RULES OF GOOD PHOTOGRAPHIC COMPOSITION 1.

SIMPLICITY (A) COMPOSE PICTURES WITH UNCOMPLICATED BACKGROUNDS, PLACE MOST OF THE VISUAL ATTENTION AT THE CENTER OF INTEREST. (B) AVOID INCLUDING UNRELATED SUBJECTS. (C) PLACE THE CENTER OF INTEREST SLIGHTLY OFF CENTER. 2. RULE OF THIRDS (A) DIVIDE THE CAMERA VIEW FINDER VERTICALLY AND HORIZONTALLY IN THIRDS. THE INTERSECTIONS OF THE DIVIDING LINES THE PROPER LOCATIONS FOR THE MAIN CENTER OF INTEREST FOR THE PHOTOGRAPH. (B) PLACE THE HORIZON LINE (HORIZONTAL SUBJECTS) 1/3 TO 2/3 UP FROM THE BASE OF THE PICTURE. (C) PLACE VERTICAL SUBJECTS OFF CENTER 1/3 FROM THE VERTICAL EDGE OF THE PICTURE. (D) CONSIDER THE PATH OF MOVING OBJECTS AND LEAVE SPACE IN FRONT OF THEM INTO WHICH THEY COULD MOVE. FOR EXAMPLE BIRDS SHOULD HAVE MORE SPACE IN FRONT OF THEM WHEN PHOTOGRAPHED THAN BEHIND. 3. LINES (A) DIAGONAL LINES MAKE A PICTURE MORE DYNAMIC. (B) USE DIAGONAL LINES TO LEAD YOUR EYE TO THE SUBJECT. (C) REPETITIVE LINES USED TO DRAW THE VIEWERS ATTENTION TO THE CENTER OF INTEREST. (D) USE AN S-CURVE TO LEAD YOU TO THE SUBJECT OF INTEREST. (E) USE GEOMETRIC SHAPES SUCH AS TRIANGLES FOR THE ARRANGEMENT OF SUBJECTS. (F) USE A SERIES OF POINTS OF INTEREST ALONG A LINE OR S-CURVE TO LEAD THE EYE THROUGH THE PICTURE. (G) LINES CAN BE USED TO GUIDE THE VIEWERS EYE THROUGH THE PICTURE, CREATE A FEELING OF DEPTH, OR DIVIDE THE PICTURE INTO WELL DEFINED AREAS. (H) CONVERGING LINES ADD DEPTH.

4. ILLUSION OF DEPTH (A) LINEAR PERSPECTIVE FOR EXAMPLE WINDING RIVERS, HIKING TRAILS, ROADS TO LEAD THE EYE THROUGH THE PICTURE. (B) DIMINISHING SIZE OF SIMILAR OBJECTS. (C) OBJECTS BLOCKING OTHER OBJECTS. (D) DIRECTIONAL LIGHTING. (E) DEPTH OF FIELD (F) ATMOSPHERIC HAZE. (G) TONAL PERSPECTIVE LIGHT WARM COLORS ADVANCE AND COOL DARK COLORS RETREAT. (H) LINES WHICH CONVERGE TOWARD A VANISHING POINT GIVE A SCENE DEPTH. 5. BALANCE (A) SYMMETRY (B) NON SYMMETRICAL BALANCE ( C) BALANCE IS CREATED BY EQUAL AMOUNTS OF LIGHT AND DARK OR BIG AND SMALL ELEMENTS IN A PICTURE (D) IMBALANCE IS A GOOD WAY OF CREATING VISUAL TENSION 6. FRAMING (A) FRAME THE CENTER OF INTEREST WITH OBJECTS IN THE FOREGROUND TO GIVE THE PICTURE DEPTH. FOR EXAMPLE OVERHANGING TREES, WINDOWS, DOORWAYS, AND GATEWAYS. (B) WHEN YOU USE PEOPLE FOR SCALE IN THE FOREGROUND MAKE SURE THEY LOOK INTO THE PICTURE AREA 7. AVOID MERGERS (A) OVERLAPPING OBJECTS WITH THE SUBJECT 8. HYPER-FOCAL FOCUSING (A) FOCUS AT INFINITY AND CHECK THE DEPTH OF FIELD SCALE TO SEE THE NEAREST POINT OF SHARP FOCUS AT THE APERTURE YOU WILL BE USING. (B) REFOCUS AT THE DISTANCE DETERMINED AND THE FOCUS WILL EXTEND FROM THE FOCUS POINT TO INFINITY. THIS IS A WAY OF MAXIMIZING DEPTH OF FIELD.

9. INCREASING INTEREST (A) TRY RAISING AND LOWERING THE VIEW POINT TO INCREASE INTEREST. 10. TURNING IDEAS INTO IMAGES (A) VISUALIZATION, (B) EVALUATION: WHAT IS THE MAIN POINT OF INTEREST? IS A CHANGE OF VIEW NECESSARY? WHAT IS IN THE BACKGROUND? WHAT IS IN THE FOREGROUND? DEPTH OF FIELD PREVIEW? CHECK FOR DISTRACTING ELEMENTS? WHAT I LIKE ABOUT THE SHOT IS? SO I WILL? (C) EXECUTION: IS A FILTER NECESSARY? IS A HALF NEUTRAL DENSITY NECESSARY? WHAT DEPTH OF FIELD IS NECESSARY? WHAT SHUTTER SPEED IS NECESSARY? (D) REVIEW: CORRECT EXPOSURE OR BRACKET? DUPLICATES? CAN IT BE IMPROVED? 11. PASS/FAIL TEST (A) IS IT A GOOD SUBJECT? (B) IS IT A GOOD COMPOSITION? (C) IS IT GOOD LIGHT?

RULES FOR GOOD EXPOSURE 1. EXAMPLE OF THE DIFFERENT SHUTTER SPEED AND APERTURE COMBINATIONS RESOLUTION IN THE SAME EXPOSURE ON THE FILM. DEPTH OF FIELD VARIES WITH APERTURE. LAW OF RECIPROCITY
EXAMPLE OF CONSTANT EXPOSURE AND LIGHT AMT OF LIGHT AT FILM PLANE APATURE AREA APATURE f-STOP SHUTTER SPEED IN sec FILM SPEED (ASA/ISO) CONSTANT LIGHT APATURE F-STOP 1 1 1 1/1000 25 1 1/2' 1/2 1.4 1/500 50 1.4 1/4 1/4 2 1/250 64 1.6 1/8 1/8 2.8 1/125 100 2 1/16 1/16 4 1/60' 200 2.8 1/32 1/32 5.6 1/30' 400 4 1/64 1/64 8 1/15' 1000 6.3 1/128 1/128 11 1/8' 1/256 1/256 16 1/4' 1/512 1/512 22 1/2' 1/1024 1/1024 32 1

2.

GOLDEN HOURS. (A) HALF-HOUR BEFORE SUNRISE TO ONE HOUR AFTER (B) ONE HOUR BEFORE SUNSET TO ONE HALF HOUR AFTER

3. EXPOSURE IN PRINT vs. SLIDE FILM (A) WITH SLIDE FILM IT IS BEST TO EXPOSE FOR THE HIGHLIGHTS AND LEAVE THE SHADOWS TO THEIR OWN DEVICES. SLIDE FILM ONLY HAS F-STOP OF EXPOSURE LATITUDE, AND AN EXPOSURE RANGE OF 5 F-STOPS. (B) WITH PRINT FILM IT IS BEST TO EXPOSE FOR SOME DETAIL IN THE SHADOWS. (B-1) PRINT FILM HAS AN EXPOSURE LATITUDE OF 3 F-STOPS AND AN EXPOSURE RANGE OF 7 F-STOPS 4. COLOR SATURATION (A) SLIGHT UNDER EXPOSURE IN SLIDE FILM AND INCREASE COLOR SATURATION 5. EXPOSURE COMPENSATION (A) SUBJECT AGAINST A LIGHT BACKGROUND INCREASE EXPOSURE BY 1.5-2 FSTOPS (B) SUBJECT AGAINST A DARK BACKGROUND REDUCE EXPOSURE BY 1.5 - 2 F-STOPS (C ) BRIGHT SUBJECT (WHITE OR SIMILAR LIGHT COLOR DOMINANT) INCREASE EXPOSURE BY 2 - 2.5 FSTOPS. (D) DARK SUBJECT (BLACK OR VERY DARK COLOR DOMINANT) REDUCE EXPOSURE BY 2 - 2.5 FSTOPS. (D) SHOOTING INTO BRIGHT LIGHT TO REMOVE BACK-LIGHTING INCREASE EXPOSURE BY 1- 3 FSTOPS. IGNORE TO GET SILHOUETTE EFFECT. (E) BRIGHT SKY IN SHOT AND IS A LARGE PERCENTAGE OF THE SCENE. (E-1) TILT THE CAMERA DOWN AND METER ON THE FOREGROUND (E-2) INCREASE EXPOSURE BY 1 - 3 F-STOPS DEPENDING ON THE BRIGHTNESS OF THE SKY. (E-3) USE HALF NEUTRAL DENSITY FILTERS TO DECREASE CONTRAST BETWEEN THE SKY AND THE SUBJECT. (F) HIGH CONTRAST SCENE METER FOR CORRECT EXPOSURE IN THE MOST IMPORTANT PART OF THE SCENE.
CHROMA-ZONE NUMBER DARKER THAN AVERAGE AVERAGE -2.5 -2 -1 .5 -1 -0.5 0 0.5 SUBJ ECTS LIGHTER THAN AVERAGE 1 1 .5 2 2.5 EXPOSURE COMPENSATION -2.5 STOPS -2 STOPS -1 STOPS .5 -1STOP -0.5 STOPS 0 STOPS 0.5 STOPS 1STOP 1 STOPS .5 2 STOPS 2.5 STOPS GRAY TONE GUIDE EXTREAM BLACK BLACK GRAY-BLACK DARK GRAY SLIGHTLY DARKER GRAY MEDIUM 1 GRAY 8% SLIGHTLY LIGHTER GRAY LIGHT GRAY VERY LIGHT GRAY WHITE EXTREAM WHITE COLOR GUIDE EXTREAMLY DARK VERY, VERY DARK VERY DARK SIGNIFICANTLY DARKER COLOR SLIGHTLY DARKER COLOR MEDIUM COLOR SLIGHTLY LIGHTER COLOR SIGNIFICANTLY LIGHTER COLOR BRIGHT OR PALE COLOR VERY BRIGHT OR PALE COLOR EXTREAM BRIGHT OR PALE COLOR

0 MEDIUM GRAY 0 RED VIOLET 0 MEDIUM BLUE 0 LEAF GREEN 0 MEDIUM BROWN 0 MEDIUM RED

+ LIGHT GRAY 1 + LIGH VIOLET 0.5 T + LIGHT BLUE 1

+ TO + WHITE 2 2.5 -1DEEP VIOLET

-1DARK GRAY -2 TO 2.5 BLACK

-0.67 EVERGREEN

+ ORANGE 1 + FUSCHIA 1 + GOLD 1 + FLESH 1 +.5 PINK 1 +.5 YELLOW 1

0 REDWOOD

6. CAMERA EXPOSURE METERS AND SETUP TO PROPERLY EXPOSE AN AVERAGE PICTURE WHICH HAS THE REFLECTIVITY OF AN 18 PERCENT GRAY CARD.

7. HALF-NEUTRAL DENSITY FILTERS (A) PROPER USE OF A HALF-NEUTRAL DENSITY FILTER. THESE FILTERS ARE USED TO DECREASE THE CONTRAST BETWEEN BRIGHT AND DARK AREAS OF A PICTURE. SUCH AS THE SKY AND THE LANDSCAPE. (B) ALIGN THE HALF-NEUTRAL DENSITY FILTER CAREFULLY SO AS NOT TO DARKEN PART OF THE FOREGROUND. USING THE DEPTH OF FIELD PREVIEW BUTTON WILL HELP IN DETERMINING WHERE THE LINE IS. (C) TAKE METER READINGS WITHOUT THE FILTER IN PLACE AND USE THE SAME READING WITH THE FILTER. (METER ON THE FOREGROUND? I GUESS). CHOOSE A MIDRANGE APERTURE SUCH AS F8 SO THAT THE LINE WHERE GRADUATION ENDS IS NOT OBVIOUS IN THE PICTURE. 8. COLOR TEMPERATURE (A) DAYLIGHT FILM IS DESIGNED TO GIVE COLOR BALANCE OF WHITE LIGHT AT 5,500k. THE FOLLOWING IS A CHART OF THE FILTERS TO USE IF BALANCED WHITE LIGHT IS DESIRED UNDER OTHER CONDITIONS. SOURCE BLUE SKY OPEN SHADE IN SUMMER SUN OVERCAST WEATHER? SLIGHTLY OVERCAST WEATHER? AVERAGE NOON DAYLIGHT EARLY MORNING/EVENING SUNLIGHT HOUR BEFORE SUNSET SUNSET CANDLE FLAME 9. COLOR TEMPERATURE 10,000 k 7,500 k 6,500 k? 6,000 k? 5,500 k 4,000 k 3,500 k 3,000 k 2,000 k FILTER REQUIRED orange 85B 81B+81C warm ups 81C warm up? 81A warm up? none blue 82C blue 80C blue 80A blue 80A+80C

Smaller apertures give a greater depth of field.