the most popular system for all the cameras that we've been talking about and will continue to talk about. In this class is the focal plane shutter, which means there is a shutter opening right near the focal plane of that particular camera in an SLR camera. We talked about your viewing system here, and his light comes into the sensor goes the lens. The mere goes up lights gonna come in towards the sensor, but it can't quite get there yet. It needs to get past the shutter unit, and there are actually two parts to the shutter. It's like a curtain. There's a first curtain and a second curtain. What happens when you actually take a photo? Is that the set of blades? These air four lightweight metal blades will drop away, exposing light to the sensor, and then the second curtain will come in and block everything off. It uses this to curtain system rather than a one curtain system that would open and close so that every pixel is exposed for exactly the same amount of time. You get an even ex...
posure across the entire sensor, and then the system needs to reset, and then the mirror will come back down so that you can view the next image. But it needs to go through this every time you shoot a photo, and this is the way it works on SL ours and muralists for the most part. Now you can see in a very fast shutter speed. The way it does it is, it scans the image on now. You would think that this might have a problem with subjects that move really quickly, but this scanning happens very, very quickly, so it's not really an issue. I suppose you could force yourself into a situation to make it an issue, but this is how the camera works at high shutter speeds. It's essentially scanning that light on that sensor during that 1 8/1000 of a second, for instance, and then the mere returns and you get to see what's going on. So the SLR system, the focal plane shutter system here, This is a proven technology. They know how to work with this, make it work quick and very, very reliable. It simplifies the lens construction because now they can do whatever they want in the lands, and I'll just worry about the shutter in the body itself. There is a limitation because that sensor has to be completely clear when the flash fires as to when you can fire your flash. And so synchronization will be a key topic when we get into the lighting and flash section in this class and that shutter movement up and down, up and down, up and down causes a little bit of vibration in the camera. And so a lot of the new SL ours now have silent shutter options, which allows you to use an electronic shutter. We'll talk about a moment so that there's no movement in the cameras at all. If you're doing a high magnification, close up shot, any sort of vibration might cause a blurriness in the photo. And so just another tool for solving a problem with a mere list camera. The focal plane shutter works slightly differently, and that's because we don't have the mere in there for viewing system. We're using the actual sensor for viewing. So if we were to take a close look at the sensor in this case, here's what's happening with the focal plane shutter in a muralist camera. To start with the shutter is natively open because you have to have light coming into the sensor so that you can see to compose your photograph when it's time to take a photo. The shutter needs to close so that the sensor can be prepped. Now the sensor is ready. Here's your exposure. You're taking the photo and then the second shudder comes in close. Is it? But then it needs to open again so that you can see the next shot. And so there's a little bit of movement going on in there, and long term, the shutters are going Bye bye. We're not going to be seeing these forever. There's a lot of mechanical things that are going on in here, but not really a huge problem, but it's kind of getting in the way of some other things that we might want to dio. And so here's how it would look if you could see the sensors straight on. Muralist camera has both shutters open closes to preps. The scent sensor were now collecting the image, and on some of the early Miller muralist cameras, there was a problem because that shutter was getting out of the way so quickly it caused a vibration right when the camera was recording an exposure. And so a lot of the cameras have now used to going to an electronic shutter to start off the exposure, and then they use a mechanical shutter to finish it. And so there's a lot of technology going on in the cameras in this case, and so if we could see the pixels, I've enlarged them here to make him easy. Shutter opens. We let the vibration settle out, and then the camera basically scans the image on recording the image one line at a time as quickly as it can, and then closing the shutter again at the tail end. Different cameras work in different systems. I can't speak universally to all the different systems because it's different, and it's constantly changing all the time. One of the newest features that has come out is the Elektronik shutter, and we first saw this with Remember which camera I think was the cannon 40 D that had an electronic front curtain shutter. And the funny thing is, looking back on it, they never told anyone about this. We have this great new piece of technology, and I was just talking with a couple photographers and like, yeah, Did you notice this? Yeah, I noticed how this was working. It's like I think they did this and we did some testing and like they did this and they didn't even tell us. And it's this great new feature. What happens is that it would open up the shutter and then it would Elektronik Lee start, and then it would close it with the curtain, and this was really beneficial. So in that there was no movement before the picture was taken in the camera. There's nothing moving, which means the camera stayed perfectly still. And in some high magnification situations, every little bit of movement might be a problem. Someday, very soon, we're gonna get completely rid of these mechanical devices in the camera. And what's gonna happen is we're gonna have an electronic shutter. A lot of the cameras have options to turn this on right now and just not use the mechanical shudder. And what it's doing is it's scans very quickly, from top to bottom or bottom to top just turns on those pixels records. That light goes to the next line, and it currently because of the sea moss technology were using can't turn everything on and everything off. Actually, the CCDs used to be able to do this that we used in cameras. And I remember back the Nikon d 70 you could actually do this, but they've gone to sea moss because a variety reasons we're not gonna get into right now. But this is currently where we are right now, and the limitation is the scanning process, and either they're going to speed it up. So it's not a difference, or they're gonna come up with a new piece of technology that just turns everything on and turns everything off at the same time. But the scanning is what people in video call the jello effect. And so, as you move your camera back and forth, this is what a standard grid pattern looks like is you move it really quickly. If a car is driving quickly down the street and you're following it, those buildings in the background appeared to be leaning. They're not actually like that. And that's because you were moving the camera as it was shooting. If you hold the camera still and you have a cyclist right past. You take a close look at those wheels. Do they seem a little egg shaped to you? And that's because the cyclist was moving and it was scanning the image one line at a time. And so it doesn't work real well with moving subjects. This is going to change, and I know it's gonna change because it's already started to change, and I don't like to call out individual cameras. But for right now, the Sony 89 is the only camera on the market that can shoot with an electronic shutter shooting high speed action with virtually no distortion. It's small enough that I don't think really anyone's gonna have a problem with its. I've done some testing with some skateboarders and really fast movement with the camera, but it's scans fast enough. It's not a problem, and so we're going to see this more and more on cameras. Cameras come around, so the electronic center no vibrations silent, more reliable, less moving stuff in the camera. So there's some good things to think about here. Moving objects are currently distorted. That is going to change. I think, very quickly on the next round of muralist cameras that come out. There is some limitations on flash. We'll see how they deal with that going forward. But probably the biggest thing is no more click. Are you too silent camera? I mean this just, uh where's that sound that you know, Imagine I don't play golf, but could you imagine gulf with no sound to hitting the ball? You know, golfers, I'm sure, you know, really click into that click. You know, when you get a good hit, it sounds like a good hit, but just yeah, great hit. It feels like you're playing electronic game or something, and so you will have to add in really high quality clicks. And maybe, maybe I'll start a company that makes aftermarket clicks that you can download and add to your camera, and you want the gringo click in your camera, classic clicks or something.
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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.