What You See Through Camera Lens, The Vista Is Called What? Quizlet
In this article, I will introduce some of the near important photography terminology that every photographer should know, beginner or advanced. There are 50 terms at the moment, only this is an ongoing glossary, and nosotros will be calculation more words over time.
You may discover that the definitions below are more similar "functional introductions" to each term rather than strict dictionary definitions. Personally, I consider that to be more than useful. Sure, shutter speed is "the length of fourth dimension which a camera'due south shutter is open up while taking a photograph" – simply that doesn't tell you much virtually why shutter speed matters and how to use information technology. Also notation that there are a lot of topics here, and this is a long commodity – so if yous desire to jump to a specific term, I recommend using the listing below:
1. Aperture
Aperture is perhaps the single almost important setting in all of photography.
Similar to the educatee in your eye, aperture is an opening in the camera lens that (generally) can change size. A large aperture lets in more lite, while a small-scale aperture does not permit in as much.
For this reason, photographers like using big apertures in low calorie-free weather. The largest discontinuity a lens offers is called its "maximum discontinuity," while its smallest aperture is called the "minimum aperture."
At a given moment, the aperture you are using is designated past an "f-number" such as f/1.4, f/2, f/5.half-dozen, f/8, f/11, and and so on.
One fundamental – these numbers are fractions. And so, an aperture of f/two is larger than an aperture of f/8 (in the same mode that ane/2 is larger than 1/viii). This can be disruptive at beginning and seem backwards, merely information technology doesn't accept long to get the hang of it.
A typical lens will take a maximum discontinuity of around f/ii.8, and a minimum aperture of around f/22. However, information technology varies from lens to lens. Some (generally more than expensive lenses) have a maximum discontinuity of f/1.iv, f/ane.2, or even larger. These are great in low calorie-free conditions because – like a large pupil – they allow in a ton of light.
Other than capturing more or less light, the biggest impact of aperture is on depth of field (see "depth of field" below). Small-scale apertures similar f/11 and f/xvi accept more depth of field than big apertures like f/one.4 or f/ii.8. If you're a portrait photographer looking for buttery smooth backgrounds, you're probably a large fan of 50mm or 85mm f/i.4 lenses for this reason. (Landscape photographers, similar me, rarely need 85mm f/1.4 lenses, which is a great tactic for saving money.)
2. Back-Button Focus
By default, near every photographic camera autofocuses when yous half-printing the shutter push button. However, sometimes you volition want to take a photograph without focusing beforehand. That'south where back-push button focus comes in.
Rather than half-pressing the shutter push, back-button focus focuses via a button on the back of your camera instead. And then (afterward disabling autofocus from the shutter push button), y'all have more freedom to focus when y'all want.
Practically every camera on the market place lets you reassign autofocus to a push button on the dorsum of your camera, or it has a button that already does this by default (the AF-On button). Likewise, every advanced photographer I know who has switched to back-button focus has never looked back.
3. Bokeh
When you lot use large apertures, especially when yous zoom in or go close to your subject, you'll end upward with a shallow focus effect. In other words, your subject volition exist sharp, while the background will be strongly out of focus.
The quality of this out-of-focus region – i.e., how it looks, how it'south rendered – is known every bit bokeh.
A lot of specialty portrait lenses (such as 85mm f/i.four lenses and like) are ranked more by their bokeh than their sharpness.
This term saw a surge in popularity recently when Apple released a commercial about bokeh. Withal, the quality of background blur is non very expert on whatsoever phone's "portrait mode" today, since information technology is all done with imprecise digital blurring furnishings.
Y'all can read more about bokeh in our comprehensive article here.
4. Bracketing
Bracketing simply means taking a series of photos in a row with slight variations.
The virtually common type of bracketing is exposure bracketing, where the lensman uses dissimilar shutter speeds (see "shutter speed" beneath) to take a sequence of photos with different brightness levels.
Most cameras take a bracketing button or card setting that automatically captures a series of bracketed exposures in a row. This can be useful, although it'south easy to forget you turned it on and proceed bracketing photos for a while by accident.
Bracketing can also refer to focus rather than exposure. In this instance – "focus bracketing" – you're shooting images in sequence that are focused at different distances.
In theory, bracketing can refer to almost whatsoever variable in photography – even something similar composition – but exposure and focusing are the well-nigh common contexts.
v. Photographic camera Modes
Every advanced camera lets you select which settings (specifically exposure settings) you lot will modify manually, and which the camera will change automatically. The setup yous choose is known every bit your camera manner.
The five virtually popular camera modes are Automatic, Program, Shutter Priority, Aperture Priority, and Manual. Yous can switch from one to the other by using the "PASM" dial on well-nigh cameras.
Advanced photographers by and large stick to discontinuity priority or transmission style, because those are the only two camera modes which give you total command over aperture – again, arguably the virtually important camera setting of all.
half-dozen. Chromatic Aberration
A common paradigm quality issue you'll encounter in photography is chromatic abnormality. "Chromatic," of course, refers to color.
The two types of chromatic aberration you may meet in your photos are called lateral and longitudinal chromatic aberration.
The beginning – lateral – is more commonly talked almost. Information technology typically shows upwards as red/green, xanthous/blue, or cyan/magenta outlines around loftier-contrast subjects in the corner of an image.
The 2nd – longitudinal – occurs when in that location are color fringes in forepart or behind your photo's focus point. This occurs equally purple fringing in front end of your focus indicate and green fringing behind.
Both types tin can be corrected in mail service-processing software. However, lateral is easier to right, with fewer remainder effects in your photo.
7. Composition
Composition is the system of elements in your photograph.
Some elements attract a lot of attention, especially those which are familiar (like people's faces), bright, colorful, or high-contrast. The more attention an object attracts, the more "visual weight" it has.
So, composition is about arranging the visual weight in your photo – often to look pleasing, only non e'er. Composition should match your emotional goal for a photo.
In a given scene, different compositions will convey different emotions. That'south why it is so important to select yours with care.
NIKON D800E + lxx-200mm f/4 @ 86mm, ISO 100, ane/10, f/16.0
8. Ingather Gene
Based on the size of your camera sensor, you're always shooting with a particular "ingather gene" and you may not even know it.
Crop gene is calculated relative to the size of full-frame camera sensors. These sensors have a (no-difference) ingather factor of 1×, because they're the reference.
Smaller camera sensors literally human action like "crops" of full-frame camera sensors. The specific corporeality of crop is the crop factor.
- APS-C sensor cameras (1 of the most mutual sensor sizes) have a 1.5× crop factor.
- Micro Iv Thirds cameras have a ii× ingather factor.
- Phones and compact cameras have much smaller sensors, and therefore greater crop factors. The iPhone has a crop factor of almost seven× because of its modest sensor.
If yous put the same lens on two cameras with dissimilar crop factors, you will announced farther "zoomed in" with the greater crop gene.
For example, if you lot use a 300mm lens on the Nikon D850 (a full-frame photographic camera, one× crop gene), you get the expected 300mm field of view. But if yous put the same lens on the Nikon D500 (an APS-C camera, 1.5× crop factor), you will have a much tighter view – equivalent to 450mm reference.
Crop factor also matters if y'all are trying to summate equivalent aperture or ISO across dissimilar camera systems. See our article "Equivalence Also Includes Aperture and ISO" for more data.
ix. Depth of Field
The portion of a photo that is (passably) in focus is known as your depth of field.
I like to call up of depth of field as a window with thick glass that intersects the scene in front of you. Annihilation that touches the window is within your depth of field; anything farther away from the window is progressively farther and farther out of focus.
In a portrait photo, you may want to take a shallow depth of field, where just your subject's face up (or even just the optics) will exist in focus. In a landscape, you may adopt the opposite, where everything from the foreground to the horizon is within your depth of field.
The three ways to become a shallow depth of field are simple:
- Apply a larger aperture, like f/1.iv or f/2.8
- Zoom in
- Get closer to your subject
To get a deeper depth of field, you simply do the contrary. Utilise a smaller aperture like f/11, zoom out, and move back from your nearest bailiwick.
10. Diffraction
At smaller and smaller apertures (f/xvi, f/22, even f/32 and f/45), yous volition start to see your photos go blurrier and blurrier. This blur is known as diffraction.
Diffraction exists no matter what lens you use; it's just a holding of physics. For this reason, I generally attempt not to apply apertures of f/22 or smaller.
That said, it's not the end of the globe if you practice. Personally, I similar shooting macro photography (see "macro" below), where I'g focused very close and my depth of field is extremely shallow. In those cases, I very oft use f/22 out of elementary necessity.
eleven. Distortion
Distortion has a few meanings in photography, but the most common refers to an image quality effect (or occasionally characteristic) present to some degree in most lenses.
The three common types of lens distortion are barrel, pincushion, and wavy/mustache distortion. They wait exactly like they audio:
These types of lens distortion bend straight lines in your photo, which is especially obvious with architectural photography. Yet, a few specialty lenses – fisheyes – advertise their extreme baloney as a characteristic rather than a issues.
Copyright © Nasim Mansurov
Lens baloney is more often than not easy to fix in post-processing with minimal side effects.
The other common type of distortion is perspective baloney. In this case, you're getting very close to your bailiwick (and generally zooming out a lot) to exaggerate its features.
Sometimes, extreme perspective distortion is nothing more than a gimmick. However, it tin can exist quite helpful in emphasizing interesting foreground subjects, like lines on a sand dune.
12. DSLR Camera
DSLR stands for "digital single lens reflex" camera. It is i of the most popular types of advanced cameras, along with mirrorless cameras (run into "mirrorless" below).
The two defining aspects of a DSLR compared to other cameras are its digital sensor and its reflex mirror. The reason for a mirror within the camera is to direct light from the lens to an optical viewfinder. When you take a photo, the mirror swings out of the way so every bit not to cake your camera sensor.
Today, the 2 biggest DSLR companies are Canon and Nikon.
13. EXIF Data
A digital photo has more information embedded in its file than you may realize. Alongside the epitome information itself, most cameras likewise embed information like your photographic camera settings, date/time of capture, and copyright information. This additional information is known equally EXIF data.
EXIF stands for "Exchangeable Image Format." It is very useful to look at your EXIF information when post-processing photos then y'all can become better at using your photographic camera settings. (Before deleting a blurry photo, expect at its EXIF information to see if you can spot a trouble with the photographic camera settings you used.)
I recommend eliminating EXIF data from certain photos you postal service online due to privacy concerns, peculiarly if the photos are tagged with GPS coordinates. Nearly all postal service-processing software lets you lot delete EXIF data upon export.
xiv. Exposure
In that location are several unlike meanings to the word "exposure" in photography. Nigh of them accept to do with the effulgence of your image, but not all. Hither are the about mutual:
- A substitute for photograph ("I took a few exposures of this scene.")
- A substitute for shutter speed ("I'll need a long exposure here.")
- Your shutter speed and discontinuity values ("My exposure for this shot is 1/10 2d at f/8.")
- Your shutter speed, aperture, and ISO settings ("My exposure settings for this shot are 1/ten 2d, f/eight, ISO 100.")
- The brightness of your photo ("This photograph is too night; information technology'southward underexposed.")
Precisely what a photographer means when they say "exposure" depends on the context. However, it is irreplaceably tied to the brightness of your photo and the amount of light you lot capture.
fifteen. Exposure Bounty
This camera setting, exposure compensation, is a way to inform the camera to brighten or darken the photo compared to the photographic camera settings y'all are currently using. (Specifically, compared to the metered exposure; come across "metering" below.)
For case, perhaps you're shooting a mural, and function of your heaven is "blown out" (too bright). To tell the camera to take a darker photo, you could input negative exposure compensation.
Note that exposure compensation does not darken the photo in all-manual manner, when yous are in total control over aperture, shutter speed, and ISO (see "shutter speed" and "ISO" below). That's because – aside from flash – those are the only 3 settings which tin change the effulgence of an image.
When you dial exposure compensation, the camera cannot magically take a darker photo without altering one of these variables. So if you are in aperture-priority mode (where the aperture is fixed), the photographic camera will only e'er arrange shutter speed or ISO when you utilise exposure compensation.
Personally, I use exposure bounty a lot, especially in combination with discontinuity priority mode. Specifically, when I take a landscape photograph, I will select my aperture manually (because it's so important to depth of field), so manually set my ISO to its lowest value. This leaves only i variable to arrange automatically – shutter speed. Then, the photographic camera adjusts shutter speed as the light changes, and I can nudge it either brighter or darker if the camera is consistently under/overexposing.
16. Exposure Triangle
The exposure triangle refers to the "large 3" camera settings – discontinuity, shutter speed, and ISO (see "ISO" below). Bated from your flash, these are the only camera settings that alter the brightness of an epitome.
Note, nevertheless, that many photographers do non consider ISO to exist part of exposure. While shutter speed and discontinuity physically change how much low-cal yous capture, ISO merely brightens the photo after the fact – not unlike raising brightness in postal service-processing. To keep the "triangle" proper name intact, a third variable – brightness of the scene – is sometimes used instead.
In reality, though, ISO still matters even though it doesn't modify how much light y'all physically capture. Indeed, I'd contend that the exposure triangle is actually a foursquare. Shutter speed, aperture, ISO, and scene luminance all affect the effulgence of your out-of-photographic camera paradigm.
Only when you hear a photographer refer to the exposure triangle in context – unless they're lamenting how inaccurate of a concept information technology is – they're probably only talking almost aperture, shutter speed, and ISO.
17. Filters
Filters are attachments to the front of your camera lens, or occasionally to the back. Filters are ordinarily made of glass, resin, or plastic. They generally are meant to alter the quality of light that reaches your camera sensor. However, in that location are also "protective filters" to prevent scratches on the front end of your lens.
Virtually lenses today have threads on the front to go far like shooting fish in a barrel to attach filters. However, some specialty lenses – specially ultra-wides – may crave separate filter holding systems in lodge to piece of work.
The nearly popular – and often the most useful – type of filter is a polarizer. These filters rotate to block or accentuate polarized low-cal. This reduces reflections and distant brume in your photos, and cannot exist replicated easily (or at all) in Photoshop.
Plenty of other filters exist, including nighttime filters (AKA "neutral density" filters), graduated filters (to adjust just office of the photo, similar the heaven), and color filters.
Also, some smartphone apps like Instagram phone call their editing presets "filters," but we don't talk about that here :)
xviii. Focal Length
Focal length is a property of camera lenses. It'southward important because information technology tells you how far "zoomed-in" y'all are.
Focal length is written in millimeters, where a greater number represents a longer focal length (more zoomed-in).
Copyright © Elizabeth Greyness
Earlier in this glossary, I defined crop factor and mentioned that small photographic camera sensors act, essentially, equally crops of larger sensors. In other words, the same focal length may appear to be farther zoomed in on sure cameras than others.
On higher-finish cameras with large sensors, a long focal length (AKA a telephoto that is zoomed in a lot) is anything about 100mm and more than. The giant telephoto lenses that sports photographers utilise at the Olympics tend to be at least 300mm, and often as much as 800mm.
Wide-angle lenses (good for landscapes) tend to be 35mm or less. A popular wide-angle lens offered by many manufacturers is a 16-35mm zoom lens.
When you are trying to figure out a lens's focal length, simply await in the lens name before the "mm" marking. Zoom lenses cover a range of focal lengths, while prime lenses encompass just a single focal length. See "prime number lens" and "zoom lens" beneath.
xix. Focusing
Aside from the "big three" camera settings – aperture, shutter speed, and ISO – the most important setting to go right in photography is focusing.
With most lenses, you can only focus at 1 altitude at a time. For example, you may cull to focus your lens 10 feet / 3 meters away. This ways that any subject 10 anxiety away from the airplane of your camera sensor will be maximally sharp, while other distances will exist more and more out of focus.
How exercise you focus properly? Cameras typically offer a huge number of autofocus options. One of the most common is single-servo versus continuous-servo AF. This tells the camera whether to focus one time when you printing the focusing button, or continually focus as your subject area moves. I leave it on single-servo (AF-S) for landscapes and continuous-servo (AF-C) for wildlife and portraiture.
Some other common option is the part of your autofocus points (the dots/squares that have autofocus capabilities). You can choose only a single autofocus betoken, 3D-tracking autofocus across all points, automatic (camera-selected) autofocus points, and often many other options. I recommend reading your photographic camera manual to see which options y'all have, and when to use each one.
Of class, if the photographic camera's autofocus organization is not locking onto your subject properly, you can always cull to focus manually.
Too see our article on focusing in photography for more.
20. HDR
Camera sensors cannot see high-contrast details about too every bit our optics can. If there are deep shadows below a bright sky, you pretty much have to choose one or the other to capture properly; the other will be poorly exposed.
One common fix to this problem is to create an HDR, or "high dynamic range" image. This involves taking two (or frequently more) photos with unlike exposures. Then, blend together the best parts of each in mail-processing software.
Dedicated HDR photographers frequently use their camera's bracketing feature to speed up capture. Indeed, the faster you accept a series of HDR photos, the ameliorate; if something like a cloud is moving in the image, a quick serial of photos will exist easier to blend.
21. Epitome Blending
Photographers realized a while ago that information technology is possible to aggrandize the capabilities of a camera past taking multiple images, and so blending the all-time parts of each together. HDR photography (the term direct in a higher place) is merely one example.
Hither are just a few more:
- Creating a panorama out of several single images
- Averaging a series of identical compositions together to reduce noise (see "noise" beneath)
- Focusing at different distances to make a "focus stack" with high depth of field
- More controversial blending, like sky replacement or "fourth dimension" blending (merging two different photos of the same scene taken many minutes or hours apart from each other)
Image blending is frequently done in software like Photoshop (see "Photoshop" below). Certain types of image blending are more accustomed than others among photographers. In fact, many publications and photo competitions do not let paradigm blending at all, or may but allow panoramas and HDR.
22. Image Stabilization
Epitome stabilization is a feature of many camera lenses – and now a number of camera sensors themselves – to counteract milk shake from handholding your camera.
Lens-based image stabilization works past moving lens elements along (generally) either iii or v axes to compensate for whatever movement it detects. Camera-based stabilization (known as IBIS or in-body image stabilization) does the aforementioned sort of thing, but it moves your photographic camera sensor directly.
Both types of epitome stabilization are very useful in photography, particularly when handholding in low light conditions. Image stabilization lets you take pictures in environments that are several times darker than what you could otherwise capture.
Lenses and cameras typically annunciate in the range of 4 to half dozen "stops" of improvement. Ane stop is equal to a doubling of your shutter speed (run across "shutter speed" below). And then, if you normally could handhold an image sharply at i/threescore second, a iv stop improvement would be 1/xxx > one/15 > 1/eight > 1/4 2nd. A six stop improvement would let you handhold at a whopping 1 second with high levels of sharpness.
However, almost all of these 4-six stop improvement claims are exaggerated. I'm personally happy when I get 3 stops of improvement, and four is among the all-time on the marketplace.
23. IPS Monitor
Photographers editing images should care a lot well-nigh color accuracy. After all, if y'all are editing photos on an inaccurate monitor, who knows what colors you are really editing?
The monitor of option for most photographers is an IPS, or "in-airplane switching" monitor. These are sold by many unlike companies, ranging from inexpensive to ultra-loftier-end.
IPS monitors have several benefits over traditional TN panels. The most obvious is that they have consistent color at different viewing angles, as shown in the comparison below:
Your monitor problems won't be solved only by getting an IPS monitor; some of them are not very good, either (see our recommendations). Only if you don't take an IPS monitor already, you definitely should become one (forth with proper color calibration equipment). This is one of the almost overlooked, notwithstanding important pieces of equipment a photographer should take.
Read our larger guide to IPS monitors if you want more than information on the benefits of this type of monitor.
24. ISO
One of the three most important settings in photography is ISO. Like shutter speed and aperture, changing ISO affects a photo's brightness.
The everyman native ISO on a camera is called the base ISO. Base ISO – unremarkably around ISO 100 – results in the darkest images. Every bit you increment ISO, your photos will get brighter, which is useful in dark environments. Cameras oftentimes max out at ISO 6400, 12800, 25600, or fifty-fifty higher.
You'll observe that college ISO settings starting time to look very low-quality, with lots of graininess and discoloration. (The graininess is called noise – meet "noise" below.) However, in dark environments, you may accept no choice merely to utilise a college ISO; otherwise your photo volition be far likewise nighttime.
To innovate the concept of ISO, some photography instructors volition compare it to the ASA, or sensitivity, of a particular film. Others compare it to pushing a photograph brighter in mail service-product. Neither of these comparisons is perfectly accurate, but they each have elements of truth that may help you conceptualize ISO.
In either case, notation that changing ISO does non change the amount of calorie-free you physically capture in-photographic camera (unlike shutter speed and aperture). The less calorie-free you capture, the lower your image quality volition exist – this is the real cause of racket/grain in dark environments! – and the higher your ISO needs to be in order to capture a vivid image.
25. JPEG
The unmarried about common file type for photographs is JPEG. Chances are you've heard of JPEGs before – but at that place are a few things about them that photographers need to know.
To commencement, although JPEG is essentially the "default" file format of photography, that doesn't mean it is the best. In fact, JPEG images are ofttimes heavily compressed, and they are merely capable of showing eight-scrap colour (256 shades each for blood-red, green, and blueish channels). Past comparison, many cameras can shoot RAW files with 14-bit colour, which stores a whopping sixteen,384 shades each for crimson, green, and blue channels. Run into our article on JPEG vs RAW, and likewise run across the entry for "RAW" below.
JPEGs, notwithstanding, have the advantage of being very pocket-sized files and highly compatible with nearly every application. Every photo yous run into in this article, I uploaded to Photography Life as a JPEG for precisely these reasons.
I recommend thinking of JPEG as the optimal output file type for many uses (specially online), simply generally not the optimal starting file type.
26. Lens Flare
Glass is not fully transmissive; it as well reflects some calorie-free back to you like a mirror. This should be immediately clear any time you lot look at a window at night, with sources of lite bounding off it.
The drinking glass in camera lens functions the same way, though manufacturers utilize enough of expensive coatings these days to minimize reflections as much as possible. Why? Considering lenses without anti-cogitating coatings are often very prone to flare.
Flare occurs when bright sources of light in an image have misshapen "ghosts" that appear elsewhere in your photograph. Yous've probably seen this sort of thing in countless movies:
NIKON D800E + 14mm f/2.four @ 14mm, ISO 100, one/thirty, f/13.0
Lens flare is sometimes an interesting consequence, but it generally is something that photographers try to avert. Personally, as a landscape photographer, I don't want to have big, dark-green blobs of lite interfering with my subject all the time.
The most constructive solution to lens flare is simply to use lenses with good coatings – and to avoid inexpensive lens filters, especially low-quality protective filters. If worse comes to worst, yous tin always utilise our image blending fox to get rid of pesky lens flares.
27. Light
Photography is the capture of light. Information technology'southward piece of cake to forget that when y'all see an astonishing landscape or interesting animal in front of your camera, just all you're really photographing is calorie-free.
One of the biggest things that separates a good photo from a bad one is the quality of its light. I've seen countless smartphone photos that decimate the average photograph from a $3000 DSLR. Not because the phone is (even shut to) the better camera, only because of the light.
Light carries emotion. "Expert light" is low-cal that harmonizes with the emotional message you're trying to convey. Even the most beautiful dusk isn't necessarily skilful lite, and the dullest overcast heaven isn't necessarily bad low-cal. Either could be a skillful or bad fit, depending on the look yous want to capture.
NIKON D810 + 70-200mm f/2.viii @ 70mm, ISO 140, 1/500, f/9.0
28. Lightroom
Perhaps the single most pop post-processing software for dedicated photographers is Adobe Lightroom.
Photoshop (also an Adobe product) is better-known amongst not-photographers, simply its complex set of tools is actually geared toward graphic design rather than photography in many cases. See "Photoshop" beneath.
Lightroom is strictly photography-oriented. It works by loading all of your images into a "Lightroom itemize," from which y'all can organize and sort the photos every bit you like. Yous tin also edit the images yous've loaded into Lightroom.
A lot of photographers will be confused at first to see that Lightroom has no "save" button for editing images, and any edits you do volition not appear in any software exterior of Lightroom.
These are features, not bugs. Every one of your Lightroom edits is stored in the itemize file – non baked into the original prototype. Lightroom too saves your edits in existent time. The only way to "lock in" an edit is to export the image from Lightroom. This is something you'll exercise any fourth dimension you want to put one of your images online, print it, or open information technology in other post-processing software.
As you may have gathered, even though Lightroom is simpler than Photoshop and geared strictly toward photographers, it'south nevertheless a complex piece of software. We wrote an article explaining Lightroom in-depth if you're trying to wrap your caput around it.
29. Long Exposure
When your shutter speed (see "shutter speed" below) is a few seconds or more than, y'all are considered to exist shooting with a long exposure.
The bodily shutter speed cutoff for "long exposure" is flexible, and not particularly important. Some photographers may non consider the term to use unless you lot're using a multi-minute exposure, and that'due south fine.
1 of the chief reasons to shoot long exposure photos is that information technology blurs whatsoever quick-moving objects in your frame (and enough of slow-moving objects, as well). That's one reason why long exposure photography is frequently associated with photographing clouds or the ocean.
30. Macro
Shut-up photography – photographing bugs, flowers, and other small things – is often known equally macro photography.
The technical definition of macro photography is any photo taken at "one:i magnification" or greater. 1:1 magnification ways that the subject is the same size on your camera sensor equally it is in the real world. (In other words, a one-inch ant filling a one-inch-wide photographic camera sensor is exactly 1:i magnification.)
Still, fifty-fifty lens manufacturers don't stick to this definition all the time. Yous'll frequently see "macro" lenses that only get to half of i:1 magnification, or fifty-fifty less.
Regardless, 1 of the astonishing things about macro photography is that you can do it almost anywhere. It is one of the few genres of photography where you can accept world-class photos literally in your backyard. And thanks to the availability of older, manual focus lenses, it doesn't have to be all that expensive anyway. (Even with the all-time equipment, many macro photographers use transmission focus for a large number of their photos.)
31. Manual Mode
The only camera way which offers full command over both shutter speed and aperture is transmission manner. You tin also shoot ISO manually in manual style, although virtually cameras allow you to fix Auto ISO in manual manner if you and then desire.
Personally, I primarily use transmission style when I need consistency from shot to shot, like making a panorama. Nonetheless, I will also use information technology in cases when my camera's metering arrangement (encounter "metering" below) is not working properly, similar Milky way photography.
A lot of photographers meet manual mode as the only "professional" photographic camera mode, while the others are for beginners. However, don't become hung up on this mentality.
The big downside of manual fashion is that information technology doesn't change exposure every bit the low-cal changes. This is fine in many cases, just in fast-moving weather, I personally default to aperture priority mode for my photography. And then do many other photographers I know, including Nasim.
32. Metering
Metering is how your camera reads the light in a scene – brightness, darkness, contrast – and recommends an exposure (in this case, meaning a combination of shutter speed, aperture, and ISO that volition event in a photograph of the "proper" brightness).
The metering arrangement is not always perfect. It tin be fooled when there is a big amount of white or black in a scene, such as a snowy scene with few dark shadows. That'south because – to simplify things a fleck – metering systems aim to expose the whole photo roughly to "middle gray," meaning an exact midtone. White scenes get grey; black scenes become gray. Mod cameras are meliorate at this than they used to be, simply all can exist fooled.
NIKON D800E + seventy-200mm f/iv @ 200mm, ISO 140, 1/800, f/vii.1
That'south why exposure compensation exists (or, in manual way, watching your exposure advisedly and manually making corrections ane way or another).
Metering systems often allow y'all some choices in configuring them properly. Ane of the most mutual is to select among "Matrix," "Middle-Weighted," and "Spot" (though the exact names vary from brand to make).
- Matrix is the default, taking into business relationship the unabridged epitome and representing the photographic camera's all-time approximate at a good exposure
- Center-weighted prioritizes a key region of the paradigm and tries to make it "middle grayness"
- Spot metering only measures a very pocket-size portion of the scene – either your focus signal (on some cameras) or the very center point of the image (on other cameras)
I get out mine set to Matrix by default, and merely occasionally switch to Spot if Matrix is consistently exposing my subject wrong.
33. Megapixels
Megapixels is simply a term for the resolution of your camera sensor. For case, a lot of sensors today have a resolution of 6000 pixels beyond by 4000 pixels tall. If you multiply this out, you'll terminate upwards with a total of 24 million pixels – i.e., 24 megapixels.
It's very pop for camera companies today to advertise megapixel count above all other factors. However, this is far from the most important factor in epitome quality. There are plenty of loftier-megapixel cameras today that I wouldn't touch on with a ten foot pole.
See the 41-megapixel Nokia Lumia 1020 smartphone, for instance. Information technology has a lot of megapixels, simply megapixels aren't what brand image quality. Far, far more of import is the camera'south sensor size – and smartphones universally have tiny camera sensors.
That said, a college megapixel count will requite y'all some additional detail, all else equal. It tin can exist useful for sports and wildlife photographers who do heavy cropping, for case. However, few photographers will need (or make the most of) anything more than 24 megapixels. Worry about other areas of paradigm quality long before you worry most this one.
NIKON D800E + 105mm f/ii.8 @ 105mm, ISO 100, 1/10, f/16.0
34. Mirrorless Photographic camera
Technically, whatever camera without a mirror – including smartphones, bespeak-and-shoots, and disposable motion-picture show cameras – are mirrorless. But when photographers refer to mirrorless cameras, they are almost always talking well-nigh loftier-end cameras that permit you to change lenses. In other words, the DSLR'south biggest rival.
Mirrorless cameras are slowly becoming more and more popular amidst advanced photographers. The biggest reason is that they are almost ever smaller and lighter than comparable DSLRs. However, mirrorless cameras also accept other advantages, which vary from brand to make. Some take better lenses, in-body epitome stabilization, or high-quality electronic viewfinders (compared to the optical viewfinders nowadays in a DSLR, which also have plenty of fans).
That said, DSLRs have plenty of advantages of their own, including meliorate battery life, generally faster autofocus tracking systems, and a longer legacy with more than refined designs.
None of that actually matters to photography. Fundamentally, a good photographic camera is a good camera. Few people need the mirrorless advantages over a DSLR – and few people need the DSLR advantages over mirrorless. (You tin can read more at our commodity on DSLR vs mirrorless.)
35. Noise
Racket is essentially "visual randomness" – a grain of brilliant, dark, and discolored pixels that is especially prevalent in low light conditions.
The easiest way to see racket in your photos is to shoot with a loftier ISO like 6400 or college. However, y'all will also see a lot of racket when yous shoot an underexposed image at a low ISO (say, ISO 100) and and then burnish the photo dramatically in postal service-processing.
Dissonance tin exist acquired by many dissimilar sources. Some of them are related to the photographic camera (i.east., you'll run across more dissonance when your photographic camera sensor overheats), while some are due to the inherent randomness of light itself (called "photon racket").
Bright/dark variations of noise are called luminance noise. Random colorations of pixels are chosen color noise.
It is adequately like shooting fish in a barrel to reduce a photo'southward dissonance in post-processing software. However, too much noise reduction can atomic number 82 to dull colors and "plasticky" regions of a photo that look unnatural. This is truthful of both luminance and colour noise reduction. Color noise reduction tends to work meliorate, although a lot of photographers overdo it and end up with very apartment colors. (For example, Lightroom'southward default color dissonance reduction settings are way too loftier, for instance.)
The best solution is to minimize noise in-camera rather than in post-processing. However, in dark weather – specially when shooting handheld, or photographing a moving subject field – sometimes high noise is only a fact of life.
36. Overexposure
When your photograph loses particular because it is too bright, information technology is said to exist overexposed.
Overexposure doesn't only mean your photo "looks as well bright." Then long as y'all can darken the epitome in post-processing and maintain all your highlight details, the photo really isn't overexposed. Instead, a photo is overexposed when it "blows out" highlight detail, similar bright portions of a cloud. Overexposure = irrecoverable highlight loss.
Overexposure is a major problem; there is no way to get back highlight item that has completely diddled out to white. If you attempt, you'll end up with discolored highlights, or – worst case – highlights that have no colour at all, and are completely gray.
NIKON D800E + 20mm f/one.viii @ 20mm, ISO 100, 1/10, f/16.0
Because at that place is no postal service-processing gear up for overexposure, your all-time bet is to expose the scene properly in-photographic camera. One practiced tool for this is your photographic camera's "blinkies" pick (by and large found in your camera menu nether the image review section).
When blinkies are turned on, y'all will want to review your photos and bike through to the blinkies display. When you lot do, whatsoever overexposed areas in the paradigm will blink betwixt black and white to betoken diddled highlights.
37. Photoshop
One of the virtually complex photo editing programs available – if not the unmarried most complex – is Adobe Photoshop. With enough fourth dimension and skill, y'all can do near any photograph edit yous want in Photoshop – hence why "photoshopping" is a phrase then popular that non-photographers almost universally know of it already.
Indeed, Photoshop is arguably intended more than for graphic design and digital art in general than photography specifically. And that works both ways. The huge number of editing options is great when you demand to practice some specialty edits, just a lot of photographers avoid Photoshop in favor of photo-specific software instead (including Adobe'southward own Lightroom software).
Photoshop is largely based on the concept of layers, where you stack nevertheless many images you like on top of one some other. You can then edit individual layers and change layers to be partly see-through as needed. This, for case, lets you identify a photograph of a person (peak layer) in a landscape (bottom layer) near seamlessly.
The details, of grade, tin go quite complicated. The good news is that at that place are nearly countless Photoshop tutorials available today to help you learn anything new.
38. Prime Lens
Whatsoever lens that cannot zoom is called a prime lens. One example of a popular prime lens made past almost every lens manufacturer is a 50mm f/1.8.
As useful as zoom can be, prime lenses have plenty of advantages of their own. The lack of zoom minimizes a lens'south complexity – which directly improves things similar the lens'south size, weight, and often image quality.
Highly specialized lenses are often primes for this reason. For case, most every macro lens today is a prime number lens. The same is true of most supertelephotos (like the ones you'll meet press photographers employ at major sporting events), and other exotic lenses like tilt-shift lenses and the similar.
Prime lens shooters learn to apply techniques similar creating panoramas and cropping strategically – not to mention walking closer and farther back – to get the images they want. It can accept a scrap more time and try, just I know a lot of photographers who prefer the prime road rather than zooms. Some even say it slows them down, helps them think more, and improves their work as a event.
39. RAW
Every advanced camera today lets you shoot RAW photos if you so choose. You should; the alternative is JPEG, and I've already explained in the "JPEG" entry above why that's not a good idea.
RAW files are amazing because they contain all the imaging data from your camera sensor – meaning maximum image quality and mail-processing flexibility. If yous ever edit your photos, shoot RAW; even if you don't edit your photos, at to the lowest degree shoot JPEG+RAW then that you accept the college quality version if you change your heed later. (For more, see our RAW vs JPEG commodity if you haven't already.)
The two principal downsides of RAW compared to JPEG are that RAW files take up more infinite, and they about ever require postal service-processing in order to look good. By default, RAW photos are very dull when you lot open them in most post-processing software (unless y'all've changed the software's defaults extensively).
Technically, "RAW" itself is not a file blazon. There is no ".RAW" file from cameras today – only files like .CRW (Canon'southward RAW), .NEF (Nikon's RAW), and .DNG (Adobe's open up RAW format).
(As a side note, some photographers today push button for the caps-lock "RAW" to be written lowercase as a result. Personally, I yet write "RAW" rather than "raw" because it draws more attention, but you're welcome to do as you like.)
The takeaway? Shoot in RAW. If you lot're more than comfy with JPEGs correct now, shoot RAW+JPEG and go along the RAWs somewhere condom for hereafter utilize.
40. Rule of Thirds
The "rule of thirds" is a rule that says you should divide your photo into thirds (both horizontally and vertically) like a tic-tac-toe board. Then – according to this dominion – place your main discipline at one of the iv intersection points, and place your horizon along the meridian or bottom third.
My personal thoughts on the rule of thirds are, to put information technology simply, not positive. I recollect that one of the almost ridiculous things almost photography is when people try to fence in a creative process similar limerick and simplify it into a cookie-cutter rule. Any value that the dominion of thirds brings – say, teaching photographers about off-centre composition – should, in my opinion, be taught some other way. (A more detailed explanation here of why I remember this.)
But that'southward simply how I run into it, and certainly not anybody agrees. Clearly, as the most well-known limerick rule out there, the rule of thirds is helpful to a lot of photographers. Some, I know, consider it to be a good default; others employ information technology just every bit an occasional "guideline" to remind themselves of the value of off-centre composition.
Wherever you fall, keep in listen that composition is 1 of the well-nigh personal, creative parts of photography. Don't have any rule every bit gospel, or you could risk losing what makes your manner unique.
41. Sensor Size
Every bit the proper noun implies, sensor size is simply the dimensions of your photographic camera sensor. Some of the almost common digital camera sensor sizes are below:
- Medium Format (Uncropped): xl.4 × 54 mm
- Medium Format (Cropped): 33 × 44 mm
- Total-Frame: 24 × 36 mm
- APS-C: 15.6 × 23.6 mm
- Micro Iv Thirds: xiii × 17.three mm
- One Inch: viii.eight × xiii.ii mm
- 1/2.5": 4.3 × 5.8 mm
More than possibly whatever other gene of a camera, sensor size has a major effect on your image quality. It'south non enough that you should sacrifice on a good lens to get a larger sensor – but it's an of import factor all the same.
42. Sharpness
Photographers chase afterwards sharpness unlike almost anything else in photography. In reality, sharpness does thing, but simply to a point. If your photo is very blurry (and – goes without saying – that wasn't your goal), you lot've clearly got a problem.
That's how I recommend thinking about sharpness. Maximizing sharpness is swell, no doubt, but the beginning step is clearing the "acceptable" sharpness bar every time. One of the nearly disappointing things yous tin can do is capture an otherwise-incredible photo that isn't precipitous enough for anything but a tiny print.
To maximize sharpness, the best thing you lot can do is wait for sources of blur and minimize them. The most common sources of blur are missed focus, lack of depth of field, and movement blur (either from handholding or from a fast-moving subject area). We take a very detailed commodity on taking abrupt photos, which is a good identify to showtime.
One final thing to notation about sharpness is that a lot of post-processing software has a "sharpening" slider that may take hold of your heart. To a degree, it does what it says – improving low-level contrast in an image and making it appear sharper. I almost always sharpen my images in post-processing. Still, information technology is extremely easy to oversharpen using this setting and end up with weird, crunchy particular that just doesn't expect natural. Sharpen your photos, sure, merely do then in moderation.
43. Shutter Speed
And now we come to shutter speed, arguably the 2nd near important setting in photography (simply behind discontinuity). I've mentioned it in numerous other terms throughout this article as a result.
Shutter speed is the amount of fourth dimension your camera spends taking a picture. This is usually measured in fractions of a second, like 1/100 or i/4000. However, you may sometimes shoot with longer shutter speeds that are several seconds – or even several minutes – long.
What effects does shutter speed have? The two important ones are exposure and move mistiness.
Starting with exposure – the longer your camera spends taking a photo, naturally, the more low-cal information technology captures. This leads to brighter and brighter images. When your shutter speed is several seconds long, you lot will capture a very bright – mayhap overexposed – photograph, unless the scene itself is quite dark. (For instance, with Milky way photography, my default shutter speed is about xx seconds.)
The other major effect is movement mistiness. The faster your shutter speed, the more than you freeze any movement in an image. If yous are photographing sports, you'll often desire to be at 1/500, ane/k, or even faster. Otherwise, your subject will be too blurry.
By the aforementioned token, it's incommunicable to handhold sharp photos if your shutter speed is as well long. Keep information technology to a maximum of i/100 2d if you're handholding, unless you lot've tested with your particular lens and know you can go longer. (Wide-bending lenses and image stabilization allow y'all to shoot longer than that in many cases.)
44. Subject
It shouldn't be a surprise that your field of study in photography is simply the object that you are photographing. Nevertheless, the importance of your subject cannot be overstated.
Personally, I always pay attention to the primary discipline in an image. This is the part of the photo that my viewer will notice first. I e'er give the primary subject enough "breathing room" and avoid crossing information technology with less important objects whenever possible.
Your discipline is important because of the emotions it conveys. Recollect, in the simplest example, of a person grin versus frowning. That uncomplicated difference alone shapes the mood of the unabridged photo, and both situations are likely to demand very different decisions on your office – lighting, limerick, mail service-processing, and more.
The subject is the core of your photograph, and of your emotional bulletin. Don't just betoken your camera at something interesting. Ask yourself why it'southward interesting, how to accentuate the nigh interesting points, and how to straight your viewer'south middle to it with your limerick.
45. Fourth dimension Lapse
A popular technique today that combines photo and video techniques is time lapse photography. Specifically, a fourth dimension lapse is a series of photos taken immediately afterwards one another, generally without irresolute any photographic camera settings or moving the camera drastically. The goal is to capture the movement of a scene every bit fourth dimension passes.
Fourth dimension lapses are particularly popular for landscape videographers. However, they are also useful as a yet photography technique. Sometimes, I will put my fill-in camera on a tripod and shoot a time lapse while I'm decorated taking regular photos with my main camera. Nasim especially loves this technique and uses information technology a lot in the field for landscape photography.
Still, as useful as this method is for stills, videographers are the real fourth dimension lapse shooters. Rather than picking a single "all-time calorie-free" frame from the series, they'll only merge the whole thing into a 5 or x second video that drastically speeds up any motility in the scene. That's why it's chosen fourth dimension lapse; you testify how a landscape or other subject field looks as time elapses.
46. Underexposure
The opposite of overexposure is underexposure. This is when your photo is too night – oftentimes then night that you need to exercise extensive shadow recovery to brand your image expect right.
Unlike overexposure, it is generally possible to brighten night shadows and recover some usable information. This is true even when the shadows look pitch black out of camera. However, recovering nighttime shadows inevitably emphasizes noise in the shadow regions as well, harming your image quality.
NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, 1/40, f/16.0
Technically, the best exposure for whatever RAW photograph is the 1 that is equally bright as possible without overexposing important highlights whatsoever. This implies that a bright-looking photo tin can actually exist slightly underexposed, if you could have taken information technology even brighter without losing the highlights. (This principle is known as Exposing to the Right.)
For nigh photographers' purposes, though, that's not important. The important thing is just to avoid farthermost underexposure. If y'all need to recover massive amounts of shadow detail without proficient reason, you're but not capturing the best possible image quality.
47. Viewfinder
The viewfinder is the "window" on your camera that you can await through to see a representation of the prototype you're virtually to take. Not every avant-garde camera has a viewfinder, but most do (and all DSLRs do).
In a DSLR, the viewfinder is optical – significant that the DSLR's mirror directs lite through a prism or mirror arrangement, and yous're looking directly through the lens when you look into the viewfinder.
On most mirrorless cameras, the viewfinder is electronic – simply a small LCD screen feeding data direct from your camera sensor.
Neither optical nor electronic viewfinders are necessarily better than the other. Optical looks more like actually seeing the scene with your eyes, and information technology takes up much less battery. Just electronic can be useful because it gives a more accurate preview of how the image volition ultimately await. Photographers have dissimilar preferences on this issue, as you would expect.
My 1 recommendation is to get a camera with a viewfinder – either type – if you can. Not all photographers find them useful, but most volition. That's especially true in bright conditions, or when shooting handheld.
48. Vignetting
One optical trouble that all lenses have to some degree is called vignetting. This is nothing more than than a concealment of the corners; on many lenses, y'all won't fifty-fifty notice unless you lot're photographing a plain slope (such equally the blue sky).
However, some lenses take extremely high levels of vignetting, and information technology admittedly tin can interfere with the quality of your photos. Vignetting is easy to right in post-processing, but extreme corrections will reveal a lot of noise in the corners of your epitome – a side effect that may not be like shooting fish in a barrel to set up.
NIKON Z 7 + NIKKOR Z 24-70mm f/iv S @ 24mm, ISO 1600, 15 seconds, f/4.0
Vignetting is almost ever worse at big apertures like f/one.4, f/2, and f/2.8. However, sometimes you will exaggerate the effects of vignetting past putting a filter on your lens, and yous can end up with very dark corners that need to be cropped out fifty-fifty at small apertures like f/eight and f/11.
At the end of the twenty-four hour period, vignetting is non something to worry nearly likewise much. Some photographers fifty-fifty add together information technology intentionally in post-processing to get a more intense effect. But if you have vignetting in your photos where information technology doesn't belong, it can distract viewers and make your photos look lower in quality.
49. Visualization
One of the nearly of import, overlooked steps in photography is visualization. This is a "planning" stride in the field before yous actually take a photo. Specifically, visualization is the human activity of picturing, in your mind'due south middle, the best possible final version of the photograph you're taking.
This includes a lot of thinking and conscious decision making in the field. Is the concluding version of your photograph going to be in colour or black and white? What emotions volition it have? And how tin you get there?
If you're struggling with visualization, outset request yourself questions and analyzing every determination you brand in the field. Why are you composing the photo this manner and not some other? Is your current focal length the best possible focal length for the bulletin you want to convey? Are you shooting at the optimal time of twenty-four hours, or does the best possible version of your photograph really require unlike calorie-free?
I observe that visualization is the critical step that separates almost-smashing photos from one-in-a-meg shots. Call up! Photography rewards creativity and problem solving more than shooting the "default" image of a scene.
NIKON D7000 + 24mm f/ane.4 @ 24mm, ISO 800, 1/30, f/ane.four
50. Zoom Lens
The culling to a prime lens (see "prime lens" above) is a zoom. Zoom lenses cover multiple focal lengths, a valuable feature for many photographers.
Indeed, the almost popular lenses on the market are "kit" zooms that are included with most cameras, like xviii-55mm or 24-105mm lenses. Personally, as much every bit I dear primes, I tend to recommend about photographers starting time with a zoom in order to better figure out their personal way. (For many, I recommend sticking with a zoom permanently.)
The power of a zoom is measured past its zoom ratio – the longest focal length divided by the shortest. For example, a 24-120mm zoom is exactly a 5× zoom (because 120 divided past 24 = 5.)
You will often see indicate-and-shoot cameras advertised equally "5× zoom" or similar. This specification tells yous some useful information, merely information technology's not everything you need to know. For case, forth with the 24-120mm I but mentioned (which is broad-to-telephoto zoom), an 80-400mm lens (telephoto-to-supertelephoto) is also a 5× zoom. But it'due south meant for a totally unlike purpose – afar wildlife/sports rather than everyday usage.
Conclusion
Hopefully yous found this article and the definitions above to exist useful! Before wrapping things up, I do want to arrive articulate that this is not a full dictionary of every photography term you should know. In that location are plenty of others that I had to skip, particularly some more advanced terminology; I'm already nearing the x,000 give-and-take marker and didn't desire to push things besides far!
That said, the terminology in a higher place is an awesome place to start, or to use equally a refresher if you lot want to remind yourself what some specific words mean in photography.
And every bit I mentioned in the introduction to this article, we plan to add together terms to this glossary over fourth dimension. And then if at that place is anything you would similar me to ascertain, please permit me know in the comments department below! Same goes if you have whatever questions or feedback about these terms and their definitions.
Source: https://photographylife.com/photography-terms
Posted by: jonesgrounted.blogspot.com
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