This document provides a review for a midterm exam covering topics related to photography. It begins with an outline of the topics that will be on the exam, including parts of the camera, shutter speed, aperture, depth of field, light metering, bracketing, equivalent exposures, darkroom equipment and chemistry, and composition principles. The document then provides explanations and examples for each topic.

1. PHOTO 1
MIDTERM REVIEW!

2. THESE TOPICS
WILL BE ON THE EXAM & ARE
COVERED IN THIS REVIEW
1. Parts of the
Camera
2. Shutter speed
3. Aperture
4. Depth of field
5. Light metering
6. Bracketing
7.
8.
9.
10.
11.
12.
Equivalent exposures
Easels
Parts of the enlarger
Processing film
Darkroom chemistry
Principles of
Composition

3. parts of the camera

4. 1.
3.
5.
6.
2.
4.

5. 1. film advance lever
3.
5.
6.
2.
4.

6. 1. film advance lever
3.
5.
6.
2. shutter speed dial
4.

7. 1. film advance lever
shutter
release
3. button
5.
6.
2. shutter speed dial
4.

8. 1. film advance lever
shutter
release
3. button
5.
6.
2. shutter speed dial
film
4. rewind

9. 1. film advance lever
shutter
release
3. button
aperture
5. ring
6.
2. shutter speed dial
film
4. rewind

10. 1. film advance lever
shutter
release
3. button
aperture
5. ring
6. lens
2. shutter speed dial
film
4. rewind

11. 8.
9.
7.
12.
11.
10.

12. 8.
9.
viewfinder
7.
12.
11.
10.

13. 8. take up spool 9.
viewfinder
7.
12.
11.
10.

14. 8. take up spool 9. camera back
viewfinder
7.
12.
11.
10.

15. 8. take up spool 9. camera back
viewfinder
7.
12.
11.
10. shutter

16. 8. take up spool 9. camera back
viewfinder
7.
12.
11. tripod mount
10. shutter

17. 8. take up spool 9. camera back
viewfinder
7.
rewind
release
12. button
11. tripod mount
10. shutter

18. shutter speed

20. What is this?

21. What is this?
shutter speed dial

22. What is this?
shutter speed dial
What does it do?

23. What is this?
shutter speed dial
What does it do?
controls how long the shutter is
open - in fractions of a second

24. What is this?
shutter speed dial
What does it do?
controls how long the shutter is
open - in fractions of a second
What does shutter speed TECHNICALLY control in
your photograph?

25. What is this?
shutter speed dial
What does it do?
controls how long the shutter is
open - in fractions of a second
What does shutter speed TECHNICALLY control in
your photograph?
how long the shutter is open - how much LIGHT gets in

26. What is this?
shutter speed dial
What does it do?
controls how long the shutter is
open - in fractions of a second
What does shutter speed TECHNICALLY control in
your photograph?
how long the shutter is open - how much LIGHT gets in
What does shutter speed CREATIVELY control in
your photograph?

27. What is this?
shutter speed dial
What does it do?
controls how long the shutter is
open - in fractions of a second
What does shutter speed TECHNICALLY control in
your photograph?
how long the shutter is open - how much LIGHT gets in
What does shutter speed CREATIVELY control in
your photograph?
a sense of MOVEMENT or MOTION

30. What does the “B” stand for?

31. What does the “B” stand for?
“bulb”

32. What does the “B” stand for?
“bulb”
What does it do?

33. What does the “B” stand for?
“bulb”
What does it do?
lets you have complete control
over shutter speed

34. What does the “B” stand for?
“bulb”
What does it do?
lets you have complete control
over shutter speed
How?

35. What does the “B” stand for?
“bulb”
What does it do?
lets you have complete control
over shutter speed
How?
press the shutter release once to open the shutter, then
a second time to close it

36. What does the “B” stand for?
“bulb”
What does it do?
lets you have complete control
over shutter speed
How?
press the shutter release once to open the shutter, then
a second time to close it
When would you use this?

37. What does the “B” stand for?
“bulb”
What does it do?
lets you have complete control
over shutter speed
How?
press the shutter release once to open the shutter, then
a second time to close it
When would you use this?
if you want a REALLY long exposure time - maybe to
show city lights at night, or the movement of water over
a long period of time, etc.

38. What is this?

39. What is this?
a tripod

40. What is this?
a tripod
When do you use this?

41. What is this?
a tripod
When do you use this?
at shutter speeds of 1/60 or below

42. What is this?
a tripod
When do you use this?
at shutter speeds of 1/60 or below
What happens if you don’t?

43. What is this?
a tripod
When do you use this?
at shutter speeds of 1/60 or below
What happens if you don’t?
it will be blurry and you will be disappointed. I promise.

45. If you wanted to take a picture of a running man so
that the action would be “frozen” - what shutter
speed might you try?

46. If you wanted to take a picture of a running man so
that the action would be “frozen” - what shutter
speed might you try?
1/1000

48. What if you wanted to “show movement” - how would
you do that?

49. What if you wanted to “show movement” - how would
you do that? the slower the better - try at least 1 second
if possible (movement will look blurred)

51. You can also show movement using “panning” - what is
panning?

52. You can also show movement using “panning” - what is
panning?
using a slow shutter speed (1/30 or below), move
(“pan”) your camera to follow the moving subject
as you take the picture

53. aperture

55. What is this?

56. What is this?
aperture ring

57. What is this?
aperture ring
What does it do?

58. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops

59. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
A low ƒ-stop number = a _______ size aperture.

60. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
LARGE
A low ƒ-stop number = a _______ size aperture.

61. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
LARGE
A low ƒ-stop number = a _______ size aperture.
What does aperture size TECHNICALLY control in
your photograph?

62. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
LARGE
A low ƒ-stop number = a _______ size aperture.
What does aperture size TECHNICALLY control in
your photograph?
how large an aperture - how much LIGHT gets in

63. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
LARGE
A low ƒ-stop number = a _______ size aperture.
What does aperture size TECHNICALLY control in
your photograph?
how large an aperture - how much LIGHT gets in
What does aperture size CREATIVELY control in
your photograph?

64. What is this?
aperture ring
What does it do?
controls the size of the aperture,
measured in ƒ-stops
LARGE
A low ƒ-stop number = a _______ size aperture.
What does aperture size TECHNICALLY control in
your photograph?
how large an aperture - how much LIGHT gets in
What does aperture size CREATIVELY control in
your photograph?
DEPTH OF FIELD

65. depth of field

66. Depth of Field
ƒ/2
ƒ/8
ƒ/16

67. Depth of Field
• the “wall of focus”
ƒ/2
ƒ/8
ƒ/16

68. Depth of Field
• the “wall of focus”
• how much (forwards and backwards of your subject)
of your image will be in focus
ƒ/2
ƒ/8
ƒ/16

69. Depth of Field

70. Depth of Field

71. Depth of Field
If you want a great
depth of field, what
size aperture should
you use?

72. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL

73. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?

74. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16

75. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16

76. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16
If you want a shallow
depth of field, what
size aperture should
you use?

77. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16
If you want a shallow
depth of field, what
size aperture should
you use? LARGE

78. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16
If you want a shallow
depth of field, what
size aperture should
you use? LARGE
Such as?

79. Depth of Field
If you want a great
depth of field, what
size aperture should
you use? SMALL
Such as?
ƒ/16
If you want a shallow
depth of field, what
size aperture should
you use? LARGE
Such as?
ƒ/2

80. light metering

82. Remember that your camera’s ROBOT EYE (a.k.a. the
light meter/sensor) is not smart enough to guess how
you want the picture to come out.

83. HEY! I’m
standing right
here!
Remember that your camera’s ROBOT EYE (a.k.a. the
light meter/sensor) is not smart enough to guess how
you want the picture to come out.

84. HEY! I’m
standing right
here!
Remember that your camera’s ROBOT EYE (a.k.a. the
light meter/sensor) is not smart enough to guess how
you want the picture to come out.
Meter directly from your subject. It’s a good idea to get
UNCOMFORTABLY CLOSE to your subject, meter,
then back up and re-compose the frame. This is always
important - but especially if your subject is backlit (has
a strong source of light coming from behind it.)

85. bracketing

86. What is bracketing?

87. What is bracketing?
taking the same photograph at different exposures

88. What is bracketing?
taking the same photograph at different exposures
Why would you do this?

89. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you

90. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you
How do you bracket?

91. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you
How do you bracket?
1. light meter

92. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you
How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)

93. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you
How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)

94. What is bracketing?
taking the same photograph at different exposures
Why would you do this?
to make sure you get a good exposure - especially in
situations that are challenging to meter, or for
photographs that are really important to you
How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
4. take the three photographs

95. How do you bracket?

96. How do you bracket?

97. How do you bracket?
1. light meter

98. How do you bracket?
1. light meter
250
ƒ/8

99. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
250
ƒ/8

100. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
250
ƒ/8

101. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
250
ƒ/8

102. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
500
250
ƒ/8

103. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
500
250
ƒ/8
125

104. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
500
250
ƒ/8
4. take the three photographs
125

105. How do you bracket?
1. light meter
2. choose which setting you want to “keep” (aperture
or shutter speed)
3. identify the 3 settings you will use when bracketing
(the one directly across from the “keep,” and also
“one up” and “one down”.)
500
250
125
ƒ/8
4. take the three photographs
ƒ/8 at 1/500
ƒ/8 at 250
ƒ/8 at 125

106. equivalent exposures

107. Equivalent Exposures

108. Equivalent Exposures
What are “equivalent exposures”?

109. Equivalent Exposures
What are “equivalent exposures”?
different combinations of aperture/shutter speed
settings that give you the same exposure (range of
light/dark values)

110. Equivalent Exposures
What are “equivalent exposures”?
different combinations of aperture/shutter speed
settings that give you the same exposure (range of
light/dark values)
Why do they matter?

111. Equivalent Exposures
What are “equivalent exposures”?
different combinations of aperture/shutter speed
settings that give you the same exposure (range of
light/dark values)
Why do they matter?
• to help you make use of your CREATIVE controls
(depth of field and the sense of movement) while still
getting a properly exposed image

112. Equivalent Exposures
What are “equivalent exposures”?
different combinations of aperture/shutter speed
settings that give you the same exposure (range of
light/dark values)
Why do they matter?
• to help you make use of your CREATIVE controls
(depth of field and the sense of movement) while still
getting a properly exposed image
• to help you NOT use a tripod but still get a clear and
properly exposed image

113. USING Equivalent Exposures

114. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.

115. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving,
and your camera’s light meter tells
you that you should use 1/500 and
ƒ/2. This is the picture you get:

116. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving,
and your camera’s light meter tells
you that you should use 1/500 and
ƒ/2. This is the picture you get:

117. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving,
and your camera’s light meter tells
you that you should use 1/500 and
ƒ/2. This is the picture you get:
ƒ/2 and 1/500 sec

118. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving,
and your camera’s light meter tells
you that you should use 1/500 and
ƒ/2. This is the picture you get:
ƒ/2 and 1/500 sec
You’re really happy with the
exposure (the range of light and
dark values) but it totally doesn’t
show motion. Like at all.

119. USING Equivalent Exposures
Let’s say you are asked to shoot a
photograph of a pinwheel in
motion, for the “OMG it’s
SPRING!!!” issue of a local magazine.
You find a pinwheel that is moving,
and your camera’s light meter tells
you that you should use 1/500 and
ƒ/2. This is the picture you get:
ƒ/2 and 1/500 sec
You’re really happy with the
exposure (the range of light and
dark values) but it totally doesn’t
show motion. Like at all.
What should you do?

120. USING Equivalent Exposures

121. USING Equivalent Exposures
ƒ/2 and
1/500 sec

122. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
ƒ/2 and
1/500 sec

123. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
shutter speed
ƒ/2 and
1/500 sec

124. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
shutter speed
What could you do to create the
sense of motion in your
photograph?
ƒ/2 and
1/500 sec

125. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
shutter speed
What could you do to create the
sense of motion in your
photograph?
lower the shutter speed
ƒ/2 and
1/500 sec

126. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
shutter speed
What could you do to create the
sense of motion in your
photograph?
lower the shutter speed
ƒ/2 and
1/500 sec
Since you got the EXPOSURE right, that means you’re happy with
the relationship between your settings, you just need to use the
lowest possible shutter speed you can.

127. USING Equivalent Exposures
What setting was responsible for
“freezing” the motion of the
moving pinwheel?
shutter speed
What could you do to create the
sense of motion in your
photograph?
lower the shutter speed
ƒ/2 and
1/500 sec
Since you got the EXPOSURE right, that means you’re happy with
the relationship between your settings, you just need to use the
lowest possible shutter speed you can.
Use an Equivalent Exposure chart to figure out what aperture and
shutter speed pair you could use which would give you the same
LIGHT as the original settings, but let you use the lowest possible
shutter speed.

128. USING Equivalent Exposures

129. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.

130. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.

131. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.

132. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
ƒ/2
500

133. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
ƒ/2
500

134. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
ƒ/2
ƒ/2
500

135. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500

136. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125

137. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125
60

138. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125
60
30

139. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125
60
30
15

140. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125
60
30
15
8

141. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
500
250
ƒ/2
ƒ/2
500
125
60
30
15
8
4

142. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
ƒ/2
ƒ/2
500
125
60
30
15
8
4

143. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
x
ƒ/2
250
ƒ/2
500
125
60
30
15
8
4

144. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
x
ƒ/2
ƒ/2.8
ƒ/2
500
125
60
30
15
8
4

145. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/2
500
60
30
15
8
4

146. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/2
500
30
15
8
4

147. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/2
500
15
8
4

148. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/2
500
8
4

149. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/2
500
4

150. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500

151. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500

152. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500

153. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500
ƒ/22
4

154. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500
ƒ/22
4

155. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500
ƒ/22
4

156. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
ƒ/2
500
ƒ/22
4

157. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
these images are
equivalent exposures
ƒ/2
500
ƒ/22
4

158. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
these images are
equivalent exposures
ƒ/2
500
ƒ/22
4

159. USING Equivalent Exposures
Use an Equivalent Exposure chart to figure out what aperture and shutter
speed pair you could use which would give you the same LIGHT as the
original settings, but let you use the lowest possible shutter speed.
1000
500
250
125
60
30
15
8
4
x
ƒ/2
ƒ/2.8
ƒ/4
ƒ/5.6
ƒ/8
ƒ/11
ƒ/16
ƒ/22
these images are
equivalent exposures
ƒ/2
500
USE A
TRIPOD
ƒ/22
4

160. the easels

161. Easels

162. Easels
This is a ________ easel.

163. Easels
This is a ________ easel.
CONTACT

164. Easels
This is a ________ easel.
CONTACT
It is used when making:

165. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets

166. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives

167. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives

168. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms

169. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms

170. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
This is a __________________ easel.

171. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.

172. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.
It is used when making:

173. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.
It is used when making:
• enlargements from negatives

174. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.
It is used when making:
• enlargements from negatives
It helps your prints have:

175. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.
It is used when making:
• enlargements from negatives
It helps your prints have:
• neat, white borders

176. Easels
This is a ________ easel.
CONTACT
It is used when making:
• contact sheets
• pinhole positives
• collage negatives
• photograms
PRINTING / MASKING
This is a __________________ easel.
It is used when making:
• enlargements from negatives
It helps your prints have:
• neat, white borders
• regular sizes

177. parts of the enlarger

178. Parts of the Enlarger

179. Parts of the Enlarger

180. lamphouse
Parts of the Enlarger
{

181. lamphouse
Parts of the Enlarger
{

182. lamphouse
Parts of the Enlarger
{

183. lamphouse
{
bellows
{
Parts of the Enlarger

184. lamphouse
{
bellows
{
Parts of the Enlarger

185. lamphouse
{
bellows
{
Parts of the Enlarger

186. lamphouse
{
bellows
{
lens
Parts of the Enlarger

187. lamphouse
{
bellows
{
lens
Parts of the Enlarger

188. lamphouse
negative carrier
goes here
bellows
lens
Parts of the Enlarger
{
{

189. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
Parts of the Enlarger
{
{

190. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{

191. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{

192. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob

193. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down

194. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down

195. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down

196. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus

197. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down

198. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down

199. lamphouse
negative carrier
goes here
bellows
lens
easel goes here
(but which easel??)
Parts of the Enlarger
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down

200. lamphouse
negative carrier
goes here
bellows
lens
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down
easel goes here
(but which easel??)
Parts of the Enlarger
grain focuser

201. lamphouse
negative carrier
goes here
bellows
lens
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down
easel goes here
(but which easel??)
Parts of the Enlarger
grain focuser

202. lamphouse
negative carrier
goes here
bellows
lens
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down
easel goes here
(but which easel??)
Parts of the Enlarger
grain focuser
used to get the sharpest possible print

203. lamphouse
negative carrier
goes here
bellows
lens
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down
easel goes here
(but which easel??)
Parts of the Enlarger
grain focuser
used to get the sharpest possible print

204. lamphouse
negative carrier
goes here
bellows
lens
{
{
height
adjustment
knob
moves EVERYTHING
up and down
fine focus
moves the bellows
up and down
easel goes here
(but which easel??)
Parts of the Enlarger
grain focuser
used to get the sharpest possible print

205. processing film

206. Loading Your Film:
What goes into the changing bag?

207. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)

208. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)

209. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels

210. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels

211. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels
• can opener

212. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels
• can opener

213. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels
• can opener
• your film

214. Loading Your Film:
What goes into the changing bag?
• tank (including lid & post)
• 2 reels
• can opener
• your film

215. Processing Your Film (the SUPER condensed version)

216. Processing Your Film (the SUPER condensed version)
1. Water Rinse

217. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer

218. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath

219. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer

220. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse

221. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash

222. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse

223. Processing Your Film (the SUPER condensed version)
1. Water Rinse
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo

224. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo

225. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
3. Stop Bath
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE

226. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo

227. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
removes unexposed silver from the film
(allows there to be clear / light areas in your
negatives!) don’t pour it down the drain!
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo

228. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
removes unexposed silver from the film
(allows there to be clear / light areas in your
negatives!) don’t pour it down the drain!
5. Water Rinse
6. Perma Wash
7. Water Rinse
8. Photo Flo
cleans off chemicals

229. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
removes unexposed silver from the film
(allows there to be clear / light areas in your
negatives!) don’t pour it down the drain!
5. Water Rinse
cleans off chemicals
6. Perma Wash
cleans off fixer even more
7. Water Rinse
8. Photo Flo

230. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
removes unexposed silver from the film
(allows there to be clear / light areas in your
negatives!) don’t pour it down the drain!
5. Water Rinse
cleans off chemicals
6. Perma Wash
cleans off fixer even more
7. Water Rinse
cleans off Perma Wash
8. Photo Flo

231. Processing Your Film (the SUPER condensed version)
1. Water Rinse cleans off dust
2. Developer
oxidizes the silver that got exposed
to light (makes it dark!) - dependent
on TIME and TEMPERATURE
3. Stop Bath
stops the developing process
4. Fixer
removes unexposed silver from the film
(allows there to be clear / light areas in your
negatives!) don’t pour it down the drain!
5. Water Rinse
cleans off chemicals
6. Perma Wash
cleans off fixer even more
7. Water Rinse
cleans off Perma Wash
prevents water spots, protects
negatives
8. Photo Flo

232. darkroom chemistry

233. sink

234. sink

235. developer
sink

236. developer
sink

237. stop bath
sink
developer

238. stop bath
sink
developer

239. fixer
sink
stop bath
developer

240. fixer
sink
stop bath
developer

241. water
sink
fixer
stop bath
developer

242. water
what do I do?
sink
fixer
stop bath
developer

243. water
what do I do?
fixer
stop bath
developer
develops the paper
(oxidizes silver)
(pH 11 or 12 = base)
sink

244. water
fixer
stop bath
developer
sink
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
what do I do?
(pH 11 or 12 = base)

245. water
what do I do?
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
sink
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)

246. water
what do I do?
sink
cleans the print
(washes off all
the chemicals)
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)

247. water
what do I do?
I should be
replaced when...
sink
cleans the print
(washes off all
the chemicals)
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)

248. water
what do I do?
I should be
replaced when...
sink
cleans the print
(washes off all
the chemicals)
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)
if I am starting to turn a
red / orangish color

249. water
what do I do?
I should be
replaced when...
sink
cleans the print
(washes off all
the chemicals)
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)
if I am a dark
purple color
if I am starting to turn a
red / orangish color

250. water
what do I do?
I should be
replaced when...
sink
cleans the print
(washes off all
the chemicals)
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
if I get cloudy when
you drip hypo check in
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)
if I am a dark
purple color
if I am starting to turn a
red / orangish color

251. water
what do I do?
I should be
replaced when...
sink
cleans the print
(washes off all
the chemicals)
N/A
fixer
stop bath
stabilizes
the image
(removes unexposed
silver from the paper)
if I get cloudy when
you drip hypo check in
developer
stops the
developing
develops the paper
(oxidizes silver)
(low pH = acid,
neutralizes the
developer)
(pH 11 or 12 = base)
if I am a dark
purple color
if I am starting to turn a
red / orangish color

252. snapshot vs. composed
and
principles of composition

253. What is the difference between a snapshot and a
composed photograph?

254. What is the difference between a snapshot and a
composed photograph?
Snapshot

255. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.

256. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.

257. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.

258. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo

259. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo
vs. Composed Photograph

260. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo
vs. Composed Photograph
•
An artistic interpretation of an event, person, object, or place.

261. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo
vs. Composed Photograph
•
An artistic interpretation of an event, person, object, or place.
•
A process where care is taken to consider the elements and principles that exist
within the frame of the composition.

262. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo
vs. Composed Photograph
•
An artistic interpretation of an event, person, object, or place.
•
A process where care is taken to consider the elements and principles that exist
within the frame of the composition.
•
Organized frame, where attention has been paid to expressing an emotion or
telling the viewer something about its subject.

263. What is the difference between a snapshot and a
composed photograph?
Snapshot
•
A casual record of some event, person, object or place.
•
Usually a very quick response to a situation.
•
Unorganized, no attention has been paid to details.
•
Only the photographer has an emotional connection to the photo
vs. Composed Photograph
•
An artistic interpretation of an event, person, object, or place.
•
A process where care is taken to consider the elements and principles that exist
within the frame of the composition.
•
Organized frame, where attention has been paid to expressing an emotion or
telling the viewer something about its subject.
•
A universal appeal or sense of interest - ability to connect to many viewers

264. Principles of Photographic Composition

265. Principles of Photographic Composition
1. Light

266. Principles of Photographic Composition
1. Light
2. Rule of Thirds

267. Principles of Photographic Composition
1. Light
2. Rule of Thirds
3. Using the Edges of the Frame

268. Principles of Photographic Composition
1.
2.
3.
4.
Light
Rule of Thirds
Using the Edges of the Frame
Frame Within a Frame

269. Principles of Photographic Composition
1.
2.
3.
4.
5.
Light
Rule of Thirds
Using the Edges of the Frame
Frame Within a Frame
Line

270. Principles of Photographic Composition
1.
2.
3.
4.
5.
6.
Light
Rule of Thirds
Using the Edges of the Frame
Frame Within a Frame
Line
Point of View

271. Principles of Photographic Composition
1.
2.
3.
4.
5.
6.
7.
Light
Rule of Thirds
Using the Edges of the Frame
Frame Within a Frame
Line
Point of View
Fill the Frame / Cropping

272. Principles of Photographic Composition
1.
2.
3.
4.
5.
6.
7.
8.
Light
Rule of Thirds
Using the Edges of the Frame
Frame Within a Frame
Line
Point of View
Fill the Frame / Cropping
Pattern / Texture

273. Principles of Photographic Composition:
LIGHT

274. Principles of Photographic Composition:
RULE OF THIRDS

275. Principles of Photographic Composition:
RULE OF THIRDS

276. Principles of Photographic Composition:
USING THE EDGES OF THE FRAME

277. Principles of Photographic Composition:
FRAME WITHIN A FRAME

278. Principles of Photographic Composition:
LINE

279. Principles of Photographic Composition:
POINT OF VIEW

280. Principles of Photographic Composition:
FILL THE FRAME / CROPPING

281. Principles of Photographic Composition:
PATTERN / TEXTURE

282. THE END!
email me with any questions you might have!
caroline_appel@hcpss.org