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Just to remember: the 12 essential facts
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PostPosted: Fri Oct 31, 2008 9:59 am    Post subject: Just to remember: the 12 essential facts Reply with quote
Found elsewhere in the net...

12 essential facts, formulas, and photographic rules

What happens when your systems go belly-up, when all of that cutting-edge technology dies and you must rely on (gasp!) your own knowledge?

It pays to have these basics in your head. They can get you out of a jam and help you get good shots when nothing else will.

1. Sunny 16 rule The basic exposure for an average scene taken on a bright, sunny day is f/16 at a shutter speed equivalent to one over the ISO setting—that is, f/16 at 1/100 sec at ISO 100. From this you can interpolate, and try f/22 at the beach, f/11 on a cloudy-bright day, etc.

2. Moony 11, 8, and 5.6 rules There are many different rules that work well when shooting the moon. One favorite for a proper exposure of a full moon is f/11 at one over the ISO setting. For pictures of a half moon, use the same shutter speed at f/8, and for a quarter moon, use the same shutter speed at f/5.6.

3. Camera shake rule The slowest shutter speed at which you can safely handhold a camera is one over the focal length of the lens in use. As shutter speeds get slower, camera shake is likely to result in an increasing loss of sharpness. So, if you're using a 50mm lens, shoot at 1/60 sec or faster. Not enough light? Use a flash, tripod, or brace your camera against a solid object.

4. Anatomical gray card Metering off an 18-percent neutral gray card is a good way to get a midtone reading that will give you a good overall exposure of a scene. Forgot your gray card? Hold your open hand up so it's facing the light, take a reading off your palm, open up one stop, and shoot. (Various skin tones rarely account for even a full-stop difference.)

5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field, because the depth-of-field zone behind that point is about twice as deep as the depth-of-field zone in front of it. This works for all apertures and focal lengths, but the smaller the aperture and the shorter the focal length, and the greater the distance you shoot at, the greater the depth of field.

6. Largest digital print rule To calculate in inches the largest photo-quality print you can make with a digital camera, divide the vertical and horizontal pixel counts (see your manual) by 200. For critical applications, or if you want exhibition-quality prints, divide the pixel counts by 250.

7. Exposure rules The classic advice is, "Expose for the highlights, and let the shadows take care of themselves." This works with slide film and digital. But with negative film, especially color negative, you're better off overexposing by one stop.

8. Quick flash-fill rule When using an automatic flash unit that doesn't provide auto flash-fill ratios, set the flash's ISO dial to twice the ISO you're using. Meter the scene, select an f-stop, set the autoflash aperture to the same f-stop, and shoot. The resulting 2:1 flash-fill ratio will produce filled shadows one stop darker than the main subject.

9. Flash range rule Want to know how much extra flash range you get by going to a faster ISO? The rule is, "Double the distance, four times the speed." For example: If your flash is good to 20 feet at ISO 100 (film or digital), it will be good to 40 feet at ISO 400.

10. Megapixel multiplier rule To double the resolution in a digital camera, you must increase the number of megapixels by a factor of four—not two. Why? The number of pixels in both the vertical and horizontal dimensions must be doubled to double the pixel density across the image sensor.

11. Action-stopping rules To stop action moving across the frame that's perpendicular to the lens axis, you need shutter speeds two stops faster than action moving toward or away from you. For action moving at a 45-degree angle to the lens axis, you can use a shutter speed one stop slower. For example: If a person running toward you at moderate speed can be stopped at 1/125 sec, you'll need a shutter speed of 1/500 sec to stop the subject moving across the frame, and a shutter speed of 1/250 sec to stop him if moving obliquely with respect to the camera.

12. Sunset rule To get a properly exposed sunset, meter the area directly above the sun (without including the sun). If you want the scene to look like it's a half-hour later, stop down by one f-stop, or set exposure compensation to minus one.


Jes.


PostPosted: Fri Oct 31, 2008 11:23 am    Post subject: Reply with quote
Nice one, good to see all that in one place. Thanks Very Happy Very Happy Very Happy


PostPosted: Fri Oct 31, 2008 6:34 pm    Post subject: Reply with quote
Wow, #12 makes it so easy. Usually I adjust and take pics until it looks right Embarassed


PostPosted: Fri Oct 31, 2008 7:01 pm    Post subject: Reply with quote
Poolhall wrote:
Nice one, good to see all that in one place. Thanks Very Happy Very Happy Very Happy


You're welcome!

Jes.


PostPosted: Fri Oct 31, 2008 7:02 pm    Post subject: Reply with quote
ryan s wrote:
Wow, #12 makes it so easy. Usually I adjust and take pics until it looks right Embarassed


Not with film! Wink

Jes.


PostPosted: Fri Oct 31, 2008 9:53 pm    Post subject: Reply with quote
Haha, you're right! Razz


PostPosted: Tue Nov 11, 2008 8:54 pm    Post subject: Reply with quote
Wonderful list Jes - thanks

patrickh


PostPosted: Thu Nov 19, 2009 1:03 am    Post subject: Reply with quote
Just found this...and bookmarked for future reference...thanks Very Happy


PostPosted: Thu Nov 19, 2009 1:36 am    Post subject: Re: Just to remember: the 12 essential facts Reply with quote
Jesito wrote:

5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field,


I've never understood this rule, though I've heard it repeated many times. What does “a third of the way into the picture mean”? One third of the distance to the farthest object? If I have a mountain in the distance, should I know how far it is and divide that by three? If I have the sun in the picture, should I focus at 1/3 AU?

Or, does one third into the picture mean one third of the distance to the primary subject that I'd normally focus at? Again, what if it's that distant mountain many kilometres away? Or worse, if it's that flower one metre away and I want to maximise depth of field to have both the flower and that distant mountain in focus, do I then focus at 33 cm? Clearly not.

Can anyone come up with a good definition of “a third of the way into the picture” that makes the rule work? It may sound like I'm intentionally nitpicking, but I honestly can't figure out what this means. =)


PostPosted: Thu Nov 19, 2009 2:08 am    Post subject: Reply with quote
arkku wrote:
Jesito wrote:
5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field,
I've never understood this rule, though I've heard it repeated many times

If I'm not misunderstanding the initial statement this is due to the fact that when you're focusing on a very distant subject the DOF will not reach the foreground which will be slight out focus. This is usually disturbing for the human eye more than a slight out of focus far in the distance (where you're not going to see much fine detail anyway). Thus the advice to focus on a nearer subject, the DOF will be shifted back giving more apparent sharpness where the human eye demands it. I tried to put it in simple words since I'm not an expert neither in optics nor in physics, so pardon me if something is missing or incomplete. Of course you do not need to measure anything, just try to make an educate guess. The experience will then tell you how to act from case to case, and lens to lens.

Cheers, Marty.


PostPosted: Thu Nov 19, 2009 2:11 am    Post subject: Reply with quote
BTW thanks Jesito for sharing. It's always good to refresh the fundamentals from time to time.

Cheers, Marty.


PostPosted: Thu Nov 19, 2009 4:15 am    Post subject: Re: Just to remember: the 12 essential facts Reply with quote
Arkku wrote:
Jesito wrote:

5. Depth of field rules When focusing on a deep subject, focus on a point about a third of the way into the picture to maximize depth of field,


I've never understood this rule, though I've heard it repeated many times. What does “a third of the way into the picture mean”? One third of the distance to the farthest object? If I have a mountain in the distance, should I know how far it is and divide that by three? If I have the sun in the picture, should I focus at 1/3 AU?


Lens distance scales calibrated in AU - now, there is a gap in the market.

I suspect that this rule derives from the assumption that the depth of field is twice as much from the point of focus back towards infinity, as it is from the point of focus forward towards the camera.

This assumption is not correct (it depends on the distance), so the rule also falls down.

Since the intention is to have general rules and not worry about the exceptions (such as macro) I feel a better rule would be:

If you are shooting a landscape and want distant objects to be sharp, don't focus at infinity. Back off a little.


PostPosted: Thu Nov 19, 2009 5:07 am    Post subject: Reply with quote
Just a caveat on #3 - remember the multiplier effect on DX cameras (a 50mm lens on a Canon eos will be equivalent to an 80mm. Adjust minimum handheld speed accordingly


patrickh - he of the shaking hands


PostPosted: Thu Nov 19, 2009 5:37 am    Post subject: Re: Just to remember: the 12 essential facts Reply with quote
Great list, Jes! I've saved to to a file. But . . .

Jesito wrote:
12. Sunset rule To get a properly exposed sunset, meter the area directly above the sun (without including the sun). If you want the scene to look like it's a half-hour later, stop down by one f-stop, or set exposure compensation to minus one.


Interesting. I'll have to try this. I do it differently, however. I have learned from trial and error shooting with slide film that I get the best, most realistic sunset colors if I meter the sky directly overhead. The sun is overexposed to a white dot, of course, but the colors for the rest of the scene are good.


PostPosted: Thu Nov 19, 2009 9:43 am    Post subject: Reply with quote
I didnt know the #2. But the #3 is not a always-true rule, it depends on (of ?) the photographer, environnement (a windy day asks faster shutter speeds) and the equipment. For example, on my K100D, with the 50/1.7 Pentax, SR on, I already took sharp pictures at 1/6s, and at 1/8s with the 35/2 on my Spotmatic, and 1/4s with the 17/4 (Spotmatic too).


PostPosted: Thu Nov 19, 2009 6:35 pm    Post subject: Reply with quote
CarbonR wrote:
I didnt know the #2. But the #3 is not a always-true rule, it depends on (of ?) the photographer, environnement (a windy day asks faster shutter speeds) and the equipment. For example, on my K100D, with the 50/1.7 Pentax, SR on, I already took sharp pictures at 1/6s, and at 1/8s with the 35/2 on my Spotmatic, and 1/4s with the 17/4 (Spotmatic too).


I think heavier cameras, like your Spotmatic, are less likely to show shake than lighter ones, and with wide angle lenses on heavier cameras, one can often get quite slow. I've taken sharp 1/4 second photos as well using my Canon F-1 with winder and a 17mm lens.

Oh, and since you asked, "on", and not "of", is correct. Smile


PostPosted: Mon Aug 02, 2010 4:27 pm    Post subject: Re: Just to remember: the 12 essential facts Reply with quote
ChrisLilley wrote:
[...] I suspect that this rule derives from the assumption that the depth of field is twice as much from the point of focus back towards infinity, as it is from the point of focus forward towards the camera.

This assumption is not correct (it depends on the distance), [...]


Does anyone have some more detailed information about this? Would be interesting to know how exactly DOF behaves.


PostPosted: Mon Aug 02, 2010 7:29 pm    Post subject: Reply with quote
Quote:
Found elsewhere in the net...

12 essential facts, formulas, and photographic rules


A little 'fine-tuning' of these generalizations is in order here.

Quote:
3. Camera shake rule The slowest shutter speed at which you can safely handhold a camera is one over the focal length of the lens in use. As shutter speeds get slower, camera shake is likely to result in an increasing loss of sharpness. So, if you're using a 50mm lens, shoot at 1/60 sec or faster. Not enough light? Use a flash, tripod, or brace your camera against a solid object.

That works for 35mm full frame camera. Adjust by 'crop-factor' relative to 35mm full-frame for other formats.

For not enough ambient light to obtain fast enough shutter speed, besides adding light using flash, reflectors, or other means, or bracing or tripod, a wider aperture can be used if the correspondingly reduced dof is acceptable.

As others wrote, minimum shutter speed to 'stop' hand-held shake motion depends greatly on how still the photographer can hand-hold the camera, and how much inertia the weight of the camera provides.

Quote:
7. Exposure rules The classic advice is, "Expose for the highlights, and let the shadows take care of themselves." This works with slide film and digital. But with negative film, especially color negative, you're better off overexposing by one stop.

That works when the dynamic range of subject lighting is greater than medium can capture, as in sunlit landscape, otherwise expose for incident lighting at the subject.

Quote:
11. Action-stopping rules To stop action moving across the frame that's perpendicular to the lens axis, you need shutter speeds two stops faster than action moving toward or away from you. For action moving at a 45-degree angle to the lens axis, you can use a shutter speed one stop slower. For example: If a person running toward you at moderate speed can be stopped at 1/125 sec, you'll need a shutter speed of 1/500 sec to stop the subject moving across the frame, and a shutter speed of 1/250 sec to stop him if moving obliquely with respect to the camera.

Works for 'normal' focal length on 35mm full frame camera. Adjust by 'crop-factor' relative to 35mm full-frame for other formats.

Dependent on how long are the arms/legs; for a subject with short arms/legs moving across the frame, the hands/feet move faster 'mid-stroke' than a subject with long arms/legs; a faster shutter speed is necessary to stop motion. Similar to how faster-moving ends of a spinning propeller blur yet center appears stopped.

[quote=ChrisLilley]If you are shooting a landscape and want distant objects to be sharp, don't focus at infinity. Back off a little.[/quote]
'Infinity' depends on focal length. For example, using telephoto length, changes in focus at 10km can be seen easily. At extreme telephoto length, even the Sun or Moon is not in focus when lens focus is set at infinity.

If the distant objects desired in focus are relatively near 'infinity', focus on objects, i.e. hyperfocal distance setting is for subjects much closer than 'infinity'; hyperfocal settings will not render 'infinity' or a far away subject in sharp focus.


PostPosted: Mon Aug 02, 2010 7:44 pm    Post subject: Reply with quote
Many thanks Jes, great find!
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