BA(JMC) 203 , Basic of Camera, Light and Sound

Basics of Video Camera, Light and

Sound
BA(JMC) 205
Unit I

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Syllabus- Unit 1
[Introduction to Video Camera]
 Introduction to Video Camera, Parts and their Functions
 Types of Video Camera, Equipment and Accessories
 Broadcast Standards
 Lenses & Filters: Types and Functions
 Camera Control and Adjustment:
a. Aperture Control
b. Depth of Field
c. Depth of Focus
d. Focal Length
e. Aspect Ratio

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Camera
• A camera is a piece of hardware that uses
photosensitive film or a plate inside of a light-proof
enclosure to take pictures. The shutter of the camera
opens and closes to expose the photosensitive film to
light, which then imprints the image onto the film.

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 BA(JMC) 203 , Basic of Camera, Light and Sound

The First Motion Picture

• The Galloping Horse” is the first motion picture ever
made
 Eadweard Muybridge took a series of photographs of a rider
on a galloping horse as a photographic experiment on June
15, 1878. The horse’s name was Sallie Gardner, a Kentucky-
bred mare, and Muybridge used multiple cameras to
photograph her as she galloped past.

https://www.youtube.com/watch?v=Bmuo45NR6qE

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First Video Camera

• In 1956 the first video camera made by Ray Dolby,
Charles Anderson and C
• harles Ginsberg

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Video Camera
• The most obvious production element—the camera—
comes in all sizes and configurations. Some cameras
are so small that they fit easily into your coat pocket,
whereas others are so heavy that you have to strain
yourself to lift them onto a camera mount . The camera
mount enables the operator to move a heavy
camera/lens/teleprompter assembly on the studio floor
with relative ease,

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Video Camera
• The studio television camera has three fundamental
parts: the lens, the camera itself, and the viewfinder.
 The lens In all photography (meaning "writing with light"), the lens
selects part of the visible environment an d produce s a small optical
image of it.
 The camera is principally designed to convert the optical image as
projected by the lens into an electrical signal—the video signal. As
mentioned earlier, the major conversion element is the imaging device,
a small electronic chip called the CCD When the CCD receives a large
amount of light, it produce s a strong video signal
 The viewfinder is a small television set mounted on the camera that
shows what the camera is seeing. Most viewfinders of professional
camera s are monochrome, which means that the display is in black-
and white. Man y consume r camcorders an d some high-quality studio
cameras, on the other hand, have color viewfinders.

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Internal Parts Of Camera

• Lens
• Aperture
• Shutter
• Beam Splitter
• Imaging Device (CCD, CMOS)
• View Finder
• Storage Device

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Parts of the Camera

• Imaging device
•Once the white light that enters t h e lens has been divided
into the three primary colors, each light beam must be
translated into electrical signals. The principal electronic
component that converts light into electricity is called the
imaging device.
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 BA(JMC) 203 , Basic of Camera, Light and Sound

Parts of the Camera

• BEAM SPLITTE
The beam splitter, or prism block, splits
the incoming white light (representing
the picture as seen by the lens) into RGB
(red, green, and blue) light beams and
directs them to their respective CCDs
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(CCD)

• charge-coupled device (CCD) The imaging element in a

television camera. Usually called the chip a common
name for the camera's imaging device. Technically, it is
known as the charge-coupled device (CCD).

• The chip consists of a great number of imaging sensing

elements, called pixels, that translate the optical (light)
image into an electronic video signal. Also called
camera pickup device.

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External Parts Of Camera

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Cont..
• Body: The body is the main portion of the camera, and
bodies can be a number of different shapes and sizes.
Studio Camera tend to be larger bodied and a bit
heavier, while there are other consumer cameras that
are a conveniently smaller size and even able to fit into
a pocket.
• Aperture: The aperture affects the image’s exposure by
changing the diameter of the lens opening, which
controls the amount of light reaching the image sensor.
Some digital compacts will have a fixed aperture lens,
but most of today’s compact cameras have at least a
small aperture range.
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• This range will be expressed in f/stops. For Video Camera the

lens will vary on f/stop limits, but it is usually easily defined by
reading the side of the lens. There will be a set of numbers
stating the f/stop or f/stop range, ex: f/2.8 or f/3.5-5.6. This will be
your lowest settings available with that lens.
• Image Sensor: The image sensor converts the optical image to
an electronic signal, which is then sent to your memory card.
There are two main types of image sensors that are used in most
digital cameras: CMOS and CCD. Both forms of the sensor
accomplish the same task, but each has a different method of
performance.

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• Lens: The lens is one of the most vital parts of a

camera. The light enters through the lens, and this is
where the photo process begins. Lenses can be either
fixed permanently to the body or interchangeable. They
can also vary in focal length, aperture, and other details.
• Viewfinder: The viewfinder can be found on all Video
Camera and some models of digital compacts. On
Video Camera , it will be the main visual source for
image-taking, but many of today’s digital compacts have
replaced the typical viewfinder with an LCD screen.

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 BA(JMC) 203 , Basic of Camera, Light and Sound

• Memory Card: The memory card stores all of the image

information, and they range in size and speed capacity.
The main types of memory cards available are CF and
SD cards, and cameras vary on which type that they
require.
• LCD Screen: The LCD screen is found on the back of
the body and can vary in size. On digital compact
cameras, the LCD has typically begun to replace the
viewfinder completely. On Video Camera , the LCD is
mainly for viewing photos after shooting, but some
cameras do have a “live mode” as well.
•
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• User Controls: The controls on each camera will vary

depending on the model and type. Your basic digital
compacts may only have auto settings that can be used
for different environments, while a Video Camera will
have numerous controls for auto and manual shooting
along with custom settings.

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Type of Video Camera

• Studio Cameras
The term studio camera is generally
used to describe high - quality
cameras, including high-definition
television (HDTV) cameras. They are
so heavy they cannot be maneuvered
properly without the aid of a pedestal
or some other camera mount, studio
cameras are used for various studio
productions, such as news, interviews,
and panel shows, and for daily serial
dramas, situation comedies, and
instructional shows that require high-
quality video

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 BA(JMC) 203 , Basic of Camera, Light and Sound

ENG/EFP Cameras and Camcorders

AS mentioned before, the cameras for
electronic news EFP gathering (ENG) a n
d electronic field production (EFP) are
portable, which means that they are
usually carried by a camera operator or
put on a tripod. They are also self-
contained and hold the entire camera
chain in the camera head. With their built-
in control equipment, ENG/EFP cameras
and camcorders are designed to produce
high-quality pictures (video signals) that
can be recorded on a separate VTR, on a
small VTR or disk-recording device that is
docked with the camera, or on a built-in
VTR or disk recorder. As noted, when
docked with a recording device, the
camera forms a camcorder.
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Consumer Camcorders
Despite t h e dazzling variety
advertised in the Sunday papers,
most consumer cameras have a
single-chip imaging device and a
built--in VTR. All have automated
features, such as auto-focus, which
focuses on what the camera
presumes to be the target object,
and auto-iris, which regulates the
incoming light. In addition to the
regular eyepiece viewfinder, most
consumer camcorders have a
foldout screen on which you can see
the picture you are taking with out
having to hold the camera close to
your eye.
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Prosumer Camcorders
Nevertheless, there are
smaller camcorders on the
EF v market that
incorporate many of the a
for ementioned features of
professional camcorders.
The se high- end
consumer models , called
prosumer camcorders, are
finding more and more
acceptance in news and
documentary productions

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Sting Camera

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Drone Camera

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Equipment and Accessories:

• Video camera: A video camera is the centerpiece of your
filmmaking gear package. The camera is obviously the most
essential equipment you need for making videos. Nowadays,
cameras come in all sizes and shapes – and for any budget.
• Tripod: A necessary piece of equipment to keep your footage
looking steady and professional.

• Microphone: A microphone is a device that captures audio by

converting sound waves into an electrical signal. This signal can
be amplified as an analog signal or may be converted to a digital
signal, which can be processed by a computer or other digital
audio device.
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Cont..
Wireless microphone: If shooting
documentaries, trainings, live
events, or even budget films, a
wireless lapel microphone (another
name for a lavalier mic) is a great
tool to have.

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• Lights: Sometimes a nice pop of light from the camera

can help fill in ugly shadows. A camera light is a nice
accessory to have especially in a documentary/news
style shoot where you might not have time for a full 3-
point lighting set-up
• A camera pedestal is an item upon which television cameras are mounted,
typically seen in television studios. Unlike tripods, pedestals give camera
operators the ability to move the camera in any direction (left, right, forward,
back, up, down). They are commonly used on shiny-floor shows, sitcoms and
soap operas.

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Crane Jib
• In cinematography, a jib is any boom device used to mount a camera on one
end, and a counterweight with camera controls on the other. In principle, it
operates like a see-saw, with the balance point located closer to the
counterweight, which allows the end of the arm with the camera to move
through an extended arc. Typically a jib permits the camera to be moved
vertically, horizontally, or a combination of the two. A small jib can be mounted
on a tripod, but many larger, purpose-built jibs have their own support stands,
often on wheels. Modern jibs are normally modular and can be assembled in
various lengths.

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Dolly
• A Dolly is a wheeled apparatus camera mounted at

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Cable Cam
• Cable Cam is a ‘Point to Point’ cable cam system. It
‘flies’ along a cable stretched between two anchor
points. The anchor points can be fixed points like trees
or other permanent structures or they can be movable
anchors like a forklift, scissor lift, scaffold or similar.

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Camera Stabilizers

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Cont…
• Extra memory cards: Make sure to
get enough storage for your
camera. Most new cameras shoot
on SD cards. But more professional
cameras and older models may
shoot on CF or other brand-specific
cards.
• Camera bag
• Gimbal or other steadicam: A
gimbal can be described as a
pivoted point that allows you to
rotate an object along a single axis.

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Continue…
• Extra video production equipment
(that you may need):
 Lens Kit: A kit lens is a "starter" lens which
can be sold with an interchangeable-lens
camera such as a single-lens reflex camera. It
is generally an inexpensive lens priced at the
lowest end of the manufacturer's range so as
to not add much to a camera kit's price.
 Boom pole: A boom pole is simply a steel pole
that is attached to your Three point Hitch
(TPH) and functions as a small crane. While it
cannot lift real high or a lot of weight
compared to a crane, it can sure lift a lot more
than you can.

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Types of Video Camera

(On the basis of use)
❖Studio Camera
❖ENG Camera
❖Prosumer Camera
❖Sting Camera
❖Drone Camera
❖Infrared Camera
❖DSLR Camera
❖Spider Camera
❖Mobile Camera

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Cont..
• Portable digital audio recorder:
Portable digital audio recorders are
designed for many different uses.
Some are geared specifically for
musical recording artists, others are
built for electronic news gathering in
the field.
• Headphones: Headphones let a
single user listen to an audio source
privately, in contrast to a
loudspeaker, which emits sound into
the open air for anyone nearby to
hear.

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Light reflector & bounce card: A light reflector can turn an ugly
amateur-looking shot into a golden and gorgeously lit scene.
Extra batteries: Having extra charged batteries is a good idea for
any video shoot. We recommend having at least two backups,
more if you’re shooting a documentary in the middle of a jungle
with no power source in sight.

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Indian Broadcast Standard

• There are three main TV standards that exist worldwide:
• PAL (Phase Alternation Line rate),
• NTSC (National Television Systems Committee) and
• SECAM (System Electronique Couleur avec Memoire).
• PAL is extensively used in Western Europe, parts of
South America, Australia, India and China. NTSC is
used in North America and SECAM is the
system prevalent in Russia, Eastern Europe, some
parts of Africa and France

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 BA(JMC) 203 , Basic of Camera, Light and Sound

• NTSC : NTSC is an abbreviation for National Television

Standards Committee, named for the group that originally
developed the black & white and subsequently color television
system that is used in the United States, Japan and many other
countries. An NTSC picture is made up of 525 interlaced lines
and is displayed at a rate of 29.97 frames per second. Example -
All the countries using NTSC are currently in the process of
conversion, or have already converted to the ATSC standard, or
to DVB, ISDB, or DTMB.
• PAL : Phase Alternating Line (PAL) is a color encoding system
for analog television, and was created in 1961 in the United
Kingdom. It features 624 horizontal lines per frame with a rate of
25 frames per second. PAL is used in broadcast television
systems in many countries and is one of the three major
broadcast standards .
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• SECAM : SECAM broadcasts 25 interlaced frames per

second (50 half frames per second) at 625 lines of
resolution, 576 of which are the image. Used in France,
Russia, Africa, Eastern Europe and the Middle East,
some of the countries have since switched from SECAM
to PAL or from SECAM to digital TV

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Broadcast Standard

• 24p
• 25p
• 29.97
• 30p
• 48p
• 50i60i
• 59.94p
• 50p/60p
• 72p100p / 119.88p / 120p
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 BA(JMC) 203 , Basic of Camera, Light and Sound

24 FP
• 24p is a progressive scan format and is now widely adopted by
those planning on transferring a video signal to film.
• Film and video makers use 24p even if they are not going to
transfer their productions to film, simply because of the on-screen
"look" of the (low) frame rate, which matches native film.
• The 24 FPS rate became the de facto standard for sound motion
pictures in the mid-1920s. Practically all hand-drawn animation is
designed to be played at 24 FPS. Actually hand-drawing 24
unique frames per second ("1's") is costly. Even in big budget
films, usually hand-drawn animation is done shooting on "2's"
(one hand-drawn frame is shown twice, so only 12 unique frames
per second) and some animation is even drawn on "4's" (one
hand-drawn frame is shown four times, so only six unique frames
per second).
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•

lenses
• The lens determines what the camera can see.

One type of lens can provide a wide vista even though you may
be relatively close to the scene
another type may provide a close view of an object that is quite
far away.
• Different types of lenses also determine the basic visual
perspective.

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Types of Camera Lenses

• Prime lens: A prime lens is any lens with a set focal
length. Therefore it cannot be “zoomed” in to transform
the field of view of the lens. A lens with a set focal length
of 50mm is one example of a prime lens. You're unable
to change the focal length of a prime lens, however you
are still able to adjust the focal distance of the lens via
the focus ring.
• Zoom lens: A zoom lens is any lens with a variable focal
length. It can be “zoomed” in to transform the focal
length and, therefore, the field of view.

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Types of Camera Lens Angles:

• Standard lens: A standard lens has a set (prime) focal
length that is around the same length as the camera
sensor or film gauge (measured diagonally). 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 17mm to 25mm lens, with a f/3.2
aperture rating.
• Wide-angle lens: A wide-angle lens is any lens with a set
focal length that is shorter than the length of the sensor or
film (measured diagonally). For a full frame sensor, your
wide-angle focal length would be anything below 35mm.
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Cont…
• Long-focus lens: 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, your focal length would be anything
above 55mm.

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Extreme Types of Camera Lenses

• Fish eye lens: 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). Often any lens
with a focal length that falls between 22mm to 1mm can
be categorized as a fisheye lens.
• Telephoto lens: A telephoto lens has a special lens
group built inside, known as a telephoto group. This is
because some lenses have a focal length that is greater
than the physical length of the lens. An example of this
could be a 500mm lens, but it depends on the physical
length of the lens.

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 BA(JMC) 203 , Basic of Camera, Light and Sound

Extreme Types of Camera Lenses

• Macro lens: A macro lens is a lens that reproduces an
image on the sensor plane or film plane that is of similar
size to that of the actual physical subject. Macro lenses
are most often used to capture a very small subject, like
an insect or a coin, in very fine detail.

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Camera Control & Adjustment

• UV and Skylight Filters
 `Protective UV and skylight filters are often used to protect the
front element of a lens against moisture, dirt, and scratches,
which makes them ideal for shooting in wet, dusty, or muddy
environments. In the past, UV filters were also used to prevent
the UV light from causing haze and fogginess in older
photographic films, which were typically more sensitive to UV
rays. On the other hand, skylight filters are every
photographer’s best friend when shooting under a clear blue
sky. They can reduce the excessive blue cast that often
appears in photographs taken outdoors. They can also keep
skin tones free of color reflections from objects that are around
the subject.

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Cont..
• Polarizing Filters
• Polarizing filters, pretty much like sunglasses, add depth
to an image by saturating its color and reducing
reflections. These filters have a rotating mount that’s
easy to attach to a lens. Once a polarizing filter is
mounted on your lens and the subject is already framed,
you can slowly rotate the filter while watching how the
image changes on your camera’s viewfinder or live
view. Polarizers are best for shooting landscapes. They
darken skies and make colors pop, as well as eliminate
glare and reduce reflections on glassy or water
surfaces.
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.48

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia U116
 BA(JMC) 203 , Basic of Camera, Light and Sound

Cont..
Neutral Density Filters
 Neutral density (ND) filters are sheets of dark-colored glasses that
reduce the amount of light that enters your lens and hits to the
sensor, but without affecting the color of the resulting image. This
includes excess sunlight and powerful light from studio flashes. An
ND filter doesn’t need any adjustment at all, and you can still use
the metering and focusing system of your camera and lens even
with this filter attached to your lens. By reducing the intensity of
incoming light, this filter allows you to shoot with slower shutter
speeds without overexposing your image. In that case, if you’re
going to take a photo of a moving subject like flowing water, make
sure to use a tripod for more dramatic motion blur and to ensure
that everything else is tack sharp. Most suitable for: Landscape
photography, flash photography, street photography and
photographing moving bodies of water like rivers and falls.
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.49

Camera Lens Filter Overview

Lens Filter Effect Photography Type

 Protects lens glass

UV & Skylight Filter  Shields old photography film All
from UV rays
 Reduces reflections and glare
Polarizing Filter All
 Enhances colors and contrast
 Reduces the amount of light
entering the lens

Neutral Density Filter  Allows the use of slower shutter Landscape and Flash Photography
speeds and wider apertures

 Helps create motion blur

 Reduces the amount of light
entering the lens through the
top half of the filter

 Provides a sharp transition

Hard-Edge Graduated ND Filter between dark and clear for flat Landscape Photography
horizons

 Balances exposure and high

contrast between bright midday
skies and dark foreground
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.50

Camera Lens Filter Overview

Lens Filter Effect Photography Type

 Reduces the amount of light

entering the lens through the top
half of the filter

 Provides a smoother transition

Soft-Edge Graduated ND Filter between dark and clear so use of Landscape Photography
filter is not evident

 Balances exposure and high

contrast between bright midday
skies and dark foreground
 Reduces the amount of light
entering the lens around the upper
midline

 Provides a smooth transition from

Reverse Graduated ND Filter Landscape Photography
dark to less dark from the middle
to the top edge

 Properly exposes the sun for

clearer sunsets and sunrises
 Corrects colors for accurate white
balance
Colored Filter All
 Enhances or blocks one type of
color
© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.51
 Allows closer focusing on subjects

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia U117
 BA(JMC) 203 , Basic of Camera, Light and Sound

Camera Lens Filter Overview

Lens Filter Effect Photography Type
 Produces multi-point star sparkles

 Softens or diffuses edges for

dream-like effect with sharp center

 Creates multiple copies of a

Special Effects Filters subject or scene All
 Blocks infrared light and passes
visible light

 Customizes the shape of bokeh

lights
 Reduces the amount of light
entering the lens around the upper
midline

 Provides a smooth transition from

Reverse Graduated ND Filter Landscape Photography
dark to less dark from the middle
to the top edge

 Properly exposes the sun for

clearer sunsets and sunrises
 Corrects colors for accurate white
balance
Colored Filter All
 Enhances
© Bharati Vidyapeeth’s Institute of Computer Applications or blocksNew
and Management, oneDelhi-63,
type ofby Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.52
color

Aperture

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.53

Depth of Field
• Depth of Field: Depth of field is that area of an image that is
considered acceptably sharp, in other words it appears to be ‘in
focus’. That area of your picture that still appears to be sharp to
your eye is called the “depth of field”.
 The 3 Factors That Control DOF: • the distance from the lens
to the subject, • the f-stop being used,• and the focal length of
the lens.
 2 types :
1. Shallow d.o.f. also called shallow focus - where only a
selected part of the image is in focus and the rest is blurry,
creating circles of confusion.
2. Deep d.o.f. also called deep focus - where a large area of
the image is in focus, from the foreground to the background.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.54

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia U118
 BA(JMC) 203 , Basic of Camera, Light and Sound

Depth of field
 Depth of field is the area of acceptable sharpness in front of
and behind the subject which the lens is focused. Put simply, it
refers to how blurry or sharp the area is around your subject.
 A shallow depth of field refers to a small area in focus. Often
the subject is in focus, while the background is blurred. This is
best for portraits, and one way to adjust this is with aperture.
 A deep depth of field captures a larger area in focus, often
keeping everything in the image sharp and clear. This is best
for landscapes by using a large aperture.
 There are multiple ways to adjust depth of field, including
aperture, the distance between the camera and the subject,
the focal length of the lens, and even the size of the camera’s
sensor.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.55

Cont…

Shallow d.o.f Deep d.o.f.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.56

Depth of Focus
• Depth of focus: Depth of focus is the image-space
complement of depth of field and is related to how the
quality of focus changes on the sensor side of the lens
as the sensor is moved while the object remains in the
same position. Depth of focus dictates how much tip
and tilt can be tolerated between the image plane of the
lens and the sensor plane itself. The lower the f/#, the
more the depth of focus is reduced and the more impact
tilt has on achieving best focus across the sensor.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.57

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia U119
 BA(JMC) 203 , Basic of Camera, Light and Sound

Focal Length:
• Focal Length: It measures the distance, in millimetres, between
the optical centre of the lens and the camera’s sensor (or film
plane). It is determined with the camera focused to infinity.
Lenses are named by their focal length, and you can find this
information on the barrel of the lens. For example, a 50 mm lens
has a focal length of 50 mm. Focal length is a property of the lens
itself, not the camera. What I mean by this is that a 50 mm lens is
a 50 mm lens, regardless of whether on a full frame, cropped
sensor, or medium format camera. However, the size of the
sensor does play a role in the lens/camera combination’s field of
view, but more about this in a minute.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.58

Aspect Ratio
• Aspect Ratio: For any given photo, aspect ratio
describes the proportional relationship between your
image’s width and height. You can find aspect ratios
that are commonly used in photography and film in
many of the objects in the world around you. It is
important for technical and aesthetic reasons. An
awareness of the characteristics of the aspect ratio of
your particular camera can help you compose better
images. It also helps you recognize when cropping to a
different aspect ratio will improve the composition of
your image.

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia, Assistant Prof., BVICAM U1.59

© Bharati Vidyapeeth’s Institute of Computer Applications and Management, New Delhi-63, by Dr. Vanshika Bhatia U120