Photographs can become symbols - the top 2 are both from wars in the last half of the 20th century - the Afghan war and Vietnam war - while below is a photo from the Miners strikes and a much more recent photograph or a girl attacked by some of her family members.
"Types of Lens
There are three basic camera lens types, standard, wide angle and telephoto. The power of a camera lens is measured in millimetres and is known as the focal length of a lens. The 50mm lens is deemed to be the standard lens for a 35mm camera. Any camera lens with a shorter focal length than this is considered to be a wide angle lens and any lens with a longer focal length is considered a telephoto lens.
"When to Use a Wide Angled Lens
Wide angle lenses are popular with landscape photographers. They are great for highlighting foreground objects with the background almost fading into the distance. The depth of the picture is therefore accentuated. The most common focal length for a wide angled lens are 24mm and 28mm.
"When to Use a Telephoto Lens
The telephoto lens is basically the opposite of the wide angled lens. Therefore it is great for bringing far away objects right up into the meat of the picture. The obvious example would be sporting events. If you go to major football match you will see press photographers lined up at the end of the pitch using telephoto lenses to get excellent action close ups. These lenses also reduce the depth of field. This can be an advantage as you can focus right in on your subject, producing a crystal clear image, whilst the foreground and background surrounding it become out of focus.
"Other Lens Types
Most people will have heard of a Macro Lens. These lenses are used for close up photography. The have similar properties to a normal lens, but they are able to focus a lot closer to the subject. Common focal lengths are 50/55mm or 90/100/105mm. The lenses with the longer focal lengths come in very handy for taking close ups of subjects that might otherwise be scared away. The optical quality of a macro lens is normally very high.
A Fisheye Lens looks surprisingly enough like a fisheye. Their angle of view is a full 180˚. There is a trade off in that the pictures produced are distorted in that the centre of the picture almost comes out to meet you whereas the top, bottom and sides of the picture appear to be further away.
Lens Babies are expensive, but handy if you shoot pictures of a lot of tall buildings. To get all of a tall building into a shot can often mean that you have to tilt the camera backwards. The drawback of this is that the building itself can appear as if it is leaning forward. This is because the camera wasn't upright at the time when the picture was taken. The Lens Baby has front elements that can be adjusted so that you can get all the building in the shot and still keep the camera upright.
A Fisheye Lens looks surprisingly enough like a fisheye. Their angle of view is a full 180˚. There is a trade off in that the pictures produced are distorted in that the centre of the picture almost comes out to meet you whereas the top, bottom and sides of the picture appear to be further away.
Lens Babies are expensive, but handy if you shoot pictures of a lot of tall buildings. To get all of a tall building into a shot can often mean that you have to tilt the camera backwards. The drawback of this is that the building itself can appear as if it is leaning forward. This is because the camera wasn't upright at the time when the picture was taken. The Lens Baby has front elements that can be adjusted so that you can get all the building in the shot and still keep the camera upright.
"Extension Tubes (Teleconverter)
A teleconverter is a piece of equipment that sits between your camera and the lens. It can rather cleverly increase the focal length of the lens. The standard models are the 2x and 1.4x converters. For example the 2x converter will turn a 200mm lens into a 400mm lens. So why isn't everybody using them and why does anybody bother buying a 400mm lens. The reason is quality. A converter will reduce the amount of light getting through. This can not only make focusing harder, but you also either need to use slower shutter speeds or faster film. In addition the optical quality of the lens is also reduced. The problems are not so pronounced with a 1.4x converter and professional photographers prefer these."http://www.photographers.co.uk/html/camera-lens.cfm
Mount adapter - used to make attaching lenses from other cameras and companies
Mount adapter - used to make attaching lenses from other cameras and companies
| Lens Focal Length* | Terminology | Typical Photography |
|---|---|---|
| Less than 21 mm | Extreme Wide Angle | Architecture |
| 21-35 mm | Wide Angle | Landscape |
| 35-70 mm | Normal | Street & Documentary |
| 70-135 mm | Medium Telephoto | Portraiture |
| 135-300+ mm | Telephoto | Sports, Bird & Wildlife |
Lighting
| Built-in Flash Advantages | Built-in Flash Disadvantages |
| Extremely convenient as you do not have to carry extra pieces of equipment | Have small range and cannot be positioned away from the camera to eliminate red eye |
| Very useful for freezing motion | Images have a characteristic flat shadowless lighting that minimizes surface textures and volumes |
Cannot be rotated to bounce flash off a wall or ceiling to soften and thus improve the quality of the lighting | |
Drain on your camera batteries since they do not have their own source of power |
"External Flash Units
"Flash units are differentiated by their power as measured by the maximum distance that they cover. Each flashgun is given a guide number (GN) - a measure of its light output.
The higher the guide number, the greater the intensity and range of the camera flash.
"External or off-camera flashes are synced to the shutter release via a hot-shoe bracket or PC terminal.
A hot shoe bracket is a space on top of your camera into which you can secure a flash and it provides electrical connections between the flash and camera. Using a hot shoe enables your camera to control many aspects of the flash from the camera's flash options, such as flash exposure compensation.
If your camera does not have a hot shoe or you want to move the flash off your camera, you can utilise a PC (Prontor-Compur) terminal which lets you use a cable to connect to the flash.
The cable that attaches to the PC terminal is called a sync cord and makes the same electrical connection that the hot shoe does.
"Slave Flash Units
If your camera does not have a hot shoe or other flash connector, and many pocket cameras do not, you can use a slave flash unit. These flashes have a sensor that fires the flash when it senses the burst of flash from the camera's built-in flash unit. Since many digital cameras fire the flash twice for each picture (the first is to set white balance and perhaps focus), these units are designed so they fire when the camera's second flash goes off.
"Studio Strobes
"You need to use a studio strobe (flash), if you need more light and control than you are getting from flash units mounted on a camera's hot shoe.
These lights are not only more powerful lights, but they usually have modelling lights and lots of advanced controls. A modelling light is useful as it shines on your subject so you can see how the flash will light your subject when the flash fires.
Studio strobes come in two variations: monolights and powerpack/head systems.
- A monolight is a single strobe in which the power supply and flash head are contained in the same unit. These are nice for location work because you don't have have a lot of cables running around.
- A powerpack/head system is completely different, in that all the 'works' are in a separate floor-mounted unit, connected by high-voltage cable to a lighting head that contains only the flash tube, modelling light and (sometimes) a cooling fan. You can adjust the lighting power and the overall light output to the head. These are the most flexible and most commonly used studio flash systems.
"Studio Strobes
"Hot lights are unlike strobes in that they are 'hot' to work under because they do not flash; rather, they are continuous tungsten or Metal Halide Iodide (HMI) lights that remain on until you turn them off. Many of the powerful tungsten lights are rated at 500–600 watts. They are simple to use but they consume lots of power, while putting out lots of heat.
Ring Flashes
"A ring flash is ideal for use in macro or close-up photography as it allows for use of smaller apertures for greater depth of field and prevents camera or subject movement from causing blur.
Ring flashes are also very popular in portrait and fashion photography since they not only soften shadows but also give the model a shadowy halo
These units usually consist of two parts. A shoe-mount unit is used to mount the flash on the camera's hot-shoe, and a circular flash unit is fitted around the lens which fires a circle of light on the subject.
http://www.dptips-central.com/camera-flash.html
http://jpgmag.com/blog/2009/06/photo-challenge-create-a-filter.html
http://www.photographers.co.uk/html/camera-lens.cfm
http://www.google.co.uk/imgres?q=photography+filter+clingfilm+-cooking+-pastry&um=1&hl=en&client=safari&rls=en&biw=1727&bih=960&tbm=isch&tbnid=F0EG5oqsaTjzMM:&imgrefurl=http://www.flickr.com/photos/22658121%40N00/page6/&docid=73BGgUlU0mUzwM&imgurl=http://farm4.static.flickr.com/3152/3335223550_4ea1ac1acb.jpg&w=500&h=495&ei=1gG0TtXzN4Gg8QO7p7D_BA&zoom=1&iact=rc&dur=339&sig=113340118001411928857&page=1&tbnh=137&tbnw=138&start=0&ndsp=44&ved=1t:429,r:29,s:0&tx=57&ty=104
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