of the shot and other parts
feeling ‘empty’.
Balance
 Colour

The colours in an image and how they are arranged can make or
break a shot.
Bright colours can add vibrancy, energy and interest - however in the
wrong position they can also distract viewers of an image away from
focal points.
 Colours also greatly impact ‘mood’. Blues and Greens can have a
calming soothing impact, Reds and Yellows can convey vibrancy ad
energy etc.
Colour
 Light Source
Available light or ambience light (already exist
in scenes)

Outdoor (sunlight, moon light, street light )

Natural Light
Light Source
Available light or ambience light (already exist
in scenes)

1. Outdoor (sunlight, moon light, street

light )
2. Indoor (fluorescent, tungsten)

Artificial light (Bring to scenes)

3. Strobe light (speed light)

4. Electronic flash (studio light)
The color,
direction,
quantity, and
quality of the
light you use
determines
how your
subjects
appear
Quality of light
SOFT OR HARD LIGHTING.
• Direct light : under clear sky -produces hard light
(sharp shadow, contrast )

• Indirect light : during cloudy or overcast day / haze /

or reflected from wall or building – produces soft /
hazy light ( no hard shadow, slow gradient of tone)

• The quality of sunlight depends on its strength and

direction
Natural light
The source of all our natural light is the sun, however it takes on different
characteristics at different times of day and in different weather condition

• Midday sunshine
• Late afternoon/early evening
• Sunset / sunrise
• Dusk
• Overcast
• Night
 Morning
• The sun is low and
shadows could be very
pleasant in the
photograph.

• And if you make

portraits you may
achieve a great
modeling light for you
photographs.

• The color of the light is

warm and slightly
reddish.
Midday sunshine
Midday lighting
 Afternoon
• Sun is getting a bit lower and shadows become longer, but the
quality of light doesn't change much from the harsh midday
sun.

• You may use the light when the sun about 45 degrees from
the horizon, which could be nice for certain shots..
 Evening
- Great time of the day when the sun is getting lower and lower
with every minute.

- And even after the sunset there are few minutes, when the
light of the sky creates somewhat magic mood ( blue sky turn
into bright deep blue )
Late afternoon lighting
You can clearly see the strong yellow cast of
the evening sun on the chimneys of Battersea
Power Station in this photograph.
Sunset
Sunsets are quite short and the light changes very fast, a scene like this
will only last for a couple of minutes before the sun disappears below the
horizon.
Contrast is very low, and here the light of the sun and that of the sky
are very close in intensity as they shine on these rocks.
 Night
• we cannot take pictures without a tripod -People and moving objects
usually appear as a blurred/smudged streak of light or shape.

• we can express motion in a photograph by the contrast of sharp (in focus)

shapes and blurred or smudged (sometimes almost unrecognizable)
shapes
 Time of day
• Night, morning, midday, afternoon and evening

• Each of these parts of the day has their own effects on the
quality of light and mood.
Light Direction
• Front / back / side / top (depend on camera position)

• Front Light (light from behind of camera or front of subject

matter : produce flat tone.

• Back light (from behind subject matter or from front of

camera position) : reveal subject shapes, produce silhouette
and rim light)

• Side light: reveal subject texture, split image

 Window light

Window light is how we generally see natural light

indoors.--the light is quite soft (since a window is a large
source)--attractive and very photogenic.--contrast is
relatively high despite the soft light source--with
multiple windows contrast can be lower since there will
be more fill light.
Although there is direct sunlight coming into this room it affects only a
relatively small area. Most of the light on the walls and furniture is coming
from a reflection of this sunlight or the diffuse light provided by the window
itself. Notice the red colour on the far wall, which is probably a reflection
from the curtains. Also note the high contrast that the sunlight creates, the
highlight areas are very bright.
Window light
 Important of light
• Using light to reveal shape
• Using light to reveal form
• Using light to reveal texture
• Using light to evoke emotion
 Side lighting
very good for showing
form and texture and lends
a three-dimensional
quality to objects.
Shadows are prominent
and contrast can be high
as a result---dramatic.

encountered at the beginning and end of the

day and as such is often seen in films and
photographs.
Side lighting can be used to
great effect to reveal form
and texture.
The texture of this wall is
revealed by the light of the
evening sun raking across it.
Back lighting can make even the most mundane subjects
look appealing.
 Just because the sun is
setting and light is quickly
fading does not mean you
have to pack up your
camera gear and stop
shooting for the day.
 LOW LIGHT
PHOTOGRAPHY
• http://prperold.deviantart.com/art/Light-Pillar-158416827?q=boost%3Apopular%20in%3Aphotography%20low%20light&qo=11
• http://bethlungaro.deviantart.com/art/Low-Light-109806921?q=boost%3Apopular%20in%3Aphotography%20low%20light&qo=42
• http://iustyn.deviantart.com/art/Mountain-of-Light-106276134?q=boost%3Apopular%20in%3Aphotography%20low%20light&qo=48
 Night & Low-Light Photography

Take advantage of dark nights and produce great photos

As the light level diminishes, change your exposure
settings.
If you are not using a tripod, you will have to slow down your shutter speed, increase
the aperture setting, or raise your ISO setting to be able to shoot handheld. Be sure to
review the image on your camera’s rear LCD monitor to ensure you’re getting the
exposure you want, paying close attention to your camera’s histogram display. The
histogram may be weighted toward the left or darker side. This is perfectly okay
because you want your low-light or nighttime images to have more dark tones to look
authentic.
 Camera Support
If the camera does have a flash off feature
and you turn it off you'll find the shutter
clicks once to open and again to close
when you press the shutter button. While
it's open you have to keep the camera
perfectly still, which is usually impossible if
you are hand holding it.

There are many supports available to

ensure the camera stays still. These range
from compact to large tripods, plus clamps
and grips.
Sensitivity Ratings:
It is a common belief that the lower the available
light, the faster the ISO rating needs to be to
record enough light. Usually this is true,
however, fast ISO settings are not always
necessary for night photography.
Normal ISO settings (100 to 400 ISO) can be used
successfully. The exposures needed would just
be longer, sometimes for several seconds. Hence
the need for a sturdy support such as a tripod!
Portrait with low light &
mix lighting
On field – low light photography
Using Movement

With extremely low light levels, moving subjects such as

people walking will not register in the image so long as
there is very little light shining upon them. Cars are a good
example of using this technique.

With long shutter speeds and moving cars, the headlights

and taillights will register as streaks. The cars themselves
will not register on the image. This effect can also be used
at fairgrounds where amusements lighting can be recorded
while moving.

Here’s an image exposed for 30 seconds at f16. The long

shutter time allowed the cars to move fully through the
frame leaving their headlights and taillights to "streak"
through the frame.

Notice that detail from the cars did not register in the
image. Since there was some ambient lighting in the sky
and street lighting, a high f-number was used to keep the
scene from overexposing and lengthening the exposure
time to enhance the effect.
Shooting Fireworks

To watch a fireworks display is quite spectacular.

However capturing exciting fireworks images
needs careful planning and a bit of luck.

Each burst of firework can take up to 5 seconds

to complete its pattern in the sky. To capture
one burst is nice but sometimes it may not look
as striking in an image as a few bursts of
fireworks. Therefore ideally the exposure should
be long enough for at least 2 or three bursts of
fireworks to appear on the image.

As fireworks are set off at night, this does give

the chance to use long exposures without fear
of over exposure unless there is a large amount
of ambient artificial lighting showing in the
image or traces of daylight.
Cityscape
Sunset / Sunrise

http://digitalphotographysnap.blogspot.com/2011/02/10-tips-for-photographing-sunset-and.html
 Sunset / Sunrise
Learn to predict a good sunset before it
happens

Be patient to get the best colors

Find a good foreground subject

Fill your photo with color. You have

probably heard of the ‘rule of thirds’ in
landscape photography

If near water, use it to enhance the effect.

People often see a sunset at the beach, or
by a river, and stand a long way back to get
their shot

http://www.picturecorrect.com/tips/sunset-photos-tips-techniques/
Sunrise and sunset are two best parts of the day

The color is more reddish and yellowish, which makes the objects look warmer and
sometimes more attractive

The shadows with more gradient edges and the transition from light to shadow
becomes sometimes less evident

The shadows are long and you may find it interesting just to base the photograph
purely on the shadows, their pattern.

Or use them as leading/converging lines to bring the eye to the subject, which casts
them.
Sunset
Sunrise
http://digitalphotographysnap.blogspot.com/2011/02/10-tips-for-photographing-sunset-and.html
 Mixed Light
To start with, you generally have to understand "mixed light". Often in
a scene there are two (or more) types of light. One might be fixed
(moon light, city lights) and another is variable (fireworks, flash lights,
on camera flash). The goal is to balance them. Ironically, balance
rarely means equal - generally you want the exposure of one light to
be roughly 1/2 to 1/4 of the other.
Perhimpunan Agung UMNO ke-56 tahun 2002
Perhimpunan Agung UMNO ke-56 tahun 2002
© Tom Stoddart Getty images. A well-nourished Sudanese man steals maize from a starving child
during food distribution at a medecins sans frontieres feeding centre, Ajiep, Sudan, in 1998
Tom Stoddart
Albania, 1999 - Kosovar deportees meeting in a refugee camp.

http://www.jamesnachtwey.com
There are no rules,
no formulas, no
guarantee that you
will get the
permission to make
a good potrait
photography
Improving your portrait photographs
Use Focus-Lock to Keep Your Subject Sharp

Many cameras have focus lock. This is used by

pressing the shutter button only half-way down
http://imaging.nikon.com/history/basics/16/02.htm
Focus points: A single focusing point

http://cpn.canon-europe.com/content/education/infobank/focus_points/a_single_focusing_point.do
The Eyes Have It

With few exceptions, the eyes are the key

to the portrait.
The Eyes Have It

the eyes are so powerful that without

looking at the rest of a face we can

interpret the emotions therein.

The Eyes Have It

It is not even with the mouth

that we smile, but with the eyes

WITHIN THE FRAME: The Journey of Photographic Vision

Capturing Emotion

“The more open you are with people,

the more they will trust you.”

Cultural Sensitivity

When you interact within a

culture, and you do so with

intentionality, humility, and

respect,
There is no place without culture
Spending a few
hours before your
trip doing a little
reading can pay
off richly.
Play with element
& principle
Using the Elements and Principles of Design in
Photography
 Principle & Element of Design

Line
Shape & Form
Space
Colour
Texture
Balance
Repetition
Movement & Rhythm
Emphasis
SAMPLE OF WORK
There’s gesture, the power of human face,
and a great deal of humility

Improve your smile &

laugh freely
Shake their hand if that appropriate in the
culture you’re photographing

– SALAM – HELLO – HOLA – BONJOUR –

NAMASTE – MAMBO – NI HAO –
Tell them where you are
from….

If necessary, use one

word: Malaysia, Indonesia,
liverpool ? Man United?
Or Kampung Baru? ……
and then point to yourself

“WE ARE BROTHER”

“May I take your

photograph?” or simply,
“photo?”
• end