c&c (comments and criticisms) sessions

The AWM was really one of the most unaccomplished practice shoots to date.

I was showing the other pictures that didn’t made the cut to my teacher. Whom I share photos to each night over at yahoo messenger and here are the our c&c session. (translation of some words are inside the parenthesis)

picture#1 : the mis-angled shadow

him: this would look nice
me: if?
him: from the other end
him: left side
me: ahh :)
him: you know the feeling na parang putol ang paa or kamay mo (your arm or leg is chopped off) with this picture
me: ooh
me: wait (wait)
me: i take it from the left side?
him: yeah
me : oooh
me : :)
me : sige (alright) next time :)
kaotep: something to do with the light

c&c (comments and criticisms) sessions

The AWM was really one of the most unaccomplished practice shoots to date.

I was showing the other pictures that didn’t made the cut to my teacher. Whom I share photos to each night over at yahoo messenger and here are the our c&c session. (translation of some words are inside the parenthesis)

picture#1 : the mis-angled shadow

him: this would look nice
me: if?
him: from the other end
him: left side
me: ahh :)
him: you know the feeling na parang putol ang paa or kamay mo (your arm or leg is chopped off) with this picture
me: ooh
me: wait (wait)
me: i take it from the left side?
him: yeah
me : oooh
me : :)
me : sige (alright) next time :)
kaotep: something to do with the light

got pwnd…and humbled

i know there’s going to be a lot of days that i’m going to get in trouble because of my eherm, bravado. haha. now why did i post this in my photo blog…you’ll know soon enough.

i have been mostly hanging around here. just posting, looking around, posting some more, i didn’t even know until today that i was being coined from moderators for the term taray(arrogant), and got the administrators (the people who founded the actual magazine) miffed because of my remark regarding buying the first and last dpp magazine.

when bai told me all this i was … well i was really troubled, and sad, and i felt like those little children whom have been told to stand in the corner t0 think about what they’ve done. a tear rolled down my cheek. it was really embarrassing on both my part and his. the last thing i want people to talk about in the forums is how bitchy and arrogant the girlfriend of one of the respected photographers around is.

i smoked a stick or two more than i have to.

sometimes, i really need to think about what to say first before i do something…

I’m sorry…:,(

got pwnd…and humbled

i know there’s going to be a lot of days that i’m going to get in trouble because of my eherm, bravado. haha. now why did i post this in my photo blog…you’ll know soon enough.

i have been mostly hanging around here. just posting, looking around, posting some more, i didn’t even know until today that i was being coined from moderators for the term taray(arrogant), and got the administrators (the people who founded the actual magazine) miffed because of my remark regarding buying the first and last dpp magazine.

when bai told me all this i was … well i was really troubled, and sad, and i felt like those little children whom have been told to stand in the corner t0 think about what they’ve done. a tear rolled down my cheek. it was really embarrassing on both my part and his. the last thing i want people to talk about in the forums is how bitchy and arrogant the girlfriend of one of the respected photographers around is.

i smoked a stick or two more than i have to.

sometimes, i really need to think about what to say first before i do something…

I’m sorry…:,(

continuing onto hyperfocal distance before the fun stuff :D

There is also something called the hyperfocal distance relating to the DoF.  The only difference is that DoF refers to a section in a photograph that is focused, while the hyperfocal distance refers to the closest distance you can get where all objects are sharp from foreground to background. mah…

this is Wikipedia’s definition for hyperfocal distance:

In optics and photography, hyperfocal distance is a distance beyond which all objects can be brought into an “acceptable” focus. There are two commonly used definitions of hyperfocal distance, leading to values that differ only slightly:

The first definition: the hyperfocal distance is the closest distance at which a lens can be focused while keeping objects at infinity acceptably sharp; that is, the focus distance with the maximum depth of field. When the lens is focused at this distance, all objects at distances from half of the hyperfocal distance out to infinity will be acceptably sharp.

The second definition: the hyperfocal distance is the distance beyond which all objects are acceptably sharp, for a lens focused at infinity.

Say that again?

I honestly didn’t quite get that until I saw a photoblog explained it with pictures, and thats when I got what hyperfocal distance really is.

Well, that ends another photography lesson. Now I will post more pictures.

Depth of Field(DoF), Scheimpflug principle, hyperfocal distance, and more nosebleed moments

During Bai’s birthday lunch. I pestered him about fiddling the DoF on my AV-1. Turns out, there was no Depth of Field preview for it. All I can hope for is twiddle with the aperture and hope for good results. Nyaha.

Anyway here’s the full blown, nose-bleeding, formula-counting terminologies @Wikipedia, but as always a sort excerpt for the photog33ks :)

In optics, particularly film and photography, the depth of field (DOF) is the distance in front of and beyond the subject that appears to be in focus.

//insert really, REALLY long explanation about

• 1 Apparent sharp focus
• 2 Effect of f-number
• 3 Camera movements and DOF
• 4 Obtaining maximum DOF
• 5 Limited DOF: selective focus
• 6 Near:far distribution
• 7 Depth of field formulae
• 8 DOF vs. format size
• 9 Photolithography
• 10 Ophthalmology and optometry
• 11 Increasing DOF by digital compositing
• 12 Derivation of the DOF formulae

I tried reading…the keyword is tried and tried to understand before posting anything relevant in fact I have some crazy examples on how lame I am on the aspect of DOFs. :D

Bai explained how DOFs depend on the aperture and the lens. The higher the aperture (meaning smaller the number), the smaller the DOF is. So most probably, I shouldn’t be using a f/1.8 if there are 3 people in the scene…like so…

roovin’s the only one focused here. haha.

I am guessing I’m using a f/1.8 or a 2.8 here. I focused Roovin on the center, and left harmy and helen to sort of blur in the background. To correct this, I should’ve used a lower aperture like a 5.6 as suggested by Bai when shooting groups.

With regards to lens (and I cannot really tell on my own since I only have my kit lens here with me) effect, I remember one example. For shooting insects on a macro lens, you have to lower the aperture to around 16-22, or your bug’s eyes will be the only clear thing you’re seeing.

some other formal explanation from the Wikipedia site earlier.

The image format size also will affect the depth of field. The larger the format size, the longer a lens will need to be to capture the same framing as a smaller format. In motion pictures, for example, a frame with a 12 degree horizontal field of view will require a 50 mm lens on 16 mm film, a 100 mm lens on 35 mm film, and a 250 mm lens on 65 mm film. Conversely, using the same focal length lens with each of these formats will yield a progressively wider image as the film format gets larger: a 50 mm lens has a horizontal field of view of 12 degrees on 16 mm film, 23.6 degrees on 35 mm film, and 55.6 degrees on 65 mm film. What this all means is that because the larger formats require longer lenses than the smaller ones, they will accordingly have a smaller depth of field. Therefore, compensations in exposure, framing, or subject distance need to be made in order to make one format look like it was filmed in another format.

I basically understood about that on most part. What really got me was the Camera Movements and the DOF as well as the…come again..Scheimpflug principle…oh boys…let’s read on shall we?

Normally, the lens and image (film or sensor) planes of a camera are parallel, and the plane of focus (PoF) is parallel to the lens and image planes. If a planar subject (such as the side of a building) is also parallel to the image plane, it can coincide with the PoF, and the entire subject can be rendered sharply. If the subject plane is not parallel to the image plane, it will be in focus only along a line where it intersects the PoF, as illustrated in Figure 1.

Figure 1. With a normal camera, when the subject is not parallel to the image plane, only a smallregion is in focus.

I was reading that part over and over again (even tried gazing once or twice at the diagrams and got a nosebleed). I have an example that’s quite like Figure 1 over there,which is this one.

looks the same!

Will continue on this tomorrow…my brain is spinning *laughs

note: I continued on hyperfocal distance at the next entry :D

Aperture…and more nose bleeding terminologies (part 2)

Remember the play with Aperture that I did with the AV-1 a few posts back, since I have no idea how that would turn out, I took heed from Bai and read up on Aperture (after being a b1@tch)…based from a certain lens I wanted…

Excerpt from here.

In optics, an aperture is a hole or an opening through which light is admitted. More specifically, the aperture of an optical system is the opening that determines the cone angle of a bundle of rays that come to a focus in the image plane.

It sounds nifty, and that is the concept I really know of (think iris) but I went to focus on the photography part more (where numbers are present), and I screwed the formulas all together for later maybe if I become that g33ky enough…

I really wanted to take notes. But wiki explained it so well that I would just paste the whole shebang here and read it over and over again.

In photography

The aperture stop of a photographic lens can be adjusted to control the amount of light reaching the film or image sensor. In combination with variation of shutter speed, the aperture size will regulate the film’s degree of exposure to light. Typically, a fast shutter speed will require a larger aperture to ensure sufficient light exposure, and a slow shutter speed will require a smaller aperture to avoid excessive exposure.

A device called a diaphragm usually serves as the aperture stop, and controls the aperture. The diaphragm functions much like the iris of the eye—it controls the effective diameter of the lens opening. Reducing the aperture size increases the depth of field, which describes the extent to which subject matter lying closer than or farther from the actual plane of focus appears to be in focus. In general, the smaller the aperture (the larger the number), the greater the distance from the plane of focus the subject matter may be while still appearing in focus.

The lens aperture is usually specified as an f-number, the ratio of focal length to effective aperture diameter. A lens typically has a set of marked “f-stops” that the f-number can be set to. A lower f-number denotes a greater aperture opening which allows more light to reach the film or image sensor.

Aperture priority refers to a shooting mode used in semi-automatic cameras. It allows the photographer to choose an aperture setting and allow the camera to decide the shutter speed and sometimes ISO sensitivity for the correct exposure. This is sometimes referred to as Aperture Priority Auto Exposure, A mode, Av mode, or semi-auto mode.^[3]

Maximum and minimum apertures

The specifications for a given lens typically include the minimum and maximum apertures. These refer to the maximum and minimum f-numbers the lens can be set at to achieve, respectively. For example, two versions of the Canon EF 70-200mm lens have a maximum aperture of f/2.8 and a minimum aperture of f/32.

The maximum aperture (minimum f-number) tends to be of most interest; it is known as the lens speed and is always included when describing a lens (e.g., 100-400mm f/5.6, or 70-200mm f/2.8).

A typical lens will have an f-number range from f/16 (small aperture) to f/2 (large aperture) (these values vary). Professional lenses for 35mm cameras can have f-numbers as low as f/1.0, while professional lenses for some movie cameras can have f-numbers as low as f/0.75 (very large relative aperture). These are known as “fast” lenses because they allow much more light to reach the film and therefore reduce the required exposure time. Stanley Kubrick‘s film Barry Lyndon is notable for having scenes shot with the largest relative aperture in film history: f/0.7.

Lenses which have a fixed focal length (FFL) and large aperture are favored especially by photojournalists who often work in dim light, have no opportunity to introduce supplementary lighting, and need to capture fast breaking events.

Zoom lenses typically have a maximum aperture (minimum f-number) of f/2.8 to f/6.3 through their range. A very fast zoom lens will be constant f/2.8 or f/2, which means the relative aperture will stay the same throughout the zoom range. A more typical consumer zoom will have a variable relative aperture, since it is harder and more expensive to keep the effective aperture proportional to focal length at long focal lengths; f/3.5 to f/5.6 is an example of a common variable aperture range in a consumer zoom lens.

Aperture area

The amount of light captured by a lens is proportional to the area of the aperture, equal to:

Where f is focal length and N is the f-number.

The focal length value is not required when comparing two lenses of the same focal length; a value of 1 can be used instead, and the other factors can be dropped as well, leaving area proportion to the reciprocal square of the f-number N.

If two cameras of different format sizes and focal lengths have the same angle of view, and the same aperture area, they gather the same amount of light from the scene. The relative focal-plane illuminance, however, depends only on the f-number N, independent of the focal length, so is less in the camera with the larger format, longer focal length, and higher f-number.

My nose kept dripping of blood. I have just sported an instant nosebleed

I’m still trying to compare differences which regards to aperture, No apparent proof as of yet. Renault only goes at an aperture of 2.8 and nothing more. While the av-1 can go as high as a 1.8. I have finished the centuria 200 roll on vivi, and I have loaded a new centuria on the av-1. I have to make notes for that since I have hastily clicked away on some scenes the seems to be worthy of the taking. lol@impatience.

and Just so this isn’t a non-picture post.

jp-rizal and pasig river

medium : Canon IXY910 IS

iso : 80
aperture : F/8 (wtf?)

exposure : 1/250

Composition: Lines, Simplicity, and The Rule of Thirds

On this really boring Saturday morning, I was fumbling about in random sites (trying to forget all the suya) with regards to composition. I like looking at photographs, Sometimes, it’s hard to make a good comment when you don’t really know the right terminology. Sometimes, Bai would go on and on terms and all I get is nosebleeds. :D

So, while he’s out shooting in Ormoc, and I am bored at home, I’m going over some bouts of Composition. Something that I should be studying about, this is the part where I would mostly fall asleep in class (let’s say, this was something about Calculus, the teacher discusses the derivatives, I get all bored but then I wake up as soon as I get to solve problems.)

Simplicity

Simplicity is Key, what you want to focus on counts, if you have a bazillion of noise that hurt the subject , then depth-of-field can help, but I might get that some entries later haha.

taken with the Canon IXY 60

You’d know the statue is what I’m aiming for. Nothing more.

The Golden Mean

an excerpt from here.
The Golden Mean, just like PI (3.14) is another of those strange numbers that we seldom question and very often take for granted. This number is represented by the Greek letter PHI, but dissimilar to PI, the golden mean goes very much unnoticed in our everyday life in such things as buildings, plants and even in living creatures – yet we find these things strangely pleasing on the eye. This is the magical number 1.618.

say what?

For the whole butt-scratching part to be over, I guess it basically means the rule of thirds. This is what you call the points that intersect on your photo on a 3×3 grid (maybe also the magical number 1.618 value? I won’t really know. lol). That’s where you can (most appealingly) place your subjects. Not really a rule, but mostly a composition guideline.

taken with the Canon IXY 910 IS

Anyone who had a grand time reading this can correct my pictures if I am wrong, after all, I am trying to learn here, I would say that can suffice the golden mean, focal point is at the boat, other one is the coffee, same golden mean, different points of location.

Lines

notes here, this is one of the concepts that I have seldom used and if I did, I wouldn’t have an inkling until it bat me on the face. lol. here’s the except.

THE VERTICAL LINE

It denotes Dignity, Height, Strength, and Grandeur. We find vertical lines in trees, tall buildings, fences, people standing up, mountains, etc. A tall building shows height, strength, dignity and grandeur. Trees show height and strength.

THE HORIZONTAL LINE

Denotes Repose, Calm, Tranquillity and peacefulness, such as a person lying in the grass sleeping, flowers in a field, the flatness of a desert scene or lake. You can make your photograph illicit these feelings if you look for them in the picture area and use them in your photographs.

THE DIAGONAL LINE

This like gives the sensation of Force, Energy and Motion as seen in trees bent by the wind, a runner at the starting line or the slope of a mountain as it climbs into the sky. By knowing this you can create Force, Energy and Motion with your camera easily by tilting the camera to make objects appear to be in a diagonal line. A dignified church steeple when photographed at a slant will change to a forceful arrow pointing towards the sky and show motion.

THE CURVE

Here is a line of great beauty and charm and nothing gives a better example than a beautiful female form with all it�s lines and curves. Of course there are other examples: The curve in a river or a pathway through a flower garden.

THE “S” CURVE

This line goes further than just a plain �curved line. It is called the “Line Of Beauty”. It is Elastic, Variable and combines Charm and Strength. It has Perfect Grace and Perfect Balance. You have seen this �S� Curve hundreds of times in drawings and paintings and other works of art.

Examples: the double curve of a river makes an �S� curve. A path, row of trees or bushes that curve one way and then the other way create the “S” curve. Look for this type of design and use it in your photos to add interest and beauty.

THE LEADING LINE

The line that leads your eye in to the picture area easily like a road or fence, a shoreline or river, a row of trees or a pathway. A successful “Leading Line” will lead your eye in to the picture and take it right to the Main Subject or Center of Interest

An “UN-Successful “Leading Line” will take the eye in to the picture but will ZOOM the eye right OUT of the picture if there is no Stopper to hold the eye in the picture frame; such as a tree, house or other large object on the right hand side of the picture frame which will STOP the eye from going out of the picture. The Center of Interest or Main Subject will act as a Stopper and hold the eye in the picture frame.

The best Leading Lines will start at the Lower Left area of the picture frame but not in the exact corner. Again, the eye likes to enter a picture frame at this point and the Leading Line will help it get in to the picture easily and swiftly.

After reading the excerpt, I have no effin clue even what to place. Haha. I suck. Will try and know more of this later.

Meanwhile, less talk and more pictures shall we? :D