RANDHIR PRASAD YADAV MULTIMEDIA and ANIMATION Dept. Photography workshop isbat university

1. PHOTOGRAPHY
WORKSHOP
By: Randhir Prasad Yadav
ISBAT University , Kampala, Ug

2. Basics of
Photography

3. What is Photography?
• The art or practice of taking and processing
photographs. – Oxford Dictionary
• Form of Art
• Using light to take shots
• Demonstrate your PERSPECTIVE

4. Why Photography?

5. Why Photography?
• Capture Moments

6. Why Photography?
• Share your Perspective

7. Why Photography?
• Bring out Creativity

8. Why Photography?
• Tell a Story

9. Why Photography?
• Make everyone Smile

10. Why Photography?
• Go beyond Reality

11. Why Photography?
• Earn a lot of Money

12. Why Photography?
• Show-off a little bit…Why not ;)

13. Types of Photography

14. Types of Photography
Abstract

17. Types of Photography
Animal / Pet

20. Types of Photography
Astrophotography

23. Types of Photography
Aerial

25. Types of Photography
Black and White

27. Types of Photography
Event / Wedding

31. Types of Photography
Fashion

34. Types of Photography
Nature / Landscape

37. Types of Photography
Long Exposure

39. Types of Photography
Macro

42. Types of Photography
Message

45. Types of Photography
Mobile

47. Types of Photography
Night

49. Types of Photography
Portrait

52. Types of Photography
Product / Commercial

55. Types of Photography
Still life / Street

57. Types of Photography
Silhouette

60. Types of Photography
Wildlife

63. Types of Photography
Sports

66. Types of Photography
Food

69. Tools of Photography
• Camera
• Camera Lens

70. Focal Length
• Distance between lens and
image sensor

72. Types of Camera Lenses (Rigidity)
• Prime Lens
• Zoom Lens

73. Types of Camera Lenses (Focal Length)
• Ultra-Wide: Less than 10 mm
• Extreme Wide: 10-21 mm
• Wide: 21-35 mm
• Normal: 35-75 mm
• Medium Telephoto: 75-135 mm
• Telephoto: 135 mm and above

75. Exposure

76. Exposure

77. Exposure

78. What is Exposure?
• How dark or bright the image is.
• Controlled by 3 things:
1. Aperture
2. Shutter Speed Exposure Triangle
3. ISO

79. Exposure Triangle

80. Aperture
• Similar to the iris of the eye.
• Opening and closing of the lens.
• Wide opening = more light = bright photo
• Narrow opening = less light = dark photo

81. F-stop number
• Aperture represented by F-stop number.
• Range from f/1.4 – f/32
• F-stop ∝ 1
Opening of lens
• f/1.4 = wide aperture
• f/32 = narrow aperture

82. Understanding Aperture

83. Understanding Aperture

84. Understanding Aperture

85. Depth of Field (DoF)
Area of the image that appears sharp

86. Understanding DoF
• Small f-stop = wide aperture = more light = bright
image = SHALLOW DEPTH OF FIELD
• Large f-stop = narrow aperture = less light = dark
image = DEEP DEPTH OF FIELD

87. Understanding DoF

88. Shutter Speed
• Length of time shutter remains open.
• Measure in fraction of seconds.

89. Understanding Shutter Speed

90. Understanding Shutter Speed

91. Understanding Shutter Speed

92. Fast Shutter Speed

93. Fast Shutter Speed

94. Fast Shutter Speed

95. Fast Shutter Speed

96. Slow Shutter Speed

97. Slow Shutter Speed

98. Slow Shutter Speed

99. Slow Shutter Speed

100. ISO
• International Organization for Standardization.
• Sensitivity of the Image Sensor.
• Lower ISO = Less Sensitivity = Less Light = Dark
Image
• Higher ISO = High Sensitivity = More light = Bright
Image

101. Understanding ISO

102. Drawback of ISO - Noise

103. Mode Dials

104. Manual Mode
• FULL CONTROL OF DSLR
• Combining:
–Aperture
–Shutter Speed
–ISO

105. Composition
• General guidelines enhancing a photograph
• Placement of relative objects and elements

106. Types of Composition
Rule of Thirds

107. Types of Composition

108. Types of Composition
Leading Lines

110. Types of Composition
Symmetry & Pattern

112. BASIC PHOTOGRAPHY LIGHTING

113. What is Lighting
Lighting
Natural Artificial

114. Styles of Lighting
• Broad Lighting.
• Short Lighting
• Narrow lighting.
• Butterfly Lighting.
• Rembrandt Lighting.

115. Broad Lighting
• Broad Lighting The main light
is positioned to illuminate
(Brighter) the side of the face
that faces the camera.
• Used for corrective purposes
• It will de-emphasize facial
features

116. Broad Lighting

117. Broad Lighting

118. Short Lighting
Short Lighting The main light
illuminates the side of the face
that is turned away from the
camera

121. Broad Lighting VS Short Lighting

123. Narrow lighting
• Narrow lighting good for use in low-key portraits.
• Short lighting has a narrowing effect

124. Narrow lighting

125. Butterfly Lighting
• Butterfly Lighting Position the main light directly in
front of the subjects face.
• And adjusting the height to create a shadow directly
under, and in line with, the nose.
• Suited best for women. Not recommended for men
since it tends to highlight the ears.

126. Butterfly Lighting

127. ButterflyLighting

128. Rembrandt Lighting
• Rembrandt - Influential Dutch artist (1606-1669)
• Rembrandt Lighting Obtained by combining short
lighting and butterfly lighting.
• The main light is positioned high and on the side of
the face that is away from the camera

129. Rembrandt Lighting

130. Rembrandt lighting
• This lighting technique is used in studio portraiture.
• The key in Rembrandt lighting is creating the triangle
or diamond shape of light underneath the eye.
• One side of the face is lit well from the main light
source while the other side of the face uses the
interaction of shadows and light

131. Rembrandt Lighting
• Rembrandt Lighting The triangle will illuminate just
under the eye and not below the nose.
• The positioning of the main light is usually about
45 degrees from the camera-subject axis and
should be slightly higher than the subject.

132. Three-point lighting
• It is a standard method used in visual media such as
video, film, still photography
• A typical three point setup with a shoulder or back-
side lamp to create contrast between the
background and center object so as to give a three
dimensional appearance.

133. Three-point lighting

135. Three-point lighting

136. Three-point lighting

137. Key light
• The key light, as the name suggests, shines directly
upon the subject and serves as its principal
illuminator; more than anything else.
• The strength, color and angle of the key determines
the shot's overall lighting design.

138. Key light
• In indoor shots, the key is commonly a specialized
lamp, or a camera's flash.
• In outdoor daytime shots, the Sun often serves as
the key light

142. Tungsten lights
• tungsten lights have a filament and the filament is
inside a bulb; the light bulbs in your house are
tungsten lights.
• When these bulbs were made specifically for still
and movie
• Use they were made to run at very high
temperatures so there would be more blue in the
light and so the light would be brighter.

145. Lights
• Main light: One bright light is used to illuminate the
front of the subject. This light is the brightest one
used. It is angled from the side of the subject.
• Diffuser: A diffuser is used to soften the light.
Harsh light does not look good and it makes the
subject squint. A diffuser is placed between the
light and the person.

146. Lights
• Reflector: A reflector is used to lighten the opposite
side of the person’s face and fill in shadows.
• Hair light: Often, a light from the opposite side of
the main light and up high is used to highlight the
subject’s hair.
• Background light: Sometimes a light is shined on
the background.
• Fill lights: Sometimes dimmer lights are used to fill
in shadows or brighten up certain parts of the
picture.

148. Indoor flash techniques

149. Indoor flash techniques

150. • ISO setting to help in low light
• If you use a film camera buy a fast film
• ISO1600. Pictures will be grainy, but youll get some
results
Indoor flash techniques

151. Indoor flash techniques
• If you take a picture with flash of a person standing
close to a background its likely that a shadow will
appear behind the person on the wall.

152. • Flash Technique
• bounce flash
• eliminates red-eye
• more natural looking
• fill flash
• reduce shadows
• control contrast
Indoor flash techniques

153. Photography in Sunlight
• Photography is all about light, the direction of the
light falling on your subject is most important
• You need to look at your subject carefully and
watch how the shadows fall.
• If you are able to choose the time of day to shoot
your pictures, try to pick a time when the sun is low
in the sky.

154. Photography in Sunlight
• shoot in the early morning or late afternoon
• Shooting pictures of people with the sun too high in
the sky, tends to mean the subject's eyes will be in
shadow.
• If you are photographing in sunlight, try to position
yourself so that the sun hits your subject from the
side, this will give you nice 'modelling' and help
create a 3D effect in the picture

155. A picture taken in the middle of the
day, the overhead sun casts deep
shadows into the kids' eyes, spoiling
an otherwise quite nice little group
portrait.

156. Side lighting
• An example of
side lighting,
taken late in the
afternoon the
side lighting
'models' the
surfer well and
pulls him away
from the
background.
• Also the late sun
gives a warmer
light.

159. When framing a photo, imagine the scene divided up as it is below. Think about what
elements of the photo are most important, and try to position them at or near the lines
and intersections of the grid. They don't have to be perfectly lined up as long as they're
close.
The horizon and main subject in this photo have been positioned near lines or intersections
for maximum impact

160. In landscape shots, it's common to position the horizon along the center of the frame, but
this can give the photo a "split in two" feel. Instead, place it along one of the horizontal
lines.
Try to include another interesting object, such as the tree in the photo above, and
position it according to the rule of thirds. This provides an "anchor", a natural focal point
for the scene.

161. It's a good idea to position people off to one side of the frame. This provides some
"breathing space", shows the subject's environment, and stops the photo from looking like a
mugshot. We are naturally drawn to people's eyes. Place them at one of the intersections on
the rule of thirds grid to give the shot a clear focal point.

162. Here, the main subject has been placed at one of the intersections, and also along one
vertical line. The twig roughly follows the top horizontal line. The empty space at the
bottom left provides balance and prevents the picture from feeling overcrowded.

163. Vertical subjects such as this lighthouse can split a photo in two, in much the same way
as a horizon can do horizontally. To avoid this, position them off-center in your
composition.

164. When photographing moving subjects, position them as normal, but also pay
attention to the direction they're moving. As a general rule you should leave more
space in front of them than behind, to show where they're going.

165. You can easily apply the rule of thirds to existing photos by cropping them. This
allows you to reposition the important subjects in your image, moving them into
more pleasing positions.

166. Leading Lines
When we look at a photo our eye is naturally drawn along lines. By thinking about how
you place lines in your composition, you can affect the way we view the image, pulling
us into the picture, towards the subject, or on a journey "through" the scene. There
are many different types of line - straight, diagonal, curvy, zigzag, radial etc - and each
can be used to enhance our photo's composition.

177. Symmetry and Patterns
We are surrounded by symmetry and patterns, both natural and man-made.,
They can make for very eye-catching compositions, particularly in situations
where they are not expected. Another great way to use them is to break the
symmetry or pattern in some way, introducing tension and a focal point to the
scene.

185. Depth of Field
Because photography is a two-dimensional medium, we have to choose our
composition carefully to convey the sense of depth that was present in the actual
scene. You can create depth in a photo by including objects in the foreground,
middle ground and background. Another useful composition technique is
overlapping, where you deliberately partially obscure one object with another. The
human eye naturally recognizes these layers and mentally separates them out,
creating an image with more depth.

195. Framing
The world is full of objects, which make perfect natural frames, such as trees,
archways and holes. By placing these around the edge of the composition you help
to isolate the main subject from the outside world. The result is a more focused
image, which draws your eye naturally to the main point of interest.

208. Viewpoint
Before photographing your subject, take time to think about where you will shoot it from.
Our viewpoint has a massive impact on the composition of our photo, and as a result it
can greatly affect the message that the shot conveys. Rather than just shooting from eye
level, consider photographing from high above, down at ground level, from the side, from
the back, from a long way away, from very close up, and so on.

209. Bird’s Eye View:
The viewer is looking DOWN on
the subject

216. Worm’s Eye View:
Viewer is looking UP at the subject