Camera Lenses 

Explained. 
CHAPTER 1 
Introduction.
Finding the right lens for your camera can vastly improve your  images and overall
production. But learning what you need to  know about video and photo camera lenses
can be time consuming, often wrought with trial and error.  
In this book, we aim to clarify the different types of camera lenses so that you can
understand which lens, or set of lenses, will be your best option moving forward. The
main criterion with which lenses are categorized is their focal length. Essentially, focal
length is a measurement between the optical center of the lens and the image plane, either
the film strip or camera sensor. Focal length distances(measured in
Milimeters) have a direct relationship with the field(measured in millimeters) have a
direct relationship with the field of view — how wide or narrow   you can capt  and

this isn’t  limited to photo lenses or video lenses. It’s important to think  about your lens
decisions before you step on set, especially before  firing up your shot listing software.

That way, you'll know what  kind of equipment (and supporting gear) you’ll need to rent
or  purchase beforehand. Let’s break it down. 
CHAPTER 2 
Anamorphic vs  Spherical Lenses 

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If you're shooting film or video, the first question you to need  consider is whether to use
anamorphic or spherical lenses. The  main differences between these two types of lenses
has nothing to  do with focal length — let's go back to the '50s to see the  circumstances

that gave rise to the anamorphic lens. The short answer is that all lenses prior to the
1950s (and most of them since) were “spherical” lenses. The "sphere" in spherical comes
from the basic shape of the lens elements which are  circular. Spherical lenses are still the
most common type of lens,  and are assumed unless specified otherwise. They capture

images  onto the sensor without affecting their aspect ratio. When TV was stealing
audiences away from Hollywood, the  Studio bosses wanted to give people a reason to
come back to  theaters. Widescreen was the answer — a giant, rectangular frame could
give us sprawling vistas that the square TV frame could not. But here's the problem—
how can you get a rectangular image  onto a standard film frame?  Squish it. The
anamorphic process "squeezes" a wide image  (usually by a factor of two) onto the
camera sensor while filming,  and then "unsqueezes" during the post-production process
or  within the projector, in order to be properly displayed. This is  accomplished with
oval-shaped lens elements as opposed to the  circular elements found within typical
spherical lenses. Anamorphic lenses were originally designed to fully utilize the  vertical
area of standard 35mm film frames. Anamorphic lenses  often use either a 1.33x or 2x
“squeeze.” All this means is that they  capture either 33% or 100% more horizontal
information than a  spherical lens would. This is how to achieve extremely widescreen 
images out of a square-shaped film frame or camera sensor. When unsqueezed,
anamorphic lenses can yield a 1:85:1 or 2:39:1  aspect ratio. This wider ratio became
known as CinemaScop
With CinemaScope, the studio executives of the '50s found their 
differentiator versus television. If you wanted to experience total 
immersion within epic landscapes and larger-than-life worlds,  than movie
theaters were (and still are) the best option.  These days, most digital
sensors support a wider aspect ratios  natively so spherical lenses often
record sufficiently wide images  with minimal to no cropping (“crop

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factor”). Anamorphic lenses  therefore are only needed when a wider
aspect ratio is desired,  such as with action classics or sci-fiction.
Pro Tip: Besides the aspect ratio, a giveaway of an anamorphic  lens is the
bokeh (out of focus rings of light in the background).  Due to the squeezing
effect, anamorphic lenses then to result in  oval-shaped bokeh. 

Considerations 
When choosing between anamorphic and spherical lenses, there  are 5
main visual elements to consider — aspect ratio, bokeh,  distortion, falloff,
and lens flare. 
1. ASPECT RATIO 
Perhaps the main advantage that inspired the development of  anamorphic lenses was their
ability to produce widescreen  images. Today, both spherical and anamorphic lenses can be
used  for widescreen aspect ratios, from 1:85:1 t shot with a spherical lens • Parasite
(2019) For projects shot on video, high-resolution images are simply  cropped to create a
widescreen form factor. It’s important to make  sure that you know exactly how the

image will be cropped so that  your compositions will work. 

2. BOKEH 
Aside from the “cinematic” look of anamorphic lenses, there are  other reasons you might
want to use one. If you’re trying to  capture bokeh — anamorphic lens will give you a
uniqu see in the example above, the shape of the bokeh from  an anamorphic lens is oval
as opposed to circular. Like many of  the visual characteristics an anamorphic lens
brings, oval bokeh  pushes the imagery just slightly past "reality." This comes down to 
an aesthetic choice as to which you think looks better. 
3. DISTORTION 

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Due to the oval shape of the anamorphic lens, there is some visual  distortion to the
image. This is perhaps most easily noticed when  straight lines can be seen around the
edges of the frame to have a  slight bend. In The Dark Knight example below, notice the
slight  bend of the ceiling, window frames, and neighboring building. 

Again, this is just one of the qualities of anamorphic lenses that  image-makers consider
cinematic but, it just comes down to  aesthetics and preference. 
4. FALLOFF 
A notable consideration when using an anamorphic lens should be  its “falloff,” which
refers to the degree of blur that creeps in  towards the edges of the frame. This varies
depending on how the  shot is lit and focused but it's certainly something to bear in mind
In the image above, notice the drapes along the window. The  bottom of the drapes, near
center frame, are much more in focus  than the top.  This is something an audience
member wouldn't necessarily  notice but it does add an "imperfect" texture that many 
filmmakers actively choose. 
5. LENS FLARE 
Lens flares using anamorphic lenses can appear like stripes of  light and
are often used in science fiction or futuristic films. Lens  flares have

become a staple in director J.J. Abrams' directing  style. But even he admits
he went too far with it in Star Track Many directors fall in love with the
idea of lens flare regardless if  their cinematographers are using

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anamorphic lenses. But these  lenses do provide for some really cool
looking flares that add a lot  to the scene.  
Conclusion 
The decision to shoot with either anamorphic lenses or spherical  lenses should be made
first. Every decision that follows will  depend on this choice — from the basic lighting,
camera framing,  production design, and even budget.  There are the visual characteristics
of each lens type that are more  than just aesthetic concerns. For example, you might
want a  sharp, realistic look to keep your story grounded (spherical). If  your story leans
away from strict realism, the dreamy, cinematic  qualities of anamorphic will help get
you there. 
CHAPTER 3 
Prime vs Zoom Lenses 
The next consideration to be made when choosing a lens is  whether it is a "prime" or a
"zoom" lens. All lenses fall into one or  the other category. The key determining factor is
the lens’ ability  to adjust the focal length of the lens using a zoom function. The prime
vs. zoom lens debate is based on a few characteristics.  Since their resulting images
could be on par, the main differences  can boil down to the optical mechanisms within
the lens and the  behavior of the shooter. Let’s talk about each type of lens  individually
and then we'll compare the pros and cons of each. 

What is a Prime Lens? 

A prime lens is a fixed focal length lens that doesn’t let you zoom  in or out. Focal length
is the distance between the point of  convergence in the lens to the sensor in your camera.
You can see  the "elements" inside the lens in the following cross section. These  are
made of convex and concave glass lenses that angle the light  entering the lens to form an
image on th lenses also have very wide or large aperture, an adjustable  opening inside
the lens to regulate how much light passes  th any lens with a variable focal length.
Therefore, it  can be “zoomed” in or out to transform the focal length and field  of view.
This magnifies or demagnifies the image, giving the  appearance of moving closer or
further from the subject without  physically moving the camera. This is accomplished
with moving  various optical mechanisms inside the lens. 
Zoom lens with adjustable lens elements 
 When exploring zoom lenses, something to consider is whether it  is a
parfocal or varifocal lens. Parfocal lenses stay in relative focus  while the
focal length of a zoom lens is changed. So if you plan  zoom in or out
while recording, it’s better to have a parfocal lens. 

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• The Shining (1980) 

Filmmakers such as Martin Scorsese, Wes Anderson, Quentin  Tarantino,

and of course, Stanley Kubrick use zoom lenses to  great effect. When
combined with camera shake, parfocal zooms  can create a raw,
documentary look such as in The Big Short, The  Office, and Parks &
Rec.  

Keeping your subject in focus while also changing the focal length  is a
nearly impossible task on a varifocal zoom lens. The benefits  of a
varifocal lens are typically limited to still photography when  focal length
adjustments aren't happening during the shot. 
Pros and Cons 
A major responsibility of any cinematographer or photographer is  to identify the
appropriate lenses for any given scene or shot.  Considering the limitations we’ve
discussed thus far, why would  anyone opt to use a prime over a zoom lens?  Let’s dig
into the advantages and disadvantages of both. 

PRECISION 

Prime lenses sharpen your technique. With the fixed focal lengths  of these
lenses, you can’t rely on zoom to get the shot you want.  You are the zoom.
And your physical positioning will affect the  angle and zoom of the shot.
This requires an inherent discipline in  your decision-making.  

You really need to consider the pros and cons of each setup  because you
don’t have the luxury of zooming. Connected to that,  a prime lens
minimizes some of the second-guessing that is part  and parcel when you
have an overabundance of focal distance at  your fingertips.  

But that is not to knock the convenience-factor of using a zoom  lens! The
ability to have multiple focal lengths can come in very  handy in certain
circumstances where quick decisions to  adjustments need to be made.
However, there are a few more  technical considerations to keep in mind. 

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 APERTURE 

As we discussed in our free companion book The Ultimate Guide  to

Exposure, prime lenses have a wider range of apertures,  typically ranging
from f/1.2 or f/2.8, whereas zooms tend to have  smaller apertures. As a
refresher, the aperture of a lens is  essentially how much it can be opened
or closed to control the  light that is captured. This mechanism affects two
important  aspects of any shot: how range of brightness of a shot and the 
depth of field. 

Therefore, the wider aperture of a prime lens means that is  capture more
light, which is ideal when you are shooting in low light scenarios like dark
interiors or night-time exteriors. 

C
Therefore, in darker lighting scenarios, you might consider primes  over
zooms. 

Secondly, when a lens’ aperture is larger (or more open), you get a 
shallow depth of field. This means the plane of focus becomes  narrower
and your background can be thrown out of focus. 

16) 

Conversely, smaller (or more closed) apertures produce a deep  depth of

field. This is useful when you need to see subjects along  the z-axis like
this: 

men (2019) 

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As a result, a prime lens may serve you better if your project calls  for low-
light scenes or you want a shallower depth of field. 

COST 

The cost between primes and zooms can be significant. Knowing  what
we've covered so far, the cost differences makes sense. Prime  lenses have
fixed, simple construction whereas a zoom lens has a  more complex
construction composed of moving optical  mechanisms.  
But when weighing the pros and cons, remember that a single  zoom lens is
almost like 3 or 4 lenses in one. If a single prime lens  costs $400, you
could buy 5 of them for the cost of a $2,000 zoom  lens. When you
compare the costs, they essentially even out. 
VERSATILITY 

Let’s start with the more obvious reasons to use a zoom lens.  Given its
ability to zoom in or zoom out, they are great when you  want to change the
shot composition or camera framing without  moving the camera. If you
need to save time during a shoot, a  zoom can eliminate the need for
changing lenses and/or setups.  With a prime lens, it is impossible to make
your subject larger  without physically moving the camera closer to it. This
forces you  to move the camera to a more intentional angle rather than just 
zooming in from your last setup.  

IMAGE QUALITY 

Despite recent advancements in zoom lens quality, prime lenses  often win
in this category. Prime lenses yield sharper and clearer  images because
they are built around a specific number of set  parameters rather than
constantly fluctuating parameters like in a  camera zoom lens. When there
are fewer focal lengths to account for, there is less  distortion or aberration.
It is much simpler to create sharper,  better quality images. But, again,
zoom lenses are catching up on  image quality in the last few years. The
sharpest zoom lenses  aren’t exactly cheap, but they may be worth it in the
long-run. 

WEIGHT 

Lastly, because of the moving parts and optical mechanisms,  zoom lenses
are typically much heavier than primes. Super zoom  lenses are especially
heavy. This is something to remember when  using camera rigs such as

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stabilizers, jibs, or drones. The less mechanics inside the lens, the lighter
the lens, which  makes it incredibly beneficial when traveling or trekking
long  distances. Even if you do have to bring two prime lenses of  different
focal lengths with you, they’re generally both lighter than  a single zoom
lens.  

Conclusion 

When you approach your next project, be mindful of your lens  choices. As
we've seen there are reasons why you might choose  either a prime or zoom
lens. Hopefully, with these factors in mind,  you'll be able to make the best
choice for your particular needs. 

CHAPTER 4 
Fisheye Lenses 
The fisheye camera lens is an extremely wide lens, popular for outdoor photography and
sports videos, particularly when it’s  necessary to provide wider visual context like in
skateboarding or  surfing shots. Shooting close-ups of architecture or crowds may also
necessitate this lens, but what is it precisely? 
A fisheye lens is any lens with a set focal length that is  significantly shorter than the
length of the sensor of film  (measured diagonally). For a full frame sensor, which is a
sensor measuring 35mm, your fisheye focal length would be anything  below 23mm. 
A fisheye lens is used for shooting extremely wide angles,  sometimes a full 180
degrees. Also referred to as a “super wide” or  “ultra-wide” lens, it produces an image
that appears distorted,  giving it a more abstract yet dynamic aesthetic. 
Ultra-wide fisheye lens 
Often any lens with a focal length that falls between 1mm and  22mm can be categorized
as a fisheye lens. You can see why the  fisheye lens would be considered one of the
specialty types of  camera lenses. The distortions it produces are certainly stylistic  but
completely "unnatural" compared to human vision.  
There are two main variations of a fish-eye lens: full-frame and  circular. 
A full-frame shot will have the distorted image taking up the  entirety of the frame.  

Full frame fisheye photography 

Meanwhile, a circular shot will have a black border surrounding  the spherical shot. 
FISH-EYE LENSES ARE COMMONLY USED FOR: ( Circular fisheye
photography)
• Extreme sports • Stylized POV shots (e.g. looking through peepholes)
• Depicting altered mental states (inebriation, paranoia, etc.)
• Simulating security cam footage 

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A fisheye lens provides an incredibly wide angle of view. As opposed to
other lenses that create images with straight lines of  perspective, fisheye
photography depends on special mapping.  This gives off a convex, non-
rectilinear appearance

Fisheye lens photos have roots dating back to 1906. Inventor and  physicist
Robert W. Wood developed a lens based on how a fish  would view the
world from beneath the water. The lens would  grow in prominence in the
1920s when it was used to study cloud  

formations in meteorology. But the lens didn’t really rise to prominence

until the 1960s. This was the time when this  particular lens was finally
mass-produced. You can see the fisheye lens in action in the 1966 film
Seconds from director John Frankenheimer. It’s an eerie, frightening scene,
and the lens distortion aids in creating anxiety in the
Over the years, fish eye lens images have become more advanced, they
have gone on to appear in numerous other films for a variety of purposes.
For one, they’re able to create a distinct feeling or mood.  In other
situations, fisheye lenses are highly practical, allowing the shooter to pack
more of the surrounding area into the frame.  Lastly, they can also be
simulative, reproducing an objective perspective. For example, if you want
a shot of a character peering through a peephole, then a fisheye lens
provides a similar aesthetic to what you would get in real life.  

Mid90s ends with a short movie filmed with a fisheye lens, which was
incredibly popular in the period the film takes place.  Combined with the
fact the movie follows a group of young skateboarders, it makes sense why
he would have filmed  everything using such a lens. 

ard culture of the 90’s embraced the fisheye • Mid90s (2018) 

In Mid90s, the fisheye was not necessarily used to create a mood.  It’s an
aesthetic choice to visualize a culture and time. But what about creating
disorientation? A fisheye lens is used prominently throughout The
Favorite. The film is a surreal experience where you’re never quite sure
where characters’ allegiances lay. In this instance, the fisheye lens does  an
excellent job heightening and exaggerating the emotions of the  characters.
It emphasizes the bizarreness of Queen Anne’s court. 

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Absurdity accentuated with a fisheye • The Favourite (2018 The fisheye
lens is fairly rare in the world of cinema, and for good  reason. The
exaggerated look often makes the audience conscious  of the lens itself.
Consequently, they become aware that they are  watching a fictional film,
breaking the fourth wall. But there is a medium where high style, and
breaking the fourth  wall is readily accepted: 
Music videos.  
Here's a shot from the classic Beastie Boys music video "Shake  Your lens grew in
prominence during in the 1960s when it  became a staple of album covers. Look no
further than the famous  album cover for The Jimi Hendrix Experien

The lens became a staple on album covers thanks to the way it  made the
subjects look almost larger than life. In this particular  example, the
circular image mask and curved typography  enhances the fisheye effect,
providing a suitably psychedelic vibe. 
Conclusion 

While the novelty heyday for the fisheye lens may have come and  gone,
you can still find a use for it today. As we've seen, the  fisheye lens creates
highly exaggerated and distorted imagery.  Whether you're aiming for pure
style and novelty or utilizing the  extremity for storytelling value, the
fisheye lens can be an  essential part of any image-maker's toolkit. 
CHAPTER 5 
Wide Angle Lenses Wide Angle Lens 

While there are several focal lengths that may fall under the wide  lens
category, it is important to fundamentally understand what is  considered a
wide angle lens by definition.  
What exactly is a Wide Angle Lens? 

A wide-angle lens is any lens with a focal length that is shorter  than the
length of the sensor or film. For a 35mm sensor, wide  angle lenses would
range between approx. 24mm-35mm. 

Quite commonly, any lens with a focal length that falls between  35mm to
23mm can be categorized as a wide-angle lens. To go  down any further
would push the lens into fisheye territory, which  can still be considered
wide-angle technically, but the “fisheye”  label more accurately calls out its
warping effect. 

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 A WIDE ANGLE LENS PRODUCES A WIDER FRAME, WHICH

HELPS… • Establish locations and settings 

• Clarify character geography in master shots 

• Accentuate camera movement 

How does a wide angle lens work? 

Simply put, a wide angle lens has a short focal length and thus a  wider
field of view. Wide angles can come as fixed prime lenses or  wide angle
zoom lenses. To better understand wide lenses, it’s  important to
understand how they compares to other lenses both  technically and
visually. 

Wide angle lens photography is popular among adventure and  outdoor

photographers because they are able to fit vast  landscapes into a frame. 
Visually, it differs from a telephoto lens, which makes far away  subjects
appear closer. In wide angle lens photography, the  subject is pushed
further away. We’ll cover telephoto lenses in  more detail in the next
chapter. In the meantime, in the image  below, notice how the wide angle
lens (left) makes the mountain  look further away whereas the telephoto
lens (right) flattens the  image and brings the mountain Now that we’ve
brushed up on how to use a wide angle lens in  photography, let's dive into
wide lens uses in filmmaking. One of  the most practical reasons to use a
wide lens is simply because  you can fit more into the frame. Normal and
telephoto lenses  often do not create frames large enough to capture the
details of a  location or the production design of a scene.  

This is where a wide angle lens comes in. 

Wide angle lenses showcase production design • Crimson Peak (2015) 

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 Camera Lenses Explained 48
Wide angle lenses are ideal for shooting establishing shots since  they
create frames wide enough to capture expansive settings like  empty
deserts, concrete jungles, or eerie hotels. 

d for establishing shots • Skyfall (2012) 

Wide angle lenses provide a multitude of options for camera  framing and
shot composition. Notice the scale that is created  when a subject is
juxtaposed against their surroundings.  

Additionally, wider angle shots are frequently used to emphasize a 

subject’s full body so the viewer can process their movements,  body
language, and how they interact with their environment. 

Camera Lenses Explained 49

e angles communicate geography • Blade Runner 2049 (2017) 

One of the most notable examples of this can be found in Steven 

Spielberg's directing style. Spielberg is notorious for his loyalty to  the
21mm lens. This wide lens creates a perfectly sized frame for  capturing
Spielberg’s complex compositions, actor blocking, and  propensity for long
takes.  

To keep these one-shot scenes engaging and entertaining without  cutting,

Spielberg utilizes a wide lens to create space for both the  scene’s setting
and the blocking and staging. 

Camera Lenses Explained 50

ocking and staging • Minority Report (2002) 

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 While the wide lens can be used at a distance to communicate  compose
complex shots, what does it do in close proximity to a  subject?  

In a standard dialogue scene, a wide lens is the difference between  the

audience feeling like they are watching a conversation versus  feeling like
they’re in the conversation. 

Camera Lenses Explained 51

• Neon Demon (2016) 

Wide angle lenses can also make you feel like you are in the  middle of the
film’s action. Normal lenses or telephoto lenses  create a somewhat
distanced, objective perspective that makes the  viewer feel like an
observer. A wide lens, on the other hand, when  used in close proximity to
a subject makes the audience feel like  they standing are in the middle of
the action. The result is a more  immersive experience. This is because
wide angle lenses mimics  the human eye more than a telephoto lens. 

Lastly, a wide lens is an effective way to amplify movement  whether it be

a fast dolly shot or a slow push in. 

Camera Lenses Explained 52

ement in a wide frame • Spectre (2015) 

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Conclusion 

Wide lenses are a great tool in any filmmaker’s toolkit. While there are
obvious practical reasons to use a wide lens, the psychological effects
should be considered as well. Whether you want to create an immersive
experience for the audience, establish setting, or give your actors space in
the frame to perform, a wide lens is a  versatile option that should be
present in every lens kit. 
CHAPTER 6 
Standard Lenses 
A standard lens has a set (prime) focal length that is around the same length
as the camera sensor or film gauge, measured diagonally. For a full frame
sensor, your focal length would come in right around 42mm. Often a lens
with a focal length that falls between 35mm to 55mm can be categorized as
a standard lens. Standard lenses are purported to have a similar field of
view to that of the human eye, though this has been disputed considering
that the human eye has a true field of view closer to that of a lens  between
17mm to 25mm lens, with a f/3.2 aperture rating.  Some say the reason that
35mm to 55mm standard lenses are likened to the human eye is due to our
cone of visual attention.  This limits what we're focusing on within our
field of view — the rest is peripheral vision. Because of their "vision
equivalent" field of view, standard lenses give your shot more "naturalism"
than the other lenses. In other words, if you want the audience to feel like
they are present in the scene, you might consider using a standard lens. 
In his film Call Me By Your Name, director Luca Guadagnini made the
decision to shoot it exclusively with a 35mm lens. He was after a grounded
visual style to enhance the intimacy of this  love story. Guadagnino says,
“We only shoot [the film] with 35mm for me to get the sense of the human
eye and simplicity. Unlike wide angle lenses which are ideal for
communicating setting, standard lenses make it easier for viewers to focus
on the characters themselves. As you plan out your shoot, if the priority of
the moment is the character, a standard lens might be your best option. We
can give our full attention to the subject without the "distractions" of the
background. In the next chapter, we'll cover telephoto lenses which can
also capture even more intimate close-ups, but from a slightly impersonal
perspective. 
CHAPTER 7 
Telephoto Lenses

A long-focus lens is any lens with a set focal length that is significantly
longer than the length of the sensor or film, measured diagonally. For a full
frame sensor, a long-focus lens would be anything between 55mm to
500mm. You may also hear a cinematographer or camera operator refer to
them simply as “long lenses.”  

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Some long lenses are also telephoto lenses. A telephoto lens has a special
lens group built inside, known as a telephoto group. A telephoto group is
an extra element inside the lens to extend its  reach without needing a
physically larger lens. But, as we've seen with prime vs. zoom lenses, extra
elements inside the lens can reduce picture sharpness and the amount light
hitting the sensor. A telephoto lens has a longer focal length than a
standard lens, yielding a magnified image and a narrow field of view,
allowing you to photograph faraway subjects. 
Telephoto lenses can be either zoom or prime lenses and come in a variety
of focal lengths, from “medium telephoto” (70-200mm)  through “super
telephoto” (longer than 300mm). They flatten facial features and are often
much more flattering than a wider-angle lens. Because telephoto lenses
bring far away subjects closer, they also work extremely well for landscape
shots. 
WHAT IS A TELEPHOTO LENS USED FOR? 
• Bring far away subjects closer to the camera 
• Emphasize blurred backgrounds 
• Longer focal length is great for portraits 
• Great for wide-scale landscape photography 

There are distinct advantages for using a telephoto lens in certain

situations. One of the most direct and perhaps obvious ways to use a
telephoto lens is to mimic a POV shot through binoculars.  Here's an
example from Mad Max: Fury Road. Using a longer lens can also be
helpful when shooting a variety of different subjects from a distance.
Wildlife. The same can be said for sport photography and videography. A
telephoto lens is also a popular choice for capturing massive landscapes
and skylines. And for good reason. The lens is capable of compressing
depth, bringing backgrounds closer to the foreground to create a more
imposing backdrop. 
Typically, the longer the lens and the wider the aperture, the more blurred
background effect you’ll get. Consider the following scene from Tinker
Tailor Soldier Spy — notice how the space between the characters and the
plane is not only flattened but thrown out of focus with a shallow depth of
field. Although the plane looks quite close to the subjects, it is safely
distant from the actors.  
The isolation that results from a shallow depth of field is exceptionally useful when
shooting portraits and closeups. As mentioned above, a telephoto lens compresses or
shrinks the subject relative to what’s in the background. If used for a closeup shot, this
compression can make facial features more congruent, proportional, and aesthetically
flattering. When paired with a shallow depth of field, the isolation of the subject results in
both an intimate and objective perspective. 
Conclusion 
How many times have you snapped a photo only to think “the picture just doesn’t do it
justice.” There is, of course, a multitude of reasons like lighting and other camera

16
 considerations, but keep  track of when a telephoto lens could be just the ticket to
compress  z-space, isolate subjects, and create a more imposing effect. 
CHAPTER 8 
Macro Lenses 
close distances with extremely sharp detail. There are two major distinctions that
separate macro lenses from all others: 

1. Miniature Subjects — The first benefit of macro lenses is  how they capture
tiny subjects such as insects or small objects  like a coin. They typically
project a 1:1 ratio, meaning the  subject appears the exact same size as it is
in real life. Some  macro lenses also allow for magnification, where the
subject  appears much larger than their actual size.  

2. Minimum Focus Distance — Secondly, macro lenses have  a shorter

“minimum focus distance” than a regular lens. This  means that you can
get very close to the subject and still stay  in focus to capture as much
detail as possible. 
WHAT IS A MACRO LENS USED FOR? 
• Magnifying subjects 
• Capture smallest details 

• Create shallow depth of field to make subjects pop

• Maintain focus at close distances 

You might use a macro lens if you’re a nature photographer or

videographer, to get those close-ups of flowers, insects, and raindrops.
Take thi, macro lenses also have very small or  shallow depth of field,
which keeps only a narrow field of view in  focus, creating a blurred
background. This helps to isolate the subject and can create high-quality
looking images or footage. But if you want to capture the sharpest image,
you’ll need to close your aperture as much as possible. The challenge is
that you’ll be  letting in almost no light into the lens. Therefore, macro
lenses are best used in well-lit environments.  

Macro photography or videography doesn’t have to be all insects and

raindrops. Consider this moment from Inglorious Basterds — where
importance of each name is amplified. Now that we have a solid
understanding what macro lenses are and when to use them, let’s go over
how they work.  Here are some best practices and considerations when
shooting macro shots. 
DEPTH OF FIELD 

17
Remember, macro lenses have a very small depth of field. Blurred
backgrounds are great, but what if you want to decrease the blur a  bit.
How can you increase the depth of field? In order to increase the focus
area, you’d have to decrease the aperture (make the size of the opening in
the lens smaller). This will make your background sharper. This is done by
increasing the f-stops, or the “f value” on the lens. For example, f/16 closes
the aperture quite a lot. At this number, you’re shooting through something
as small as a pinhole. While this increases your depth of field, it
simultaneously limits the light allowed into the lens,  essentially darkening
your image. If necessary, raise your camera’s ISO setting to brighten the
image. Just be wary of increasing digital noise. You can see why beneficial
to shoot macro shots in bright, well-lit environments. 

LIGHTING 
For reasons mentioned above, make sure your subject is surrounded by a
lot of light when using a macro lens. Also, because a macro lens is so close
to the subject, sometimes the camera itself could get in the way of your
light source. Try using a ring light around your lens. 
 
COMPOSITION AND COLOR 
Even if you increase the depth of field, it’s likely your macro will still have
blurry backgrounds. Be mindful of the colors of the background and the
subjectly, shoot against background color’s that make your subject in the
foreground pop. Complementary (contrasting) colors can really change the
game. 
STABILIZATION  
For the clearest images, shoot with a tripod. The camera shake will be
more noticeable on video than with still photography, especially with a
shallow depth of field going in and out of focus. 
Conclusion 
The macro lens is a specialty lens that can bring a level of intimacy and
intensity to your portfolio. In many circumstances, using a macro lens
might be the only option so it would be wise to keep one around just in
case. And if you're thinking that you needn’t bother with macro lenses
because you won't be taking nature photos of insects any time soon, don’t
forget about extreme close 
ups and insert shots. Remember, there are many applications of the macro
lens. 

Exposure -THE ULTIMATE GUIDE 

CHAPTER 1 
Introduction It's true — anyone can pick up any camera, snap a photo or press record,
and images will be created. What separates the hobbyist from the professional is a desire
to learn their medium inside and out. Photography and cinematography are "expressive"
mediums.  Like painting, poetry or music, image making is the pursuit of making the

18
internal external; taking the image in your head and materializing it for the rest of us to
see. Painters uses pigments, poets use words, musicians use notes, and photographers use
light. The term “photography,” after all, comes from the Greek translation "drawing with
light."  
The first step in this process is to understand the mechanics of a camera and how they
work in combination to produce imagery.  The focus of this book is exposure and how to
manipulate light with the relationship between aperture, ISO and shutter speed.  When
you master these mechanisms, you can create a vast spectrum of images that
communicate a powerful visual story.  
Let’s get started.  

CHAPTER 2 
How the Exposure  Triangle Works 
Light is responsible for every image captured in both photography and cinematography.
How a camera captures light is determined by three variables that make up what is known
as the "exposure triangle.” The exposure triangle consists of three variables that adjust
how a camera captures light: aperture, shutter speed, and ISO. Together, these three
elements properly expose a shot. triangle are all dependent on each other. For example,
adjusting one of the three variables will entail an adjustment of another to maintain
proper exposure. The exposure triangle is also referred to as the photography triangle 
and camera triangle.  Although aperture, shutter speed and ISO are the primary  variables

of the triangle that control exposure, each one also  affects other qualities of an image
such depth of field, motion  blur, and noise.  

We'll begin by discussing each of the three components of the exposure

triangle individually before demonstrating how they  work together.  

Our first stop: aperture.

CHAPTER 3 
What is Aperture? 

19
 The road to properly exposing photos and videos start with  aperture. While aperture
is considered a camera setting, it’s really  a lens adjustment, and affects two critical
components of  capturing an image: light and depth of field. 

Aperture is the opening of the lens through which light passes. A 

large (or open) aperture lets in more light that will hit the camera 
sensor, whereas a small (or closed) aperture lets in less light.  

Exposure: The Ultimate Guide 9

Aperture is calibrated in f/stops, written in numbers like f/1.4,  2f/,
f/2.8, f/4, f/5.6, f/8, f/11, f/16, and on. The larger the number,  the
smaller the aperture. Think of the f/stop number as the radius  between
the rim and the hole. A higher f/stop like f/16 would  measure all the
space between the rim and the hole, and thus, a  smaller aperture.  

Think about the human eye. In a dark room, your pupils get  bigger.
Conversely, your pupils shrink when you’re in a bright,  well-lit
space. 

20
 Aperture sizes 

Exposure: The Ultimate Guide 10

So remember:  

• Smaller apertures, like f/16, let in less light.  

• Larger apertures, like f/1.4, let in more light.  

Now let's talk about the visual differences in aperture sizes and  how
they can be applied to visual storytelling. 

Aperture and Exposure 

The size of the aperture will dictate how much light passes  through
your lens into your camera, and, thus, how exposed your  shot will be.
Naturally, the more light that comes through the lens,  the brighter the
image will be.  

Exposure: The Ultimate Guide 11

21
 If you’re in a room with a lot of natural light, a smaller, more  closed
aperture may suffice. It all depends on the scene luminance  and
brightness you desire.  Stanley Kubrick famously used a lens
developed by NASA to  capture low-light scenes in Barry Lyndon, a
film lit only by  candlelight. The f/stop on the NASA lens was a
staggering 0.7 and  produced gorgeous and soft images.  

e Aperture, Shallow Focus 

22
 Barry Lyndon shows us how camera aperture relates to exposure  but
this is just one part of how aperture affects an image.  

Aperture and Depth of Field 

Exposure: The Ultimate Guide 13

Of course, light exposure isn’t the only result of adjusting  aperture.
When you change your f/stop, you’re also affecting  the depth of
field. 

Depth of field is the area of acceptable sharpness from foreground  to

background. Put simply, depth of field is how blurry or sharp  the area
is in front of or behind your subject. 

23
 Aperture + Depth of Field 

Exposure: The Ultimate Guide 14

The larger the aperture (lower f/stop) will provide for less depth  of
field and throw more of background out of focus. This is what's 
known as “shallow depth of field.”  

A low f/stop creates larger foreground and background blur. This  is

popular for portraits, or when you want to isolate the subject. 
Remember this would be a small number like a f/1.8 or f/2.8.  

24
 Shallow depth of field  

Exposure: The Ultimate Guide 15

In film, there are many creative and valuable applications of  shallow
depth of field.  

In the following scene from Spike Jonze’s Her , the shallow focus 
keeps our focus on the characters.  

25
 Shallow Depth of Field — Her 

But what if you want a deeper depth of field, aka a “deep focus?” 
This is where a larger f/stop comes in.  

Exposure: The Ultimate Guide 16

If you have a small aperture (a higher f/stop like a f/16 or f/22),  the
depth of field increases and more of the background will be in  focus.
In other words, by closing your aperture to let in less light,  you can
create a deeper focus. This is ideal if you're shooting wide  landscapes.
The image below would have to have been shot in a  larger f/stop
number like f/16 or f/22.  

26
 Deep Depth of Field 

Exposure: The Ultimate Guide 17

A deep focus can also provide for more staging opportunities  along
your z-axis. In this scene from Atonement, we have an  example of a
scene shot with deep depth of field. Not only is this  one of the best
tracking shots ever made, it's also a great example  of how to use
foreground, middle ground, and background in the  same shot.
Without the deep depth of field, we would not be able  to to capture
the chaos and surreality of this situation.  

27
 Deep Depth of Field —
Atonement 

Exposure: The Ultimate Guide 18

So remember:  

• Small apertures like f/16 create a deep depth of field, allowing  more to
be in focus.  

• Larger apertures like f/1.4 create a shallow depth of field allowing for a
blurred background and foreground. 

Now that you have more of a clear understanding of how aperture 

affects both the brightness and depth of an image, let’s move on to  the
next part of the exposure triangle: ISO.  

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 Exposure: The Ultimate Guide 19
CHAPTER 4 
What is ISO? 

ISO (eye-so, not eye-es-oh) derives from the Greek word “isos" 
which means “equal.” It was dubbed by the International 
Organization of Standardization, which creates international  standards
for everything from country codes to medical devices,  as well as
sensitivity ratings for camera sensors. But that's just  trivia — it’s
better that we know what the ISO settings on a camera  are, and what
role they play when we capture a photo or video.  

Simply put, ISO determines how sensitive a digital camera’s  sensor is

to light. In a traditional film camera, ISO refers to a  specific film
stock’s sensitivity to light. With new technology in  

Exposure: The Ultimate Guide 20

DSLR cameras, a camera’s ISO setting, or its sensor’s sensitivity  to
light, can be adjusted based on the available light of a shot. 

ISO is measured in ISO values such as 50, 100, 200, 400, 800,  1600,
3200, etc. A lower ISO value such as 50 makes a camera’s  sensor less
sensitive to light. A higher ISO value such as 6400  makes a camera’s
sensor more sensitive to light.  

29
 The dramatic effect of
different ISO settings 

Exposure: The Ultimate Guide 21

ISO might sound like it is too good to be true when shooting with 
limited light. And that is because it is. Increasing your ISO may 
brighten up your shot, but it does come at a cost: image noise.  

Say we’re in a poorly-lit room and we have insufficient lighting,  what

do we do? As we learned in the previous chapter, the first  thing we’d
want to do is open our lens’ aperture as much as  possible to allow in
the most amount of light. So let’s say we do  that, but the shot is still
too dark.  

So the next trick is raise the ISO, so the sensor becomes more 
sensitive to the light is coming in. Well, raising the ISO all the way  up
to 6400 or greater isn’t necessarily a magic bullet. Although  the
image would be brighter, you’d start noticing more image  noise and
artifacts.  

30
 Sometimes this may be acceptable. If it’s not, then you’ll need to  find
a way to either introduce more light into the scene…  

…or embrace the darkness.  

Exposure: The Ultimate Guide 22

Low Light Scenes 

Cinematographers use darkness and shadows as much as they use 

light. Darkness can be incredibly important for a film’s tone, story 
and theme. This may be the case when shooting at night…  

Low light exterior — Jojo Rabbit 

…out at sea…  

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 Exposure: The Ultimate Guide 23

Low light exterior —

X:Men:First Class 

...in the woods…  

Exposure: The Ultimate Guide 24

...or in a tunnel.  

The film 1917 spans various long takes to create an immersive 360 
degree experience. This meant that cinematographer Roger  Deakins
had to light many of the darker scenes with practical  lights visible on-
screen while still retaining a deep focus.  

In other words, Deakins had to contend with less lighting and a  closed
aperture. To pull this off, he needed a camera that could  handle
extremely low light situations: the ARRI ALEXA Mini LF.  

32
 Exposure: The Ultimate Guide 25
ARRI ALEXA Mini LF 

Because of the camera’s higher native ISO, Deakins could light 

minimally while closing his aperture to achieve a larger depth of 
field, all without introducing too much noise.  

Noise and Grain 

Exposure: The Ultimate Guide 26

As we’ve touched on, increasing your ISO may help brighten up  your
shot, but if your ISO is set too high, your camera’s sensor will 
become TOO sensitive, and it will display more noise.  

Image noise is random variation in color information within an 

image. Noise causes textural and visual changes in a shot that,  when
present in large amounts, can appear low quality and  unprofessional. 

Some cinematographers have experimented with low amounts of 

image noise to imitate the effect of film grain which can add  texture
and energy to a shot. However, it’s best to minimize noise  and digital
artifacts as it may distract the viewer.  

How to Avoid Noise 

33
 As a general rule, to shoot an image with more clarity, higher  color
range, and less noise, you will want to keep your ISO as low  as
possible. A lower ISO will also maintain a wider dynamic range,  

Exposure: The Ultimate Guide 27

which measures the limits of how dark and light an image can be 
without losing detail. 

So a larger dynamic range results in more detail and color range. 

Adjusting the ISO in either direction moves that range, sacrificing 
either the highs or lows in the process. If you want the most  dynamic
range, you’ll want to shoot as close to as possible to what  is known as
a native ISO. Every digital camera has a native ISO  value, specific to
that camera. For instance, the ARRI Alexa Mini’s  native ISO is 800.  
1917 — The Native ISO 800 

Exposure: The Ultimate Guide 28

Pro Tip: If you’re shooting a scene that travels between an  exterior
and in interior without cutting, it is vital to shoot as  close as possible
to a camera’s native ISO to get the most  dynamic range and highest
detail in a shot.  

Digital Noise vs Stylistic Grain 

Although many cinematographers strive for a polished image,  some

filmmakers take advantage of grain and noise because the  texture can
bring a unique quality to a shot.  

Remember, there is a clear difference between grain and noise.  

An image captured on a film strip produces film grain during the 

chemical “bath” it takes, when it’s being converted. It’s an organic 

34
 process, and contributes an aesthetically pleasing texture that  may add
to the desired tone of the film. 

“Grain” should be mistaken for “noise,” which is when ISO is  pushed
too far on a digital camera, producing less desirable  

Exposure: The Ultimate Guide 29

artifacts. In terms of digital cameras, noise is generally avoided 
because it can permanently destroy the clarity and dynamic range  of
an image.  

Some filmmakers intentionally use a high ISO value to emphasize 

digital noise and manipulate it during post-production. This  effect,
especially when combined with post-production film grain  effects,
can result in an organic, analog style reminiscent of film.  

Cinematographer Brandon Trost creates this effect in the film The 

Disaster Artist. Trost shot the movie at 3200 ISO, and added 
additional grain in post, purely for style.  

High ISO and added grain in The Disaster Artist 

In an interview, Trost explains:  

“I like to shoot in low light, adding noise and increasing 

softness, which is something that helps me get that analog  feel
that’s so hard to emulate with digital cameras. I shot  this
movie at 3200 ISO, and I added some film grain in the  color
grade as well, to kind of mellow out the sensor noise  and add
some more of that analog flair.”  

Whether you want to achieve an analog aesthetic or imbue a shot  with

movement, noise doesn't always have to be avoided. It can  also be a
tool to serve a film’s story.  

35
 This concludes ISO. We now move on to the final element in the 
exposure triangle:  

Shutter Speed.  

Exposure: The Ultimate Guide 31

CHAPTER 5 
What is Shutter  
Speed? 

A camera takes a photo by exposing film or a digital sensor to  light.

The camera shutter acts like a barrier; it stays closed to keep  the light
out when you’re not taking a picture.  

When you take a photo (or video which is a simply a series of 
photos), the shutter opens to capture the photo, and closes again  when
finished. This interval — the speed of this shutter — has a  major
effect on the final visual, and it’s the subject of this chapter.  

Exposure: The Ultimate Guide 32

Shutter speed controls how long the sensor of the camera is  exposed
to light, measured in fractions of a second. For example,  a shutter
speed of 1/60 holds the shutter open for one sixtieth of  one second.  

The longer the shutter speed is in time the more light is allowed to 
travel in. If it is shorter in time, less light is let in.  

36
 Like all the other elements of the exposure triangle, shutter speed  not
only affects exposure, but other visual elements as well —  largely
motion blur.  

Exposure: The Ultimate Guide 33

When shooting with limited light, you may think it would be a  good
idea to adjust your shutter speed to let in light longer. So you  set it at
a 1/20. 

The downside of a longer shutter speed like 1/20, is that motion  blur
becomes much more prominent when you are either  
capturing a moving subject or the camera itself is moving.  Shutter Speed
Chart 

On the opposite end of shutter speeds, fast shutter speeds like  1/1000,
will be crisp, but it will also let in less light making it not  very ideal
for darker shots.  

Exposure: The Ultimate Guide 34

This effect also applies when shooting video. Most mirrorless and 
DSLR cameras have a large range of shutter speeds. It usually 
depends on the quality of the camera. Most DSLRs can go from 
1/4000th to 30 seconds. While some can climb to 1/8000th, 
depending on the model. This is just one of the differences  between
DSLRs and mirrorless cameras. 

What are Shutter Angles? 

When it comes to cinematography and shutter speed, shutter  angles

and the 180-degree rule will help you achieve a cinematic  look. So,
what are shutter angles?  

37
 Shutter angles provide a way to describe the relationship between 
frame rate and shutter speed. It uses the concept of rotary  shutters to
illustrate how light passes through an angled opening  once per
revolution. Digital cameras don't use rotary shutters but  the following
diagram helps to illustrate the concept.  

Exposure: The Ultimate Guide 35

Larger angles equal more light passing through. This translates to 
slower shutters and more motion blur. Take a look at this example 
from Saving Private Ryan that utilizes a slower shutter speed for 
choppier, jittery shots.  

Exposure: The Ultimate Guide 36

Private Ryan — High shutter speed and motion blur 

Although modern digital cameras’ shutter speeds do not operate  this

way, shutter angles are still a primary means of describing  motion
blur in an image and how it correlates to frame rate.  

38
 Exposure: The Ultimate Guide 37

A cinematic shutter speed captures motion in a way that is most 

natural to the human eye. For example, if you are shooting at a  frame
rate of 30 fps, the cinematic shutter speed to shoot at would  be 1/60. 

Once light passes through the aperture for a specific amount of  time
determined by the shutter speed, it finally lands on the  camera’s
sensor in a digital camera. 

Exposure: The Ultimate Guide 38

The 180-Degree Shutter Rule 

There's something called the 180° Shutter Rule. The rule explains  the
relationship between shutter speed and frame rate. Frame rate (frames
per second or FPS) is the frame at which consecutive  images called
frames appear on a display. Let's define the rule and  see how shutter
speed and frame rate work together, particularly  with video.  

The 180-degree rule states that your shutter speed should  generally be
set to double your frame rate. This is a film industry  standard and is
sometimes referred to as "cinematic shutter  speeds."  

Most DSLR’s have the option to shoot at 1/50th but not 1/48th, so  if
you're shooting at 24 frames per second, it's best to set the  shutter
speed to 1/50th.  

Adjusting the shutter angle is a way to "break" the 180° rule. 

Remember, this is not to be confused with the 180° rule related to 
staging your scene.  

39
 Exposure: The Ultimate Guide 39
If you have a wide shutter angle, anywhere from 270° to 360°,  your
shot will appear shaky, and will have greater motion blur.  This could
be useful for creative purposes depending on the  narrative or story
you're trying to tell.  

Of course, the opposite is true — shooting with a narrower shutter 

angle, the less motion blur from frame to frame.  

To recap, a higher shutter speed will give your footage a slightly 

unnatural look, and sometimes that's what you want. To  approximate
human vision, keep your shutter speed at 1/50th of a  second. 

Now that we've covered the essential elements of the exposure 

triangle, let's put this knowledge to practice. We'll explore a little 
deeper with some real world scenarios and how to handle various 
exposures.  

Exposure: The Ultimate Guide 40

CHAPTER 6 
How to Avoid Over and  Underexposure 

Knowing how to properly expose your shots is an obvious first  step

for becoming a photographer or cinematographer. But we’ll  also take
a look at why overexposing or underexposing photos  with intention
sometimes works (and sometimes doesn’t). 

40
 Overexposure is when an image appears brighter than it should,  or
brighter than neutral exposure. When too much light hits the  camera’s
sensor, it results in an extremely bright image that is  

Exposure: The Ultimate Guide 41

over-exposed. Overexposure limits detail in the photo and reduces 
distinguishable highlights for correction in post-production.  

Underexposure is when an image appears darker than it should,  or

darker than neutral exposure. An underexposed image is the  result of
not enough light hitting the camera’s sensor.  Underexposed images
often lack detail and the objects or subjects  can even blend together in
the shadows of the image. 

Quite often, you can tell with the naked-eye when an image is 
overexposed, underexposed, or just right.  

Overexposure vs Underexposure 

Before we get into these various techniques to get “correct”  exposure,

let's look at two examples that broke the rules for  narrative effect.
First, an example of overexposure.  

onaire 

How do we know it's overexposed? For starters, it’s noticeably 

brighter than it normally would be. The brightness overpowers 
distinguishing details like facial features, wardrobe, and  environment.
Because it’s over-exposed, the shadows are  

Exposure: The Ultimate Guide 43

41
 muddied, and there are blobs of light all over the image. The end 
result: the visual is nostalgic. Like a distant, hazy memory.  Although
the rules of exposure were broken by director Danny  Boyle, it was
done so intentionally to underscore the narrative  purpose of the
scene.  

Underexposed is simply the opposite of overexposed, where the 

image appears too dark. Highlights are muddied while mid-tones  and
dark-tones are crushed towards black. In the following shot,  it’s
nearly impossible to make out the subjects’ expressions, or the  terrain.
As a result, a mysterious beguiling effect is generated the  viewer as
they lean in to take in the shadowy and potentially  nefarious moment.
Again, the rules are broken with intention.  

Exposure: The Ultimate Guide 44

Although exposure rules can be broken at times for effect, they are 
generally followed. To reduce that possibility of overexposure or 
underexposure, the photographer must be able to control the  amount
of light that gets into the camera using lighting and the  elements of
the exposure triangle. Obtaining proper exposure is  ideally done in the
field, but there are ways to adjust exposure  during post-production.  

42
 Exposure: The Ultimate Guide 45
Using Incorrect Exposure Creatively 

Many photographers and cinematographers treat exposure in very 

concrete "good vs bad" terms. "Correct" exposure just means that  it
matches the actual lighting conditions. But there are many  reasons
why you'd want to use overexposure or underexposure in  your work
for creative or stylistic purposes.  

In Close Encounters of the Third Kind, director Steven Spielberg  uses

blindingly bright spaceship lights to completely blow out the 
highlights into pure white. Narratively, overexposure in this  moment
makes sense! It fits the scene but also creates tension.  

d 
Exposure: The Ultimate Guide 46
It also works well in dream sequences like in Run Lola Run…  
Overexposure in Run Lola Run 

Other instances when overexposure could work would be  characters

“seeing the light,” some representations of Heaven, the  afterlife,
ghosts and paranormal beings. 

Exposure: The Ultimate Guide 47

xposure in Harry Potter and the Deathly Hallows Part 2 

43
 Underexposure can be used creatively as well, but proceed with 
caution. Underexposing people in a frame, versus objects and  terrains,
can be frustrating for viewers, mainly because when  people are on
screen, we want to see their expressions and what  they’re doing.
Straining to understand what is going on can be  frustrating
experience.  

Exposure: The Ultimate Guide 48

ed film: Can’t see features of our characters 

Of course, there are always times when this makes sense. Whether  to
increase tension or convey a particular feeling, underexposing  images
can be a powerful technique. Immediately, horror genres  and
suspenseful scenes come to mind. If you want the audience to  wonder
what could be lurking in the shadows, you should  probably create
some shadows…  

44
 Exposure: The Ultimate Guide 49

Us: underexposure to elicit fear 

Photographers and cinematographers have the unique ability to  truly control what a
viewer sees. Controlling the light means you  can control the picture, it’s feeling, tone,
and ultimate effect. 

So, now that we know rules can be broken with “incorrect”  exposures, how do we shoot
“correct exposure” in the field?  

Let's walk through each of these methods individually. Exposure: The Ultimate Guide 50

CHAPTER 7 
How to Get Correct  Exposure Every Time 
You don’t need to have production lights or be a lighting
expert to take perfectly exposed shots. All you really need is
a clear understanding of how light works in-camera. The
first and most obvious method to get correct exposure is to
make adjustments to the exposure triangle in the field.  Let’s
begin with method 1, which begins and ends with the
exposure triangle.  

45
 METHOD #1: ADJUST CAMERA SETTINGS 

By now, you understand how the exposure triangle works so when 

you find yourself overexposing or underexposing your shots, it's  time
to start changing those settings. It’s best to proceed in the  following
order:  

Step 1 — Set Shutter Speed: According to the 180°  Shutter

Rule (see chapter 5), your shutter speed will be set to  roughly
double your frame rate. This means at the commonly  used
24fps, your shutter should be set to 1/50.  

Step 2 — Adjust Aperture: Set your aperture to the f/stop 

that you want artistically. Remember, aperture controls the 
amount of light that enters the camera, affecting both the 
brightness and depth of field of the image. Larger (more  open)
apertures like f/1.4 allow in more light, but they result  in a
shallower focus. The opposite is also true with a smaller  (more
closed) apertures like f/22; less light, but you get a  deeper
depth of field.  

Step 3 — Fine-Tune ISO: Since shutter and aperture are 

locked in at this point, the ISO becomes your variable to  

Exposure: The Ultimate Guide 52

control the exposure. In an ideal world, the ISO would be set 
as close as possible to your cameras native ISO for the best 
dynamic range and most noise-free image.  

➡ If your ISO is all the way down, but the image is still 
too bright, use an ND filter to lessen the light.  

➡ If your ISO is raised all the way up, but the image is  still too
dark, or so noisy that you need to drop your  ISO back
down, you’ll need to return to your aperture  and open it up
further to let in more light. If your  aperture is already wide
open, you will need to either  add more light, or experiment
with the ISO the  provides the least trade-off in quality.  

46
 METHOD #2: USE A LIGHT METER 

A light meter is a handheld sensor that measures the light hitting  a

subject. The most advanced light meters will tell you the proper 
settings for aperture, ISO and shutter speed. All you have to do is  

Exposure: The Ultimate Guide 53

hold up the light meter near your subject, take a reading, and then 
enter those settings on your camera for proper exposure.  

meter 

However, it’s important that you become comfortable adjusting  your

camera settings without an over-dependence on a light  meter. As
Academy Award-winning cinematographer Roger  Deakins says, “The
idea of going around the set and taking a  reading of every little dark
light and every variation—you  

Exposure: The Ultimate Guide 54

shouldn’t be a slave to the meter. I take one reading of the scene  [with
a meter], and then I can judge exposure by eye after that.”  

METHOD #3: BRACKETING 

This method is an exposure technique for still photography. 

Bracketing is the process of shooting the same image, shot, or  scene
multiple times using different camera settings resulting in  different
exposures.  

Bracketing can also be used to merge photos of the same image  with
different exposures during post. Sometimes this is the only  way to
capture the image you have in mind.  

47
 Tip: If you’re using the bracketing technique be sure to utilize  a
tripod. This ensures that your shots are identical frame to  frame,
and will help when merging photos in either Lightroom  or
Photoshop.  

Exposure: The Ultimate Guide 55

Most photo cameras have a function called AEB or “Automatic 

Exposure Bracketing.” In this camera bracketing mode you can  take
multiple photos with only one click of the shutter. This auto 
bracketing function makes the process much easier.  

METHOD #4: EXPOSURE IN POST 

The final method to get proper exposure is to use various editing 

programs like Lightroom, Photoshop, or Premiere. Here are some 
detailed and technical ways to adjust your exposure.  

Exposure: The Ultimate Guide 56

False color is a feature on monitors that can read exposure levels  in a
given shot. It is primarily known for displaying images in a  different
color scheme to make certain details more noticeable.  

Images displayed with false colors follow a spectrum that includes 

purple, blue, black, grey, yellow, orange, and red. These colors can 
help you figure out how much false color exposure your image or  shot
is receiving. 

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 Exposure: The Ultimate Guide 57
The first thing you want to familiarize yourself with are IRE levels. 
IRE is a unit to measure composite video signals; the acronym  comes
from the Institute of Radio Engineers. In the context of  false color
levels, you will see them on the monitor represented by  a color
spectrum.  

Exposure: The Ultimate Guide 58

Purple (IRE 0) represents no color whatsoever, aka black. Blue  and
blue variations (IRE 2-24) mean that what’s there is very dark  and not
getting much false color exposure. Dark grey (IRE 24-42)  signifies
you’re leaving (or entering) an area that is underexposed. 

Once you hit green (IRE 43-47), you’re reaching light grey (IRE  47-
77), which is usually the best false color for human skin tone  (usually
IRE 70). But then you start entering overexposed  territory with
yellow (IRE 78-93), which is followed by orange  (IRE 93-100),
before ending with red (IRE 100+).  

Avoiding overexposed skin tones is something you can use false  color
for, since you can use the IRE guide to figure out whether  you’ve got
a match (IRE 70, aka light grey). Or maybe you want to  cover that
face in darkness; you can make sure some of the face is  still visible
(IRE 70) but that it’s surrounded by darkness (IRE  10-20).  

CONCLUSION 

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 Exposure: The Ultimate Guide 59
There are multiple methods to ensure your exposure is set  correctly.
You can obtain proper exposure by:  

• Adjusting shutter speed, aperture, and ISO (in roughly this  order)  

• Checking exposure with a light meter  

• Photo bracketing and compositing in post (for still photos)  •

Adjusting exposure in post-production  

Exposure: The Ultimate Guide 60

CHAPTER 8 
Adjusting Exposure in  Post-Production 

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 First things first. Learn how to take a properly exposed photo in  the
field. No matter how well you know how to use programs like 
Lightroom or similar, having a strong understanding of how the 
exposure triangle works, eliminates the need to “fix it in post.”  

But nobody's perfect and sometimes knowing how to fix incorrect 

exposure in programs like Photoshop, Lightroom, Premiere or  Final
Cut Pro is essential. 

Exposure: The Ultimate Guide 61

EXPOSURE SLIDER 

The Exposure slider adjusts the overall brightness of your image.  The
numbers on these are the number of stops you can increase or 
decrease. Remember that this affects your entire image, so go  slow.
It’s a good place to start but isn’t best for those final details.  More
local details or exposure changes, you can use the  Adjustment Mask. 

WHITES AND HIGHLIGHTS SLIDERS 

The Whites slider adjusts the mid-tones in your image. The mid tones
hold a ton of contrast. Be careful not to go too far, as you  can remove
the majority of detail from a lit area. 

Highlight sliders adjust the brightest areas of your photos and can 
help remedy any details you need to pull out. 

SHADOW SLIDER 

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 Exposure: The Ultimate Guide 62
Like the Highlight slider, this one boosts underexposed areas of  your
images well. It can bring structure back. Pull this to the  right. 

If these adjustments aren’t enough to remedy the issue, try 

Lightroom's other tools. 

You can use a brush or radial filter to brighten your subject  without
touching the background. Gradient filters brighten a dark  foreground
without overexposing the background or sky. 

But if you don’t have Lightroom, no worries. You can do similarly 

cool fixes in Photoshop. 
Editing in Photoshop 
First, duplicate your background layer. Similar to Lightroom,  find your Shadows and
Highlights sliders. Adjust to the right accordingly. 

If you need more contrast to the photo or need more brightness  still, you
can add a curve adjustment layer in order to draw out  the highlights of
your shot. 
Go to Layer > New Adjust Layer > Curves. You can then drag the curve up
to your desire. If you invert your layer mask and pain white with your
brush tool, you can see the skin tone gets lighter.  But you might not want
everything brightened at the same time here. You’ll likely just want to
brighten the highlights so it looks more natural. 
If you go back into your curves adjustment layer and find the slider for
Underlying Layer. Click alt or option to drag the darker slider to the right.
This will add a little more brightness to your highlights. 

CHAPTER 10 
Exposure Exercise   Low Light Scenarios 
On the other side of the lighting spectrum, is shooting with a  limited
amount of light. This could be the case when shooting at  night, within
closed interior locations, or shooting without much  lighting
equipment. You’ll need to find a balance of all three exposure variables
to  properly expose your shot while also achieving the visual look you 
desire. The following exposure triangle diagram is a great  reference to
use when determining what settings will allow more  light in and what
side effects it would entail.of a low light shot from the film  1917. In this
scene, the only source of light is coming from the  flashlight practicals.
Reference the exposure triangle above to find  to properly expose the shot
while maintaining the image’s quality.  
SHUTTER SPEED 

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Since 1917 is a feature film at the usual 24 fps, we know the  shutter speed
would be set at 1/48th (or 1/50th) of a second. 
APERTURE 
To let in the most amount of light possible, the aperture should be as wide
as possible. But in an interview, cinematographer Roger Deakins said he
wanted to have a bit of depth. To let in as much light as possible with a bit
of depth, the aperture would be set at something like an f/2.8, f/4, or even
an f/5.6. 
ISO 
1917 was shot on an ARRI ALEXA Mini LF. With a bit of research, we
can find the native ISO of this camera sits comfortably at 800.  Deakins
said that he could push the Mini LF’s ISO to 1,600 without the risk of
noise.  
TAKEAWAY 
Finding a balance between all three in a low-light setting will depend
heavily on what you want to capture. For example, if you want to shoot a
video with ashallow depth of field, opening up to an f/1.4 or f/2 may be
enough to properly expose your shot. But if you want a deeper depth of
field achieved by an f/5.6, you may need to increase your ISO to
compensate for the low light. 
CHAPTER 11 
Exposure Exercise   Bright Light Scenarios 
There are pros and cons when shooting in an environment with a  lot of
light, such as a midday exterior shot. The benefit would be that you can
shoot at your camera’s native ISO (or lower) to allow for minimal image
noise and a robust dynamic range. However, to avoid overexposing your
shot, you’ll want to adjust your aperture first and foremost. If you are
shooting a still photo, you may want to begin with shooting at a faster
shutter speed to  cut down the amount of light coming into the camera.
This will allow you to control the light without compromising your
desired aperture and depth of field.  If you are shooting video in a bright
setting, you won’t have the luxury of adjusting your shutter speed as we
learned in chapter 5  (see 180-Degree Shutter Rule). In other words, the
shutter speed of a 24 fps video would be locked at 1/50. If the image is
overexposed, start closing down your aperture to something larger like
f/16. While this will affect your depth of field (deeper plane of focus), it
will at least cut down on the light that is entering the lens.  Let's take a
look at this scene from No Country for Old Men. The scene is an exterior
location with harsh, midday desert sunlight.  Let’s consider what the
different variables of the exposure triangle might have been set to in this
scene. 
SHUTTER SPEED 
To maintain a cinematic shutter speed when shooting at 24 fps,  the
shutter speed would be set to either 1/48 or 1/50. 

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APERTURE 
The aperture of this scene would need to be as small as possible to  cut
down the amount of light let in. The depth of field is also deep.  Shooting
at about an f/16 or f/22 seems likely. 
ISO 
To determine the ISO of this brightly lit shot, we would look at  what the
native ISO of the camera is. No Country for Old Men was  shot on an
ARRICAM Lite with a native ISO of 500. The ISO  would be set at 500 or
less. Given the harsh sunlight, if the shot  were still overexposed, an ND
filter would have been utilized to  cut down light without adjusting the
aperture. This will also allow  the cinematographer to shoot at a wider
aperture (or a shallower  depth of field) without overexposing. 
CHAPTER 12 
Exposure Exercise.  Capturing Motion 
The exposure triangle’s primary function is to properly expose an image.
ButButhowdoes it hold up when considering motion?  Different
variables of the exposure triangle can impact how motion appears in a
shot. When capturing images with quick, fast movements a higher shutter
speed is typically better. In still life photography, capturing a bird flying
in the sky will appear too blurry with a slower shutter speed. A faster
shutter speed of around 1/500th of a second to 1/1000, will be able to
capture the bird mid-action with full clarity and sharpness. When
shooting video, fast-moving action would also benefit from a fast shutter
speed. Sporting events, action scenes, or a live concert entail quick
movements. If captured with a slow shutter speed, these movements may
appear blurry or even out of focus. Take a look at this scene from John
Wick 3. The fight scene is not  blurry. But crisp and clear. A fast shutter
speed will capture the movement sharply. 
SHUTTER SPEED 
Although you should follow the 180-degree shutter rule, there are times to bend it.
Shooting an action scene is one of them.  Cranking up your shutter speed in this scene to
about 1/125th of a  second makes movements more crisp, snappy, and intense with
minimal motion blur.
APERTURE 
Since the shutter speed is increased, the amount of light that hits the sensor is decreased.
To balance this out and properly expose the shot, the aperture would open more than
usual. It’s likely that the scene was shot with a larger aperture, say an f/2.8, to allow in
more light while maintain Ing some depth. 
ISO 
The ISO will depend on the native ISO of the camera used, and the amount of set
lighting. However, there is a decent amount of light in the shot and the ISO will probably
not need to be increased from around an ISO 500.  
TAKEAWAY 
Keep in mind that a faster shutter speed will cut light, and thus require adjustments of
other exposure variables and set lighting to compensate.  Mastering the exposure triangle
is a fundamental skill necessary for every photographer and cinematographer. While it

54
may seem incredibly technical, it is what allows the best cinematographers and
photographers to capture the creative images that they envision. Reading and
understanding the different variables of the exposure triangle is just part of the battle of
mastering exposure. The second part is getting out and experimenting with the different
functions of your camera. Spending time shooting is just as important as the research you
put in.   

What Is ISO? A Simple Guide to ISO in Photography

What is ISO? Why does ISO matter? And most importantly, when should you use a high
ISO vs a low ISO for the best image quality?
In this article, I’m going to answer all of these questions – and more. ISO might seem
like a complex topic, but by the time you’ve finished, you’ll be an absolute master (and
you’ll be able to confidently choose the perfect ISO for every shooting situation).
Sound good? Let’s get started.

What is ISO in photography?

ISO refers to your camera’s sensitivity to light. The higher the ISO, the more sensitive
your camera sensor becomes, and the brighter your photos appear.
ISO is measured in numbers. Here are a few standard ISO values: 100, 200, 400, 800,
1600, 3200.
That said, pretty much every camera offers intermediate ISO values (for instance, ISO
125 and ISO 160 between ISO 100 and ISO 200). And most cameras these days include
additional ISOs on the high end of the range, such as ISO 6400, ISO 12800, ISO 25600,
and beyond.
Note that, while ISO is mostly discussed in a digital context, film cameras use ISO, as
well – every roll of film has a particular ISO, or sensitivity, that contributes to the image
brightness.

What does “ISO” stand for?

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ISO refers to the “International Organization for Standardization.”
Technically, it’s not an acronym – the International Organization for Standardization has
different names in different languages, so to make things easier, they adopted the
shortened “ISO” moniker, designed to be used across all languages.
For the purposes of photography, the name isn’t important. Just think of ISO as your
camera’s sensitivity to light, and you’ll do just fine!

ISO and exposure: why ISO matters

By increasing the ISO, you make your photos brighter.
That’s  why ISO is important.
In other words, ISO works alongside the other two exposure
variables – aperture and shutter speed – to determine the overall brightness level of an
image.
Dial in an ISO of 100, and your image might look dark. Boost that ISO to 200, and your
image will become brighter. Boost it to 400, and your image will become brighter still.

Your ISO setting could be the difference between a dark image like this:

And a much brighter image like this:

Can you see why this might be useful? If you’re shooting a scene in low light – outside at
night or at an indoor event – your photos might keep turning out dark. But boost the ISO,
and your shots will brighten right up.
Even in decent light, boosting the ISO can be beneficial. You might need an ultra-fast
shutter speed to capture a moving race car, yet raising the shutter speed lowers the
exposure and can create a too-dark image. So instead of raising just the shutter speed,

56
you increase the shutter speed (causing your image to darken) but also increase the ISO
(counteracting the darkness by brightening the image).

When shooting race cars, the light might be good – but it often pays to increase the ISO,
regardless.
But ISO comes with one major drawback, which I’ll address in the next section:

The problem with high ISOs: noise

Boosting the ISO is insanely useful. But it also comes at a serious cost:
The higher your ISO, the more noise or grain that will appear in your photos, which
looks like speckles of color and light randomly strewn across your image.
I’ll illustrate this below with two enlargements of a flower photo. The image on the left
was taken at ISO 100, and the image on the right was taken at ISO 3200.

The image on the left was shot at ISO 100, and it’s noise-free. The image on the right was
shot at ISO 3200, and it’s plagued by unwanted noise. Note that the exposures are
identical (when I boosted the ISO, I raised the shutter speed to keep the brightness levels
consistent).
Can you see the difference? Look at the middle few petals. The high-ISO photo (right) is
full of unpleasant noise, whereas the low-ISO photo (left) is completely clean.
So raising the ISO, while useful, is part of a tradeoff. Yes, you get a brighter image, but
you also get increased noise.
It’s the reason you can’t just shoot with a high ISO all the time. Instead, you keep the ISO
low when you can, and you increase the ISO when you must.

57
That said, camera sensor technology is always improving. A decade ago, ISO 800 may
have resulted in huge swathes of noise across your images (depending on your camera).
But in 2021, you can shoot at ISO 1600 or 3200 and come away with nearly noise-free
files, assuming you’re using a full-frame camera with the latest sensor technology, and
that you used good exposure technique.

How to use ISO for the best results

Boosting your ISO gives brighter images as well as noise. Keeping your ISO low
maintains image quality but may result in an underexposed or blurry shot. So what do
you do?
Really, it all depends on the situation. I recommend leaving your ISO at its base value
(probably ISO 50 or 100), except in three situations:

1. The light is low and you’re struggling to get a well-exposed photo.

2. You need to freeze motion and/or you’re struggling to get a sharp photo.
3. You’re struggling to get a photo with adequate depth of field.
Let’s take a closer look at each scenario:

1. The light is low and you’re struggling to get a

well-exposed photo
This is the most common reason to raise your ISO. You need to increase your exposure,
but you’re shooting indoors or at night.

A concert is a classic low-light scenario where you need to increase the ISO.
So you raise the ISO to brighten up your shots.
Of course, ISO is just one of three exposure variables. If your shot is looking too dark,
you can always widen the aperture or decrease the shutter speed instead. (And indeed, I
recommend considering whether you can make aperture or shutter speed adjustments
before you think about boosting the ISO.) But this isn’t always feasible; widening the
aperture will narrow the depth of field (see my discussion in the next two sections). And

58
decreasing the shutter speed risks sacrificing sharpness unless you use a sturdy tripod and
proper technique.
In the end, if you size up the situation and decide that you can’t widen your aperture or
drop your shutter speed, then there’s no way around it: you should boost the ISO.

2. You need to freeze motion and/or you’re

struggling to get a sharp photo
If you’re working with a fast-moving subject, you’ll need a correspondingly fast shutter
speed.
But if the light is limited, or you need an extremely high shutter speed (e.g., 1/4000s),
then you’ll often need to boost the ISO and raise the shutter speed together. (Why can’t
you just boost the shutter speed? Because your shots will turn out underexposed!).

Unless the light is very powerful, you’ll often need to increase the ISO to photograph
birds in flight.
As I mentioned in the previous section, widening the aperture is always an option. But
again, it’s not always feasible. Sometimes, you’ll need to maintain a deep depth of field;
other times, your aperture will already be at its widest.
Bottom line: A sharp shot is better than a blurry shot, even if you need a high ISO to
make it happen.

3. You’re struggling to get a photo with

adequate depth of field
If you’re shooting a landscape or an architectural scene, you’ll often aim for a deep depth
of field – but depending on the situation, you may need an aperture of f/11, f/13, and
beyond. In good light, you may struggle to capture a detailed exposure at f/11. In bad
light, your shots will definitely  turn out far, far too dark.
(Why? To produce a deep depth of field, you narrow the aperture. And narrowing the
aperture darkens the exposure.)

59
That’s where raising the ISO comes in handy. Instead of shooting at ISO 100, you can
switch to ISO 200, 400, or even higher while maintaining your f/11 aperture.

A shot like this needs a deep depth of field. To maintain a narrow aperture while
handholding, you can dial in a high ISO.
To avoid noise, you might consider dropping the shutter speed instead of boosting the
ISO. But if you do decide to go that route, make sure you get a tripod or use proper
handholding technique. Otherwise, you’ll end up with a blurry image, which is
counterproductive!
Make sense?

Setting your ISO: practical examples

In this next section, I’d like to share a few common photography scenarios when you’d
need to raise or lower your ISO for the best photos.

When to raise the ISO

You should probably raise the ISO if:

 You’re shooting at an indoor sports event, especially if your subject is moving

fast

 You’re shooting a landscape without a tripod and you need a deep depth of field

 You’re shooting a landscape at night (or doing astrophotography) and you need a
reasonable shutter speed to freeze the stars

 You’re photographing portraits in a dark room or in the evening/night

 You’re shooting an event indoors with limited window light (such as a party)

 You’re photographing a dark concert

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  You’re photographing an art gallery, a church, or a building interior (you might
also consider using a tripod, but this is against the rules in a lot of spaces)

 You’re photographing wildlife in the early morning or evening (especially if you

need a fast shutter speed)

 You’re photographing fast-moving subjects and you need an ultra-fast shutter

speed

Dark parties can’t be photographed without a high ISO.

When to keep the ISO low

Here are a few times when you should shoot at your camera’s base ISO:

 You’re shooting motionless landscapes and your camera is mounted on a tripod

 You’re photographing portraits in good light

 You’re photographing an event, and you have plenty of window light or you’re
using flash

 You’re photographing products with a powerful artificial lighting setup

A portrait in good light? Stick to your camera’s base ISO!

ISO in photography: conclusion

Now that you’ve finished this article, you should be an ISO master.
So pick up your camera. Practice working in difficult situations. Consider when you
should or shouldn’t boost the ISO.

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THE COMPLETE GUIDE TO CAMERA APERTURE FOR
PHOTOGRAPHY
The actual definition of aperture is quite simple: it’s a part in the camera lens that
controls the amount of light that enters through the glass and hits the sensor on your
camera, thus “exposing” it to create a photograph. 
If you want to learn your manual settings (and take better photographs), then knowing
how your aperture works is crucial.
You can think of aperture like the pupil of your eye; the wider (or more dilated) it gets,
the more light is let in. When you’re in a dark environment, the pupil widens to bring in
more light so you can see better. When you’re in an overly bright environment, the pupil
contracts to limit the amount of light.

Image Courtesy: Wikipedia

Either way, the pupil reacts to the light so you can see properly. The same rules apply to
your camera aperture. 
However, the key to using your aperture (and your other manual settings) successfully is
understanding the concept: the role it plays in the exposure triangle, how it affects your
depth of field, and the different scenarios where you’ll want to change the aperture size to
either limit or expand on the amount of light that enters the lens. 
This can be a complicated subject to learn and can take some time to grasp fully as there
are several variables that will determine the best aperture for your photograph.
That is why I wanted to put together this simple guide to aperture for beginners. By
breaking it down into separate subjects and then explaining how they all work together,

62
you can more easily practice in the field and learn how to choose the correct f/stop,
aperture, and lens for the image you want to create. 
The more you practice, the easier it will get…and soon, adjusting your aperture and your
other manual settings will become like second nature.

1. What is Aperture and How it Creates a Photograph.HOW THE

CAMERA APERTURE WORKS

As mentioned earlier, the aperture is an opening on your lens which controls how much
light that the sensor is “exposed” to, thus rendering your photograph. 
The aperture itself has blades that overlap: if you widen the blades, the hole gets bigger
and rounder so more light can pass through it. If you contract the blades, the hole gets
smaller with sharper corners so less light passes through.

Image Courtesy: Wikipedia

You’ll use your camera to control the size of this opening depending on how much light
you want to let in, but the actual aperture is located in the lens itself.
Going back to the eye example: adjusting your aperture would be like your pupil dilating
as you move from a dimly-lit room to the bright and sunny outdoors. It’ll get smaller to
compensate for the vast increase in light so you can properly see. 

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When creating a photo, you’ll be adjusting the size of the aperture (the pupil) depending
on how much light is needed for the camera to properly “see” the image.

Another analogy that is often used to explain aperture is the “water bucket”. 
Imagine a bucket being filled with water, and there needs to be a certain amount of water
to fill it properly. This is like your camera sensor being exposed to a certain amount of
light in order to create an accurate image. 
Your aperture is the faucet which controls how much water (or light) is filling the bucket.
Open the faucet (open/widen the aperture blades), and more water comes out…close the
faucet (close the aperture blades) and less water comes out. 
There are pros and cons that you need to consider when increasing and decreasing the
size of your aperture, which we will discuss below. 
For now, just know that your aperture is an opening that you can adjust to control how
much light hits your sensor, and is partly responsible for the proper creation of your
photograph. 
I should note that not every lens will have the same aperture capabilities. This is noted by
the f/stop number range on the side of your lens. 

Image Courtesy: Wikipedia

We’ll go into the differences between aperture and f/stop later, but for now….we need to
discuss how aperture controls your depth of field. Or rather, how close or far away your
photograph subjects appear from one another.

APERTURE AND EXPOSURE (LIGHT) EXPLAINED

64
Before we dive any deeper, let’s first talk about WHY aperture is important – what is the
practical use of aperture, and when and why you would want to change it?
The “proper” exposure for a specific image depends on whether or not the right amount
of light hits the sensor of your camera. Too much light, and the image will be
overexposed (or too bright). Too little light, and the image will be underexposed (too
dark).

Either way…the texture, contrast, and color purity will be compromised if your exposure
is not within a certain range of light. Not to mention the left and right images above just
look bad. 
The proper exposure for a scene depends entirely on:

1. the amount of available light

2. your creative intent for the image (how bright or dark you want it to be), and
3.  the tools you use to “capture” the photograph, or expose your sensor to the light of
your scene.

And the aperture will be the first of three settings that you will set when using your
camera manually. 

APERTURE AND DEPTH OF FIELD EXPLAINED

Depth in photography refers to the ability of an image to convey how much (or how little)
distance there is between the elements in your photograph…particularly, the foreground,
middle ground and background. 
Since photographs are two dimensional, it’s up to us as photographers to convey depth
(or lack thereof) by controlling how the subjects in our frame compare to one another.
There are several ways to enhance depth and create the illusion of a more three-
dimensional image. For example, scale (the size of familiar subjects and how they relate
to one another) is one way to convey depth and distance. 

65
In this image, the turret building in the foreground is quite large, conveying that it is very
close to the viewer. In contrast, the trees behind the turret are small, and get gradually
smaller as we move away from the turret and toward the horizon line. 
 These are familiar subjects – we know that mature trees will be larger than the turret if
next to each other, so the natural conclusion is that there is a great distance between (1)
the island of trees along the horizon line and (2) the turret in the foreground. Although
this photograph is two-dimensional, we are able to roughly interpret the distances
because of scale.
Perspective and focal length also help to enhance the feeling of depth in an image, which
will be a topic for another article. 
For now, I want to discuss how aperture affects the depth OF FIELD, which takes the
concept of depth we just learned and applies it to the focus of your image….which
elements are in sharp focus, and which are blurry. This can either enhance or minimize
the apparent distance between your subjects. 
You’ve probably noticed that some photos will have a nice background and/or
foreground blur surrounding the subject, which is in perfect focus. This not only creates
an isolation effect around your point of focus, but will greatly enhance the perceived
depth of an image.

Aperture is wide open at f/1.4 Camera aperture opening is small at f/22

Notice how the perceived depth of the first image appears to be much greater than the
second image? 

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Although the photos are identical in composition and perspective, the blurring of the
background – specifically, the gradual increase of blurring as you move further away
from the first block tower – greatly enhances the depth by isolating it from the others. 
This blurring is controlled, in part, by your aperture. 
We’ve learned that the wider the aperture is, the more light is let in to the sensor. At the
same time, your depth of field becomes more shallow (or more blurry) around the point
of focus when you widen the aperture (the first image).
Inversely, a small aperture will produce a deeper depth of field (where the detail is sharp
throughout the frame) and lets the least amount of light in (the second image).

The quality of your depth of field is referred to as “deep” or “shallow” to convey how
deep you can see clearly into it. In other words, the breadth of your plane of focus (what
is sharp and clear). 
If it’s deep, you can see many elements in sharp detail from foreground to background. If
it’s shallow, only a small portion of your photo is in focus while the rest of it is blurred.
Here’s why your aperture (and depth of field) influence the perceived depth of an
image…
Areas that are in sharp focus (high-frequency detail, or lots of local contrast) attract the
eyes first and appear closer to the viewer in a two-dimensional photograph. 
Inversely, areas of soft focus (low-frequency detail with little smooth texture) appear to
be further away. 
So when you use a wide aperture to enhance, or exaggerate, the relationship between soft
and sharp focus…you can greatly alter the perceived depth.This is why the first image of
the blocks above appears to have more depth.
When using your aperture to manipulate the depth of field, it’s important to make sure
your point of focus is set on the subject you want to be sharpest – with the most detail.

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The aperture you choose will control how wide your “slice” of focus is around this
subject.

A very wide aperture will produce a thin slice (or plane) of focus around your POINT of
focus (where you set your focus with your camera). 
The smaller you adjust your aperture, the deeper your depth of field will be. In other
words, the breadth (or width) of the slice of focus will increase, bringing more content
into sharper detail around your point of focus.
The breadth and quality of your slice of focus (and the blurred detail around it) will
depend on other factors…such as your lens quality, focal length, and perspective. That
aside, your aperture will play a very important role in your depth of field.
To summarize: 

A wider aperture opening = more light collected + more shallow depth of field.

A smaller aperture opening = less light collected + deeper depth of field.

APERTURE AND CREATIVE EFFECTS

There are also creative reasons for shooting “wide open”, or with an exaggerated depth of
field. 
Perhaps you want to isolate a subject and quiet down the texture and contrast in order to
control the flow and balance of your composition. This is a common technique in portrait
photography, but it can also be used successfully in landscapes. 

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In the image above, I wanted to put more attention onto the branch, so I used a very
shallow depth of field that was enhanced by a wide aperture. If the path and trees were in
sharp focus, that would take much attention away from the branch. 
Your aperture is also responsible for “bokeh”, which is the pursuit of an aesthetically-
pleasing blur by controlling the shape and overall quality of it. I talk more about this in
my article on creativity with shallow depths.
The shape and quality of your aperture blades are also used to create “sunstars”, which
lets you transform light sources (such as the sun or street lights) into interesting focal
points where you can literally see “rays” of light.

This effect is created, in part, by strong light sources hitting the corners where your
aperture blades intersect. I talk more about this in my article on how to create strong
sunstars.
The point here is that your aperture can be used for creative reasons as well as technical. 

FAST VS. SLOW LENSES

You may have heard photographers talk about using a “fast” lens. This refers to lenses
that can achieve a wide aperture. The term “fast” comes from the ability to let more light
into the lens, thus you can obtain a faster shutter speed while letting the same amount of
light hit the sensor….which makes these lenses perform better under low-light situations
(of course, at the cost of a more shallow depth of field). 

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Photographers who shoot indoor portraits, night, and other dimly-lit environments look
for fast lenses to give them crisp images under ambient lighting. 
Action and wildlife photographers will also look for fast lenses since they need a faster-
than-normal shutter speed to freeze movement. Fast lenses that can go very wide with
their aperture are more expensive for this reason.
It’s not just about low light performance though. Fast lenses will generally perform better
when autofocusing (especially indoors).  If you can’t autofocus properly, you’ll have to
set it manually…and that becomes a problem when photographing moving subjects or
otherwise fast action in low light. 

CONSTANT VS. VARIABLE MAXIMUM APERTURE

ZOOM LENSES
You may notice that on some zoom lenses (usually budget or beginner lenses) there is a
variable maximum (widest) aperture range. This means that your aperture may change
depending on your focal length.  
In the image below, notice how the maximum aperture ranges between 4 and 5.6.

Image Courtesy: Unsplash

For this lens, this means that if your focal length is at 55mm, your maximum widest
aperture will be f/4. However, as your focal length increases, the maximum aperture will
decrease in size to f/5.6 at some point.
Higher-end zoom lenses will have the ability to maintain a constant maximum aperture
throughout your zoom range, and are of an overall better build quality. 
Prime lenses will always have a constant maximum aperture since the focal length
remains the same. 

2. What is an F/stop?
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HOW F/STOP IS DIFFERENT FROM APERTURE
The terms “aperture” and “f/stop” are often used interchangeably to reference your depth
of field, but there is an important distinction between the two.
First, we’ll define “aperture” and “f/stop” separately…and then explain how they affect
one another. 
Aperture refers to the actual mechanism itself (i.e. the pupil of an eye) – the shutter
blades in your lens that overlap to create the opening.
And then we have the “entrance pupil”, which is the aperture opening itself – the size of
the hole the shutter blades create when they overlap in order to let a certain amount of
light in. 

Image Courtesy: Wikipedia

Going back to the eyeball analogy: this would be how small or large the pupil opening
gets vs. the pupil itself. 
However, depending on your focal length, the aperture size itself will be different. Bigger
lenses have bigger apertures. 
This means that the size of the opening itself will be different in order to expose the same
image properly at different focal lengths – or rather, to let the same amount of light hit
the sensor. 
The longer your lens is, the less light is hitting the sensor for a given aperture opening
size. Your field of view is more narrow, and so is the cone of light entering your lens…
which means you are absorbing less light from your environment, and thus the opening
needs to be bigger.
This is where the f/stop comes in, which is a number created for convenience. It
calculates the diameter of the aperture opening (or the entrance pupil) needed to properly

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expose the same image across different focal lengths/aperture sizes. This is why the “F”
in f/stop refers to focal length. 
The f/stop number references how big the opening is in comparison to the aperture (or
focal length) itself – the ratio. So f/2 means the aperture opening is ½ of the focal
length/aperture size.
A lens with a 50mm focal length set at f/2 = 50mm/2 = an opening of .50 (or half) the
focal length.
In the chart below, the decimal number under the f/stop indicates what percentage of the
aperture is open for a given f/stop number. This is not an exclusive list of f/stop settings,
just a small sample.

For example, f/2 means that the aperture opening is ½ (or .50) of the aperture size/focal
length. F/11 is .09 (or 9%) of the aperture opening, and so on. 
F/1 would be 100% of the aperture size, but that is very difficult to achieve due to the
intersecting blades. 
Each f/stop number in the range for your lens refers to the doubling or halving of the
amount of light let in by that lens. 
For example, a jump from f/2 to f/2.8 will make the aperture opening smaller, and will be
half the amount of light as f/2 lets in. 
However…the actual, physical size of the opening will be different depending on the
focal length. So in order to keep things sensical, we refer to the opening as an f/stop
number…even though the value of that number will be different. 
For example: a 200mm lens will have a much larger aperture set at f/4 than a 100mm
lens, but both images will be exposed properly since the bigger opening compensates for
the narrower cone of light entering the lens. 

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 Rather than having to calculate that, you can simply refer to the f/stop and the aperture
will adjust accordingly depending on the focal length. 
To summarize the definition of f/stop: 

The f/stop is the size of the aperture opening in relation to the focal length/aperture size
for that specific lens – the ratio. In other words, the f/stop represents the aperture size
divided by the aperture opening.

The aperture opening size will scale in proportion to the focal length for a given f/stop
number, so an f/stop value will NOT be constant across all lenses. It is simply a way to
measure light consistently.
Here’s another example…
An f/stop of 2.0 on a 50mm lens will have an aperture 25mm wide (since f/2.0 means that
the opening size is ½ the focal length). 
An f/stop of 2.0 on a 400mm lens will have an aperture that is 200mm wide –
considerably bigger than the 50mm lens. 
Both lenses will obtain a similar exposure by letting in the correct amount of light since
the opening itself on both lenses is ½ the size of the focal length. 
There’s a much more scientific explanation for this, but that’s the short and simple and
explains the difference between aperture and f/stop. Many think that f/stop is a fixed size,
but is actually a dimensionless number created for consistency. 
The goal here is to use your f/stop as a reference to control how much light hits the sensor
– that’s it.
Now one would THINK that doubling the amount of light (making the aperture bigger)
would half the f/stop value (i,.e. f/4 to f/2). However, since you’re calculating the number
by the square root of 2 (1.41), the new f/stop value will be a bit different than
halving/doubling your current f/stop.

F/STOP CHART (FULL STOPS)

f/1.4 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16 f

Here’s the point: just because the f/stop number is not doubling/halving, that doesn’t
mean the amount of LIGHT is not doubling/halving. 
There is one characteristic about f/stops that is always confusing for beginners. 

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Since the f/stop number indicates the fractional size of the opening in comparison to the
aperture itself (i.e. f/4 means that the opening is 1/4th the size of the aperture), the
LOWER the f/stop goes, the WIDER the aperture becomes. 
And inversely, the HIGHER the f/stop goes, the SMALLER the aperture becomes. 
An f/stop of f/1.4 is very wide, and an f/stop of f/22 is very small.
Without knowing how the f/stop relates to aperture, one would naturally think the
opposite: that the f/stop value starts at the smallest aperture opening and goes up to the
biggest (widest).
I should also mention that each f/stop increase/decrease is also known as “stopping
down” or “stopping up”…which is something we’ll talk more about later since many
photographers are confused as to what a “stop” actually is.

HOW TO CHANGE THE F/STOP TO CONTROL

APERTURE SIZE
Whether you use a Canon, Nikon, Sony, or any other camera body …the process of
changing your f/stop generally remains the same. You press a button, and turn a dial. 
I recommend shooting in aperture-priority mode if you are a beginner. This allows you to
manually set your aperture size (and thus your depth of field) and the camera will adjust
your shutter speed for you to compensate for the amount of light that specific f/stop lets
in. 
From there, you can consider other methods if your shutter speed produces undesirable
effects (use ND filters, mount on a tripod, adjust ISO, etc.). 

WHAT IS THE DIFFERENCE BETWEEN F/STOP

AND A “STOP”? 
As we’ve learned, the f/stop is an inconsistent value that represents the size of the
aperture opening needed to let in light. 
However, a “stop” (without the “f” in front of it) refers to the ACT of increasing or
decreasing the amount of light hitting the sensor.
Here’s the important part: a stop is NOT limited to your aperture. 
A stop is short for “exposure stop”…which can be from a change in aperture, shutter
speed, and/or ISO.

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You’ve probably heard the terms “stopping down”, or “I need to add a couple stops to
this photograph”, or similar terminology. This simply means a change in exposure (light),
but a stop often gets confused with “f/stop”.
Increasing your exposure by a full stop (stopping down) is the act of doubling the amount
of light in an image. This can be accomplished by:

1.  widening the aperture and/or slowing the shutter speed, which will increase the
amount of light hitting the sensor, or
2. increasing the ISO, which will artificially make your image brighter. 

Inversely, decreasing the exposure by a full stop (stopping up) will darken the image by
cutting the amount of light in half. Again, this can be accomplished by adjusting your
aperture, shutter speed, and/or ISO.
Remember: if you are stopping up or down with your f/stop, then you are also
increasing/decreasing your depth of field. 
Here’s one confusing detail about stops and aperture that beginners often struggle with…
Since the term “stopping down” refers to making the image darker, this CAN mean that
you’ll be making your aperture SMALLER to decrease the amount of light entering the
lens.
And if you want to decrease the amount of light with your aperture, you’ll have to
INCREASE the f/stop number. 
The term “stopping down” as it relates to aperture can be a bit confusing as some
interpret that as a DECREASE in the f/stop NUMBER (not size)…thus making the image
brighter and aperture wider. 
However, as we’ve learned, “stops” are not specific to the f/stop…so stopping down can
also refer to increasing the shutter speed and/or decreasing the ISO.
Here’s the takeaway point…
When a photographer talks about full stops, half stops, or stopping up/down…they’re not
always referring to changes in aperture size. It’s simply a way to communicate the act of
increasing or decreasing the brightness. “Stops” do not correlate directly with “f/stops”.  
The benefit of thinking in “stops” is that it compliments the exposure triangle. If you
make a “one stop” adjustment to either your aperture, shutter speed, or ISO, you will
have to make an adjustment to one (or both) of the other two settings in order to get back
to a proper exposure. 

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For example, let’s say you’re photographing a scene with an aperture of f/2.8, a shutter
speed of 1/500th of a second, and 400 ISO. The scene is exposed properly, but the depth
of field is not shallow enough…so you open your aperture two full stops wider to f/1.4.
The depth of field is now what you want, but the increase of light from widening the
aperture is now overexposing the image since you are also doubling the amount of light
entering the lens (twice). You need to “stop down” two full stops to darken the image and
bring it back down to normal. 
You can achieve this by either:

1. Increasing the shutter speed by two stops (make it faster and quarter the light being
exposed to the sensor),
2. Decrease the ISO by two stops (quarter the artificial increase in brightness), or
3. Adjust the shutter speed by one stop and ISO by one stop, which equals two full stops
reduction in exposure. 

When discussing these exposure changes, it can be easier to think in terms of “stops”
instead of the specific values for each adjustment (i.e. ISO from 400 to 100, aperture
from f/2.8 to f/1.4, etc.). By using “stops”, you’re simply communicating the
doubling/halving of light.

HOW DO I ADJUST MY EXPOSURE BY USING

STOPS?
To change your exposure stops in-camera, you can purposefully over/under expose the
image from your baseline (either what is auto-selected from the camera or manually set
by you)  by adjusting the exposure value (+/- EV). 
Depending on your camera settings, this could indicate an automatic change to aperture,
shutter speed, ISO…or any combination of the three. 
Most cameras are not limited to just full stop adjustments. You can make fractional
changes in ½ or even ⅓ increments. 
For example, a full stop ISO adjustment would be from 200 to 400 (doubling the amount
of light). A ⅓ stop adjustment would go from 200 to 250, 250 to 320, and then 320 to
400. 
The exposure value is also what you would use to auto-bracket a landscape and
over/underexpose an image by a certain amount of stops (usually +/- 2)…which is much
easier than manually inputting a new shutter speed. 

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3. Aperture and Image Quality
HOW APERTURE SIZE CHANGES THE IMAGE
SHARPNESS
Aside from depth of field and brightness, your aperture also affects your image sharpness
– how crisp your detail is straight out of the camera. 
Without getting technical…the sharpness and contrast of your image can become
softened as you move towards the extreme ends of your aperture opening range (biggest
and smallest f/stops). 
This loss of sharpness tends to be more noticeable in the corners of your frame –
especially when using a wide aperture.

In the three images above, notice how much sharper the detail is when I used an aperture
set at f/11 (this is more noticeable when looking at the chip in the wood circled).
However, the widest and smallest aperture for that lens both have noticeable blurring.
Most lenses will have a “sweet spot” f/stop where the quality of your sharpness is optimal
– usually between f/8 -f/16. 
This is why you should not close your aperture as much as possible in order to get the
deepest depth of field, since you’ll be compromising the quality of your image. And for
most cases, you will never need a depth of field beyond what f/11 or f/16 can give you.

FOCUS BLENDING FOR OPTIMAL SHARPNESS

When working with a very wide aperture for creative effects, I will typically focus blend
a sharper frame taken at the “sweet spot” f/stop and brush in that detail around my point
of focus…which may have been softened by both the aperture choice and the thin plane
of focus.

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For example, the image above was taken at f/1.4 for the pleasing shallow depth of field.
However, the detail of the leaf was a bit soft – especially the water droplets.
In the field, I took another frame at f/11, which was the sweet spot aperture opening for
that particular lens…which I then blended in with the shallow background in Photoshop.
You can also use focal blending for when you want very sharp detail in a grand landscape
– one with much distance between your foreground and background.

For this panorama image, the foreground was very close to my lens…which means that
even at f/16, there would be some noticeable blurring of the background if my point of
focus was set there.

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Alternatively, if I set my point of focus on the middle ground water, that would soften
some detail in both the foreground and background. 
And since we just learned that small aperture openings can chip away at the image
quality, adjusting my depth of field was not an option.
Instead, I first set my focus on the foreground driftwood and took a frame. Then, without
repositioning my camera, set my point of focus on the middle ground, and took another
frame. And for my final image, my point of focus was set on the background mountains. 
By manually focus blending these three frames together in Photoshop, I was able to
combine the sharpest parts of each image for a final piece that had much depth AND
depth of field. 
I recommend that you test out your specific lens in order to find your own “sweet spot”,
which is good information to know for when sharpness is needed.
I should also note that even if your aperture is set at the f/stop sweet spot, you can still
have soft detail (especially in the corners) just from a cheaper lens. This is due to build
quality and not from technique. 
This is usually not noticeable to beginners, but as your skills develop and eye for detail is
refined, the quality of your lens (and the images it can produce) will be a big factor. 
Wide apertures also hide sensor dust and water spots, which is why you should always
use a small aperture to see if your sensor/lens needs a good cleaning. 

4. How to Choose the Best Aperture for

Landscapes 
For me, I shoot landscapes so MOST of my images are taken between f/8 and f/16 for a
deeper depth of field. However, this can completely change based on many factors.
This is a very common question for beginners, and I understand why you would want a
straightforward answer. Unfortunately, there are too many factors involved. I see many
“charts” and “cheatsheets” that simply list a random f/stop for different genres of
photography, but those are a bit misleading since it does not account for the variables.
The f/stop you choose for your aperture will depend on many factors, such as:

 Quality and amount of light – direction, intensity, and whether or not you need to
compensate for your shutter speed and/or ISO. 
 Focal length and depth of field – where you want your attention to be. Do you want to
isolate your point of focus, or have a deep depth of field?

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  Motion – do you want to freeze motion or slow it down?
 Creative effects – Are you striving for sunstars or pleasing bokeh?
 Sharpness – Can you compromise a bit of softening for a deep/shallow depth of field?
 Limitations of your lens and gear – can you even achieve the desired aperture opening
given your environment, and is the image quality acceptable? 

This is not an exclusive list, but a small sample of the questions you need to ask yourself
when selecting your f/stop.
And more importantly, demonstrates why a cookie-cutter answer is not possible…
because the aperture you choose will depend entirely on your creative intent for the
image. All other variables are secondary, and serve to improve that vision.
Knowing what aperture is the “best” to achieve your desired photograph is something
that will come instinctively after practice in the field. Trying to force all your images
under a default f/stop will not only be creatively limiting, but will give you subpar
photographs as you are not learning how to work with the exposure triangle….and
knowing which qualities to compromise on to achieve the photograph you want.
It can be a bit complex at times, but is the true road to mastering your camera.
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