How to calculate the Hyperfocal distance

Distance hiperfocal for a long lens on a lens (focal length) and the aperture diaphragm (apperture) can be calculated with certain mathematical formulas that, I think, tricky.
For more details, these formulas can be viewed on wikipedia.

In addition to manual counting, there are also programs that can be used to calculate and simulate the hyperfocal distance.
This program really allows us to calculate the hyperfocal distance and also we can get tables hyperfocalnya distance. One program that I use can be found at DOFMaster.

DOF Master's Program, on the second illustration below, use a disc / disc where the sign / mark / notation on the outer disc is a sign of the distance (in meters), and on disk in a sign / notation aperture (Aperture / f number) of the lens in use.

By using the first translation as the basis, suppose we have a wide 28mm lens, and we'll use f/22 to get the DOF or area of focus (sharp) which selebar2nya, then if we set notation F22 distinguished above (which is boxed yellow) on the Infiniti, then hiperfocal we'll get the distance on the arrow [A] at 1.18m, and half the distance to the notation F22 hiperfokal distinguished under [b] at 0.59m.
So [A] is the hyperfocal distance or point A in the first illustration and [b] is half the distance from the hyperfocal distance or point B in the first illustration.
                                           Spoiler for pict:

Quote: But at the time of our field, we certainly do not want to be bothered with the mathematical calculation, or by bringing a laptop or PDA to be able to calculate the distance hiperfokal a lens on the aperture / diaphragm with a particular program.
From the table that can be generated by the program, we can see with certainty and we can memorize, how much distance hiperfocal on an aperture diaphragm (aperture). And we certainly do not need to recall the distances at all aperture diaphragm (aperture). Quite on the opening (aperture) f/22 or f/16 the smallest example, because there lies our purpose use hiperfocal distance with a sharp focus areas (DOF)-wide area it until as close as possible to the lens.

And from my experience, I know just enough for some wide lenses only, or a super wide zoom lens focal length in particular. No need all ... especially telephoto lenses.
For example if the lens has an 16-35mm or 17-40 mm, we just need to know how much distance hiperfocal on 16 or 17mm focal length at f/22 or f/18 diaphragm or f/16.
                                  Spoiler for pict:

Source : www.kaskus.us

Hyperfocal Distance Definition

The first translation of the easy of hyperfocal distance or distance Hiperfokal are: the distance from the lens into a point of focus where the focus point to infinity (infinity) is sharp. Coupled with a bonus: half of the distance from that point towards a sharp lens also (acceptable sharpness).

Why do I call a bonus? Because we really put the focus point of camera / lens distance hiperfocal us at that point was to get the field DOF (depth of field) broadest sense from the point / distance to the Infiniti but krg over half the distance from that point forward (toward) the lens also participate significantly in limits acceptable sharpness (acuity that can still be accepted.)

From the first illustration image below, If we do peeked from the viewfinder and put the focus point at point A, then from point A until the Infiniti will enter in the field of DOF (depth of field) or often called a sharp field. But we also mendaptakan bonus acuity that is half the distance from point A to the lens also sharp. Or in other words, from point B to the Infiniti will be sharp.

The second translation of the hyperfocal distance is: the distance from the lens to the point that from that point forward would be sharp if the lens difocuskan at the point of infinity. In other words from that point until the Infiniti will be sharp.

Source : www.kaskus.us

Introduction to Photography

Starting out in photography is a wonderful time full of creativity and discovery. Unfortunately, for many "baby photographers" their first introduction to photography is a time of wrecked nerves, confusing advice from friends, and frustration as you learn a new camera and try to capture on film or digital media what you saw with your eye. Let me assure you, it does not have to be a traumatic experience. The following information will guide you through that first "baby photographer" phase and familiarize you with basic concepts so you will be ready to take your next steps with as few stumbles as possible. Even more experienced photographers will find good information so read on.

Composition
WordNet Search defines composition as "something that is created by arranging several things to form a unified whole". That is exactly what it is. The composition of your photograph is the combination of elements coming together to create the whole image.

Subject
What is your photograph about? Without knowing the answer to this question you image will never work. Your subject is what you want the viewer to see first when they look at your image. It can be small or large, sometimes your subject will be a spider, other times it may be an entire mountain. No matter what your subject is, you must consciously choose a subject in order to make your image work.

Rule of Thirds
The rule of thirds explains where to place your subject in the image. Imagine that your image is divided into nine equal squares, basically a tic-tac-toe board with the lines equally spaced. The four points where the lines cross are the strongest focal points of your image. The lines that make up the squares are secondary strong points. The human eye is naturally drawn to these spaces within a frame, not the center of the frame. Make use of this to maximize the impact of your images by placing your subject along one of these lines or intersection points. If you are doing a portrait "head shot" of someone, place their eyes along these points and lines.

Background and Foreground
A photograph is a 2 dimensional representation of a 3 dimensional scene. This means that the camera effectively "flattens" the scene. Background is anything behind your subject. If there is a tree directly behind a person's head it will appear that the tree is growing out of their head. Likewise, a fence could seem to grow out of the side of a person. Foreground is anything in front of your subject. Foreground is just as important. If you are shooting a beautiful lake sunset but there is an ugly tire in the water's edge the photograph can be ruined.

Focus
Will your subject be sharply focused or fuzzy? Will you have the foreground and the subject in focus but the background fuzzy? How fuzzy will the background be? Focus will make or break your image. This is where aperture, F-Stop, and depth of field come into play. Aperture is the size of the opening inside you lens that lets light to the film or digital surface. F-Stop is the measurement of the aperture. Depth of field is a term telling you how much of your scene will be in focus or blurry. This is how you begin to control how your camera flattens the scene. In general, you want the subject and a small part of the foreground in focus but the background blurry. This helps avoid distracting lines around your subject. However, there are times you will want the entire scene in focus, such as landscape scenes. A good rule of thumb regarding your F-Stop is to remember that the larger the F-Stop number, the more of the scene will be in focus and the more light you need to record the image. Conversely, the smaller the F-Stop number, the less of the scene will be in focus and the less light you need to record the image.

Lighting
Lighting is photography. Photography is the art of capturing light reflected from subjects onto a film or digital surface. Always be aware of your lighting. If your subject is your child but his or her face is too dark to see, the image will not work. When you look at a scene, your eyes constantly adjust for the different lighting situations in the scene. When you take a photograph, the camera only records one light situation. Every camera is slightly different on how it "meters" or reads the amount of light in a scene. This is one reason why you must know your camera. Some general rules of thumb are: avoid harsh light behind your subject, watch out for dark shadows, and watch out for whites that glare in the light.

Color
The world is in color. Sometimes the colors are white, black, and grey, but it is still color. While your subject will already have a color of its own, pay attention to how that color interacts with your background and foreground. If your subject is green and the background is green, your subject is liable to be hard to see in the image. In contrast, if your subject is red and the background purple, you may be able to see the subject very well but the clashing colors can distract from the subject.

Motion
There are two choices with motion in a scene. Freeze it with a fast shutter speed or let it appear as a blur on the image by using a slower shutter speed. Either choice is just that, a choice. A waterfall can be a beautiful image with the water blurred in motion or with the water frozen in midair. A baseball player hitting the ball can be a great image with the bat and ball blurred or with them frozen in time. The choice is up to you but you should always make that conscious choice of which type of motion you want. Also, remember that if you have a camera that your viewfinder shows you the actual view through the lens, what you see if the viewfinder is not what you will capture. As the camera records an image your view will be blocked for a fraction of a second. It is that fraction of a second your camera records. The best advice I ever received with sports photography was to remember that if you see it in your viewfinder you missed it.

Source : http://photography.about.com

Infrared (IR) Photography Overview

Background
Infrared photography (IR) relies of light that our eyes cannot normally see. This light produces a beautifully bright canvas that suggests a dream realm. The most recognizable trait of IR photography is that green leaves become nearly white while blue skies become nearly black.

However, in reality, IR photography is actually NEAR-infrared photography. True infrared photography is only obtained with thermal imaging. The IR photography that most of us are familiar with relies on reflected infrared light, rather than emitted infrared as is the case in thermal imaging. The sun produces enough IR for objects such as trees to reflect that IR light back to our cameras. However, this does mean that traditional IR photography does not "see in the dark". In fact, it takes much MORE light to process because so much of the light is blocked out.

IR photography is a relatively recent development in photography with the first IR photograph being published in 1910 and taken with then-experimental film. "Normal" photographic film is not IR sensitive but since the first 1910 photo there have been large leaps in IR film technology.

Film
The original popular IR film was black and white. Like most black and white film, it trended towards the blue end of the light spectrum. This led to beautifully cool feeling IR photographs. Even with IR sensitive B&W films, it is often necessary to use orange or red filters. Some still use IR filters on top of the IR sensitive film to increase the IR look. Without the additional filters the loss of contrast can "wash out" the IR look.

Color IR film tends to create "false colors". Reflected infrared becomes red, red becomes green, and green shows as blue. Most color IR film does not have to be loaded into the camera in complete darkness as B&W IR film does. However, due to B&W IR photography and the upsurge in digital photography, color IR film is becoming hard to find. Kodak recently stated they would stop making their 35mm color IR film. "IR" filters are available for use that can approximate the IR film feel but the results tend to lack the clarity and depth of IR sensitive film.

Digital
Digital sensors are generally not sensitive to IR light. Some actually go so far as to use IR blocking in order to increase focusing efficiency in the visible spectrum. Many people use IR specialty filters in order to attempt digital IR photography. However, some cameras will still produce false colors that must be corrected in a digital darkroom product. Sony, Fuji, and Sigma do make cameras that allow the removal of the IR blocking.

Universal Issues
Because IR filters remove a large portion of visible light, autofocus will not work properly. This means you must be able to focus manually to take an accurate image. Also, because so much light is removed, exposure times become very long. A tripod or other sturdy base must be used to prevent camera shake. Light meters do not record IR light, they measure visible light. Remember to bracket your exposures until you get a feel for what the right exposure compensation should be.

Source : http://photography.about.com

Using Reflectors in Photography

Reflectors in photography are simply any item used to reflect light towards your subject. Reflectors can be used with a flash or in lieu of a flash. If you do not have the option of using an off camera flash, or a flash with swivel head, reflectors are an excellent way to achieve a professional lighting effect without professional equipment. Reflectors are either placed on a stand or other support, or held by an assistant to direct light onto a subject. Reflectors are generally held at an equal angle from the light source and the subject.

Reflectors vary in size depending on the amount of light needed and the size of the subject. There is also no set shape of reflectors. Some are round and some are square or rectangle shaped. Although there are numerous reflectors manufactured for photography, many photographers use homemade reflectors. These reflectors can be as simple as a piece of poster paper.

Homemade Reflectors Examples
-Poster Paper
-Large Photo Frame Covered in Fabric

Reflectors are also used to change the quality of light in photographs. The color of the reflector will show up in the light reflected onto the subject.

Reflectors and Light
-Gold - creates warm tones
-White - neutral color effect
-Blue - creates cool tones
-Silver - creates neutral tones but brighter than white
These changes in light tones are based on color temperature and white balance.

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What is a Light Meter?

A light meter is an instrument inside your camera that tells you if the amount of light reaching the film will be enough or too much to properly expose your image. The light meter takes into account your shutter speed, film speed, and aperture settings.

How To Read the Meter

Your camera's light meter shows you the amount of light in aperture settings. Each dot on the meter represents a partial "stop", or aperture increment. The numbers represent whole stops. Even though your F-Stop setting controls the aperture itself, the meter readings will also change if you change your film speed or shutter speed.

When to Overexpose and Underexpose Your Images

Even though most of the time you will want to keep your meter reading in the center, there are times you will need to deliberately overexpose or underexpose your images slightly. Sometimes this is for artistic effect but usually it is because you are shooting in conditions that can confused the meter.

Examples of times to overexpose
-Subject is very dark in comparison to background
-Snow
-On a bright day if your subject is in shadow

Examples of times to underexpose
 -Subject is very light in comparison to background
-To achieve a silhouette effect
-On a overcast day to increase color saturation

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Preset Camera Modes - What Are They?

Most of today's cameras, whether digital or film, have some presets. These are camera settings that are preprogrammed into the camera so that the photographer only has to turn a dial to change several settings at once. These presets have become widely varied between camera manufacturers with everything from "foliage" to "beach" presets. Some cameras even have "fireworks" presets. However, there are a few presets that are almost standards and appear on a wide variety of cameras. Once you learn about these more common presets you will better understand the idea behind the more specialized presets as well. These common presets come in two types. These types are basic and advanced. The basic presets are meant to do almost all of a photographer's thinking for the photographer. In these modes the camera figures out the correct exposure and makes all the camera settings within the preset preferences. The advanced presets are geared towards photographers who know a bit more about their cameras and want some level of control while still speeding up the picture taking process. Some of these presets still allow the camera to maintain proper exposure while the photographer makes one or two setting changes. Others leave all of the settings up to the photographer.

Presets
-Basic
1.Action
2.Landscape
3.Macro
4.Night Portrait
5.Portrait

-Advanced
1.Aperture Priority
2.Shutter Priority
3.Manual

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Manual Preset Camera Mode

Manual mode is almost always represented on the camera controls by the letter "M". Manual mode is not actually a preset mode. Manual mode returns control of all camera functions (except focus) to the photographer. Automatic/manual focus is controlled separately as it pertains to the lens motor. In manual mode the photographer must determine what combination of shutter speed, aperture, and film speed will create the proper exposure. In this mode the photographer also has free reign to underexpose or overexpose images by whatever margin he/she desired.

This mode is most often used by more advanced photographers wishing complete creative control. This mode is often first discovered by photographers when they are frustrated by their very expensive camera's apparent lack of intelligence when shooting in other preset modes.

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Shutter Priority Preset Camera Mode

Shutter priority is marked on camera dials by the letters "TV", standing for time value. This preset allows the photographer to control the shutter speed while the camera readjusts the aperture (and sometimes film speed) to maintain a midrange exposure.

This setting is very useful in action settings and for night photography when the shutter speed needs to be accurately controlled.

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