ILL 133 Module 01

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Module 01: Introduction to Digital Cameras

Introduction:

In this module we will cover a basic introduction to digital cameras. We will consider what questions to ask when purchasing a digital camera and how digital cameras work. We will discuss collecting and organizing images into a reference file you can use for inspiration as you continue with your schooling.

Student Outcomes:

• Learn what questions to ask when purchasing a digital camera• Understand how digital cameras work• Explore basic camera controls and settings

Assignments:

• 1.1: Student Agreement• 1.2: Share 3 Photo Illustrators

Recommended Texts:

I’m not requiring any texts for this class, however since this is a basic introductory class and we’ll only cover a fraction of the information available about digital photography and Photoshop, here are some books you may be interested in checking out:

• AdobePhotoshopCS5ClassroominaBook, by Adobe Creative Team• CreativePhotoshopCS4:DigitalIllustrationandArtTechniques, by Derek Lea• RealWorldDigitalPhotography(2ndEdition), by Katrin Eismann, Seán Duggan, Tim Grey

Additional Purchases:

• Of course you’ll need your digital camera by the start of Module 02. The camera in your cell phone is not acceptable.

• You should also get yourself a mobile storage device so you can take your files to and from the class. That can be anything from a keychain-sized USB flash drive to an iPod as long as you can store data on it.

• We’ll use Wacom Intuos 3 graphics tablets in this class. If you like using them, the computer lab is equipped with Wacom tablets, but you’ll need to bring your own stylus. They can be bought from the Wacom web site at http://www.wacom.com/intuos/accessories.cfm

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Table of Contents:

• Questions to Ask When Purchasing a Camera

• How a Digital Camera Works The Imaging Sensor The A/D Converter The Creation of a Color Image Interpolation Additional In-Camera Processing Speed Matters Digital Versus Film The Viewfinder The Parallax Phenomenon Using the LCD Screen as a Viewfinder The SLR Viewfinder How and SLR Works Electronic SLR Vs. “True” SLR

• Camera Settings Basic Controls Image Size JPEG Compression ISO Choosing an In-Camera File Format Exposure or Shooting Mode Flash Modes

• Assignment 1.1

• Assignment 1.2

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Questions To Ask When Purchasing A Camera:

If you have not yet purchased your camera (please remember that you need to have it by the start of Module 02), here are some things to consider as you ponder the list of possible choices. I am assuming that most people will be choosing a camera from the Entry Level Point-and-Shoot, Deluxe Point-and-Shoot, or Prosumer categories.

1. Determine Your Needs. What will you be using the camera for? If it’s just for snapshots of family and friends, vacation photos and holiday gatherings, then you probably don’t need anything all that elaborate. Or, do you want a camera with a full compliment of creative features (see #3 below)? Do you want a camera that is compact and fits easily in your pocket? If so, then this will also winnow down your potential choices, especially in the amount of zoom lens available.

2. Identify Must-Have Features. If your interest in photography as a means of creative expression (or as a potential career) is strong enough, then you will probably want a camera with more features, exposure modes and perhaps the possibility of manual override. Will you want to make long exposures at night? If so, then a manual or shutter-priority mode will be important (as will the ability to take exposures longer than 30 seconds, and use a remote release cable). If you are interested in photographing subject matter that is usually found at some distance from you, then a camera with a good zoom lens will be an important consideration.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Questions To Ask When Purchasing A Camera (continued):

3. Factor in Compatibility with Existing Equipment. If you are in the market for a digital SLR that can accept interchangeable lenses and you already have a camera system with autofocus lenses, you’ll need to consider whether you want to remain with your existing lens system, or venture into new territory. Nikon and Canon digital SLRs accept autofocus lenses that are designed for each company’s film SLRs. Additionally, Kodak’s full-frame SLR accepts both Canon or Nikon lenses, and the Fuji FinePix system is designed to work with Nikon lenses.

4. Don’t Miss the Boat. Although the purchase of a first digital camera can be a difficult decision, don’t stay on the fence too long. It’s easy to keep postponing a decision in anticipation of the next greatest thing. Just realize that while improvements in the technology may seem to come at a dizzying pace, that’s just the nature of the game. Purchase a camera that will satisfy your needs now and give you a little room to grow. With your first digital camera, you will become familiar with shooting digitally and working with the images, both in terms of image manipulation software and keeping track of the gigabytes of images you’ll be generating. Then, when the time comes to upgrade to a better camera, you’ll have a better idea of what is the right camera for you to buy.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works:

If you were to take apart a modern film camera and a digital camera, you would find that their interior workings are very similar in most cases.

The major difference, of course, is that digital cameras do not use film to record the image. Since there’s no need for a film transport mechanism, digital cameras can be built to be quite small.

As with a film camera, however, light still travels through the lens and the light meter still calculates the proper exposure settings. But instead of an image being exposed onto a light-sensitive piece of film, it is exposed onto a light-sensitive imaging sensor. In this section I want to discuss just how the imaging sensor creates a digital photograph.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The Imaging Sensor:

It all begins with a response to the amount of light that is reflected back from the scene before the lens. Film responds to light at a molecular and chemical level, and requires further processing in photo chemistry to develop the image so it can be seen. An imaging sensor responds to light electronically but it also requires further “processing” before the data it has gathered can be viewed as a digital photo.

An imaging sensor is a silicon chip that contains millions of small electrodes called photosites. The photosites are arranged in a grid and there is one photosite for each pixel in the image the camera captures. The total number of photosites is the determining factor for the stated resolution of the imaging sensor. This resolution is specified using a number and the term “megapixels,” which is just another way of saying how many millions of pixels the sensor has. A 5-megapixel camera, therefore, has approximately 5 million photosites or pixels on its imaging sensor. (There will be slightly more discussion about megapixels in Module 02)

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

When the shutter opens, light from the lens strikes the sensor, causing the electrons to gather together over the pixels. More light falling on a particular pixel means that a higher number of electrons will gather there.

The above illustration shows what happens when a greater intensity of light strikes different areas of the image sensor. The two squares represent two individual photosites (pixels) on the surface of an imaging sensor. More light is striking the top one, which results in more electrons (shown in blue) gathering. When interpreted by the camera’s Analog to Digital converter, this results in a higher digital value for a brighter tone.

When the exposure is finished, the computer in the camera measures how much light hit each pixel. This initial set of exposure information is referred to as the raw data generated by the imaging sensor. We’ll be talking more about the significance of this raw data later on.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The Creation of a Color Image:

As sophisticated and technologically advanced as the imaging sensors on digital cameras may be, though, they do not record images in color. The truth of the matter is that imaging sensors are color blind and they can only see the world in shades of gray. The pixel values that they produce represent brightness values only —how light or dark the image is.

To determine the color values in an image, each pixel on the sensor has a colored filter over it. These filters are arranged in a specific pattern, with most cameras using alternating filters of green & red, and blue & green, in every other row of pixels on the sensor. This arrangement is known as the Bayer Pattern. The Bayer Pattern contains twice as many green filters as red or blue because human vision is more receptive to light wave frequencies that are close to green, which falls in the middle of the visible spectrum.

So, the image processed by the A/D converter is a grayscale file, with each pixel having only one value representing red, green, or blue. In order to make a full color image, however, each pixel needs values for all three colors. To put the puzzle together and determine the missing color values, a process of color interpolation is used. Interpolation means to add new data based on existing information.

Why do you need to know this? Since you’ll be working with digital files, it’s good to get used to the idea that you’re painting with and manipulating pixels. Since digital images are shown on screens that use red, green, and blue light for display, it’s good to start thinking about how those three colors of light mix to create all the colors you see.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Interpolation:

“Interpolate” means 1. to insert between or among others. 2. in mathematics, to supply (intermediate terms) in a series of terms. (source: Webster’s New World Dictionary)

Essentially, the computer in the camera looks at each pixel and what the surrounding color values are and makes an extremely good educated guess as to what the missing color numbers should be. Of course, calling this a guess is a simplification and does not do justice to the extraordinarily complex mathematical algorithms that come into play in order to create the final, full-color digital photograph.

Note: If you are shooting in RAW mode, the color interpolation is not applied until the RAW file is processed with RAW conversion software. These programs are usually supplied by the camera manufacturer, and are also available via programs like the Adobe Camera Raw converter that is built into Adobe Photoshop.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Additional In-Camera Processing:

After the image has been captured by the sensor, processed, and interpolated into a full color image, the camera may apply additional processing. Whether or not this additional processing takes place (and what it actually entails) depends on the individual camera, as well as certain user-defined settings. Typically, the camera will apply what I like to call the “secret sauce.” This is essentially a recipe of brightness, contrast, color saturation, and sharpening adjustments that is different for each camera. Some of the settings can even be changed by the user or turned off altogether. Depending on your level of experience with photo-editing software like Photoshop, I often recommend the latter approach, and guess what? We’ll be learning how to make these adjustments using Photoshop in this class!

After the final round of in-camera processing, the file and its metadata (information about the photo) are written to the memory card in the chosen file format (usually JPEG). At that point, the camera is ready to process another image. All of this happens very fast, of course, so you don’t really notice the incredible activity going on inside your camera. But it’s pretty amazing when you actually stop and think about all of the steps that take place after you focus on a subject and press the shutter release button.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Speed Matters:

There’s a lot going on behind the scenes in a digital camera. The various systems that have to function can sometimes affect the speed of the camera. Let’s take a look at three of the primary speed issues.

Start-Up Time Start-up time (often referred to as boot speed) is how long it takes your camera to come alive and be ready to take a shot after turning it on. This can vary widely depending on the camera, with newer, higher-end cameras delivering the fastest start times of less than a second. The less expensive and older the camera is, the longer it will take for it to be ready for action. In some cases, you may have to wait 2 or 3 seconds. That may not seem like a lot, but it can be an eternity if you are desperately trying to catch a great shot.

Shutter Lag The fact that there is a fair amount of activity that has to take place before the shot can even be taken (focusing, metering the light, charging the image sensor), is one reason why some digital cameras may seem a bit slow to get going. This can be especially frustrating when you try to take a photo and the camera doesn’t respond quite as fast as you would like and the incredible shot you saw quietly evaporates before your eyes. The phenomenon is often called “shutter lag” and refers to the lag of time between pressing the shutter button and the camera actually taking the picture.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Burst Rate / Memory Buffer The burst rate of a camera refers to how many shots can be taken in a single burst and then stored in a memory buffer, before the camera has to pause and process the shots. When the memory buffer is full, the camera cannot take any more photos until it processes the shots in the buffer and writes them to the memory card.

Think of the memory buffer as a basket and the individual photos as oranges. The bigger the basket (memory buffer) the more oranges you can fit in the basket before it has to be emptied to make room for more oranges (photos).

This is primarily a factor on higher-end cameras that can shoot continuously for several shots. For example, a Canon 10D can fit 9 shots into its memory buffer before it has to take a time-out. As with many features on digital cameras, the more expensive prosumer and pro cameras have much larger memory buffers than point-and-shoot cameras.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Digital vs. Film:

The major difference between film and digital cameras in body design is the obvious LCD screen on the back of the digital camera. In all other areas, including how the controls are accessed, they are very similar.

SLR (single lens reflex) digital cameras also share an exterior design that is nearly identical to their film counterparts. Most of them also use interchangeable lenses that were designed for 35mm film cameras.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The Viewfinder:

Let’s begin by looking at the different types of viewfinders available on digital cameras. As with most film cameras, the viewfinder is the window to the scene you are photographing. This allows you to compose the shot and make decisions about how best to frame the scene and create the image you want. There are three types of viewfinders commonly used in digital cameras: Optical Viewfinders, LCD Screen Viewfinders, and SLR Viewfinders.

Optical Viewfinders are the same on digital cameras as they are on compact film cameras. By looking through the viewfinder you can get a good idea of the framing of the final digital photo. If the camera has a zoom lens, the viewfinder will zoom along with the lens. Depending on the model of camera you have, there may be additional information displayed in the viewfinder, such as focus indicator, flash-ready lights, and exposure data. Many digital cameras offer both an optical viewfinder as well as an LCD screen viewfinder (see below).

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The Viewfinder (continued):

An LCD (Liquid Crystal Display) Screen Viewfinder works like a video camera viewfinder. Many digital cameras offer such a display and in most cases this provides a more accurate representation of what the framing will look like. The LCD display is generated electronically and gives a much better preview of how much of your scene will actually be recorded by the camera. In most models, the LCD also serves double duty as a menu for setting various camera features.

An SLR (Single Lens Reflex) Viewfinder is similar to an optical viewfinder only in where it is located on the camera body. The very significant difference between a standard optical and SLR viewfinder is that you are looking through the actual lens that will take the shot. With an optical viewfinder, you compose the image through a special viewfinder lens, but the scene is actually recorded by the main camera lens. The advantage of an SLR Viewfinder is that it gives you a much better feeling for how the photo will look.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The Parallax Phenomenon:

As stated previously, with a typical optical viewfinder (rangefinder), you look through one lens (the viewfinder) to compose the shot, but the camera uses another lens to actually record the scene.

In close shooting situations, the difference between the two lenses can cause a phenomenon known as parallax error. Parallax occurs when the recorded image is different from that seen through the viewfinder. Most optical viewfinders have parallax correction guide lines so you can use these to compose your image if the camera is close to the subject.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Using the LCD Screen As A Viewfinder:

Even if a camera has an optical viewfinder, many people like to use the LCD screen as the primary means of composing the shot, which has advantages and disadvantages. Since the screen view is much larger than the optical viewfinder, you don’t have to have your eye right up against the camera to frame the photo. For some people who wear glasses, this can make it much easier to compose the image. Using the LCD screen as a viewfinder is very similar to using the same type of viewfinder on a video camera.

The primary downside of using the LCD screen as a viewfinder is that it is one of the camera features that consume the most power. Extended use of the LCD monitor will cause your batteries to drain much faster (and many digital cameras are already notorious battery hogs). Another drawback is that the LCD screen can be very hard to see in bright ambient light, like the light outdoors on a sunny day.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

The SLR Viewfinder:

For those who can afford the cameras that offer it, the ideal situation is to view the scene with the same lens that is used to record the image. This can be done with an SLR (single lens reflex) type camera. There are two main types of digital SLRs: those with lenses that cannot be removed from the camera and those that can accept interchangeable lenses.

For many people, their first digital camera was a compact model that had both an optical viewfinder and an LCD screen. If you’re used to using SLR cameras for serious and professional photography, however, composing your images through an SLR viewfinder is an integral part of the photographic experience for you.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

How An SLR Works:

In an SLR, a mirror is used to reflect the light entering the lens through a prism and onto a piece of ground glass that the photographer can view through the optical viewfinder. At the instant the shutter is opened, the mirror will flip out of the way allowing the light to pass straight through the lens to the film or image sensor where the exposure will be recorded. Digital SLRs are generally more expensive than their rangefinder cousins and you can expect to pay at least $800 to $1,000 for a camera of this type.

Because an SLR uses a mirror to reflect the image from the lens up to the optical viewfinder, you cannot use the LCD screen on the back of the camera to compose the shot. The LCD screens on digital SLRs are only for reviewing images and accessing the camera’s menu system.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

How A Digital Camera Works (continued):

Electronic SLR vs. “True” SLR:

In terms of viewing the scene through the viewfinder, there are two types of SLRs that you are likely to encounter: electronic SLRs and what are called “true” SLRs.

An electronic SLR displays the image seen by the primary lens on a mini LCD screen that is enclosed within a traditional optical viewfinder on the top backside of the camera. Instead of looking through a separate viewfinder lens, you are seeing the image through the primary lens (the lens that will take the photo). But the image you see is essentially being transmitted via a small video screen, and so it looks like a video playback, similar to what you would see on a small video camera viewfinder.

A true SLR uses a mirror and a prism to bounce the light from the primary lens up to the optical viewfinder, where it appears as the scene really looks. The quality of the lighting and the colors you see in the viewfinder of a true SLR will look exactly like the actual scene if you take the camera away from your eyes.

This may be an important difference for you when you consider buying a camera that has an electronic SLR viewfinder. If you’re used to seeing and evaluating the light as seen through a true SLR, the video quality of the electronic SLR’s viewfinder may disqualify it as a camera that you would want to use. If you are used to using video cameras, then this may not be an issue for you.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings:

In the next several pages, I want to go over some of the basic settings you are likely to find on your camera and make some recommendations in terms of what options you might want to use. I’ll begin with settings that affect image size and quality. Since all cameras do not share exactly the same settings, refer to them by the same names, or allow you to manipulate them in the same way, my approach here will be somewhat general. You should refer to the instruction manual for your camera when reading this section to see how the settings I describe relate to your own camera.

Basic Controls:

The controls on a digital camera are generally a blend of buttons, dials, thumbwheels, rocker switches, LCD panels, and menu systems. Familiarizing yourself with the basic functions of your camera—as well its more advanced features—is an important first step to enjoying it as both a creative tool and as a fun gadget. Knowing how to quickly change camera settings will lead to less frustration when you are trying to concentrate on taking photos.

The menu settings are generally accessed via the LCD screen on the back of the camera. The display panel is usually on the top of the camera and displays what the current settings are, as well as of photos that can still be taken. Often, this display panel shows different information and/or choices depending on what combination of buttons you press.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Image Size:

The size of the image the camera captures, the level of JPEG compression, and the ISO setting all affect the quality of the photo in different ways. In the next several pages we’ll take a look at each of these settings.

Image size (also referred to as resolution) refers to how many pixels are used to describe the scene you photograph. The number of pixels in the image is directly related to how large the resulting image file will be (in megabytes), but it also is a major factor in determining how large of a print you can make.

Digital camera manufacturers use the term megapixels (or megapixel resolution) to refer to how many pixels an image sensor is capable of recording. Megapixel is essentially an abbreviation for “millions of pixels,” so a 6.3 megapixel camera would be capable of using 6.3 million pixels to create an image. The megapixel rating for a camera’s image sensor is always the highest number of pixels that can be recorded.

Cameras may use terms like Large, Medium, and Small to identify the different image sizes available; or they may also specify an exact pixel dimension, such as “5M 2592x1944” (the “5M” in this case means 5-megapixels). You need to refer to your camera’s menu system and the instruction manual to determine what precise terminology your camera uses to define image size.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Deciding what image size to use is a trade-off between quality and quantity. The smaller the image size you use, the more images you can fit into a memory card. This may seem like a compelling argument for shooting at a smaller image size, but the drawback is that you cannot enlarge the image—or crop into to show details—as much as if you had captured a larger size image.

Recommendation: My recommendation is to always shoot at the largest size your camera offers, for this allows the most flexibility in what you can do with the image.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

JPEG Compression:

Most digital cameras save photos using the JPEG format. Only cameras in the deluxe point-and-shoot, prosumer, and professional categories offer formats such as TIFF or RAW. The JPEG format uses file compression to create a smaller file when the photo is saved to the memory card. JPEG compression is known as being “lossy” because it actually discards image data to create a smaller file. More on this in Module 02.

Smaller files, of course, mean that you can fit more photos onto a memory card, but (as always) there is a trade-off that involves image quality. A higher rate of compression will yield files of lower quality and there is a greater chance that you will notice JPEG artifacts in your images. A JPEG artifact is a trace of the compression and usually shows up as an area of blocky color squares or faint squiggly lines around color or contrast edges.

Recommendation: Most digital cameras produce excellent quality images when the finest quality setting (lowest amount of compression) is used, and this is the setting that I recommend you use on your camera. As with image size, you may need to do a little detective work with your camera manual to determine just what terms or symbols are used to describe the different levels of JPEG compression. Most cameras refer to this as quality. The quality and image size may also be available in the same menu. On some cameras this is shown as Large-Fine, Large-Medium, Medium-Fine, Medium-Medium, etc. Or it may show a smooth curve for a Fine quality setting and a stair-step for a Medium quality.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

ISO:

On digital cameras, the ISO (International Standards Organization) setting reflects the light-sensitivity of the image sensor. The higher the number, the more sensitive the sensor is to light. For situations where there is plenty of light, such as a bright day, a low ISO number is adequate. If you find yourself in low light conditions without a tripod, however, then you would need to shoot at a higher ISO number.

The ISO rating of film or a digital sensor is also often referred to using the concept of “speed” as a descriptor. A higher ISO rating is considered to be “faster,” while a lower ISO rating is said to be “slower.”

The sensors in digital cameras only have a single ISO rating, and this is generally the lowest one available on a camera. Increasing the ISO setting in the camera controls just amplifies the signal from the image sensor. In this respect, using a higher ISO setting is similar to turning up the volume on your radio. Many digital cameras have an “Auto-ISO” setting that lets the camera choose the appropriate ISO based on the light levels in the scene.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

When the ISO setting is increased on a digital camera, you are more likely to see a by-product known as “noise.” Digital noise is similar to film grain in that it shows up only on higher ISO numbers and is most visible in the shadow areas of a scene.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Depending on the photos you take, there is no “right” ISO to use, but there are a few guidelines and words of advice I can give you in this matter:

1. Test out the different ISO settings on your camera and review the results on your computer. Only you can determine what level of noise exceeds your own quality standards.

2. If image detail and a smooth quality are important to you, then you should always shoot at the lowest ISO your camera has to offer. This should also be subject to test, however, since on many cameras the differences between 50, 100, and 200 can be difficult (or even impossible) to see at normal viewing magnification and distance. Subjects such as landscapes, nature, still lifes, and portraits are all good candidates for a low ISO setting, especially if you have plenty of light and a tripod.

3. In lower light conditions where you are hand-holding the camera, you may have to switch to a higher ISO in order for the camera to use shutter speed that will yield a sharp shot (camera shake or subject motion is more likely to be apparent when slower shutter speeds are used).

4. If you are faced with a situation where there is very low light (often ironically referred to as “available darkness”), or your subject matter requires a faster shutter speed, then you will have to use the higher ISO settings of 800, 1600, or 3200. Please note that not all cameras offer ISO settings this high. You should also expect that noise levels will definitely be noticeable at 800 and very apparent at 1600 or 3200.

5. If you are using a higher ISO setting for a specific series of photos, try to remember to set it back to 100 or 200 after you are done. It’s very easy to forget that you’ve used a high ISO setting on a previous shoot and then start photographing the next day in beautiful sunlit conditions using ISO 1600!

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Choosing an In-Camera File Format:

JPEG

Most people in this class will probably be using JPEG as a file format simply because that is the most common format for digital cameras. When used correctly, JPEG offers an excellent balance between quality and small file size. As mentioned earlier in this module, JPEG uses a lossy compression scheme that discards image data in order to make file sizes smaller. For the best results, you should always leave the JPEG quality set to Fine, Best, or whatever your camera happens to call this setting. This represents the lowest amount of JPEG compression, but the finest quality.

TIFF

Some of the more deluxe point-and-shoot, prosumer, or professional models may offer TIFF as a file format. While TIFF is an excellent format for images once you are working with them on the computer, it is not ideal for digital capture simply because the file sizes are so large in comparison to JPEG or RAW.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

RAW

RAW is not really a file format in the classic sense of the word, but the actual raw data that is gathered by the camera’s image sensor. When you shoot in RAW format, the file is written to the memory card after the analog-to-digital (A/D) conversion, but before any of the other camera processing is applied.

The advantage to this is that the user (that’s you!) can have complete control over exactly how the RAW data is processed.

In essence, the RAW data is not an image yet; it is the recipe to make the image. By using RAW conversion software as your “kitchen,” you can take the image recipe and “spice it up” or modify the “ingredients” to suit your own tastes.

Because this is an introductory Photoshop class, we won’t be covering how to edit or adjust RAW image files. The process is a bit complex and there are many other basic Photoshop tools we’ll need to cover first.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Exposure or Shooting Mode:

Many cameras have a Mode Dial, which lets you select an exposure mode. The exposure mode determines how the photograph is exposed and common options include Automatic, Manual, Shutter Priority, Aperture Priority, Video or Movie Mode, Black and White Mode, etc. Some cameras, especially very compact models, may not have room for a dial and will have small buttons for this purpose.

In addition to an All-Automatic or “Program” modes available on all cameras, each camera might have something a little different to offer. For example, less expensive digital cameras typically do not have manual mode or an aperture/shutter priority mode. Many digital cameras offer “Scene Modes” that are designed to create good exposures under specific conditions, or when a certain result is desired (please note that the use of the term “Scene Mode” here is a generalization; camera makers refer to these modes by a variety of names). Common Scene Modes may include things such as Landscape, Portrait, Beach/Snow Scenes, Night Photos with Flash, Night Photos w/o Flash, Close-Up, and Black & White. Often these are indicated by small icons such as mountains, a sun, a cloud, a figure running, etc.

If all of this is new to you, then just leave your camera on the All-Automatic Mode for now.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Camera Settings (continued):

Flash Modes:

With the exception of high-end professional SLR cameras, all digital cameras have a built-in flash. These are either on the front of the camera, or pop-up on top of the camera. Although flashes are useful (and sometimes necessary) their primary deficiency is that they create a light that is bright, unnatural, and often harsh. Since the light source is frontal to the subjects, on-camera flash also tends to flatten the dimensionality of the subject and create unwanted shadows in the background.

The idea behind a pop-up flash is to position the flash away from the lens. When flashes are close to the lens, there is a higher probability that photos of people will have red-eye. Red-eye is caused when the light from the flash shines through the wide-open pupil and reflects off the tissues at the back of the eye. Even with pop-up flashes, though, red-eye is still a possibility.

Some cameras offer various red-eye reduction features that try to minimize the red-eye effect by shining a bright light at the subject, or firing a quick series of pre-flashes. These are designed to cause the subject’s pupils to contract to a smaller opening so that there is less of a chance that the flash will shine into the eye and cause the red-eye effect. The best way to reduce red-eye is to attempt to position the subject closer to a brighter area so that their pupils naturally contract to a smaller opening. If possible, turning off the flash entirely is another good option.

In addition to red-eye reduction flash, other common flash modes are Auto (where the flash comes on whenever there is not enough light) or Flash Off (where it doesn’t come on at all, even if the light levels are too low).

You should attempt to become familiar with how the different flash modes are accessed on your camera. Being able to turn the flash off entirely, or combine it with a slower shutter speed, can be important creative tools for taking advantage of existing light or combining existing light with a flash.

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Assignment 1.1: Sign Student Agreement

Description:

To prepare you for the time when you are working artists and to foster a professional relationship, I’ve written up a student agreement or “contract” between myself as the instructor (client) and you as the student (artist). When your time at the Academy is over and you’re working for yourself, you’ll need to carefully read and follow guidelines set forth in contracts with your clients. This will give you a taste of what that’s like.

There’s a copy of the agreement on the following page.

Purpose:This assignment will reinforce the professional relationship between instructor and student.

Tools:You will need the student agreement and a pen.

Due Date:This assignment is due at the start of Module 02.

Submission Directions:Sign and date the student agreement. Make a copy for yourself and return the original signed agreement to me at the start of class next week.

Student Agreement

This Student Agreement (“Agreement”) is made and entered into as of September 8, 2010 by Tom Ellsworth (“Instructor”) and ______________________ (“Student”).

1. Duties. Instructor hereby engages Student to attend 15 weekly Modules and to complete all assignments for the ILL 133: Digital Media 1 – Photography and Imaging class.

2. Term of Agreement. This Agreement will become effective on September 8, 2010 and remain in full force until December 15, 2010.

3. Attendance. Student will arrive to class on time every week. Arriving late (Tardy) will be noted by Instructor. For an absence to be excused a doctor’s note must be presented to Instructor, but the assigned work is still due on time. The Academy of Art Model Attendance Policy is as follows:

• Four (4) late arrivals may drop the final grade by one letter grade (B to C, C to D…).• Three (3) unexcused absences may result in a final grade of “F.”• Three (3) consecutive absences may result in a final grade of “F” or being dropped from the class.

4. Deadlines and Grades. Student is responsible for keeping track of assignment deadlines. To earn a minimum grade of C for the class, Student must attend every class session on time, follow the in-class instruction, and turn in every assignment on time, displaying a basic understanding of the concepts being taught.

• An assignment is due at the start of class one week after the assignment is given. For example, an assignment given during Module 1 will be due at the start of class for Module 2.

• An assignment may be turned in up to one week late, but the grade will be lowered one grade level. For example, if an assignment given during Module 1 is turned in at the start of Module 3 and the work earns a “B” grade, the grade for that assignment will be lowered from B to C.

• Any assignment turned in more than one week late earns a grade of “F.”

5. Instructor’s Role. Instructor will teach a new lesson each week, grade Student’s work in a timely manner, and give honest and objective feedback. The details of critiques and grading is as follows:

• Instructor will provide critique of assignments turned in at the start of class when the assignment is due. Critiques are given in front of the class and not privately.

• Instructor will post a list of assignment grades each week. The grade list will identify Student by their Academy of Art ID number only and the order of IDs presented will be randomized to keep the grades confidential.

6. Equipment and Tools. Student will be responsible for providing their own 4.0 megapixel (minimum) digital camera for the photographic portions of class assignments. Student will have access to Photoshop on the classroom computers during class time and on the Academy of Art Computer Lab’s computers outside of class time. Student is responsible for providing their own flash drive or other mobile digital storage device for transporting homework files to and from class.

Executed at San Francisco, California, on the date set forth below.

STUDENT

Dated: ____________________ By: _______________________________

Print Name: _______________________________

Digital Media 1: Photography & Imaging – ILL 133Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Assignment 1.2: Share 3 Photo Illustrators

Description:

Go to http://www.theispot.com and in the Search Portfolios search window type “Photo Illustration.”

Search through the images and look for an example of photo-based illustration that you fi nd interesting. Click on that image to get more information about it and then click on the “Go to Portfolio” button to go to that artist’s portfolio page. Look at more of their work.

Record this artist’s name. Save an example of their work that you fi nd particularly interesting by right-clicking on the image and saving it. Do this for 2 more illustrators, recording their names and saving an example of their work. You will end up with 3 images (one for each artist).

Using a word processing program like Pages or Word, write a paragraph about each artist’s work telling us what you like about, why it grabbed your attention, and the elements you’d like to create in your own work. At the top of this document include your name, the class name (Digital Media 1), and the day of the week and time the class meets. Save the fi le as a PDF document.

You’ll be turning in the three images as well as your three paragraphs. Name the fi les as follows:

First illustration example: fi rst initial,last name_1_1.jpg (for example: tellsworth_1_1.jpg)Second illustration example: fi rst initial,last name_1_2.jpg (for example: tellsworth_1_2.jpg)Third illustration example: fi rst initial,last name_1_3.jpg (for example: tellsworth_1_3.jpg)Written explanation: fi rst initial,last name_1_4.pdf (for example: tellsworth_1_4.pdf)

Digital Media 1: Photography & Imaging – ILL 133 Tom Ellsworth

Fall 2010

Module 01 – Introduction to Digital Cameras

Assignment 1.2: Share 3 Photo Illustrators (continued)

Be prepared to talk about your examples in class.

Purpose:

This assignment will give you an idea of how illustrators are using photography as the basis for their illustrations. It will help you focus your thoughts on the kinds of things Photoshop is capable of as we start to learn how to create some of these effects in this class.

Tools:You will need your computer, word processing software, and internet connection for this assignment.

Due Date:This assignment is due at the start of Module 02.

Submission Directions:Take all four, properly named, assignment files and put them in the drop-off folder for this class.