PROGRAM PENGSISWAZAHAN GURU

EDU 3015 TECHNOLOGY IN TEACHING AND LEARNING

ASSIGNMENT 2
PRACTICAL PHOTOGRAPHY
Using a DSLR camera in manual mode, produce 5 images by applying various techniques
and compositions. State the techniques, aperture value and shutter speed used.
PHOTO TECHNIQUES
1. Dept !" "#e$%
Depth of field is a characteristic of a camera that can be used to enhance the image
composition of the photo. Depth of field means the sharp area surrounding the point of
focus. The magnitude of the sharp area is affected by several factors distance bet!een
the camera and the sub"ect, focal length and aperture.
The closer the sub"ect to the camera, the more shallo! the depth of field.
The longer the focal length, the more shallo! the depth of field.
The larger the aperture #smaller the $%number&, the more shallo! the depth of field.
't is important to understand ho! to affect the depth of field in order to utili(e it in image
composition. $or e)ample, the sub"ect of the photo can be emphasi(ed by isolating it
from its surroundings by using a shallo! depth of field. Shallo! depth of field is usually
used in portraits and large depth of field is usually used in landscape photos.
Shallow Depth of Field
The sub"ect in a picture !ill be isolated from its chaotic surroundings by using shallo!
depth of field. *y using shallo! depth of field the distracting bac+ground is blurred and
only the sub"ect appears sharp. ,ie!ers eyes concentrate first on the sharp areas of the
photo and so the sub"ect gets all the attention
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Large Depth of Field
Usually it is good for landscape photos if all parts of the image appear sharp. There is
usually no need to isolate elements by utili(ing the depth of field in the landscape
photos. -ll around sharp photo can be achieved by using large depth of field. 'n order
to get large depth of field you should use rather small aperture. This also means that
you must decrease the shutter speed. Therefore it.s often necessary to use tripod
!hen ta+ing landscape photos.
2. P&''#'(
/anning is a term in photography that simply means to move the camera. 0ost
frequently the camera is moved by pivoting hori(ontally to match the speed of a moving
sub"ect. /anning is most often used in order to capture a feel of motion !hile +eeping a
moving sub"ect in sharp focus. 1o!ever, the camera can be moved vertically or in a
linear motion rather than pivoting on a central point. 2ach type of movement !ill
produce different photographic effects. 3no!ing the different options !ill help you add
variety to your images easily.
H!)#*!'t&$ panning on a pivot point is the most common panning technique. To pan
hori(ontally on a pivot point is also the simplest of panning techniques. Using a tripod
!ith panning capability #most tripods have the ability&, the camera is turned as a sub"ect
passes the photographer. *y tripping the shutter as the sub"ect is directly perpendicular
to the camera the sub"ect is +ept in sharp focus across a flat visual plane. 'f the shutter
is tripped !hile the sub"ect is at an angle, distortion can occur. This sub"ect distortion in
not al!ays a bad thing and you should ta+e the time to e)periment !ith different angles
to see !hat !or+s best or your preferred aesthetic.

+e)t#,&$ panning is the same process as hori(ontal panning e)cept that the camera
pivots up and do!n. 0ost tripods !ill have the ability to allo! this motion. 1o!ever,
because vertical motion usually occurs over a much smaller area than hori(ontal motion,
vertical panning can require a much more precise movement. *ecause vertical motion
often stops quic+ly #there is only so far an ob"ect can fall& the photographer does not
have much time to focus, pan, and release the shutter. 4ith ob"ects moving up!ards
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#such as a roc+et launch& the sub"ect !ill quic+ly move out of range of the camera and
distortion !ill be too great for a viable photograph.
3. S-tte) Spee%
S$!. S-tte) Spee%
Shutter speed is considered to be 5long5 or 5slo!5 !hen it is slo!er than 6789th of a
second. #Remember, this is mar+ed as 89 on your camera dial or display.& This numbers
comes from the fact that most people can only hold a standard lens #bet!een :5mm
and ;9mm& steady for 6789th of a second or less. This is different from the commonly
used term 5long e)posure5 !hich usually refers to shutter speeds of over 6 second.
/&0t S-tte) Spee%
$ast shutter speeds are generally considered to be those shutter speeds faster than
67599th of a second. These shutter speeds are used to free(e, or stop, motion for a
clear image !hen shooting fast sub"ects.
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COMPOSITION
1. R-$e !" T#)%0
The rule of thirds is one of the most basic composition guidelines in photography. The rule of
thirds ma+es use of a natural tendency of the human eye to be more strongly dra!n to!ards
certain parts of an image.
W&t #0 te R-$e !" T#)%01
The rule of thirds is an imaginary tic%tac%toe board dra!n across an image to brea+ it into
nine equal squares. The four points !here these lines intersect are strongest focal points.
The lines themselves are the second strongest focal points.
H!. D! I U0e It1
To use the rule of thirds you need to imagine the grid on all of your images as you compose
them in the vie!finder. 'f you have an autofocus camera <ou can use the autofocus points as
references to help you imaging the grid. 'f you use an L=D screen to compose your images
you can ma+e a rule of thirds grid out of a clear sheet of !indo! cling material. -nother
option is to dra! the grid on your vie!finder #not lens& although this may not be easily
removed and should be avoided if at all possible. 4ith a little practice you !ill be able to
effectively imagine the grid placement as you shoot.
2. 2&$&',e
*alance is a compositional technique in photography. 't is achieved
a& !hen different parts of a photograph command your attention equally through the
interplay of light and dar+ areas or sub"ects
b& by inferring geometric symmetry
The technique is not best learned by reading te)t about it, and these are only : e)amples
e)pressed in general terms. 't !ould be better to >oogle 5photographic balance5 or similar
+ey!ords and loo+ at pictures offered to e)plain it. <ou may not see balance in every photo
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e)ample offered, !hich may be more a case of a !ea+ e)ample than your ability to al!ays
grasp the concept.
3. Le&%#'( $#'e
Leading lines direct the eye to some point on the picture. -s the eye sight follo!s diagonal
lines in the composition, they tend to pull the vie!er in or out of the picture, !hile vertical and
hori(ontal lines tend to be more static, but could lead the eye to!ard something they
terminate at. Leading lines can also be implied or sight lines. 4hich ever !ay a sub"ect is
facing or moving, that can create a sight line as !ell that could become a leading line in the
same direction. Roads and rivers often act as strong leading lines in a picture, as !ell as a
ro! of something that moves off !ith perspective.
3. S455et)4
Symmetry is !hen you repeat something from one side to another.
5. Dept
Depth is ho! much something is in focus. Say you have your camera focused on a person
and their image is perfectly clear but the bac+ground behind them is blurry. That.s depth.
4hen something is in complete focus.
6. /)&5#'(
$raming means to frame the center of interest !ith an ob"ect in the foreground.
7. Pe)0pe,t#8e
/erspective is the !ay you loo+ at things in the camera.s frame. 't.s the !ay the photo loo+s
at a certain angle.
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