Morphing takes two separate images and enables, through the use of photoshop, one to combine them into one image:
And here’s the final image:
It’s a quick morph: it certainly is not a finished image. I’ve changed it to black and white to reduce how obvious the difference is in skin colours and the hair is quite choppy (but it does provide a general idea).
This class gave me practice in resizing the image and adding text and using the paintbrush. This picture was taken at the National Gallery of Victoria’s water wall (hence the name of the “CD”).
Changing the shutter speed changes the perception of movement, allowing the photographer to capture movement. Long shutter speeds create a blurred image and short shutter speeds freeze movement.
The image above was shot at f 3.5, ISO 100, 18mm focal length and a shutter speed of 1/250th of a second. As is evident, although the model is moving, there is no “blur” in the movement.
In this second image, the model is spinning in the same way as she was in the first image. The second image was shot at f 22, ISO 100, 18mm focal length and a shutter speed of 4/5th of a second. The movement at this shutter speed as far more evident. Note also, the change in colour resulting from the change in aperture and shutter speed.
The perception of movement also changes depending on whether the movement in perpendicular to the camera or parallel to the camera.
Both these images were shot at f 22, ISO 100, 18mm focal length and a shutter speed of 3/5th of a second. When the movement is perpendicular to the camera (on the left), it is more evident. When the movement is parallel to the camera (on the right), movement is still evident, but the amount is less pronounced. The fabric was quite long and flicked toward the camera, but the lens was unable to capture the movement as efficiently.
The Shutter Speed Contact Sheet shows each shutter speed (with varying apertures as the camera was set to shutter priority).
I.S.O. indicates how sensitive an analogue film is to light. The lower the number, the finer the grain. It’s a measurement of sensitivity to light for digital cameras too: as the I.S.O. increases, so too does the sensitivity. So lower I.S.O. is appropriate for well-lit situations. Higher I.S.O. is appropriate in less well lit situations, when combined with a fast shutter speed.
But the higher the I.S.O., the more digital noise will be present. The images below, especially in the shadows, illustrate different noise levels at different I.S.O. levels.
This image is (relatively) low in noise (my camera’s not great) shot at 1/30th of a second at f 8.0, 38mm focal length, with an ISO of 125.
This second image is far higher in noise! It was shot at 1/8000th of a second at f 8.0, 38mm focal length, with an ISO of 25,600. The noise is the random variation in brightness or colour (for examples, the pink pixels) in the image.
Here is the ISO Contact Sheet with each the same image shot at each ISO level available for my camera.
This post is concerned with depth of field, illustrated by the image of my water bottle and some scrunched up paper. Shallow depth of field holds the main object (in the foreground) in focus, while blurring the background. It’s achieved by using a large aperture (i.e., a small f-stop) and placing the focal object quite close to the camera.
My water bottle was shot at 1/640th of a second at f 3.5 with an ISO of 400. The focal length was 18mm.
This picture of some scrunched up paper provides an even better image of the effects of a shallow depth of field. The two pieces of paper were approximately 20 cm apart. The image was shot with a longer focal length (52mm) than the image of my water bottle (18mm). It was shot at 1/160th of a second, f 5.0 and an ISO of 400.
As is apparent from both images, the immediate foreground is also blurred, fitting the 1/3 in front 2/3 behind notion of focus.
The Depth of Field Contact Sheet is a collection of photographs taken with different f stops (running from the lowest f stop I could use on my camera and increasing every f stop through to the highest f stop I could access. As is apparent from the thumbnails, the depth of field changes as a aperture changes.