Underwater Photographer Specialty Course Instructor Outline

Transcription

1 Specialty Course Instructor Outline Product No (Rev. 5/05) Version 1.06

2 Legend Note to instructors: Note to students: Points for the instructor to consider that give additional qualifying information about conducting the course. Not intended to be read to students. Required information. Read to students as printed. By the end of this session, you will be able to: Objective Objective Objective Important information. Read to students. Objectives always precede individual Academic Topics and open water dives. PADI Specialty Course Instructor Outline International PADI, Inc All rights reserved, including the right of reproduction in whole or in part in any form. Published by International PADI Inc Tomas St. Rancho Santa Margarita, CA Printed in U.S.A. Product Number (Rev. 5/05) Version 1.06 Technical Development and Instructional Design: Karl Shreeves, Bob Wohlers Consultation and Review: Al Hornsby Julie Taylor Shreeves Gene Hemsworth, PADI Canada Jean-Claude Monachon, PADI Europe Colin Melrose, PADI New Zealand Trond Skaare, PADI Nordic Mark Caney, PADI International Ltd. Drew Richardson Dean Cox, PADI Australia Yasushi Inoue, PADI Japan Hans Olsson, PADI Nordic Henrik Nimb, PADI Asia-Pacific Specialty Course Instructor Outline ii

3 Please read this first. Qualifying To Teach PADI Specialty Diver Courses To apply for a Specialty Instructor rating, an individual must be certified as a PADI Underwater Instructor or higher. There are two ways to qualify to teach PADI Specialty Diver courses: 1) Attend a Specialty Instructor Training Course conducted by PADI Course Directors, or 2) apply directly to PADI. Specialty Instructor Training Course attendance is highly recommended and encouraged. These courses provide hands-on training, technique demonstrations, course marketing information, current PADI Standards information and, when applicable, instructor-level open water training. Application made directly to PADI requires either: 1) use of a PADI standardized Specialty Course Instructor Outline (this document), or 2) the submission of a self-generated specialty course outline for review. To speed outline approval, reduce liability exposure and ensure educational validity of your specialty courses, it is highly recommended that PADI standardized Specialty Course Instructor Outlines be used for courses they have been developed for. The Specialty Course Instructor Application is to be used whether attending a Specialty Instructor Training Course or applying directly to PADI. Important Note: Prior to promoting or teaching a PADI Specialty Diver course, written confirmation of instructor certification in that specialty must first be received from PADI. For more information on certification as a PADI Specialty Instructor, please refer to the General Standards and Procedures section of the PADI Instructor Manual. If you still have questions after reading this section, call your PADI Office. iii

4 COURSE STANDARDS AND OVERVIEW This course is designed to be an introduction to basic underwater photography and to help the student diver develop the skills, knowledge and practical techniques necessary to enjoy this interesting activity. Prerequisites To qualify for the course, an individual must: 1. Be certified as a PADI Open Water Diver, PADI Junior Open Water Diver or have a qualifying certification from another training organization. 2. Be 10 years of age or older. The Underwater Photography Dive conducted during the PADI Adventures in Diving program may be counted toward this specialty at the discretion of the instructor conducting the specialty course. Instructor Supervision courses may be conducted by a Teaching status PADI Underwater Instructor (or PADI Instructor with a higher rating) who has been certified as a PADI Underwater Photography Instructor. The maximum student diver-to-instructor ratio for open water training dives is eight students per instructor (8:1). Considerations for Open Water Training The course is to include two open water training dives, which may be conducted in one day. The minimum number of recommended hours is 12, with time being equally divided between knowledge development and actual water-training sessions. After the training dives, student divers are required to log their dives in their personal log books. Training dives may be conducted at night for divers who have completed the Night Adventure Dive or the first dive of the PADI Night Diver specialty course, or have qualifying night diving experience. Specialty Course Instructor Outline iv

5 COURSE OVERVIEW This course covers basic underwater photography with special emphasis on practical photographic techniques. To conduct an course, the following is to be included: 1. the planning, organization, procedures, techniques, problems and hazards of underwater-photography diving 2. photographic principles, composition, film types, flash/available light photography and camera-handling techniques 3. the preparation, care and maintenance of photographic equipment CERTIFICATION PROCEDURES The certifying instructor obtains an certification by submitting a completed, signed PIC to the appropriate PADI Office. The instructor who conducts the student s final open water training session is to be the certifying instructor. The instructor certifying the student must insure that all certification requirements have been met. KEY STANDARDS Prerequisite Certification: PADI Open Water Diver, PADI Junior Open Water Diver or qualifying certification Minimum Age: 10 Recommended Course Hours: 12 Minimum Open Water Training: 2 dives Student-to-Instructor Ratio: 8:1* Minimum Instructor Rating: Specialty Instructor *For dives that include year olds, direct supervision is required at a maximum ratio of 4:1. No more than two of the four divers may be age 10 or 11. v

6 Introductory Information Specialty Course Instructor Outline Presentations One, Two and Three provide specific information that you present/review with your students. Each Presentation precedes the appropriate Underwater Photo Dive, to simplify diving knowledge development into several sessions between dives. Presentations may be combined into a single session if necessary for logistical reasons, but no Underwater Photo Dive should precede a Presentation that precedes the dive in the outline. Underwater Photo Dive One includes General Open Water Tips and Considerations, which provides suggestions and factors that may affect conducting the course dives. The dive outlines guide you with performance requirements and suggested organization and considerations; they are not intended to be presented to students. At the end of the outline, you will find suggestions for an optional confined water, and for optional additional dives, if you elect to have them. Specialty Course Instructor Outline vi

7 I. Course Overview The purpose of the PADI specialty course is to familiarize divers with the skills, knowledge, planning, organization, procedures, techniques, problems, hazards and enjoyment of underwater still photography. The specialty course is intended to serve as a safe and supervised introduction to underwater still photography techniques used in the underwater environment. Training should emphasize fun and safety. Upon completing the PADI course, the student should be able to: A. Demonstrate and explain basic photographic principles, composition, including principles of exposure and focus, strobe and available light photography, camera-handling techniques, and composition. B. Select, prepare, care for and maintain underwater photographic equipment. C. Take underwater photographs that are properly composed, focused and exposed. II. Course Requirements A. Prerequisite certification: PADI Open Water Diver, Junior Open Water Diver or have a qualifying certification from another training organization. The instructor is to ensure that the individual can perform the skills required of a PADI Open Water Diver. B. Minimum age requirement: 10 years. C. Maximum student-to-instructor ratio: 8:1, to certified assistant 4:1. For dives that include year olds, direct supervision is required at a maximum ratio of 4:1. No more than two of the four divers may be age 10 or 11. D. The Elective Dive from the PADI Adventures in Diving program may be counted toward the certification requirements for this specialty at the discretion of the instructor conducting the specialty course. E. Confined water training may be added at your discretion. Confined water training may be used to provide students with the opportunity to practice basic underwater photographic skills prior to making open water dives. As a preassessment before the course begins, a confined water session may also include a scuba skills 1

8 review. The PADI Skill Evaluation or Scuba Review program is an excellent means of accomplishing this review. F. Recommended sequence for use of course media: 1. Student first watches PADI Underwater Photography video, diver edition. 2. Student next reads PADI Manual, answering exercise questions and completing Knowledge Reviews. 3. Student attends classroom presentations and participates in training dives. G. Dive data 1. Two scuba dives For year olds, Adventure Dive maximum depth is 18 metres/60 feet or 21 metres/70 feet if they have taken the Adventure Deep Dive. For year olds, the maximum depth is 12 metres/40 feet. Suggestions for an optional confined water session and optional scuba dives appear in the Appendix of this outline. III. Student and Instructor Equipment Requirements A. Student equipment 1. All personal standard diving equipment including: a. Mask, snorkel and fins. b. If needed, exposure suit appropriate for local diving environment and depth, including hood, boots and gloves or mitts c. Weight system d. Regulator system with submersible pressure gauge. e. Alternate air source suitable for sharing air with other divers. f. BCD with low-pressure inflator. g. Complete instrumentation, including a means to monitor depth, time and direction. Depth and time monitoring may be accomplished with dive computers, but it s recommended that students wear back up gauges, too. If using a computer, the student must have a personal computer (no sharing) and remain within the no decompression limits of the computer. Specialty Course Instructor Outline 2

9 h. Recreational Dive Planner (Table or Wheel) if not using a computer. If using a computer, it s recommended that students have RDPs for backup planning. i. Dive tool or knife capable of cutting line j. Slate with pencil k. Whistle or other surface signalling device l. log book (PADI Adventure Log recommended) 2. Specialty equipment a. Underwater still photography equipment type (housed, amphibious, viewfinder, rangefinder, SLR, twin lens reflex, rollfilm cameras) and film format (110, 135, 120, digital imaging) will vary, but any type of still camera with a suitable underwater housing is acceptable. B. Instructor equipment 1. All personal standard and specialty equipment required of student. 2. Recommended safety equipment a. boat, or dive flag and surface float with descent line as required by the local dive environment b. first aid supplies and equipment. Recommended: first aid kit and emergency oxygen. 3. PADI materials that may be used to teach this course. a. General materials and teaching aids: Log book (Adventure Log recommended). 1. PADI Instructor Manual 2. Student Record File 3. Dive roster 4. PADI Underwater Photography video, professional edition a. Show portions of the Diver tape in class to elaborate, and ask questions b. Review key skills students will practice in each dive c. Watch the Professional tape for information and suggestions about conducting the course b. Independent study materials: 1. The PADI Manual 2. PADI Underwater Photography video, diver edition c. Other PADI reference materials 1. PADI Adventures in Diving Manual d. Recognition materials: 1. PIC envelopes 2. Specialty Diver wall certificates 3. specialty chevrons 3

10 The following presentations and training dive outlines make up the actual course content. The presentation outlines are designed as your presentation notes. Notes to you are in brackets, or in boxes like these. Emphasis notes to students appear in boxes. Training dive outlines cover skill objectives and dive sequence, and are not intended to be presented to students. The curriculum was developed for maximum flexibility; notes will guide you to options in conduct and sequence. Compared to many specialties, the knowledge development section is long. Student independent study with the PADI Underwater Photographer Manual and Underwater Photography video speeds learning and makes the presentations more efficient, and saves time. Note that the Underwater Photography video differs from other specialty videos in that it does not attempt to cover all the knowledge development objectives. Instead, it lays a conceptual foundation for the student to apply knowledge learning by reading and from your presentations. Therefore, it s recommended that students see the video prior to reading the manual and attending presentations. IV. Presentation One This presentation should precede all training dives and any optional confined water underwater photography sessions. A. Staff Introductions 1. [Introduce yourself and assistants. Explain your background with underwater photography if you students aren t familiar with you.] 2. [Have students introduce themselves and explain why they re interested in underwater photography. Break the ice and encourage a relaxed atmosphere.] B. Course Goals This course will help you: 1. Understand and apply basic principles of the art and science of photography including exposure, focus, strobe photography, available light photography, camera-handling techniques, and composition. 2. Select, prepare, care for and maintain underwater photographic equipment. 3. Take underwater photographs that are properly composed, focused and exposed. C. Course Overview 1. Knowledge development [Explain the requirements for independent study, classroom sessions, predive briefings, etc., as well as scheduling. Encourage students to bring their camera systems to all sessions for hands-on application.] Specialty Course Instructor Outline 4

11 2. Confined water sessions [Confined water sessions aren t required, but you may elect to hold some, either as predive skill evaluation sessions, or to practice photography fundamentals. Explain session times and locations if you have confined water sessions.] 3. Underwater photography dives a. There will be at least two underwater photography dives, during which you will take pictures. b. Each dive s objectives will help you develop your skill as an underwater photographer. c. The objectives for each dive will depend partly on your interests, and on the camera system you ll be using. 4. Certification Upon successfully completing the course, you ll receive the PADI specialty certification. This certification means that you will be qualified to: a. Plan, organize, make and log underwater photography dives in conditions generally compared to, or better than, those in which you are trained. b. Apply for the Master Scuba Diver rating if you are a PADI Advanced Open Water Diver (or have a qualifying certification from another organization) and a PADI Rescue Diver (or have a qualifying certification from another organization) with certification in four or more other PADI specialty ratings. 5. Course Requirements a. Course costs [explain all course costs, and what the costs do and do not include, including camera equipment use, film, processing, boat fees, etc.] b. Equipment needs [Explain what camera equipment students must have for the course, and/or what you will provide.] c. Materials needed for the course d. Schedule and attendance. [Cover and review points about scheduling and attendance.] 6. Administration a. [Complete paperwork Enrollment, Standard Safe Diving Practices Statement of Understanding, PADI Medical Statement, Liability Release and Assumption of Risk. The PADI Student Record file contains all of these forms. Using it makes completing course paperwork easy and convenient.] 5

12 The course is designed to accommodate the vast majority of underwater photography equipment, ranging from snapshot cameras to housed professional equipment. If students will supply their own equipment, recommend to students with a serious interest in photography and UW photography that they use an underwater system with manually adjustable focus, aperture, shutter speed and a TTL strobe. Depending on student knowledge level, you may find it appropriate to briefly display and discuss equipment types, and advantages and disadvantages. Ask questions and pay attention to student reactions and interest when presenting the course presentations. Some students may already be experienced with photography, and others not. Also, many students will learn the basics quickly through their independent study. Be flexible with your presentation by moving quickly through material all your students know well, but take time to adapt topics to their individual needs, and present more slowly and with detail material they have not yet learned. The idea is to avoid unnecessarily boring your class, but to ensure that students understand the material and have the opportunity to ask questions. D. An Introduction to Photography and the Underwater World Learning Objectives. After this discussion, you ll be able to answer the following questions: What is meant by photography? What is a camera? What are the five essential components of a camera, and what does each component do? What five challenges does the underwater environment create for the underwater photographer that the surface photographer doesn t face? What environmental concern does the underwater environment present the photographer? 1. Photography is the process of recording an image by exposing a sensitive material either film or a computer chip to light. a. A photographer controls the quantity and quality of light to achieve a pleasing picture. b. The amount of light available, the relative sensitivity of the film or computer chip and the subject being photographed all affect how the photographer manipulates the light quantity and quality. 2. A camera is an instrument that the photographer uses to control the quantity and quality of light reaching film or a computer Specialty Course Instructor Outline 6

13 chip. It is a light-tight box that keeps the film or chip in the dark until the photographer records the picture. a. Film cameras record images on light sensitive chemicals on a strip of plastic. The images are developed into pictures through chemical processes. Digital cameras record images using light sensitive computer chips, which store the image in computer memory. Images are developed into pictures through computer processing. b. Some cameras automatically control the quantity and/ or quality of light for the photographer. Some have no automatic control. The most popular cameras for serious photography offer both (we ll get into specifics later). 3. All cameras have five essential components a. The lens precision ground glass/plastic optic that controls light by focusing it (quality) on the film or chip for a sharp image b. The aperture an adjustable sized hole in or behind the lens through which light passes into the camera c. The shutter a door or mechanism that opens and closes to control for how long light passes into the camera d. Transport system in film camera: keeps film flat, correct distance from lens, measures film for each shot and counts pictures; in digital camera: electronic processing that sends recorded image to memory, counts picture and clears chip to receive next picture e. Viewfinder a mechanism for aiming the camera at the desired subject 4. The underwater environment presents five challenges that affect photography a. Water affects the quantity of light available. Water reflects light off its surface and absorbs light passing through it. b. Water affects the quality of light available. The apparent distance of an object underwater is closer than actual for cameras just as the human eye, which affects focus. Light passing through water loses colors the farther it travels first red, then orange, yellow, green so that the remaining light is primarily blue. Particles in water scatter light, making images less sharp the farther the subject is from the camera. c. Water easily damages photo equipment. Surface cameras must be kept protected and dry in a properly sealed housing; amphibious cameras and strobes must be properly sealed. One drop of water inside a camera can destroy it. Additionally, water corrodes metal and leaves salt deposits, so underwater photography equipment requires 7

14 meticulous maintenance. In tropical climates, humidity can be a factor if water condenses inside a system when immersed in cool water. d. Water exerts pressure Camera housings, amphibious cameras and strobes must be more than water resistant, but pressure resistant or the pressure will crush them. (Some water resistant cameras may be suitable for snorkeling, but aren t intended for scuba depths). e. Water affects the photographer. An underwater camera system creates additional drag when swimming; buoyancy and water motion can make it hard for the photographer to hold the camera steady for a sharp picture. 5. The underwater world presents a unique environmental concern. This is that improper photo technique can damage sensitive aquatic life. It s important to avoid inadvertently bumping, damaging or kicking sensitive organisms while trying to take a pictures. It s also important to not harass or disturb organisms for the sake of a picture. 6. Based on all these points, you ll be learning underwater photography in the following steps: a. First, you ll learn basic photography principles, including how to use a camera to control the quality and quantity of light, the different types of cameras available, principles of electronic strobe photography and the types of strobes available. b. Second, you ll learn how water affects these principles, and what to do to get good underwater photos. This will include a look at underwater cameras, housings, strobes and other underwater photo equipment options. c. Once you understand how to photograph an acceptable image, you ll learn about composition the art of making the image pleasing to look at. d. Next, you ll learn about the unique considerations of safe, environmentally responsible diving with a camera, and then how to set up and maintain an underwater camera system. e. You ll practice these basics in Underwater Photography Dive One. f. Before Underwater Photography Dive Two, you ll gain more indepth knowledge about what you ve already learned, including selecting film, and specific techniques for different underwater picture taking situations. During Underwater Photography Dive Two, you ll practice taking photos based on one of these techniques. Specialty Course Instructor Outline 8

15 E. Photography Basics Exposure Learning Objectives. After this discussion, you ll be able to answer the following questions: What are meant by exposure and latitude? What four variables influence exposure? What are meant by film speed and ISO? How does a digital camera apply ISO? What is meant by available light? What is an f-stop? In what increments do you find shutter speeds? How do you use a manual light meter to determine the exposure for a given amount of light and a given ISO? What is meant by bracketing? You ll also be able to: Given an ISO number, determine the ISO number for a film that s twice as sensitive, and a film that s half as sensitive. Given an aperture, determine the aperture that lets in twice as much light and the one that lets in half as much light. Given a shutter speed, determine the shutter speed that lets in light for twice as long, and the one that lets in light for half as long. Given an exposure aperture and a shutter speed, determine the new aperture if given a new shutter speed, or the new shutter speed if given a new aperture, to maintain the same exposure. Given an ISO and an exposure aperture and shutter speed, determine a new combination of aperture and shutterspeed for a given new ISO. Set a camera to obtain the proper exposure. Students usually learn photography best with hands-on practice. It is recommended that you have students bring their cameras, and/or provide cameras, for practice during all presentations. As you discuss how to set, load, clean, etc., have students practice each step, as you discuss it, with your guidance. Remind them to bring their cameras without film in them so they can play with the settings. 1. Exposure the amount of light that reaches the film or computer chip (quantity of light); the proper exposure is the exposure that creates a pleasing image with respect to detail, color and the range of light and dark. a. You try to set a precise exposure, but each type film or chip actually has a range of acceptable exposure, depending on the lighting conditions. This range is called exposure latitude the tolerable exposure range that delivers an acceptable picture. 9

16 b. Proper exposure is sometimes subjective; you may prefer a slightly darker or brighter look than someone else. 2. Variables There are four variables that affect exposure. You can control all of these to greater or lesser degrees depending on the subject and the photo equipment, to get the optimum exposure. a. Available light the light that s naturally available in a given situation. When there s not enough light available, you can use a flash, which we ll discuss later. b. Film speed/iso the sensitivity to light of a film or digital camera is represented by a standardized ISO number, Note: ISO used to be called ASA, which some people still use. 1. The higher the number, the more sensitive the film is to light. You can offset low natural light by using a high ISO number. 2. Lower number films have better quality images. (More about choosing Film and ISO later.) 3. The relative sensitivity of film is proportional to the ISO number. An ISO 200 film is twice as sensitive as an ISO 100 film. Therefore, it only needs half as much light for a proper exposure. 4. Digital cameras don t have film, but the specifications usually list an ISO equivalent that tells you the comparable sensitivity of the chips. Film also has a size reference. The most popular film size is 35 mm (hence 35 mm camera). The measurement refers to the film width. c. Aperture The lens opening allows you to control how much light comes into the camera. 1. Different aperture sizes are represented by standardized numbers called f-stops, which are derived from the relationship between the lens angle of view and the opening size. This is done so that an f-stop of a given number passes the same amount of light no matter what lens you re using. 2. F-stops are numbered in the range 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, with different lenses differing in the highest and lowest number. 3. The smaller the f-stop number, the more light the lens admits (wider the opening). 4. A given f-stop passes twice as much light as the number above it, and half as much as the number below it. For example, f4 admits twice as much light as f5.6, and half as much as f2.8. Specialty Course Instructor Outline 10

17 d. Shutter speed How long you let light strike the film or chip. 1. Shutter speeds are represented by standardized numbers of what fraction of a second the shutter remains open. 2. Shutter speeds of 1/30th, 1/60th, 1/125th, 1/250th, 1/500th and 1/1000th of a second are the most commonly used, though many cameras have slower shutter speeds and faster shutter speeds. Most cameras omit the top of the fraction, so that, for example, 1/250th of a second reads Each shutter speed lets light strike the film or chip for twice as long as the next faster speed, and half as long as the next slower speed. For example, 125 lets light in for twice as long as 250, and half as long as Finding the proper exposure for the available light accomplished with a light meter, usually within the camera. Let s assume the camera is completely manual using the following steps: a. Set the film ISO number so the camera light meter knows how sensitive the film is. Some cameras don t need the ISO set because they either read the ISO automatically off the film cartridge when loaded, or they only accept a specific ISO film. Digital cameras know their ISO and don t need this set. b. Set the desired shutter speed (more about speed selection shortly) and point the camera at the subject. The camera light meter tells you the required f-stop. Alternatively, you can set the desired f-stop, and the meter will tell you the required shutter speed. c. Therefore, for a given ISO and amount of available light, a light meter gives you the combinations of shutter speed and f-stop. Once you know the exposure for a given available light situation, if shutter speed, f-stop or ISO change, you can determine the new shutter speed, f-stop, ISO combination based on what you just learned about f-stops shutter speeds, and ISO. Example With ISO 100, the light meter shows that for a shutter speed of 125, you need f5.6. What f-stop would you use for shutter speed of 60? Answer: f8. Shutter speed 60 lets light hit the film/chip for twice as long, so you need to let in half as much light through the aperture. f8 is the next f-stop above f5.6, which lets in half as much light. 11

18 Example With ISO 100, the light meter shows that for f-stop f11, you require shutter speed of 125. What shutter speed would you use with f22? Answer: 30. f22 is two f-stops above f11 and lets in 1/4th the amount of light as f11. To compensate, you need to let the light in for four times as long by using a shutter speed two speeds lower. Example With ISO 100, the light meter shows a combination of f-stop 8 and shutter speed 125. If you switch to ISO 200, what would the new f-stop be if you still use shutter speed 125? Answer: f11. ISO 200 is twice as sensitive as ISO 100 and only needs half as much light. f11 is the next stop above f8 and lets in half as much light. Summary For a given ISO and amount of available light, for each f-stop you close the aperture, you need to slow the shutter speed to the next speed. For each f-stop you open the aperture, you need to raise the shutter speed to the next speed. For each shutter speed you raise the speed, you need to open the aperture one f-stop, and vice-versa. If you change ISO the shutter/ f-stop combinations change. 4. Setting your camera for proper exposure As you discuss the following points, help students set their cameras properly. Take the time to show them what the camera is doing. Time invested here will make the rest of the course smoother. a. First, set the ISO on the ISO dial or indicator (if appropriate.) b. Most modern cameras will automatically adjust exposure, by matching the required aperture to the shutter speed you set, or the required shutter speed to the f-stop you set, or by setting both f-stop and shutter speed according to a program. 1. Many cameras read out what the camera is setting for, in case you want to override and set the camera manually (more about this later). 2. Manual cameras have indicators that tell you when you ve set the correct shutter speeds and aperture. [Be sure students understand how to set their cameras.] 3. Some snapshot cameras set everything and only indicate low light when outside the camera s range. Specialty Course Instructor Outline 12

19 c. Whether using manual or automatic cameras, for a given ISO and available light, you will get approximately the same exposure. 5. Bracketing is used to ensure that you get an acceptable exposure, especially in difficult lighting conditions. Bracketing is the practice of taking the same picture with different exposures above and below the metered exposure, usually by varying the f-stop. The number of bracket exposures and the amount of variation depends upon the importance of the picture, and your experience with the lighting conditions and the type film. More about bracketing later. Ensure that all students know how to bracket. A few cameras cannot bracket. Break from the presentation to give students time to play with their cameras and setting exposure. Be on hand to answer questions. Take the time to assure that students understand the basic concepts discussed, and how to apply them to the cameras they ll be using in the course. F. Photography Basics Focus and Perspective Learning Objectives. After this discussion, you ll be able to answer the following questions: What is meant by focus? What is meant by focal length? What are meant by wide angle, normal and telephoto lens? What is meant by perspective? What is depth of field? What is macro photography, and what characteristics does it have with respect to focus? You ll also be able to: Given two f-stops, identify which one gives the most depth of field. Given two lens focal lengths, identify which one gives the most depth of field. Explain the general uses for wide angle, and telephoto lenses. Focus your camera. 1. Focus Light gathered by the camera lens must be focused properly to record a sharp image (quality of light). Focus is the process of bending light so that the rays meet at the same point on the film or chip; this makes the picture sharp. The type of lens and the aperture affect the process of focusing. An unfocused picture is blurred. 13

20 2. Focal length the distance from the center of the lens to the film or chip, usually measured in millimetres (mm). Changes in the focal length change the apparent distance from the subject. It s recommended that you have an SLR camera with different lens so students can look through them and see the differences. a. A lens with an apparent subject-to-camera distance that is about the same as you see it is called a normal lens. The focal length that is normal varies with the film or chip size. For 35mm film cameras, a normal lens is an approximately 50mm focal length lens. For 120mm film cameras, a normal lens is approximately 85mm. There s sometimes confusion between focal length and film size because both use mm. Be sure student understand the difference between a 35 mm film camera and the focal length of a lens on a camera. b. A lens with an apparent subject-to-camera distance that s greater than what your eye sees is called a wide angle lens. A wide angle lens has a shorter focal length than a normal lens; the shorter the focal length, the wider the view. Wide angle lens are sometimes called short lenses. For 35mm cameras, a 35 mm lens is moderately wide, a 24mm lens is wide, and a 20mm or 15mm is very wide. A wide angle lens that sees approximately 180 degrees diagonally and bends the picture sides is a fisheye lens. c. A lens with an apparent subject-to-camera distance that s shorter than what your eye sees is called a telephoto lens. Telephoto lenses have longer focal lengths than a normal lens (sometimes called long lenses.) For 35mm cameras, an 80 to 100mm is slightly telephoto, 135mm is moderately telephoto and 200 mm and up is strongly telephoto. d. A zoom lens is a lens that can change focal length. The most popular zoom lenses range from moderately wide angle to moderately telephoto, or from slightly to strongly telephoto. 3. Perspective The point of view as seen through the camera. You use different focal length lenses to change the camera s view of a scene from a given point compared to the normal lens. a. Wide angle lens Pushes the subject away visually; used to see more area at a close distance lets you get closer to the subject and still have it in the frame (important in underwater photography more about this later) Specialty Course Instructor Outline 14

21 1. Objects close to camera look disproportionately large; objects far from camera look disproportionately small. This is called perspective distortion. 2. Stretches depth space between an object close to camera and one far away appears longer than actual. 3. Has a wide depth of field important in underwater photography more about depth of field shortly 4. Useful for landscapes, room interiors and general snapshot photography. Most noninterchangeable lens cameras have a moderately wide angle lens. b. Telephoto lens Pulls subject in visually; used to see a smaller area more closely. 1. Objects far from camera look disproportionately large. 2. Compresses depth space between an object close to camera and one far away appears shorter than actual. 3. Useful for portraits, nature photography and picking out detail at a distance. 4. Depth of field (aka depth of focus) the range of acceptable focus from its closest to its farthest point from the camera. Several variables affect depth of field. a. Aperture the smaller the aperture, the more depth of field. For example, if you focus on something at f8, switching to f11 will make more on the close and far side of the subject in focus (or in better focus). f5.6 will reduce the objects in focus. b. Focal length For a given focus distance, the shorter the focal length, the more depth of field. A 24mm lens will have more depth of field than an 80 mm lens, for example. c. Focus distance The closer the subject to camera for a given focal length and aperture, the narrower the depth of field. Although film/chip size affects whether a given focal length is a wide angle, normal or telephoto, the depth of field characteristics are not affected by film/ chip size. For example, an 85mm lens has the same depth of field for a given focus point and aperture whether it is on a 35mm camera (telephoto) or a 120mm camera (normal). You may wish to raise this point if asked by students who are comparing characteristics of different format cameras. 5. Some kinds of photography, such as macro photography, have special focus considerations that we ll talk about later. 6. How to focus your camera. [As you discuss this, show students the focusing procedures and depth of field markings, etc. for their cameras.] 15

22 . a. SLR viewing SLR stands for Single Lens Reflex, which means the viewfinder allows you to see through the same lens that takes the picture turn focus ring until the picture is sharp. Depth of field markings are on lens, showing range of focus; many SLRs let you close lens to set aperture so you can see depth of field. (Some higher quality digital cameras have a view screen of the camera image; this is SLR viewing for practical purposes). b. Range finder look through viewfinder over lens and adjust lens until double image in marked square becomes a single image not as common in new cameras. Depth field marking usually on lens if present. c. Nikonos estimate distance to subject and set on lens. Depth of field indicators on lens face. d. Auto focus camera automatically focuses for object in marked area of viewfinder. Higher end auto focus cameras have manual override; many have a focus lock that allows you to first autofocus, then lock the focus to reframe the picture the way you want. e. Focus free camera uses wide angle lens and is preset so everything from about one metre/three feet to infinity is in focus most common in snapshot cameras f. Framer a wand or frame that reaches from the camera to the subject at exactly the focus distance used primarily in macro (extreme closeup) photography (more about this later) Break from the presentation to give students time to play with their cameras and setting exposure. Be on hand to answer questions. Take the time to assure that students understand the basic concepts discussed, and how to apply them to the cameras they ll be using in the course. F. Photography Basics Controlling Motion Learning Objectives. After this discussion, you ll be able to answer the following questions: What are two types of motion that can make pictures blurred? As a rule of thumb, what is the slowest shutter speed that you can hand-hold a camera and still get a reasonable sharp picture? How does lens focal length affect your ability to hand-hold a camera? 1. Motion Besides proper focus, a sharp picture requires a fast enough shutter speed to stop motion that would otherwise blur the picture. Specialty Course Instructor Outline 16

23 2. Two types of motion can blur the photo a. Photographer motion Unless you re using a tripod, you cannot hold a camera completely motionless. As a rule of thumb, using a normal lens, you must use a shutter speed 30 or faster to stop this motion. [Note: with practice, you may be able to hand hold slower speeds, but you still wouldn t do so for general photography.] Most photographers use 60 or 125 for general picture taking. Photographer motion is probably of the most common cause of blurred photos. b. Subject motion A fast moving subject will be blurred unless you use a fast enough shutter speed to stop action. A speed of 30 will stop general motion, such as someone walking. A car driving by at a moderate speed probably requires shutter speed 125, and something fast such as a pitched ball or helicopter rotor may require 500 or 1000 to stop motion [Note: You may prefer to allow a fast moving subject to blur to show the motion.] c. Telling the difference between out of focus, photographer motion blur, and subject motion blur. 1. Out of focus The subject is generally fuzzy. Something closer to or farther from camera may be sharp. 2. Photographer motion The entire image is not sharp, with streaks or patterns that show the same motion for everything in photo. 3. Subject motion The photo is sharp except for the moving subject, which will be streaked in the direction of motion. 3. Focal length and blur. As you increase focal length, you magnify the image and increase the minimum shutter speed for hand-holding the camera. With 35mm cameras, the general recommendation is that the shutter speed should match the focal length for example, using a 200mm lens, use shutter speed Electronic flash can stop motion apart from shutter speed more about this later. 17

24 G. Photography Basics Color and the Spectrum Learning Objectives. After this discussion, you ll be able to answer the following questions: What is color? What is the relationship between light energy and the spectrum? What is meant by color temperature, and how does this temperature affect color? What type of light and color temperature is daylight film balanced for? What happens if you use daylight film to take pictures in incandescent and in florescent light? What are two techniques you can use to get proper color when taking pictures with daylight film under incandescent or florescent light? 1. White light is actually a combination of rays that vary depending on their energy (wavelength). Color is determined by the wavelength of light bouncing (reflecting) off an object; the rest is absorbed by the object. If all wavelengths are reflected, the object will appear white. If all the wavelengths are absorbed, the object will appear black. 2. The order of the visible spectrum red, orange, yellow, green, blue, indigo, violet goes from low energy to high energy wavelengths. 3. Color is sometimes assigned a color temperature in degrees Kelvin that indicates the relative energy and color. Lower temperatures are toward the red end of the spectrum; higher toward the blue. Color temperature is used to match film to different light sources. a. Daylight is a color temperature of approximately 5500 K to 6000 K. Most film is daylight balanced, as are most digital cameras. b. Incandescent light is approximately 3200 K to 3400 K. This is why indoor pictures taken on daylight film without flash look very yellow-reddish. c. Florescent light varies and color temperature, and tends to produce a greenish cast when used with daylight film. 4. When shooting pictures under incandescent or florescent light using daylight film/digital camera, you can use two methods to obtain proper color. a. Use a filter that changes the light to the correct color temperature. b. Use a flash (virtually all are daylight balanced). More about flash use shortly. Specialty Course Instructor Outline 18

25 Summary Available light photography consists of balancing the variables of light quantity available, film/chip speed, shutter speed and lens opening, with the needs of depth of focus, stopping action, and color. H. Photo Basics Camera types Learning Objectives. After this discussion, you ll be able to answer the following questions: What is meant by an automatic camera? What is meant by a manual camera? What is meant by aperture priority, shutter priority and programmed automatic exposure? What are the differences between manual focus, autofocus, and focus free cameras? In addition, you ll be able to Set the camera you ll be using in this course for automatic exposure and/or focus, if it has those capabilities. 1. Automatic and manual cameras a. An automatic camera is a camera that will set the exposure for the photographer based on the film/chip ISO and the light available. Virtually all cameras available today are automatic. b. A manual camera requires you to set the exposure; the camera makes no automatic adjustments. Most manual cameras have a light meter that guide you. Few cameras presently available are manual cameras. [Note: This is because most of the better automatic cameras may be set to operate manually.] 2. Automatic exposure falls into three broad categories based on how it adjusts exposure a. Aperture priority means you choose the aperture, and the camera sets the shutter speed based on the light and ISO. b. Shutter priority means you choose the shutter speed and the camera sets the aperture based on the light and ISO. c. Programmed means the camera sets both the shutter speed and the aperture. Basic programmed automatic covers general picture taking; some cameras have specific programs for action photography, portrait, etc. 3. Focus may also be automated, as you ve already learned a. Manual focus means you set the focus for a sharp picture. b. Autofocus means the camera focuses for you, usually with an indicator that tells you what the camera will focus on. Better quality autofocus cameras can also be set on manual focus. 19

26 c. Focus free means the camera uses a wide angle lens with an aperture such that the depth of field ranges from approximately two metres/seven feet to infinity, making focus unnecessary. Focus free is usually found on snapshot cameras. 4. Setting an automatic camera Ensure that all students understand what type of camera they have, and how to set the camera on automatic. (This varies greatly with each model, and you may need to take some time to with an unfamiliar model.) When possible, have various types available to show. Be sure students know how to set their camera on automatic exposure and/or focus, and how to set it on manual (assuming their camera has these settings). Take the time required to make students comfortable with setting their cameras before continuing. I. Photo Basics Strobe Photography Learning Objectives. After this discussion, you ll be able to answer the following questions: What are the differences between a manual and a TTL automatic strobe? Why do you need a camera that s specifically dedicated to the TTL automatic strobe you re using? What is meant by synchronization with respect to strobe photography? You will also be able to: Set the camera and strobe you will be using in this course for strobe photography. Explain how to set a camera for manual strobe exposure. Explain how to generally set a camera for TTL strobe exposure. 1. A strobe an electronic flash is used when you don t have enough light for a picture. It is also used underwater, even when you have ample light, to restore colors (more about this later). a. Manual strobes require you to set the camera manually for a proper exposure, (even automatic cameras). b. TTL automatic strobes provide automatic exposure the camera controls the strobe via an internal sensor (TTL stands for Through The Lens). 1. To use a TTL strobe, you must have a camera that is designed to be compatible with the strobe s electronics. Specialty Course Instructor Outline 20

27 2. Most TTL strobes can be set for manual use with cameras that lack TTL compatibility. 3. Most TTL strobes can be set on manual even when used on cameras with TTL compatibility. c. Cameras with built in strobes may or may not be TTL strobes, but once set for flash, exposure is usually automatic (consult manufacturer instructions). d. In basic surface photography, the flash is usually mounted on the camera in a hot shoe (so named because it has the electronic connections with the strobe) or (for large strobes) on a bracket next to the camera connected by a cord. 2. Setting the proper exposure for manual strobe photography a. Shutter speed Electronic flash is an instant light burst, so stopping action isn t an issue. However, the shutter and flash must be synchronized. Synchronization is timing between the camera and the flash so that the shutter is open when the strobe flashes. b. Set the shutter speed for the flash synchronization speed for the camera (usually 60, 90 or 125 often colored different or has a lightening bolt icon to signify flash, or consult manufacturer instructions). With most cameras, speeds slower than this speed will be synchronized. c. A few cameras (mostly larger format or older models) have an FP or X setting. The camera must be set on X. (FP is for flashbulbs). d. The f-stop is set based on a scale on the strobe. Find the subject distance and read the appropriate f-stop opposite on the scale. e. The exposure is based on the flash-to-subject distance. If the camera and flash are different distances from the subject, the camera distance may be ignored. 3. A TTL automatic strobe will control the flash exposure automatically. Some will set the camera to the proper synchronization speed automatically, too. a. The strobe/camera vary the flash output based on ISO, distance and f-stop. b. Using smaller f-stops and slower films reduces the maximum distance over which you can use the strobe see the manufacturer guidelines. c. The strobe usually has a guide showing the range for the ISO and f-stop; be sure your subject is within the range. 21