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Introduction to Portrait Photography Good portrait photography is the combination of finding good light, making your subject feel at ease, and understanding a few basic portrait photography concepts. In this course, you'll learn how to get spectacular portrait photographs by deciding what your photograph should look like, finding or creating good light, determining appropriate composition, and selecting the best camera settings. Lessons Determine the Purpose of Your Portrait 1. To capture memorable portraits, you must think carefully abo ut why you're taking the photographs, how they'll be used, and what they s hould look like before you begin taking pictures. This lesson shows you how to plan a portrait sitting. Create a Pleasing Composition 2. Once you know the purpose of the image and its use, it's time to focus on composition. Bad composition can turn an otherwise wonder ful photo into an unsatisfactory image. In this lesson, you lean about photo composition and posing techniques. Find or Create Good Light 3. Photography is all about light. For portrait photographers, the skill of finding or creating excellent light is essential to making subjects look th eir best. This lesson covers lighting techniques and what to do when good light is hard to fi nd. Select Appropriate Camera Settings 4. The automatic settings on today's digital cameras do a reaso nably good job capturing images; however, you can greatly improve your photos by adjusting some settings manually. This lesson focuses on shooting modes, aperture, I SO settings, and more. Determine the Purpose of Your Portrait To capture memorable portraits, you must think carefully about why you're taking the photographs, how they'll be used, and what they should look like before you begin taking pictures. This lesson shows you how to plan a portrait sitting.  Welcome to the Course

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Introduction

to Portrait

PhotographyGood portrait

photography is the

combination of finding

good light, making your 

subject feel at ease,and understanding a

few basic portrait

photography concepts.

In this course, you'll

learn how to get

spectacular portrait

photographs by

deciding what your 

photograph should look

like, finding or creating

good light, determining

appropriate

composition, andselecting the best

camera settings.

Lessons

Determine the Purpose of Your Portrait1.

To capture memorable portraits, you must think carefully about why you're

taking the photographs, how they'll be used, and what they should look likebefore you begin taking pictures. This lesson shows you how to plan a portrait

sitting.

Create a Pleasing Composition2.

Once you know the purpose of the image and its use, it's time to focus on

composition. Bad composition can turn an otherwise wonder ful photo into an

unsatisfactory image. In this lesson, you lean about photo composition and

posing techniques.

Find or Create Good Light3.

Photography is all about light. For portrait photographers, the skill of finding or 

creating excellent light is essential to making subjects look their best. This

lesson covers lighting techniques and what to do when good light is hard to find.

Select Appropriate Camera Settings4.

The automatic settings on today's digital cameras do a reasonably good job

capturing images; however, you can greatly improve your photos by adjusting

some settings manually. This lesson focuses on shooting modes, aperture, ISO

settings, and more.

Determine the Purpose of Your Portrait

To capture memorable portraits, you must think carefully about why you're taking the photographs, how they'll

e used, and what they should look like before you begin taking pictures. This lesson shows you how to plan a

ortrait sitting.

 

Welcome to the Course

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Good portrait photography is the combination of finding good light, making your 

ubject feel at ease, and understanding a few basic portrait photography concepts. In

his course, you'll learn how to get spectacular portrait photographs by deciding what

our photograph should look like, finding or creating good light, determining

ppropriate composition, and selecting the best camera settings.

This course is geared toward consumers with a digital camera and some

experience with manual camera settings who aspire to take stunning portraits.

Here's what to expect in the lessons:

Lesson 1: To capture memorable portraits, you must think carefully about why

you're taking the photographs, how they'll be used, and what they should look like

before you begin taking pictures. This lesson shows you how to plan a portrait

sitting.

Lesson 2: Once you know the purpose of the image and its use, it's time to focus

on composition. Bad composition can turn an otherwise wonderful photo into an

unsatisfactory image. In this lesson, you learn about photo composition and posing

techniques.

Lesson 3: Photography is all about light. For portrait photographers, the skill of 

finding or creating excellent light is essential to making subjects look their best.This lesson covers lighting techniques and what to do when good light is hard to

find.

Lesson 4: The automatic settings on today's digital point-and-shoot cameras do a

reasonably good job capturing images; however, you can greatly improve your 

photos by adjusting some settings manually. This lesson covers digital shooting

modes, aperture, ISO settings, and more, while offering tips for point-and-shoot and

DSLR (digital single lens reflex) cameras.

Beyond the lessons, be sure to complete the assignments and quizzes. When you're

one with those, visit the Message Board. It's the perfect place to discuss course

opics and swap questions and comments with other students and your instructor.

Take a few moments to meet your instructor and fellow students on the course

Message Board, and let them know a little about you.

et's get started with the topics in Lesson 1.

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Reveal Personality

Planning is one of the elements that can turn a photograph into a portrait. When

lanning a portrait sitting, you should consider several important factors:

The purpose of the portrait

How the portrait will be used

What the portrait should look like

The personality of your subject

Each of these factors have an effect on the final image and are described in detail in

he following sections.

Purpose of a Portrait

There are many different reasons to have portraits taken. Sometimes, a portrait is a

way to document an important event, such as a wedding, graduation, or birth. Other 

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ortraits are meant for display, such as family and fine art portraits. Senior portraits

nd children's photos with Santa Claus are often given away as mementos.

ndividuals in some careers, such as actors and CEOs, require head shots and

orporate portraits for promotional purposes.

How a Portrait will be Used

You should consider how your photographs will be used. If the portrait will be printed

n a very large scale, you need to capture the image at a much higher resolution than resolution meant for Web site viewing.

Portraits destined for printed literature should always be taken at the highest possible

esolution.

Portraits to be printed on a smaller scale, such as wallet-sized images, should be

impler in composition than a portrait destined for larger exposition. A busy image with

everal focal points seems cluttered at wallet size.

What the Portrait Should Look Like

What should the final image look like? Will it be a formal or casual portrait? How many

ubjects will be included? Where will the photographs be taken -- in the studio,

utdoors, or in some other location? You should answer all of these questions before

ou take your first shot.

Consider the Subject's Personality

You need to decide which aspects of your subject's personality you want to reveal.

This decision influences many of the other details of the portrait, including the setting,

ghting, and pose. If your subject is a playful young child, you could arrange the

etting and pose to reflect that. In the portrait of a 2-year-old boy, shown in Figure 1-1,

he subject is posed on a favorite rocking horse. Notice the completely natural

xpression on his face -- he's simply playing on his rocking horse, looking at his

mother while the photographer takes pictures.

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Improve image quality

on your camera or 

camcorder.

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Figure 1-1: Young child playing.

Because he's forgotten about the camera, his personality is easily revealed. Ideally,

our subject should be relaxed enough to forget the camera or at least beoncentrating on something else. When a subject is fixated on the camera, the

ortraits turn out stiff and posed.

Engage your subjects in light conversation -- or, if you're photographing children,

ngage them in play -- to help them focus on something other than the camera. This

lso gives you clues to their personalities, which can help you arrange poses that

how them authentically.

Now that you've given some thought to your subject's personality and how you might

est reveal it, let's discuss how to tell a story or show activity in a portrait.

 

Tell a Story or Show an Activity

When planning a portrait sitting, you should always think about the story your 

hotograph will tell. You've already thought about the personality of your main

haracter -- your subject. Now you should consider the story behind the portrait:

What does the subject want?

Why is she in this place?Does she expect to achieve her goals today?

These are all questions that reveal the subject's story and background. The most

nteresting portraits are those that excite the viewer's imagination or leave us asking

hese types of open-ended questions. We, as viewers, are left to imagine the story

ehind the person.

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Select a Natural Environment

What if your subject simply isn't the type to sit still? Rather than force them into an

ncharacteristic posed portrait, why not photograph them in their natural

nvironment? An athlete's portrait is often taken on the sports field rather than in a

tudio because it's a more comfortable setting for the subject and reinforces that

spect of his personality as well.

f you shoot in a studio, capturing the natural environment might not be feasible;

owever, you can include props that show the subject in a characteristic pose or 

ctivity. The portrait of a young child on a rocking horse is a good example. He would

ave fidgeted and wiggled too much had the photographer asked him to sit on a

osing table. Putting him on a rocking horse simultaneously entertained him and

evealed his true personality.

Avoid Trendy Clothing

When planning a portrait, give some thought to what your subject will be wearing. Notll portraits should be taken with the subjects in formal attire. In the rocking horse

mage, the young boy is wearing a casual shirt and denim overalls -- his everyday play

lothes. Clothing is one of the elements that determines the formality and tone of a

ortrait, and it should be arranged to match the desired outcome. If the boy's mother 

ad dressed him in a suit, the result would have been a much different portrait -- more

ormal and posed, less candid and revealing.

You should avoid trendy clothing that becomes dated quickly and distracts from the

rue subject of the portrait -- usually, the person. Unless you're taking fashion portraits

n which the clothing is the true subject of the photograph rather than the model,

lothing should serve to reflect the subject's personality.

Now that you have thought about the person and the story your portraits will reveal,

et's expand on those ideas and consider portraits with two or more subjects.

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Show a Relationship

When you're photographing more than one person, you should always try to show

heir relationship. Any time two people interact, they form some kind of relationship.Are your subjects emotionally close or distant? Is their relationship casual or more

ormal? Are they peers or is one person dominant? You can give the viewer clues to

ll of these questions using lighting, poses, composition, and other elements.

Taking Corporate Portraits

n a corporate portrait where the subjects are not particularly close emotionally, you

an highlight their professional rather than personal relationship. In the case of a

mentoring relationship, you could arrange the older person slightly behind theounger, resting a hand on the younger person's shoulder. You would use a sharper,

ess-diffused lighting scheme for a corporate portrait than you would for a mother and

hild or a wedding portrait in which the intimate personal relationship is the focus. A

roup of peers should be posed in such a way that no one seems to dominate the

roup.

DSLR Digital Cameras

In the revolutionary

new Sony® α (alpha)

cameras, Sony's

mastery of digitaltechnology combines

with Minolta's

legendary SLR

technology -- including

autofocus and anti-

shake compatibility

with over 20 years of 

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Taking Personal Portraits

n contrast to a corporate portrait of professionals, this portrait shown in Figure 1-2 of 

mother and son uses composition, posing, and lighting to highlight the closeness

nd warmth of the relationship. The mother is seated with the child on her lap. She's

olding her son close with her head slightly angled toward him, indicating that

lthough she's looking at the camera, her attention is on the child. This leads the

iewer to focus on the child as well. Her arm is posed on an angle around her son,

radling him. The lighting is warm and soft, reflecting those characteristics of the

mother-child relationship.

Figure 1-2: Mother and son.

Next, get some tips for capturing snapshots.

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Capture a Snapshot

Now that we've discussed the various things you should consider when planning a

ortrait session -- the personality of your subject, the story behind the person, and the

elationship of two or more subjects -- let's focus on a more casual type of photo -- the

napshot portrait.

You've probably taken a lot of snapshots in the past. Candid photographs of family

nd friends fall into the category of snapshots. They often show the subject engaged

n some activity or conversation. Photographs taken of couples dancing at a wedding

eception are a good example of this type of portrait.

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 A subject doesn't usually pose -- at least not formally -- for a snapshot portrait.

Instead, you take the portrait without the subject's notice, or it's a momentary

interruption that's quickly forgotten.

Because snapshots are so candid, they can be more difficult to capture properly than

posed studio portrait. In the studio, the photographer can arrange the subjects in

arious stances, take care to angle their heads and arms just right, and set up

attering lighting schemes. Capturing good snapshots depends more on being in the

ght place at the right time and taking several shots, hoping one or two turn out well.

Sports photography is another good example of snapshots. A photographer on the

idelines doesn't have the luxury of asking players to re-create a winning play, so they

ake many shots -- sometimes dozens of them in the span of 10 or 20 seconds -- in

he hopes of getting a shot at a good angle of the high point of the action. You can

se the same theory when taking pictures of a high school football game, backyard

nowball fight, or people engaged in any other high-action activity, such as a birthday

arty, like the one shown in Figure 1-3.

Figure 1-3: Sometimes you may have to take a number of photos in a high-action

ituation to capture the perfect moment.

Now that we've covered the basics of taking a snapshot portrait, let's move to the

ther end of the scale and talk about creating a fine art portrait.

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Create a Fine Art Portrait

When you're capturing snapshot portraits, you need to do very little formal planning.

Fine art portraiture is just the opposite. When planning a portrait sitting with the

ntention of creating fine art, the photographer may spend more time experimenting

with different lighting effects and lens filters than he does actually taking photographs.

Fine art portraits are often more fictionalized than other types of portraits, which aim to

eveal the subject's true personality. Fine art portraits often present a romanticized or 

dealized version of the subject.

n the portrait shown in Figure 1-4, the subject is dressed in a French colonial-style

own and is posed in a reclining position. She is gazing up at a warm directional light

ource. The photographer's intent was to create a portrait that emphasizes the

ubject's elegance and romantic personality.

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Digital Camera

Flashes

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Figure 1-4: Fine art portrait.

The photograph came out quite well as taken; however, to create a piece of art, the

hotographer had to do some manipulation using image editing software. As you can

ee in Figure 1-5, she added a soft omnidirectional light filter to create a vignette to

urther soften the image, and then added a lens flare to create a focal point for the

ubject.

Figure 1-5: Digital lighting manipulation and lens flare effect.

These digital manipulations are simple to apply, but as you can see, they alter the

mage drastically, adding interest and changing the story the portrait tells. In the

riginal image, the portrait is of a woman in an elegant gown. In the final image, we

ee a woman gazing at a glowing orb hovering above her.

Moving On

n this lesson, you learned how to plan portrait sittings in general and picked up tips

or taking snapshots and capturing fine art portraits. Lesson 2 will teach you about

mage composition and posing techniques that can mean the difference between

reat portraits and disappointing images. Before moving on, complete the assignment

nd quiz for this lesson, and then stop by the Message Board to interact with your 

ellow students and instructor. See you there.

Brighten up your 

photography with the

right flash for your 

Sony digital camera.

Assignment #1

Using what you learned in Lesson 1, plan a portrait sitting that culminates in a fine art portrait of 

our subject. Before the sitting, review the lesson and decide what you'd like the final image to

ook like. Look online for examples of fine art portraits for inspiration.

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Take as many images as you need, experimenting with lighting and poses. After the sitting,

mport your images into the digital image editing software of your choice and apply special effects

o create the final image.

Quiz: #1

Question 1:

What are some of the most important factors you should consider when planning a portrait sitting? (Check allhat apply.)

A) The purpose of the portrait

B) How much time you have allotted to take photographs

C) How the portrait will be used

D) The personality of the subject

E) What the final image should look like

Question 2:

True or False: You should have your subjects avoid trendy clothing when dressing for a portrait sitting.

) TrueB) False

Question 3:

What is one thing you can do to take good snapshot portraits in action-oriented circumstances?

A) Carefully set up the lighting and scene.

B) Inform the subjects that you may need them to re-create key scenes if the first images don't turn out well.

C) Take as many shots as possible to improve your odds of getting a few good ones.

D) Use an expensive telephoto lens designed for sport photography.

Create a Pleasing Composition

Once you know the purpose of the image and its use, it's time to focus on composition. Bad composition can

urn an otherwise wonderful photo into an unsatisfactory image. In this lesson, you lean about photo

omposition and posing techniques.

 

Select a Background

n Lesson 1, you learned how to plan a portrait sitting. Now you'll learn how some

asic composition techniques will help you take great photographs.

The background you choose for your portraits depends greatly on the planning you did

n Lesson 1. For some portraits, a neutral background is best because it doesn't

istract from the subject. For others, the background or setting is just as important as

he subject and should be considered a secondary subject.

n the portraits discussed in this course so far, the backgrounds have been simple and

nobtrusive. In the first portrait of a child on a rocking horse, shown previously in

Figure 1-1, a simple unbleached muslin sheet was hung as a backdrop. In the fine artortrait discussed in Lesson 1, the background was black broadcloth draped over a

osing table.

Professional portrait studios have large, painted canvas sheets to use as backdrops;

owever, you can certainly take good-quality portraits without them. Another 

lternative is to use a natural setting as your background. The portrait shown in Figure

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-1 was taken outdoors in late fall. The brown leaves on the tree are neutral enough

ot to distract from the subject. Had the same photograph been taken in the summer 

when the leaves were green, the green cloak would have caused the subject to get

ost in the background.

Figure 2-1: Natural background.

Once you've chosen your background, it's time to think about how you'll position your 

ubject.

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Capturing Head and Body Shots

You've decided on a background for your portraits, so now you need to determine how

o position your subject.

When capturing head shots, you're actually shooting the head and shoulders. You

hould be sure that the subject's arms are not held stiffly at the sides but are

ositioned loosely and slightly away from the body. This prevents the subject from

ooking wider than they are and creates a base for the image.

Head Positions

There are three basic positions for the head: profile, three-quarters, and seven-

ighths. They are fairly simple positions but may take some practice to get just right:

Profile: In the profile, you see exactly one half of the face.

DSLR Digital Cameras

In the revolutionarynew Sony® α (alpha)

cameras, Sony's

mastery of digital

technology combines

with Minolta's

legendary SLR

technology -- including

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The subject's head should be slightly tilted in almost every shot to create an angled

ne from the eyes. This helps create a more dynamic composition. A portrait in which

he eyes are not angled at all tends to look stiff and static.

Body Shots

There are two basic types of body shots: three-quarter length and full body shots.

Three-quarter length shots show the subject's head and body below the waist. These

hots typically cut off the subject either at mid-thigh or below the knee. You should

void cutting off the subject at a joint, such as the waist, knee, or ankle, because it

makes the subject appear to have been cut in half.

n the image shown in Figure 2-2, the photograph ends just below the subject's waist.

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Figure 2-2: Three-quarter length body shot.

Compare that image with the image in Figure 2-3. It's the same photograph, but it's

een cropped to end exactly at the subject's waist. The photograph looks unfinished.

Figure 2-3: Three-quarter length body shot cut off at the waist.

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You can take a full body shot with the subject sitting, standing, or lying down;

owever, you should angle the camera so that the subject slants away from or toward

he lens, as shown in Figure 2-4. A full body portrait in which the subject is facing the

amera head-on tends to look like a mug shot. The exception is a subject that's facing

way from the camera.

Figure 2-4: Full body shot.

Now that you understand some basic positioning concepts and techniques, you need

o decide where to place your subject within the frame of the photograph.

 

Decide Where to Place the Head or Heads in the Frame

Deciding where to place your subject within the frame of your photograph is one of the

most important decisions you need to make when composing a portrait. Ideally, you

hould create a composition that's dynamic, interesting, and directs the viewer's eye

o the most important features of your photograph. Although many portraits are

omposed with the subject in the center of the frame, you'll notice that the subject's

yes are on a line approximately one-third of the way below the top of the photograph.

There are two common methods for determining where to place the head or heads inour portraits: the rule of thirds and the golden mean.

The Rule of Thirds

This is the simplest of the two ways of achieving dynamic composition. Imagine your 

hotograph is divided into nine boxes -- three rows and three columns. The dividing

nes break your image into thirds vertically and horizontally. The greatest areas of 

isual interest occur where the lines intersect. This is why, in a portrait, the subject's

yes are often placed at the top third of the image -- on or near a dividing line. InFigure 2-5, you can see that the subject's head is positioned on the intersection of two

ividing lines.

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Figure 2-5: A subject placed according to the rule of thirds.

The Golden Mean

Another method of determining dynamic framing is the golden mean. It was first

escribed by the ancient Greeks and is still in use today. It's especially useful for 

ortrait compositions with two subjects. To determine the golden mean, draw a line

iagonally from one corner of the frame to the opposite, and then draw lines from the

mpty corners to intersect the first line at a 90-degree angle. Place your subjects'

eads at the two intersections. In this example, you see that the two subjects are

laced close to the intersections.

Figure 2-6: Two subjects placed according to the golden mean.

Regardless of which rule you use when placing your subjects within the frame of thehotograph, you should pay attention to the direction your subject is facing. If the

ubject is facing toward the right, place her on the left side of the frame so she's

azing toward the center of the photograph, not off to the side.

You also need to decide whether to frame your subject vertically or horizontally. If you

lan to take close-up head and shoulders shots, you may want to take them

 Accessory Kits

The perfect

complement to a new

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orizontally to balance the naturally vertical orientation of the subject. You need to

ake full body shots vertically if they're close up. If the purpose of the portrait is to

mphasize height, a vertical orientation reinforces that. Landscape photographs are

early always taken from a horizontal orientation because this enables a wider view.

These are not firm rules -- you should take several shots of your subject from each

orientation to see which works best for that subject and setting.

Once you've worked out how you'll frame your subjects, you need to pay attention tohe tiny posing details that make your portraits look professional. That's covered in the

ext section.

 

Simple Posing Techniques

You've already done quite a bit of work before you take a single shot. You've decided

n a background, decided whether to take head or full body shots, and learned some

asic portrait composition rules. Now it's time to dig into the details of posing.

When posing a subject, it's important for them to appear comfortable and natural.

Unfortunately, minor things that are completely unnoticeable in real life will be

laringly obvious when caught in a portrait. Combine this with the fact that the camera

s not 100-percent accurate, and you have quite a dilemma: how to make the subject

ppear natural while orchestrating every detail of their pose.

Eyes

The best way to make your subject's eyes appear interested and lively is to engage

heir interest. Very few people are good enough actors to appear genuinely happy

when they're nervous or preoccupied with being photographed. Even if your subject is

miling, no one will be fooled if their eyes aren't smiling too.

As the photographer, you should do what you can to take the subject's mind off the

hoto shoot and onto a subject that interests and perhaps amuses them.

Adults often warm to a conversation about hobbies, family, or other light topics. If 

ou're photographing young children, keep a small selection of toys on hand. A toddler 

will give his best smile when laughing at the antics of a hand puppet or squeaking toy.

You should also be sure that the iris of the eyes is bordered by the eyelids -- there

hould not be a white space between the iris and the upper or lower eyelid. If you're

aking pictures under bright light, be sure the subject's pupils aren't too small or they'll

ppear beady-eyed in the final photograph. Likewise, if you're shooting in low light, be

ure the pupils aren't too large or the subject will have a vacant look.

Chin Height

Chin height is one area in which a subject's normal stance might not photograph well.

Slight adjustments of a subject's chin height can drastically alter the impression of a

ortrait. A subject that naturally holds their chin slightly high looks haughty or bored. A

owered chin looks weak and portrays a lack of confidence. You may need to ask your 

ubject to raise or lower his chin slightly to achieve a middle height, even though this

may not be the subject's natural level.

Image Storage

Devices

Store photographs at

home or on the go.

Digital Camera

Flashes

Brighten up your 

photography with the

right flash for your 

Sony digital camera.

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Hands

The hands are one of the most difficult areas to pose, partially because they're closer 

o the camera than the subject's head. This can make them appear overly large and

ut of proportion. There are a few guidelines that make posing hands easier:

Pose hands at an angle to the camera lens, rather than pointing them straight at the

camera.

Keep the outer edge of the hand toward the camera. This gives a strong line to thehands.

Bend the wrist slightly, especially with female subjects. This appears more graceful

than a solid line from the arm to the hand.

Separate the fingers slightly so they appear distinct.

Mouth

As with the eyes, the mouth should be relaxed and smiling. Avoid false smiles -- they

won't fool anyone and will appear stiff and forced. Instead, engaging your subject

sually results in a natural smile. However, there are a few details you should watchut for. In normal conversation, these things are hardly noticeable. In a portrait, they're

istracting:

Dry lips: Have your subject moisten her lips occasionally so they appear soft and

natural.

Gap between the lips: When people are relaxed, their lips often fall apart slightly. In

a portrait, the teeth will show slightly, drawing attention away from the rest of the

face.

f you keep these details in mind as you pose your subjects, your portraits will look

more professional.

Moving On

n this lesson, you learned how to compose an interesting, dynamic portrait. You also

earned some basic posing techniques to give your portraits a professional look. In

esson 3, you'll learn how to find or create flattering lighting conditions. Before moving

n, complete the assignment and quiz for this lesson. After that, head over to the

Message Board to post questions and comments for your classmates and instructor.

Assignment #1

Take a series of head and body shots using the techniques explained in Lesson 2. Pay

pecial attention to the posing tips for hands, eyes, chin height, and mouth.

To complete the assignment:

Take a minimum of three head shots, one each of the following:1.

ProfileThree-quarters

Seven-eights

Take a minimum of two body shots, one each of the following:1.

Full body shot

Three-quarter length

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Quiz: #1

Question 1:

True or False: In a profile head shot, you should see part of the other side of the face.

) True

B) False

Question 2:

Which techniques can you use to make posing hands easier? (Check all that apply.)

A) Pose hands at an angle to the camera lens.

B) Keep the outer edge of the hand toward the camera.

C) Hide the hands out of view of the camera.

D) Bend the wrist slightly.

E) Separate the fingers so they appear distinct.

Question 3:

Which rules help you achieve dynamic composition? (Check all that apply.)

A) The golden mean

B) The Greek method

C) The rule of thirds

D) The rule of fourths

Find or Create Good Light

Photography is all about light. For portrait photographers, the skill of finding or creating excellent light is

ssential to making subjects look their best. This lesson covers lighting techniques and what to do when good

ght is hard to find. 

What Makes Good Portrait Light?

n Lesson 2, you learned how to compose a good portrait. Now we'll move on to

reating lighting effects that flatter your subjects.

Good portrait light is any lighting that is flattering to your subject and portrays the

ffect you're trying to convey. Because a photograph is a two-dimensionalpproximation of three-dimensional reality, the type and direction of light is important.

Correct lighting can create the impression of roundness and dimension in an

therwise flat image. Fortunately, there are techniques you can use to achieve

attering lighting effects for your portraits.

There are four basic lights that professional portrait photographers use day in and

ay out. If you plan to take portraits professionally or even semiprofessionally, it may

e worth it to you to purchase a basic lighting setup. You can get a set of four lights

with stands and reflectors for a few hundred dollars. Used equipment can be had for 

much less. However, if your main goal is to take great photographs of family and

riends, you can approximate a professional lighting setup with lights you already

ave.

Key Light

The key light, or main light, is the primary source of light in your photograph. You can

DSLR Digital Cameras

In the revolutionary

new Sony® α (alpha)

cameras, Sony's

mastery of digital

technology combines

with Minolta's

legendary SLR

technology -- including

autofocus and anti-shake compatibility with

over 20 years of A-

mount lenses sold

worldwide.

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chieve many common lighting effects simply by moving the key light. For a

aramount or glamour lighting setup, position the key light directly in front of the

ubject to emphasize high cheekbones. Rembrandt lighting is another dramatic

ghting scheme that you achieve by moving the key light to the side of the subject,

early perpendicular to the camera.

Broad and Short Lighting

Broad and short lighting are two styles that produce very different effects. You create b

oad lighting by positioning your subject's head in a three-quarters or seven-eighths

ose. Then, direct your key light toward the side of the face closest to the camera.

Broad lighting is often used to fill out a face that's too thin.

Short lighting, on the other hand, thins a heavy face. To create short lighting, place

he key light so that it highlights the side of the face furthest away from the camera.

Experiment with both styles to see the dramatic difference you can achieve simply by

moving your key light.

Fill Light

The main purpose of the fill light is to fill in shadows created by the key light. It's

ypically three or four times weaker than your key light so as not to compete with the

ey light, and it's often diffused with a piece of frosted plastic or acetate to create a

ofter effect.

Hair Light

A hair light is a small directional light that's usually positioned behind and above the

ubject. Its purpose is to bring out the highlights in the subject's hair, giving a more

hree-dimensional look to the hair.

Background Light

The background light is rarely focused on the subject. Instead, you point it away from

he subject toward a seamless background. The background reflects light back ontohe subject. The main purpose of the background light is to separate the subject from

he background and to eliminate unwanted shadows. It's also a lower-powered light

hat doesn't compete with the key light.

Reflectors

A basic reflector is any surface that reflects light onto the subject or the background.

Reflectors produce a very soft, diffused light that can fill in shadows or highlight

ertain features. Many professional reflectors are available; however, for home use,

ou can use a large sheet of light-colored paper or fabric or even a metal cookieheet. Experiment with the items you have available to see which reflectors produce

he most flattering light effects. Reflectors are covered in more detail at the end of 

his lesson.

Now that you understand the basics of indoor lighting, read on to learn how to find

nd create flattering light outdoors.

Cyber-shot® Full-

Featured Line

Powerful cameras withadvanced optics and

controls.

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Shooting Outdoors

You've learned how to sculpt light in a studio setting using a key light, fill lights,

ackground lights, and hair lights. Now you'll learn how to recognize and modify

atural light outdoors.

Taking portraits indoors is by far the easiest way to achieve good photographs. In a

tudio setting -- even if the studio is just your living room -- you can carefully control

he lighting and environment. You have the luxury of taking your time, experimenting

with various lighting effects, and taking several shots with different effects. Outdoor 

ortraits can be very compelling because they show the subject in a natural setting

hat gives a sense of context to the photograph.

When you shoot photographs outdoors, however, you have to contend with

natural lighting circumstances that are entirely outside of your control. If a cloud

drifts in front of the sun, there's not much you can do about it but wait.

Natural lighting is generally the most flattering, and many professional photographers

et up their studios to take advantage of a large window or skylights. To take

dvantage of natural outdoor light, you need to recognize how the available light will

atter your subject.

Shade

Taking portraits in the shade is common because it produces a soft, diffuse light. Areat place to pose your subjects in the shade is near a clearing of trees, where the

ranches block most of the overhead sunlight without casting shadows that obscure

our subject. Sometimes you need to add artificial lights or reflectors to fill in areas of 

our subject's face that are in a shadow.

Direct Sun

Taking photographs in direct sunlight can be tricky because direct sunlight tends to

e harsher than diffused light in the shade. If the sun is directly overhead, your 

ubject's eyes will appear sunken. You can mitigate this effect using a technique

alled subtractive lighting. Just as light-colored fabric or paper reflectors bounce light

ack onto the subject, you can subtract light from the scene by using a dark-colored

eflector. Black tends to absorb light, so placing a sheet of black paper or fabric

where it absorbs unwanted light eases some of the harshness caused by overhead

unlight.

Backlighting

Backlighting is another effect that uses direct sunlight. In a backlit portrait, the sun isehind the subject, highlighting its hair and the line of her head and shoulders. When

aking a backlit portrait, it's essential to use a secondary fill light. Without a fill light,

he bright sun silhouettes your subject. Reflectors are also very helpful in a backlit

ortrait because they reflect light onto your subject's face. You should place the

eflector as close as possible to your subject without letting it appear in the image.

DSLR Accessories

 All of the special tools

you need to complete

the picture.

Digital Camera Filters

Improve image quality

on your camera or camcorder.

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You've learned how to manipulate light both in a studio setting and outdoors. Next,

ou'll learn some key elements that make up flattering light.

 

Light Quality: Strength, Direction, and Color 

So far you've learned how to manipulate light. It's also important to understand the

haracteristics of light so you can arrange your own lighting schemes more

ffectively. Because taking photographs is essentially a study in light, you must lear no recognize three elements of light: strength, direction, and color.

Strength

ight strength is the easiest element to recognize, and it can have a dramatic effect

n your photographs. Strong light, either from direct sunlight or artif icial lights,

luminates your subject but can flatten their features. To counteract this, you should

dd secondary lights to create shadows that give the face depth. Lights that are too

weak produce a photograph that's too dark. Ideally, you should use a mix of strongnd weak lights that complement each other.

Direction

ighting direction is just as essential as light strength. Earlier in this lesson, you

earned about short and broad lighting. These lighting effects use direction to

rastically alter the image. Just by moving one light, you can make your subject's

ace appear heavier or thinner. To create a good mix of light, you should place your 

ghts so that they intersect on your subject, balancing each other and the shadows

reated by the subject's features. A light placed on the right side of the subject willast shadows on the left side. A light on the left of the subject fills in those shadows.

Be careful to leave enough shadow to create depth and roundness.

Color 

Color is the most difficult aspect of l ight to see because our eyes naturally correct

olored light. Photographs do not, so a photographer must learn to see color 

ariations in light. A photograph taken outdoors where the subject is posed under a

ree may end up too green because the light filtering through the tr ee leaves adds areen or cyan cast to the image. Natural light at dusk is often very cool in color, which

s very noticeable in a photograph. Light at dawn is typically very warm, which is

attering to most subjects.

Practice observing the colors in natural light so that when you take photographs you'll

e able to predict how the colors of light will show up in the final image.

Now that you understand the vital characteristics of light, let's retur n to techniques

hat enable you to manipulate light to show your subjects at their best.

Image Storage Devices

Store photographs at

home or on the go.

 Accessory Kits

The perfect

complement to a new

digital camera.

 

Modifying Light with a Simple Reflector 

Photography is all about showing reality; however, portrait photogr aphy requires a

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elicate balance of reality and flattery. You want to show your subjects at their best

while minimizing their flaws. One of the most important techniques you can use to

reate flattering portraits is careful lighting.

Reflectors are one of the simplest ways to modify light. You can purchase

rofessional reflectors, or you can create your own (read on to find out how). The

urpose of a reflector is to bounce light from a primary light source onto your subject.

Any light-colored or reflective surface will do this. The trick is finding the right surface

nd positioning it correctly to achieve the effect you want. You could use a square of metal or glass or even a mirror as a reflector, but these surfaces are too reflective for 

most portraits. For a photographic reflector, you want something that bounces and

iffuses light, but doesn't focus it.

Build Your Own

To build your own reflector, you need a piece of foam core (available at art and craft

upply stores), two A-clamps (available at any hardware store), and a light stand.

After you gather the materials, do the following:

Cut the foam core to 18 x 18 inches. This size is small enough to be1.

maneuverable but large enough to reflect light across your subject.

Extend the legs on the light stand and raise the midsection to about 6 feet.2.

 Adjust the stand to whatever height you need. If you don't have a light stand,

you can use any tall, stable stand. Floor lamps work well -- just be sure they're

not lit.

 Attach one A-clamp to the light stand to serve as a cross piece.3.

Using the second A-clamp, attach the foam core to the first A-clamp.4.

f you need the reflector positioned below your subject, you can prop the foam core

n a stack of books until you achieve the proper angle.

Moving On

n this lesson, you learned how to create lighting effects in a studio setting, how to

nd flattering outdoor light, and how to build a simple reflector. Lesson 4 will explain

ow to choose appropriate camera settings so that your portraits turn out great.

Before moving on, complete the assignment and quiz for this lesson, and then stop

y the Message Board to see what your classmates and instructor are up to. See you

here.

DSLR Digital Cameras

In the revolutionarynew Sony® α (alpha)

cameras, Sony's

mastery of digital

technology combines

with Minolta's

legendary SLR

technology -- including

autofocus and anti-

shake compatibility with

over 20 years of A-

mount lenses sold

worldwide.

Cyber-shot® DSC-H5

Digital Camera

Powerful cameras with

advanced optics and

controls.

Assignment #1

Take a pair of portraits with identical lighting except for the position of the key light. For the first

ortrait, use a broad lighting scheme. For the second, use a short lighting scheme. Compare the

wo portraits and note the differences in the apparent weight of the subject's face.

Quiz: #1

Question 1:

What are some basic types of light used in portrait photography? (Check all that apply.)

A) Key light

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B) Effect light

C) Fill light

D) Top light

E) Background light

Question 2:

True or False: You must have a secondary fill light when taking backlit photographs.

) True

B) False

Question 3:

What are the three elements of light that you should consider? (Check all that apply.)

) Strength

B) Heat

C) Color  

D) Direction

Select Appropriate Camera Settings

The automatic settings on today's digital cameras do a reasonably good job capturing images; however, you

an greatly improve your photos by adjusting some settings manually. This lesson focuses on shooting modes,

perture, ISO settings, and more.

 

Select the Shooting Mode

Basic digital cameras -- also referred to as point-and-shoot models -- take reasonably

ood photographs. However, if you're serious about taking great portraits, you should

move up to a DSLR (digital single lens reflex) model. SLR is a term used with film

ameras and is a system of lenses and mirrors that show the photographer exactly

he image that will be recorded on film. Digital point-and-shoot cameras show a close

pproximation of the actual image through a viewfinder. DSLR cameras also show

ou the exact image to be recorded and give you a lot more control over the details

han a simple point-and-shoot digital camera. Those details are discussed throughout

his lesson.

The first thing you'll find when working with a DSLR camera is that it has several

hooting modes available. If you leave it on auto or program mode, it acts just like a

oint-and-shoot camera. You'll get reasonably good photographs without a lot of fuss.

However, if you're taking specialized photographs, you should learn to use the proper 

mode with preset aperture and shutter speeds that work well for most photographs of 

given type.

Most DSLR cameras come with portrait, landscape, sunset, and night view

modes. However, just because the camera has a preset portrait mode, don't feel

as if you have to stick to the preset values when you're taking portraits. The

shooting mode is just a starting point.

Now that you understand the basics of your camera's built-in shooting modes, read

n to learn how to select the appropriate aperture for your photograph.

DSLR Accessories

 All of the special tools

you need to complete

the picture.

Digital Camera

Batteries

Get long lasting power 

for your digital camera.

Sony batteries are fast

charging, long lasting

and lightweight.

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Select the Appropriate Aperture

Your camera's built-in shooting modes give you a starting point for various types of 

hotographs; however, it's essential to learn how to select the best aperture settingor the image you want.

Aperture refers to the size of the diaphragm in the lens. The diaphragm size is

mportant because it controls the amount of light allowed to hit the image sensor in a

iven amount of time.

The shutter speed controls how much time light has to reach the image sensor.

You'll learn about shutter speeds later in this lesson.

Changes in the aperture level are called f-stops, which effectively double or halve the

mount of light allowed to reach the sensor. The shutter speed automatically adjusts

o changes in aperture. A higher aperture setting closes the diaphragm, allowing less

ght to reach the sensor. The shutter speed adjusts, slowing down to allow more time

or the light to reach the sensor.

What does all this mean for your photographs? Aperture settings affect the depth of 

eld of your images. A high aperture setting, such as f/22, maximizes the amount of 

he image that's in sharp focus but slows down your shutter speed. A slow shutter 

peed can result in blurred images if your subject moves, a slight breeze blows their 

air, or if your hand shakes slightly.

A tripod is essential equipment for shooting at high aperture/slow shutter speeds.

On the other hand, a very low aperture setting results in a fast shutter speed but a

ery narrow depth of field. This means that only the very center of your photograph

will be in sharp focus. For portraits, this is sometimes desirable. An image in which

he face is in sharp focus but the rest of the image is hazy can give a romantic,

dealized impression. However, it can also look out of focus, depending on other 

actors such as lighting, pose, and setting.

Now that you understand aperture, read on to learn how to select the ideal focal

ength for your portraits.

Memory Stick Media

High-speed, high-

capacity compact

media.

Digital Camera Flashes

Brighten up your 

photography with the

right flash for your 

Sony digital camera.

 

Select the Focal Length

Controlling aperture settings is one of the main advantages of a DSLR camera. Focal

ength and the ability to use specialized lenses is another.

There are a wide variety of lenses available for DSLR cameras. The most common

tarter lens is a zoom lens that covers a range of focal lengths from wide-angle to

elephoto and has a variable aperture. Both extremes have their place in portrait

hotography, as do the middle ranges. The focal length determines how much of the

cene is captured in the photograph.DSLR Digital Cameras

In the revolutionary

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In most cases, if you have an SLR film camera, the lenses you bought for it will

work with a DSLR camera too. Check your camera's documentation to be sure.

Wide-Angle

n portrait photography, a wide-angle focal length has two main uses: indoor scenes

nd group portraits. For indoor scenes, a wide-angle lens (or the wide-angle setting

n a variable zoom lens) captures more of the room than a midrange focal length.The difference between a photograph shot with a wide-angle lens and one shot with a

midrange lens is similar to the difference between watching a movie in widescreen

mode and the same movie in standard mode. You see more detail on the edges.

Wide-angle lenses are also useful for large group portraits. The shorter focal length

nables you to fit more people into the frame without your subjects looking as if 

hey're being shoved together.

Midrange

Midrange focal lengths are useful for smaller groups and individual portraits in which

etting a large scene into the frame isn't a concern.

Telephoto

Telephoto lenses aren't used often in portrait photography; however, they do have

heir uses for outdoor portraits. If your composition calls for the subject to be posed in

rugged area where it would be difficult to set up your equipment, a telephoto lensives you the flexibility of shooting pictures from more amenable ground. Action

ortraits, where the subject is photographed while mountain climbing, jet skiing,

ayaking, or snowboarding, also call for a telephoto lens.

Once you've selected your aperture and focal length, you need to consider which ISO

etting to use. Read on to learn more.

new Sony® α (alpha)

cameras, Sony's

mastery of digital

technology combines

with Minolta's

legendary SLR

technology -- including

autofocus and anti-

shake compatibility

with over 20 years of 

 A-mount lenses sold

worldwide.

Cyber-shot® DSC-H5

Digital Camera

Powerful cameras with

advanced optics and

controls.

 

Select ISO Settings

Your camera's ISO setting is a measure of how sensitive it is to light. Aperture and

hutter speed control how much light reaches the light sensor in your camera. The

SO setting controls how sensitive that sensor is -- how much light it records. Higher 

SO settings record more light; however, they can also record more noise, resulting in

rainy or noisy images. Why would you use a higher ISO setting? There are two main

urposes to a higher ISO setting: low light and creative techniques.

Low Light

n low-light situations, due to low natural light or intentionally low studio lighting, your 

amera needs to record more light to produce a clear image. You can either change

he aperture and shutter speed, which will change the depth of field, or raise the ISO

etting so that more of the light that reaches the sensor is recorded. Without raising

he ISO setting, the image will simply be too dark. Newer DSLR cameras have

DSLR Accessories

 All of the special tools

you need to complete

the picture.

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mproved the quality of images produced at higher ISO settings so even the highest

SO settings are useful in low light situations.

Creative Techniques

Sometimes a little noise can be a good thing. If your intention is to create an image

hat looks antique, the noise produced at very high ISO settings contribute to that

ffect once you convert the image to black and white. It's often worth taking a few

hots at a high ISO setting just to see what you can do with them in an image editor,

uch as Adobe® Photoshop®. The images might not turn into anything great, but you

aven't lost anything by taking the shots.

ncreasing your camera's ISO setting is one way to increase the amount of light in

our photograph. Adding a flash is another way; however, it can produce unwanted

ide effects. The next section covers tips for using a flash.

Digital Camera

Batteries

Get long lasting power 

for your digital camera.

Sony batteries are fast

charging, long lasting

and lightweight.

 

To Flash or Not to Flash

Your point-and-shoot digital camera probably has a flash, so you're familiar with what

does. It adds light when you're taking photographs in low light. However, with point-

nd-shoot digital cameras, you often have little or no control over when the flash goes

ff. It's set to go off any time the available light dips below a preset level. Like many

ther things with DSLR cameras, you have complete control over whether or not the

ash is used. You can also control:

The type of flash

When the flash goes off 

The direction the flash is pointed

Most entry-level DSLR cameras have a built-in flash. It's usually sufficient for adding

ght to low-light situations and for filling in shadows; however, it doesn't give you as

much flexibility as an external flash. Built-in flash units are generally less powerful

han external units, which means you have to get a lot closer to your subject for the

ash to illuminate the scene.

External flash units often have a swivel feature that enables you to bounce the

flash off the ceiling or a bounce card. This softens the light, eliminating the

shadows caused by harsher, direct flash lighting.

Your DSLR camera has a maximum synch speed, which is the fastest shutter speed

ou can use with the flash and still get a complete image. If you try to shoot at a

igher speed, you end up with the lower half of the image blacked out because the

hutter began to close before the flash went off. You can also set the synch mode so

hat the flash fires at the beginning of the exposure or at the end. Rear synch, which

res the flash at the end of the exposure, is most useful for fast-moving subjects.

n the end, whether you use a flash to increase the light in your photograph or 

ncrease your ISO setting is a matter of choice. Take a few shots using both

echniques to determine which technique produces the effect you want.

Now that you know some of the advantages and disadvantages to using a flash, how

o select the ideal ISO, aperture, shooting mode, and focal length for your 

hotograph, read on to get some tips on controlling red eye, choosing a focus point,

nd more.

Digital Photo Printers

Capture, enhance, and

print superb digital

images with a Sony

Photo Printer.

Digital Camera Lenses

Expand your camera's

optical range with a

high quality lens.

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Control Red Eye, Focus Point Selection, and More

You've learned a lot about your camera in this lesson, so we'll wrap things up by

ishing out a few last-minute tips.

Controlling Red Eye

Red eye is caused when a flash is too close to the camera lens while an image is

aptured, as is the case with a built-in flash. Most digital cameras -- DSLR and point-

nd-shoot -- come with a red-eye correction feature built in. The best way to control

ed eye is to prevent it by using an external flash, bouncing the flash off the ceiling or 

bounce card, or increasing your ISO setting to record more available light. You can

lso reduce the effect of red eye in an image editor after the fact.

Selecting a Focus Point

When you take a photograph, you choose a focal point -- usually your subject -- and

ccept that other parts of the image will be slightly out of focus. Your camera does

ome of this for you automatically when it evaluates the light in the image and

hooses an exposure level.

DSLR cameras use a variety of methods to determine the optimal exposure based on

he light levels in the scene you're photographing. Evaluative, or honeycomb,

metering divides the image into a number of segments and then averages the light

meter readings from each of them. This gives the best overall exposure. Center-

weighted metering works the same way, except that segments in the center of therame are weighted more heavily than those at the edges. This gives you a more

ccurate light reading in the center of the image. Higher-end cameras include a spot-

metering option that enables you to choose a spot within the frame to take a light

meter reading and determine optimal exposure.

n Summary

There are far more settings and options available on your DSLR camera than can be

overed adequately in this course. The best way to learn what you and your cameraan do is to get out and take some portraits. Experiment with various settings and

ombinations and see what happens. Then, import your images into an image editor 

ke Photoshop® and experiment further with color correction, balance, and special

ffects.

Moving On

Congratulations -- you've completed this course and learned a lot about taking great

ortraits. Before moving on, complete the assignment for this lesson and then take

he quiz, which helps reinforce what you learned. You also have a great resource inhe form of the Message Board where you can interact with your fellow students and

our instructor. See you there.

DSLR Digital Cameras

In the revolutionary

new Sony® α (alpha)

cameras, Sony's

mastery of digital

technology combines

with Minolta's

legendary SLR

technology -- including

autofocus and anti-

shake compatibility

with over 20 years of 

 A-mount lenses sold

worldwide.

Cyber-shot® Full-

Featured Line

Powerful cameras with

advanced optics and

controls.

Assignment #1

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Take a series of three to five portraits using your camera's range of apertures. Compare the

ifferences in the final images. Do the images look the way you expect them to? What are the

most noticeable differences between the image taken at the lowest aperture and the one taken at

he highest aperture?

Quiz: #1

Question 1:

What's an f-stop?

A) The maximum amount of light the camera can record

B) Changes in the aperture level

C) Changes in the focal length

D) Changes in the ISO setting

Question 2:

For an action portrait in which the subject is snowboarding, which type of lens should you use?

A) Telephoto

B) Midrange

C) Wide-angle

D) DSLR

Question 3:

What's the primary cause of red eye?

A) Direct overhead lighting

B) A flash that's too close to the camera lens

C) Incorrect light metering

D) A shallow depth of field

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