Exposure Triangle

The exposure triangle is the foundation of photography. It is made up of Shutter speed, Aperture and ISO. All are measured in stops and you need to get the right balance of all three to get a good exposure.

Aperture is responsible for how much light is let into the lens. The smaller the f/number, the bigger the hole – thus allowing more light in, and visa-versa. The stops can be doubled or halved to work out the continuing sequence. The aperture is also important in creating depth of field (along with distance from subject and focal lens). The smaller the aperture (say f/22) increases the depth of field (wide, big, long DOF) thus more being in focus. The larger the aperture the (f2.8) the less depth of field (small, short, shallow DOF), so the background can be knocked out. An example of this can be seen below:

 

Shutter speed is responsible for the duration of time light is in the camera. IT doubles and halves in sequence as per the aperture.  The faster the shutter speed the less light is in the camera and visa-versa. However, it’s worth mentioning that slower shutter speeds cause camera shake. You can’t hold the camera any slower than 1/30th second on a 30mm lens. Depending on the lens length there are shake limits, so a 500mm lens means you can only hand hold the camera without shake up to 1/500 of a second, no slower.. This is because a telephoto lens magnifies the subject therefor magnifies the shake. This is called the Reciprocal Rule. A tripod is always needed to avoid camera shake.

Shutter speed allows creativity with motion control, helping use techniques such as zoombursts, panning, motion blur and freezing moments in time. Some of these techniques can be seen below:

 

ISO is the in built camera setting which deals with sensitivity to light. Again, the number sequence doubles and halves. The lower the number the less sensitive the camera is to light, but the higher to ISO number the more noise will appear in your imagery. This setting can be seen as the ‘set and forget’ feature as it has no real creative control quality, however it does assist you in terms of having more choice when being creative with the aperture and shutter speed.

For example, when using Aperture priority, if you increase the ISO the setting will automatically change the shutter speed. This is a good way of eliminating camera shake, if you need a shot to be sharp.

 

When using shutter priority, if you were to decrease the ISO the aperture f/number is the variable and becomes larger (small hole). This is good for creating a wider depth of field, thus more in focus).

 

 

Depth of Field

Continuing to practice the use of depth of field using the Av setting on my Canon camera.

I initially find it difficult to get the desired effect, and then switch from auto focus to manual focus. I then feel more in control of what I want to be in focus and what I don’t.

Below are examples of shallow and wide depth of field on a hazy evening at Roanhead.

f/4.5,  1/800, ISO 100, 34mm

Above I’ve used a large aperture to create a small depth of field.  The larger aperture speeds the shutter speed up to stop too much light coming in. I’ve manually focused on the grass as the subject which as a result has knocked out the background, but still retains some intrigue as to the characters in the distance. I was zoomed in at 34mm and about 30cm away from the subject. If the sun was setting the composition could be really beautiful, but I happy with the shot given the time of day.

f/18, 1/160, ISO 100, 18mm

Here I’ve used a small aperture to get a wide depth of field allowing more of the shot to be in focus. As a result the shutter speed is slightly slower allowing more light to travel through the lens. This shot could be more interesting and creative in composition. There are a lot of footprints in the sand which is a little distracting.

The next two shots are the same image but one shot with a wide depth of field and the other shallow. The first one sees more of the image in focus, the second the focus os on the sand shapes in the foreground. I think the second with the larger aperture is more successful as the texture and shape of the sand grabs the attention.

f/20, 1/160, ISO 200, 27mm

f/5, 1/1250, ISO 200, 27mm

Below I have used a person as the subject of the image, looking out to sea. I was stood 4ft away but zoomed innate 46mm. By using a large aperture (smaller number) and as a result a faster shutter speed, the background is shallow and knocked out, keeping the focus on the character. This image could be knocked into black and white as the contrast of the light grass and the dark subject sweater would really stand out and create quite a moody image.

f5.6, 1/500, ISO 100, 46mm

 

On this final shot below I’ve placed the manual focus on the foreground, around the halved stone, and the second two thirds of the shot are out of focus creating a shallow depth of field. I was about a ft away from the stones and zoomed in at 49mm.

f5.6, 1/250, ISO 100, 49mm

 

Panning & Shutter Speed

When traveling back from Backbarrow, I was playing around with taking photos out of the window (as a passanger!) using the Tv setting. The focus is within the wing mirror and the pavement in the background is blurred because of the 30mph speed we were travelling at. 1/160 is quite fast, but unlike normal panning where I’d be moving my camera to follow the subjects with a slower shutter speed, here the car was moving for me, so my aim was to keep the camera still – but follow the bike in the mirror, shooting it as quick as possible to freeze the moment in time. If the car was stationary at traffic lights the motion blur wouldn’t be there – thus the motion blur being a bi-product of the shot.

Panning at 1/160 f/5 ISO 100

 

I also found it quite interesting trying to capture the landscape whilst traveling at 60mph in the car. I felt the technique summed up the idea of freezing motion and blurring it by using shutter speeds.

Fast Shutter 1/400

Above the shutter speed is fast 1/400 and there’s a substantial amount of detail  within the shot considering the speed I was traveling. There is still some motion blur in the foreground but overall you can see the farm building, hedges, hills and clouds. A frozen moment.

Slow Shutter 1/6

This shot does still retain some detail, you can see the differentiation between grass, trees and sky, but there is clear motion blur, as though the world is quite literally passing you by. I particularly like the tree branches stretching over the top half of the image. This effect documents movement.

Slow 3 Second Shutter Speed

Slower still loses all detail and you really rely on colours to differentiate the landscape. It looks as though we’re breaking the land speed record here, but all three photos were captured at the same car speed, just different camera shutter speeds.

Depth of Field

Using the Av setting on my Canon camera I started to experiment with depth of field. I found it quite hard to grasp at first;  I decided to start small in the garden, standing close to the subject and zooming in to around 35mm. At this time of year the sad brown branches start to blossom and I love the juxtaposition of the delicate little flowers that spring from the fierce hawthorn bushes. Below are three photographs I took:

Short Depth of Field f/4.5 1/60 ISO 100 34mm

The above image shows a shallow depth of field I used, focusing on the flowers in the foreground. The Av setting on the camera automatically set the shutter speed to 1/60 of a second, so not super fast as it was approaching evening time – so even though the aperture was quite wide, more light was needed. The thick hawthorn bush is knocked out creating a more dreamy haze in the background, this allows the flowers to really pop out in the photo.

 

Deep Depth of Field f/16 1/5 ISO 100 34mm

The opposite to the short depth of field is a deep depth of field, which can be seen here. f/16 (a smaller ‘hole’) and 1/5 of a second (allowing more light into the lens compensating for the small hole) means that much more detail is captured through the whole of shot, front to back. I like how the spikey texture is captured, however the image is really busy and the focus on the delicate flowers is removed. The differnce between these first two shots really shows how the same subject can be captured creatively.

f/5 1/40 ISO 100 39mm

Here I have used a Shallow Depth of field again, but this time focusing a little further back in the hedge to illustrate how depth of field can be used at the front, so in this case the first third is hazy, allowing you to focus further back – creating a deeper perspective on how thick the hedge is.The subject isn’t particularly interesting here, but I like the idea of being able to relay this effect on something more interesting in the future.

Mario Testino

Mario Testino is a Peruvian fashion and portrait photographer. His work has featured internationally in magazines such as Vogue, V Magazine, Vanity Fair and GQ. He has also created images for luxury brands such as Burberry and Chanel. Testino has been known to photograph some of the worlds most iconic stars such as KAte Moss and Princess Diana.

I have chosen some of his work to illustrate his creative use of shutter speeds and depth of field.

Slow Shutter Speed

Above is a shot of Kate Moss, who Testino has collaborated with for decades. The image sees the use of a slow shutter speed, capturing the the wind blowing the subjects hair and the movement of the stylists preening and adjusting her ready for the shot. There is almost a ghostly appearance of the stylists arms evoking the speed and movement involved on a fashion photoshoot, yet Kate Moss appears still and serene – she has nohing to do but stand and look fabulous.

Fast Shutter Speed

This shot of Charlize Theron for Vogue sees Testino capture the model/actress in a frozen moment of time looking happy and serene as though she could be walking down the street or on the red carpet – however she is moving at a fast pace on a jet ski. Similarly, the droplets of water are captured in high detail. This kind of shot isn’t something Testio would normally specialise in (usually fashion and portraits), but by using a high shutter speed, such as 1/250, he captures the essence of the activity perfectly for Vogue.

 

Shallow Depth of Field

The focus is unusual on this iconic photograph of Princess Diana, it focuses on the pearls on the dress as opposed to the subjects face. It sees a shallow depth of field, (perhaps an aperture around f5.6) creating a soft, dreamy, angelic photograph; which evokes the feeling people had towards Princess Diana.

Deep Depth of Field

This image for vogue sees a wide depth of field where everything from the models Doc Martin at the bottom to the tree trunk at the top is in Focus. An aperture between f/11 and f/22 will have been used to ensure that the focus is even in the shot. The image is quite dreamy and a shorter depth of field could have worked just as well focusing on the model and her outfit and a dissolving background, however because everything is in focus the viewer can get a better idea of solitude and how deep in the woods the model is.

Vivian Maier

 

Vivian Maier (1926 – 2009) was an American street photographer. During her lifetime, Maier’s photographs were unknown and unpublished, and she never printed many of her negatives. It was only in 2009 a selection of Maier’s photographs went viral on Flickr. Critical acclaim and interest in her work quickly followed resulting in global exhibitions, documentaries and books. I find her work particularly interesting as it naturally captures everyday moments.

I have chosen a selection of her photography exploring shutter speed and depth of field.

Fast Shutter Speed

This shot captured in Central Park, New York. The subject has been caught mid air doing the splits, which would require a fast shutter speed of around 1/250. Maier appears to be shooting far enough away from the subject to capture the skyline in fairly good focus, thus creating a wider depth of field. I like the idea of the subject being frozen, mid air – in an unusually quiet and still area of New York, away from the hustle and bustle practicing his performance in the shade of the hazy summer sun.

Slow Shutter Speed

Maier generally uses fast shutter speeds to capture the moving city and it’s occupants expressions – a trait of a street photographer. However in a couple of photos you can see how a slower shutter speed has been used to capture more motion. Here the focus is on the three men sat on the bunker and the slow shutter speed is capturing the bus passing by them in the mid ground. It’s as though Maier is capturing some stillness (the men) in a busy street (the bus).

Short Depth of Field

Vivian Maier was an early ‘selfie’ expert. There are numerous examples of self portraits captured in mirrors or reflective surfaces. Above is an example which sees the use of a short depth of field, perhaps around f5.6, this allows a shallow zone before capturing the subject as the focal point in the mirror and a diffused background.

Long Depth of Field

I love this wintery shot in New York. The whole image is in focus which means a smaller aperture such as f/11-f/22 was used which is common when shooting landscapes, and cityscapes. The arching snow topped trees are in focus right down the path creating a clear tunnel or which the cities occupants can walk down. The branches look as though they’ve had a photoshop high pass filter applied to bring out the detail, but obviously they haven’t, just amazing photography by Vivian Maier.

Elliott Erwitt

Elliott Erwitt is a Parisian advertising and documentary photographer known for his black and white shots of situations within everyday settings.

Shallow Depth of Field

Above is an example of how Erwitt has used a shalow depth of field to focus on the subjects in the car wing mirror. The out of focus suntset over the sea is a subtle visual to the happy romantic setting the couple are emmersed in – but the real give away on the romance is the intimate smiling peck we are privvy too in the small circular reflection.

Deep Depth of Field

This image is the opposite – using a deep depth of field to capture all the detail of this landscape. The shot sees detail to the horizon and captures two fast moving modes of transport. The detail in the steam from the train is almost unrealistic.

Helen Cathcart

I have been fotunate enough to work with Helen Cathcart on a photoshoot whilst working for Rekorderlig Cider. Cathcart’s work is varied; food, travel, portraits and interiors – all captured with beautiful style. Below are two examples of her work untilising depth of field.

Shallow Depth of Field created using a small aperture such as F/2

I love this image for John Lewis; the small apeture creates a shallow depth of field which makes the subject; the front few mince pies, pop out from the rest of the objects on the table. It evokes a dreamy festive quality that you want to feel at Christmas.

Deep Depth of Field using a higher apeture, such as F11, so more is in focus

This interior shot has a much wider depth of field allowing more to be in focus; ideal for showing off all deatils of the room. Imagery like this is common in house and home magazines, allowing the viewer to be fully immersed in every corner.

Deep Depth of Field capturing the landscape

This cityscape, shot in Bruge for LonelyPlanet, also uses a deep depth of field allowing the whole shot to be in focus as far as the eye can see; this is perfect for illustrating the essence of the city and it’s deatils.

Joe McNally

Joe McNally  is an American photographer who has a clear ability to execute a wide range of shots, his website anchors this; showing a variety of fast paced sports photography, fashion, portraits and industrial themed work. Two shots I particularly like can be seen below.

Fast Shutter Speed

I love the atmosphere of the grey tired countryside, combined with the energetic but serene leap of the ballet dancer – captured using a fast shutter speed. The subject is almost angelic, floating mid air in the clouds.

Slow Shutter Speed

 

I also really like the image above; the muscle definition in the thighs is the focal point of the image, but combined with the slow shutter speed creating the foot pounding movement you can imagine the speed, but also tell the impact it’s having on the runners body. Amazing shot.