Photography is the art, application, and practice of creating images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film.
No matter the brand or price tag, cameras all work in roughly the same way. Understanding the simple mechanics of how cameras work will help you get the best possible results out of yours.
But before you head out to start taking photos, you need to understand the six essential elements involved in recording an image.
Understanding these requirements, regardless of whether youβre shooting on a DSLR, compact camera or iPhone, will make your photography so much better. These requirements are:
Once you understand these concepts and how they relate to one another, you can better start to understand how cameras work.
Exposure refers to the brightness or darkness of an image. When an image looks too bright, it is overexposed. When it looks too dark, it is underexposed.
We can control the exposure of an image using the two main mechanical functions of a camera: shutter speed and aperture. Using these two functions, either individually or in combination, allows us to control the amount of light that reaches the recording medium, as you can see in the video above.
Shutter speed (sometimes called βexposure timeβ) determines how long the shutter on your camera stays open when you take a photo. The slower the shutter speed, the longer the shutter stays open, the more light reaches the recording medium. Faster shutter speeds mean the shutter stays open for a shorter duration, allowing less light to be recorded.
Aperture refers to the opening in a lens through which light passes before reaching the recording medium. The greater the aperture, the more light passes through. Aperture is recorded in 'f-stops' and shown as f1.2, f5.6, f16, etc.
To expose an image correctly, you need to find the right balance between shutter speed and aperture. You can do this using your camera in Manual mode and referring to the built-in light meter (as shown in the video above).
As you search for the right exposure, you can add or subtract βstopsβ of light by changing the aperture or shutter speed.
A change in any setting that doubles or halves the amount of recorded light is known as a one-stop change. For example, a change in shutter speed from 1/125 to 1/250 will decrease the exposure by one stop. Another example would be opening the aperture from f16 to f8, which will result in a two-stop increase in exposure.
Once youβve understood aperture, shutter speed and one-stop changes, the next step is to learn how how to find the right exposure. This is something many photographers struggle with.
Of course, photography is a creative art, and you are free to expose your images however you choose. But if you are looking for objectively βcorrectβ exposure, there are tools you can use.
One is your cameraβs built-in light meter, which you can see through your viewfinder. Most cameras have a meter from -3 to +3 stops, with 0 indicating the βcorrectβ exposure (according to your camera). Anything to the left of 0 (in the minus) is considered to be underexposed and anything to the right (in the plus) is considered to be overexposed.
Another tool for judging exposure is the histogram, which you can refer to after youβve taken your picture. A correctly exposed image will have a histogram that is evenly spread from edge to edge without any gaps.
The left side of the histogram represents the blacks and shadows in an image, while the right side represents the whites and highlights.
You can view the histogram for an image on your camera or in photo editing software.
Here you can see a histogram on the back of a camera.
Donβt get too caught up in what your light meter or histogram are telling you. Why not? Because the scene or subject youβre photographing can often confuse your camera.
For example, your camera might suggest that a shot of a white cat in the snow is overexposed and overcompensate until you have a grey cat on grey snow. Similarly, it might also struggle with something like a black dog on a black blanket and try to increase the exposure until you have a grey dog and grey blanket.
Remember that itβs your image and you should make the creative decisions β not your camera. Over time, with practice, youβll be able to judge what exposure you want and how to achieve it.
Quick question for this chapter.
You have 4 question to be answer.
Also known as βexposure timeβ, shutter speed is measured in seconds or fractions of a second (tenths, hundredths, or thousands). For example, a slow shutter speed of 1/2 means the shutter remains open for half a second, while a faster speed of 1/2000 means it only remains open for one-two-thousandth of a second.
Some DSLR cameras can go as fast as 1/8000 and as slow as 30β. If youβre shooting in Bulb mode, the shutter remains open for as long as you press the shutter release.
A slow shutter speed keeps the shutter open for longer. This not only allows more light to be recorded, it also means any moving objects will appear blurred. Slow shutter speeds are commonly used for photographing in low light conditions, or to capture motion blur. To avoid any unwanted extra blurring caused by camera movement, be sure to use a tripod when shooting with slow shutter speeds.
Slow shutter speeds can be used for creative techniques such as panning, or combined with flash to capture both frozen and blurred movement.
A good rule of thumb is to avoid using a shutter speed value below that of your focal length. For example, if youβre shooting with a 50mm lens, donβt go lower then 1/50. If youβre shooting with a 200mm lens, donβt go lower than 1/200. If you do, it might be necessary to use a tripod.
If youβre shooting in Auto, the shutter speed (along with the aperture) is determined automatically by your camera.
If you want to get out of Auto mode and experiment with shutter speed without worrying about aperture, you can use Shutter Priority mode (shown as TV or S). Great for beginners, this mode is also used by professionals shooting in conditions where the light changes quickly and often.
In Manual mode, you set both shutter speed and aperture yourself. On DSLR cameras, you can see the shutter speed on the top LCD panel, on the back screen and through the viewfinder.
How you set the shutter speed varies from camera to camera. Some cameras even allow you to set which control wheel you use.
The optimum shutter speed for a given image will depend on what and where youβre photographing. If youβre photographing fast moving objects and looking to freeze motion, a fast shutter speed will be best. However, this will limit the amount of light reaching the sensor, so you will likely need to compensate by using a wider aperture.
From the example of the bicycle shown in the video, we can see a shutter speed of 1/30th results in a good amount of motion blur. However, at f16 the picture is too dark.
To correct this, we needed to open the aperture to allow more light in. A one- stop change, from f16 to f11, meant we were able to keep the same level of motion blur while lightening the image and therefore achieving the correct exposure.
This demonstrates why understanding f-stop changes, and the relationship between shutter speed and aperture, is so important.
You can set the focus manually by adjusting the focus ring of your lens. Manual focus is useful when your camera has difficulty focusing, or when youβre taking a series of images in which you donβt want the focus to change.
Autofocus refers to the mechanism that automatically moves the elements within the lens in order to achieve the best focus. This is done through a series of autofocus points that are visible through the viewfinder. The camera (or photographer) selects a particular focus point and this is used to achieve focus.
Above are two examples of what you can expect to see through your viewfinder. This not only shows how different cameras have different focus layouts, but also how they have a different number of focus points for you to choose from.
Your camera automatically selects a focus point in one of two ways:
Phase detection: This is the system most commonly found in DSLR cameras. Phase detection is very fast, which makes it great for tracking moving objects. Although the system doesnβt always get it right, this technology continues to improve.
Contrast detection: This system is commonly used in mirrorless cameras, point-and-shoot cameras, DSLRs in live view mode and smartphone cameras. Much simpler than phase detection, it is slower but much more accurate, which makes it far better suited to genres like product or landscape photography.
Different cameras have different focus systems, and different focus points. Depending on the focus mode you choose, you or the camera can choose the best point of focus. Some modern cameras also feature eye detection, which can be very useful as they eyes are often the best place to focus.
When youβre using autofocus, there are a number of different modes to choose from. Each is best suited to particular scenarios.
Single shot/Single-servo focus mode: Only one focus point is used to determine focus. This does not change until you refocus. This is shown as βOne-Shotβ on Canon / βAF-Sβ on Nikon.
When selecting your focus, itβs important to think about two specific things: your subject and depth of field. What do you want to be in focus, and how much of the subject do you want to be sharp?
Depth of field (controlled by adjusting the aperture) will increase or decrease the sharpness either side of your focus point. Weβll look at this in more detail in the next chapter.
As we discussed in chapter 1, aperture refers to the opening through which light passes before hitting your cameraβs sensor. By controlling the size of that opening, we can control how much light is recorded in an image as well as the depth of field.
The larger the aperture, the more light is recorded and the shallower the depth of field. With smaller apertures, less light is recorded and the depth of field is greater. Aperture is recorded in f-stops and is shown by the symbol βf'.
Large aperture size = Smaller f-stop number = Shallower DoF
Small aperture size = Larger f-stop number = Deeper DoF
What is depth of field?
There are three different factors that influence depth of field β aperture, distance from your subject and magnification. First, letβs look at how to change your depth of field using different aperture settings.
If youβre shooting in Auto mode, your camera will decide the βbestβ aperture for you. If youβre shooting in Aperture Priority mode, you can simply set the aperture by using your cameraβs control dial and your camera will automatically determine the shutter speed.
If youβre shooting in Manual mode, you have the greatest level of creative control, but you have to balance your aperture and shutter speed to get the best exposure. In any of these modes, you can simply adjust your aperture using either the front or back control wheel of your camera.
DoF is also dependent on the distance from your subject. The closer you are to the subject, the shallower your depth of field will be. Shooting from further away will give a much greater depth of field. This is due to magnification.
Magnification can refer to the sensor size, focal length and distance from the subject. For example, a larger sensor size, longer focal length or closer focusing distance will result in shallower depth of field. At the same aperture, full-frame cameras will have a shallower depth of field compared to crop-sensor cameras. Again, at the same aperture, medium-format cameras will have an even shallower depth of field than full frame cameras.
Another factor in depth of field is your choice of lens. Different lenses have different depth of field characteristics, which is caused by the magnification of the lens. The greater the magnification (as with telephoto lenses), the shallower the depth of field, and vice versa.
This means that if youβre shooting at f4 using a 24mm focal length 10m from your subject, you will have much greater depth of field than if you were shooting f4 using a 200mm focal length at a distance of 10m.
Now that you understand the fundamental concepts of shutter speed, aperture and exposure, youβre ready to start using your camera in Manual mode!
The best thing about working in Manual mode is that you have full control. By simply adjusting shutter speed or aperture, youβll be able to fine-tune each little detail of your image.
If you want to achieve beautiful images with soft bokeh backgrounds, blur motion to get silky smooth water shots, or get crisp, sharp action images, all you need to do is adjust your settings.
All you need to do is switch to βMβ on your camera dial. Now, you have full control. But with great power comes great responsibility! Your camera will no longer automatically adjust anything for you.
The first step is to think about what youβre shooting. Are you photographing a landscape where you want a large depth of field? Or are you photographing motorbikes, where you need a fast shutter speed to freeze the action?
Full image.
Cropped image.
In the landscape image above (which you can see me shoot in the video), I decided to use a shutter speed of four seconds. This allowed me to capture some motion blur in the waves. As the light decreased with the setting sun, I had to adjust my aperture in order to maintain the four- second exposure. While I could have adjusted the shutter speed, I knew that if I slowed it any further I would get too much motion blur.
You can clearly see the effect of that four-second exposure in the cropped image. The slower shutter allowed me to capture some of the movement in the water, creating a smooth, silky effect. This was a creative decision that I could only have achieved by shooting in manual.
The advantage of shooting in manual is that it gives you precise control over your images. You can select the exact exposure, depth of field, or amount of motion blur, without leaving anything to chance.
But by making these decisions yourself, it's important that you understand how to compensate for any adjustments you make. Any change in exposure β whether achieved by adjusting shutter speed or aperture β will need to be balanced with an equal change in the other setting.
To begin with, while youβre still getting to grips with shooting in manual mode, you may need to check your images to see that youβre achieving the correct exposure.
Now you understand how to control the different settings on your camera and shoot in Manual, the next step is to take a look at how different lenses can influence your shot.
Lenses focus the light onto the recording medium, which allows an image to be recorded. As youβll see from the illustration of a DSLR camera below, light enters the lens and passes through the front element (2) before reaching several lens elements (3, 5 & 6).
These elements serve to direct the light to a single focal point so that it can accurately be recorded by the sensor (9) once the mirror (7) flips up (triggered when you press the shutter button). Mirrorless cameras work the same way, but do not have the mirror or prism.
Now you understand how a lens works, you might be wondering what all the numbers (and letters) on a lens mean.
Typically, lens names are formatted like this: Canon EF 24-70mm f/2.8L II USM Lens or Nikon AF-S 50mm f/1.8G. Each of these numbers and letters relays essential information, such as focal length, maximum aperture, lens version and focusing motor. Other features specified can include stabilisation, filter diameter and focusing distances.
Prime (or fixed) lenses feature a fixed focal length. Available in a range of focal lengths, these lenses are known for delivering high-quality images. They also generally offer much wider apertures than zoom lenses do.
Zoom lenses provide a variety of focal lengths. This makes them very versatile and reduces the need for multiple lenses.
Focal length is usually indicated both on the side of the lens barrel and sometimes on the front of the lens, along with the lens diameter.
Focal lengths range from 8mm to 2000mm. Different lengths are better suited to different genres of photography.
Lenses with shorter focal lengths provide a much wider angle of view and less magnification. This makes them better suited to landscapes than to product photography.
Longer focal lengths offer a narrower angle of view and more magnification, which means they are better suited to sport or wildlife photography than architectural photography.
Aperture refers to the opening in the lens that controls how much light reaches the sensor. This is indicated in the format 1:2.8, for example, with the second set of numbers indicating the maximum aperture.
Some lenses will feature two maximum apertures (shown as 1:4-5.6). This means that, as you zoom, the aperture capability changes. So at the shortest focal length, you may be able to shoot at f4, but once you zoom to the longest focal length, the widest aperture youβll be able to shoot at will be f5.6. Generally lenses with wider apertures are favourable due to their increased light-capturing capabilities.
Some lenses feature a fixed aperture. Catadioptric, or mirror lenses, which used to be fairly common, usually feature a longer focal length, such as 500mm at a fixed aperture of f6.3. Most telescopes are catadioptric.
Throughout this course, weβre referring to six essentials of photography. However, it is important to mention that this could in fact be five! Why? Because images can be recorded without a lens on so-called pinhole cameras (or camera obscuras).
However, recording an image without a lens is far more complex, and doesnβt afford the photographer the same creative freedom. Essentially, without a lens, you're shooting at a very small fixed aperture. Thanks to the variations in magnification they offer, lenses allow us to shoot many different objects, which simply wouldnβt be possible with a camera obscura.
Understanding light and learning to paying attention to it is one of the quickest ways to improve your photography.
βLight makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.β George Eastman, founder of Kodak
Light is what allows us to convey information and, more importantly, emotion in an image. Once you understand light, youβll be able create a wide variety of creative and effective images.
Light is all around us. It comes from a variety of sources, both natural and man-made, and we can use it to create different moods and atmospheres in our images.
There are four main categories of light:
1. Transmitted light is light that you can see emitted from its source. This means we can see the light source itself in the picture, e.g. a candle or the sun.
2. Reflected light occurs when light reflects off your subject. Almost all of the photographs we take make use of reflected light. Occasionally, transmitted light can also be visible in the same scene.
For example, a landscape image featuring the setting sun visible would include both transmitted and reflected light. However, if the sun was not visible in the frame, it would only be reflected light.
3. Hard light comes from a light source that is small compared to your subject, e.g. a light bulb or the (distant!) sun on a clear day. It results in very dark, very sharp shadows. Used correctly, hard light can be good for revealing textures in objects.
4. Soft light comes from a light source that is large compared to your subject. It produces light that is low in contrast, with minimal shadows. The sun on an overcast day provides soft light because the clouds serve to diffuse the light, spreading it over a much larger area and therefore creating a large apparent light source.
The direction, hardness or softness, and temperature of light can all have an impact on the mood and feeling of an image.
Side light, for example, evokes feelings of romance and nostalgia, whereas light from below creates a sense of fear. Hard shadows create more drama than soft shadows, and cool colour tones convey more negative emotions than warm light.
As photographers, there are a number of different ways we can control natural light to help us get the result we want.
One of these is planning. By planning ahead, youβll be able to get the best type of light for your shot. For example, if you want warm, golden light with long shadows, you should be shooting sunrise or sunset. If you want a subtler light with softer shadows, wait for a cloudy day β or work indoors, as Karl does in the video.
You can also control natural light with reflectors. These simple accessories can be great for adding more light to your subject (or, if you use a dark reflector, darkening your scene).
Alternatively, diffusion material spreads light and soften shadows, much like clouds on an overcast day.
When working with different types of light, itβs important to keep white balance in mind. Why? Because different types of light produce very different colours.
To compensate for different colour temperates, you can use the different colour balance settings on your camera. Auto white balance automatically corrects the colour cast caused by different colour temperatures, though there are other presets such as daylight, shade, tungsten or flash, for example.
You can also control white balance manually using the Kelvin scale, which ranges from 1000K to 10,000K. The higher the Kelvin value, the bluer the light.
For example, if youβre shooting on an overcast day, using a lower Kelvin value will make your image appear bluer. Therefore, to make your image appear more neutral, you'll need to use a Kelvin value of around 7000 - 9000K.
An image is recorded when light passes through the lens and reaches the recording medium. Through composition and framing (which youβll learn about in the next chapter), and also by adjusting the aperture and shutter speed, we can control how this image looks. What we cannot completely control is the image quality.
Thatβs because image quality is mostly determined by factors such as the sensor itself, the resolution (number of megapixels) and ISO.
If you want to understand image quality, you need to understand each of these factors.
The two main sensor types are CCD (Charge-Coupled Device) sensors and CMOS (Complementary Metal-Oxide Semiconductor) sensors.
Until recently, CCD sensors were the most commonly used type of sensor due to their excellent image quality, dynamic range and noise control. However, as technology has progressed, CMOS sensors have taken over.
Generally speaking, larger sensors offer higher quality, while smaller sensors provide a more budget-friendly option, while still delivering great results.
Crop-sensor cameras, also referred to as APS-C, come with the smallest sensors. With sensor dimensions of approximately 23.5mm x 15.6mm (compared to 36mm x 24mm full-frame sensors), these cameras are smaller, lighter and more affordable than their full-frame counterparts.
Full-frame sensors do not have a pre-determined crop. Because they are larger than crop sensors, they offer better image quality and enhanced performance in low-light conditions.
The largest sensors are found in so-called medium-format cameras. The benefit of these 53.4mm x 40mm sensors is that they allow for much higher resolution compared to cameras with smaller sensors. Mostly used by professionals, these cameras offer very high quality results, but are also more expensive than crop-sensor or full-frame cameras.
An example of a 100 megapixel image.
One megapixel is made up of a million pixels. This means that a 24-megapixel camera will record an image that is made up of 24 million pixels, while a 16-megapixel camera will record an image with only 16 million pixels. Each individual pixel contains information that contributes to the image as a whole.
When it comes to image quality, the number of megapixels is not the only thing that matters. Also important is the size of the photosites. Photosites, which record pixels, are measured in microns (Β΅m). Their size is largely determined by the sensor size.
Cameras with smaller photosites may perform worse in low-light conditions. They may also suffer more diffraction when youβre shooting at small apertures. Larger photosites allow for a larger transitional tonal value, greater tonal accuracy and better colour accuracy.
Contrary to popular belief, βresolutionβ does not simply refer to the number of megapixels. Instead, it refers to how clearly the medium can capture and record detail.
For example, by simply using two different versions of the same lens on the same camera, we could change the resolution. An image shot with an older lens will have a lower resolution than the same image shot with a newer model lens with a better optical design. The same number of megapixels will be recorded (because it is the same camera), but the newer lens design will likely give better contrast, colour fidelity and overall sharpness.
ISO measures how sensitive the recording medium is to light. Just as film comes with different sensitivities, digital cameras can be made more or less sensitive to light by adjusting the ISO setting.
Higher ISOs mean greater sensitivity to light, while lower ISOs mean less. Though increased sensitivity may sound good in theory, higher ISOs can lead to lower image quality. This is typically due to βnoiseβ, especially in the shadow tones.
Like shutter speed and aperture, camera ISO can also impact the exposure of an image. However, it should not be used as a tool to do this, except as a last resort.
Although it can be very useful in low-light conditions, the ISO setting should not be relied on due to its impact on image quality. It is far better to get your exposure correct using shutter speed and aperture where possible.
Also important for image quality the file format you shoot in: JPEG or RAW.
Although both file types contain the same number of pixels, RAW files store far more information within those pixels than JPEG images do. This means RAW files give us far more control in the post-production stage, which can be very useful if you want to make changes to your pictures after shooting.
One of the main drawbacks of JPEG files is compression, which can sometimes result in βpixel clumpingβ. This occurs when pixels of a similar tone are grouped together. Although clumping may not initially be apparent, it becomes more obvious and problematic as soon as we start to adjust colour and exposure in post-production.
Although JPEGs may not allow us to extract as much colour detail as RAW files (especially in highlight or shadow areas), they are still popular among photographers β such as wedding or sports photographers β shooting large quantities of images in a session. As you may have guessed, this is because, due to their compression, JPEG files are much smaller. This means you can fit many more JPEGs on a memory card than you can RAW files.
Though all of these factors contribute to image quality, you donβt have to shoot with the camera with the largest sensor, with the most megapixels, at the lowest camera ISO. In other words, donβt be put off if you donβt have a fancy camera!
The fact is, most of the cameras on the market today are of exceptionally high quality. And besides, equipment is only one part of the photography puzzle. With the right knowledge, you can create amazing images with any camera.
Composition refers to how we lay the picture out and how we position subjects within the frame to get the most aesthetically pleasing results.
The purpose of good composition is to guide the viewerβs eye through the picture. We can achieve this through careful framing, arrangement and placement.
Although there are many well-known compositional guidelines (such as the rule of thirds or golden ratio), they are simply that β guidelines. Some of the best images completely ignore traditional compositional conventions. So why is it important to know and understand them?
Following compositional guidelines doesnβt guarantee a great image. But it will give you a much better chance of capturing a good one.
The rule of thirds divides the image into three rows of three, splitting the image into nine equal blocks. The idea is to position important elements so that they fall either on the dividing lines or at the points of intersection.
Placing objects within these areas helps to create more interest in the image than if you were to simply centre your primary subject.
Golden ratio
The golden ratio is a mathematical formula that relates to Phi (1.6180339β¦). Two quantities (a and b) fit the golden ratio if b is to a what a is to the sum of a + b. In this ratio, a is 1.6180339 times bigger than b. This formula forms the basis for other compositional rules, such as the golden spiral and even to some extent the rule of thirds.
Golden spiral
Developed by Fibonacci, the golden spiral is, contrary to its name, composed out of a series of Phi Grids. These grids determine the path of a snail-shaped spiral (known as the Fibonacci Spiral), which guides your eye around the image to the focal point.
In addition to compositional rules, there are a number of compositional techniques you can use when creating your images.
Leading lines are lines (or curves) that guide the viewerβs eye to the subject. From fence posts to winding roads, leading lines can be straight, curved, diagonal or converging. These lines help keep our eye in the frame and draw attention to the subject.
Although it contradicts the rule of thirds, symmetry can be very effective when used correctly. In addition to creating a pleasing sense of harmony in an image, symmetry can help remove or minimise additional distractions and focus the viewerβs eye.
See the images above and below for examples of symmetry.
Colour is an important part of photography. When used creatively, it can help us to achieve some interesting compositional effects. For example, we can use colours to influence the mood and feel of an image, or to draw attention to particular elements within it. Juxtaposing colours can be a particularly effective way of catching the viewerβs attention, as I demonstrate in the video.
In the images above and below, colour theory is used as a compositional technique.
Framing means using secondary elements within an image to frame its primary subject. Itβs a great way to create depth and three-dimensionality. The elements you use to frame your subject add perspective and a sense of scale, as well as additional points of interest.
Your goal as a photographer is to catch and maintain your viewerβs attention by keeping their eye in the frame. In addition to using the compositional rules weβve explored, you can achieve this via various techniques linked to the human visual system, such as left-to-right bias, contrast, narrative, and so on.
Of course, good photography comes down to far more than just good composition. Thatβs why itβs important to understand everything we've covered in this introductory course: how cameras work, how time and aperture can be used together for creative imagery, optics and their differences, the importance of light for conveying emotion and the different types of recording mediums and how these relate to image quality.
Photography is more than a documentation process it is more, it is an art form and should be treated with the same respect as painting, sculpture, and the other well known art forms. Photographs, like paintings, are artificially constructed portrayals: they have to be carefully composed, lit and produced. It's difficult to see why for so long photography struggled to gained its recognition as a legitimate art form. Photographers like other artists show their knowledge of art through the images. We have reached a point in history when photographs are more accessible than anytime before and through the advancements in digital technology taking photographs is easier and more convenient than ever before. Photography deserves respect, its presence and influence in the art world in equivalent to the other forms of art.
It's a good idea to test ourselves from time to time. If you've watched all the contents, you might be surprised how much knowledge you've already acquired.
At the end of the quiz, we'll provide you with an instant score β plus a list of any questions you missed this time around.
Lab Activity:
Activity Outcome: Shot the various types of shot.
Learning Outcomes: CLO1P
This Lab sheet encompasses of activities which is 1.
By the end of this laboratory session, you should be able to:
1. Identify the camera hardware and function.
2. Differentiate the basic shot types.
3. Explain the camera functions.
Duration: 3 hours
Lab Activity:
Learning Outcomes CLO1P
This Lab sheet encompasses of activities which is 2.
By the end of this laboratory session, you should be able to:
1. Identify the camera hardware and function.
2. Differentiate the basic shot types.
3. Explain the camera functions.
Duration: 2 hours
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