By Michael O'Brien, Norman Sibley
Take aside each one component to a profitable picture, study it, grasp it, after which positioned all of it again jointly. 228 pages (8 in color), 240 b/w illus., eight 0.5 x 10 1/4.
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Extra info for The Photographic Eye: Learning to See with a Camera
Basically, the depth of field scale gives you the same information as the depth of field preview button. The difference is that one tells and the other shows you. • Focusing Ring If you've been checking out the depth of field scale, you've probably already figured out the focusing ring. The focusing ring is marked with distances, virtually always in both feet ("ft") and meters ("m"). You turn the ring to adjust the focus. Normally, of course, you won't see the numbers, since you'll be looking • Lens Release & Mount Now that you know how the lens works, let's take it off.
Most self-timers also include a little light that blinks to tell you it's working. Multiple-Exposure Control This feature stops the film advance mechanism from working, so you can move the lever without moving the film. This enables you to cock the shutter for a new shot, while the film stays where it is. You can then put more than a single shot onto a single frame of film. If you want to play with multiple images, "ghosts" and related special effects, this mechanism will allow you to do so. Depth of Field Preview Button Normally, your lens will stay open to the largest aperture available until you click the shutter.
If you don't yet own a camera, buy the least expensive one that meets your basic needs. The money you save can be spent on film and chemicals, which are far more important at this stage than the quality of your camera. One thing that is important, no matter which camera you buy, is durability. No matter how careful you are, your camera is likely to get knocked around a bit. Get one that is strong enough to take abuse. One of the most important differences among cameras is the lenses that can be used with them.
The Photographic Eye: Learning to See with a Camera by Michael O'Brien, Norman Sibley