Shutter Speeds & Depth of Field (DOF)
Let's Ah, let's cover a little military toward just for a short period of time that we've already covered just to review materials. So when you are looking at your photos and your evaluating them, you want them to be sharp. There's a lot of reasons why they might not be sharp. One of those might be autofocus problems that you are. The camera did something wrong, but it's also choosing the right shutter speeds. And so let's just go back and remember real quickly some of those types of shutter speeds you know, for human action. I recommend 500 but for really fast human action, you're going to need to go up a little bit orm or depending on the action. So 1000 for some fast runners, some dancers, they're moving good, fast human action. That's your standard 5/100 of a second that I talk about some elephants walking quickly in the field, not quite running, but they're moving quickly to 50th is appropriate for that. For most human action, probably 60th. But if it's a little bit faster, a litt...
le bit more chaotic, more Ah, a little bit higher. Up a 1 25th of a second, as I say that casual human action probably going to need 1/60 of a second. What if you choose casual human action at 1/30 of a second? Well, look at those feet were getting just a little bit of blur in the feet. Maybe it's perfectly fine to have a bit of blur, and I don't mind it at 1/ of a second. It's up to you as to exactly how much blur that you want in your photograph. I love panning down on 15th of a second. That works really good, and then we could jump all the way down to one second if we want that blurriness in the water movement. And if we want to take things to extremes, we can go down to 30 seconds with water movement and have some very interesting choices here. And so I encourage you to keep track of your shutter speeds. Look at the metadata of your photographs that you've taken and start building in your own little reference points for the types of things that you shoot. Maybe you shoot concert photography. I don't do a lot of concert photography. I would start with well, 1/60 of a second. Unless it's a high energy lead singer, then I might need more that 5/100 of a second. It depends on what they are, what instrument they play bass players. I'd say that you could use a slow shutter speed with them. Alright, drummers, you're gonna need a faster shutter speed with them. And so figure out what shutter speeds work with the type of subjects that you typically work with. Some more ground that we can kind of recover. Just just for the moment is depth of field. Sometimes you'll get a picture and it doesn't have everything and focus the way you expect it. And so going back to our depth of field 1.4 gives you shallow depth of Field 22 gives you lots of depth of field and encourage you to go out and run these tests on your different lenses. You're not gonna end up with great photos, probably cause you're just playing around. But you're learning how your equipment works. You're learning the limitations and the standards that you're going to get with various sets of gear that you have. And so I've done this test more times than I can tell you. And because I've done that, I don't need to pull my phone out of my pocket and pull up the depth of field. Apt to tell me how much depth of field I need. You learn it through experience, and you could just incorporate it as you work in the field very, very quickly. So, as I say, 1.4 very shallow depth of field opening up our aperture. And so we're gonna have to balance this with our light needs in the camera. Now remember, this depth of field is controlled by more than just changing your aperture. It'll be controlled by the lens that you use. A 50 millimeter lands at F eight is going to give you shallower depth of field than a 28 millimeter lens at F eight. The aperture is the same opening, but it because it's a different lens, you're going to get different things in focus. At F eight, you're gonna get most everything in focus a 58 F eight that near tail light on the car there on the right hand side. That's not gonna be tax sharp, probably in that situation, you would need to be stopped down a little bit more if you're using that longer focal length lens. The other factor on depth of field is how close you are to your subject. The closer you are to your subject with less, you're going to get in focus. And so the aperture you need will depend on how close you are to your subject. Now. The complication for a lot of people getting into photography is that there are three factors controlling how much is in focus in any particular photograph. Okay, we got it, John. You've said it enough times. F 22 is a lot of depth of field. F 1.4 is less depth of field focal length. You're gonna get more depth of field with wide angle, lest up the field at telephoto and then shooting distance. How far away is the subject? When it's close up, you get shallow. When it's far away, you get more, and it's pretty easy to figure out how much depth of field you're going to get. If you have everything set over on one side of this graph here, if it's on the other side, you're shooting 1.4 with a long telephoto lens on a close up subject. Well, of course, it's gonna be shallow depth of field where it starts to get confusing is when you got this one over here and that one over there and this one here. So you got one thing pulling you one way and another thing pulling you the other way, you have to figure out what has the most impact on providing the depth of field.
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Full-length class: Fundamentals of Photography with John Greengo
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As a photographer, you will need to master the technical basics of the camera and form an understanding of the kind of equipment you need. The Fundamentals of Digital Photography will also teach something even more important (and crucial for success) - how to bring your creative vision to fruition.
Taught by seasoned photographer John Greengo, the Fundamentals of Digital Photography places emphasis on quality visuals and experiential learning. In this course, you’ll learn:
- How to bring together the elements of manual mode to create an evocative image: shutter speed, aperture, and image composition.
- How to choose the right gear, and develop efficient workflow.
- How to recognize and take advantage of beautiful natural light.
John will teach you to step back from your images and think critically about your motivations, process, and ultimate goals for your photography project. You’ll learn to analyze your vision and identify areas for growth. John will also explore the difference between the world seen by the human eye and the world seen by the camera sensor. By forming an awareness of the gap between the two, you will be able to use your equipment to its greatest potential.