LIGHT Light as important element

Is a RADIANT ELECTROMAGNETIC ENERGY

that can be detected by our naked eye.
VISIBLE light is only one very small part of
the vast spectrum of electromagnetic
radiations

186,000 miles/sec. – velocity/

speed of light
16,000 to 18,000 ft./sec. – bullets ISAAC NEWTON (1666)
speed
Prove that light which men see WHITE LIGHT is actually a mixture
“Effect” of light is what we see.
of all colors of spectrum which is expressed in 400-700
millimicron or nanometers.

Visible Spectrum
Light from many sources, such as the Sun, appears white. When white light passes through a
prism, however, it separates into a spectrum of different colors. The prism separates the light by
refracting, or bending, light of different colors at different angles. Red light bends the least and
violet light bends the most.

Electromagnetic spectrum
– band of colors/energy
RED-650-700 nm, ORANGE-590nm,
YELLOW-570nm, GREEN-510nm,
BLUE-475nm, INDIGO-445nm,
VIOLET-400nm

WAVELENGTH VS FREQUENCY
The WAVELENGTH of light is the distance FREQUENCY of light is the number
between corresponding points in two of cycles of light that pass a given
adjacent light cycles. point in one second.
 What happens when a light hits a material? RAT LAW

REFLECTED ABSORBED TRANSMITTED

Reflection- bouncing of light Opaque- holds light Transparent- 90% light pass through
Refracted- bending of light Translucent- 50% light pass through

2. Refraction – bending of 3. Diffraction – bending of

1. Reflection – the rebounding or the
light when passing from one lights when it strikes the sharp
deflection of light as it hits the surface.
medium to another edge of an opaque object.
a) Regular reflection
b) Irregular reflection

Types of materials
1. Transparent – allows light to pass
through its medium, objects on the
opposite side is clearly visible.
2. Translucent – allow light to pass
through but visible. Objects are not
clearly visible.
3. Opaque – does not allow light to
pass through its medium.
 Sources of light:
Natural – sunlight, moonlight, lightning & etc. Artificial –
a) continuous radiant – fluorescent & candle
b) Short radiation – flash units

Daylight Classification According to Intensity:

Bright sunlight Hazy sunlight Dull sunlight

– objects in open space cast a – cast a transparent shadow. – no longer cast shadow.
deep & uniform or distinct
shadow. Objects in open space a) cloudy bright – about
appear glossy & the colors are really to rain
saturated. b) cloudy dull
PRODUCTION OF COLORS: ATTRIBUTES OF COLORS
1.ABSORPTION HUE, SATURATION, AND BRIGHTNESS

2. INTERFERENCE
3.FLOURESCENCE
4. SCATTERING
5.DISPERSION

COLORS IN PHOTOGRAPHY
PRIMARY COLORS- RED, GREEN, BLUE
SECONDARY COLORS- YELLOW, CYAN, MAGENTA

ADDITIVE COLORS SUBTRACTIVE COLORS

Exposure
ISO, Aperture, and Shutter Speed Explained
In photography, exposure is a critical element that determines what is actually recorded
on a camera's image sensor.

There are three adjustable elements that control the exposure - ISO, Aperture, and
Shutter Speed.

The Exposure Triangle

ISO Speed is how sensitive your camera’s sensor is to light, each value of the rating
represents a “stop” of light, and each incremental ISO number (up or down) represents a
doubling or halving of the sensor’s sensitivity to light.

Aperture controls the lens’ diaphragm, which controls

the amount of light traveling through the lens to the film
plane. The aperture setting is indicated by the f-number,
whereas each f-number represents a “stop” of light.

Shutter Speed indicates the speed in which the curtain

opens then closes. This is essentially how long light is
permitted to hit your camera’s sensor once you hit the
shutter-release button. Each shutter speed value also
represents a “stop” of light. The shutter speed is
measured in fractions of a second.

When these three elements are combined, they

represent a given exposure value (EV) for a given
setting. Any change in any one of the three elements will
have a measurable and specific impact on how the remaining two elements react to
expose the film frame or image sensor and how the image ultimately looks.

For example, if you increase the f-stop, you decrease the size of the lens’ diaphragm thus
reducing the amount of light hitting the image sensor, but also increasing the DOF (depth
of field) in the final image.

Reducing the shutter speed affects how motion is captured, in that this can cause the
background or subject to become blurry. However, reducing shutter speed (keeping the
shutter open longer) also increases the amount of light hitting the image sensor, so
everything is brighter. Increasing the ISO, allows for shooting in lower light situations, but
you increase the amount of digital noise inherent in the photo. It is impossible to make an
independent change in one of the elements and not obtain an opposite effect in how the
other elements affect the image, and ultimately change the EV.
ISO Speed

ISO is actually an acronym, which stands for International Standards

Organization, which is the organization that standardizes sensitivity ratings for camera
sensors.

The ISO rating, which ranges in value from 25 to 3200 (or beyond), indicates the specific
light sensitivity.

The lower the ISO rating, the less sensitive the image sensor is and therefore the
smoother the image, because there is less digital noise in the image.

The higher the ISO rating (more sensitive) the stronger the image sensor has to
work to establish an effective image, which thereby produces more digital noise
(those multi-colored speckles in the shadows and in the midtones).

So what is digital noise?

It is any light signal that does not originate from the subject, and therefore creates random
color in an image. The digital camera engineers have designed the image sensor to
perform best at the lowest ISO (just like with film).

On most digital cameras this is ISO 100, although some high end DSLRs have a mode
that brings the ISO down to 50 or even 25.
ApertuRE

A lens’s aperture is the opening in the diaphragm that determines the amount of focused
light passing through the lens.

At a small f-stop, say f/2, a tremendous amount of light passes through, even at a fraction
of a second; but at f/22, when the diaphragm is perhaps at its smallest, only a tiny amount
of light is let in (even at longer shutter speeds).

An interesting thing about the aperture and the f-numbers is that it doesn’t matter the focal
length of the lens as long as the f-number is held constant. This is because the
arithmetical equation that determines the f-number indicates that the same amount of light
passes through the lens on a 35mm lens as on a 100mm lens, with a shutter speed of
1/125s.

The size of the diaphragm is unquestionably different, but the amount of light passing
through is the same.
Shutter Speed

Shutter speed is measured in fractions of a second and

indicates how fast the curtains at the film plane open
and close.

The shutter speed controls how long light enters the

lens and hits the image sensor or film plane. The shutter
speed enables you to capture the world in split seconds,
but it can also absorb the world at speeds upwards of
three and four seconds (or remain continually open until
the photographer wants to close the curtain).

Snapping the shutter in a fraction of a second, also gives you control on how motion is
recorded. If the shutter speed is faster than the object or background, then the image will
be tack sharp. If the shutter speed is slower, then you’ll get blurred objects.

Think about the rain in a rainstorm, how fast is that water falling? Well, at 1/30th the
raindrops are streaks of indistinguishable white. But at 1/250th, the raindrops hover in
mid air and you can see the full swell of each water drop.

What is “Auto Bracketing”?

Auto Bracketing is an exposure technique whereby

you can ensure that you have the optimal exposure by
taking at least three (3) exposures of the exact same
composition with one at the metered EV, one at 1/3 of
a stop below the metered EV and one at 1/3 of a stop
above the metered EV.

So, “Auto Bracketing” is a function in which you set the

EV value then release the shutter and the camera
automatically makes the necessary up and down
adjustments to the EV to give you the bracketed
exposures. Then you can review the three (or more)
exposures, see the subtle but critical differences in the
images, and decide which one is the best image for your purposes.

In the three images in the above example, you might prefer the overexposed (by 2 stops)
image because the setting sun is most brilliant.
Bracketing was a technique that was popularized from shooting slide film, due to the
limited ability to correct the image in the darkroom. Many photographers still use the
technique today, so they have the exposure that they want.

Having the three bracketed images lowers the amount of post-processing time that they
might have to spend.

Overexposure & Underexposure

How do you define overexposure and

underexposure, since we said that “correct”
exposure is subjective?

Simply put, overexposure is when the information in

the highlights is effectively unreadable. When there
is this type of excessive loss of image information
there is no way to “retrieve” that missing information
in the digital darkroom.

Underexposure is pretty much the same concept; except in this case there is no image
information contained within the shadows. This non-existent information cannot be
retrieved through post processing either.

In digital photography, once that image information is gone, there’s no way to retrieve it.

This is not always the case in the photochemical world of film photography. With film (as
opposed to digital) processing, it is possible to “find” image information in an excessively
underexposed frame, and perhaps “find” image information during the printing process
for seriously overexposed images as well.

AE LOCK (AEL)

Auto Exposure Lock is a camera setting in which the exposure value is locked in (when
you’re shooting one of the semi-automatic or fully automatic modes, i.e. Shutter-priority).

n this mode, no matter what changes there are to the lighting in the scene, the camera
locks in the ISO, Shutter, and Aperture settings, so you can continually achieve the same
EV without having to re-meter the scene.