Films are referred to as being fast, medium, or slow – a reference to their sensitivity to light. Fast films have high ISO (International Standards Organization) numbers and slow films have low ISO numbers. Fast films are useful in low-light situations, since they increase the chances of achieving a correctly
exposed image when a less-sensitive, slower film may result in underexposure. The result of this increase in speed, however, is some reduction in image sharpness and an increase in contrast. Slow films are ideal when light levels are good and you need the highest- quality prints with fine detail.
DIGITAL CAMERAS The sensitivity of digital sensors can often be changed electronically for each shot to give a range of “film speeds.”
SLOW FILM
This marble bust was shot using a very slow-speed film (ISO 32).
Note the delicate, almost creamy texture of the statue’s surface and the soft gradation of tones between the lit right-hand side and the shadowy left-hand side.
Even in the enlargement (see inset), the appearance of any grain is negligible.
MODERATE-FAST FILM With the film speed doubled to ISO 400, the appearance of the bust on the full-frame image is slightly different. The surface of the bust looks less fine and the contrast between light and shade is beginning to increase slightly.
As you would expect with a faster film, the grain is now fairly noticeable in the enlargement.
MEDIUM FILM
Using the same lighting as above, the bust was shot using a medium-speed film (ISO 200).
Note that grain becomes coarser the faster the film. Here the film is much faster than the ISO 32 film (each doubling of the ISO number is a doubling of the sensitivity), but the quality is still good, and the grain can only just be detected.
ULTRA-FAST SPEED FILM The ISO 1000 film used for this photograph of the bust is 1.5 times more sensitive than the ISO 400 film, and now the grainy nature of the film emulsion is apparent. Note, too, that the soft gradation of tone apparent in the version using the slow film is now more abrupt and that there is a slight color shift.
Choosing slow film A slow film is ideal for brightly lit subjects, or where a degree of subject movement or blur is required. It is often used for still life subjects that need to be enlarged while still retaining a lot of detail and a fine-grained image. Even if light is poor, the camera can be set up on a tripod and a long exposure given.
Choosing medium film A film in the medium-speed category is suitable for a wide range of different subjects and lighting conditions. Although ambient light levels are high in this bright Mediterranean scene, medium-speed film can also be used in less light earlier or later in the day when the sun is much lower in the sky.
Choosing moderate-fast film This shot of a seagull in flight requires a fast shutter speed to capture the movement of the subject and avoid camera shake, as well as a small aperture to cover any slight error in focus. The speed of a moderate-fast film enables you to photograph subjects in dim lighting conditions.
Choosing ultra-fast film Choose an ultra-fast film when light levels are really low, for example, in a dimly lit interior or outdoors at dusk. This type of film is so sensitive that it will give you acceptable results even by the light of a match. The graininess of the resulting image can add to the dramatic impact of the shot.
F I L M S P E E D A N D C A M E R A E Q U I P M E N T 3 3
CABLE RELEASE Releases the shutter on a tripod- mounted camera and avoids the risk of camera movement.
FRONT AND REAR LENS CAPS When a lens is not in use, always keep the front lens cap on.The rear lens cap should be fitted when the lens is removed from the camera.
35MM CAMERA
The body of the camera forms the heart of a system for which there are numerous accessories and lenses. Use a cap to protect the interior of the camera when a lens is not attached.
TRIPOD
A lightweight tripod is essential when you need steady images.
NOTEPAD AND PEN These are invaluable for noting the location of a particular shot or for details of a particular subject.
ELECTRONIC FLASHGUN An electronic flashgun is useful when light levels are low, when working indoors, or when you want to lessen contrast by adding some light to areas of shadow.
CAMERA STRAP Use a camera strap and keep it around your neck in case you let the camera slip. Wider straps spread the weight of the camera and lens.
FILTERS
A clear ultra-violet filter can be left on the lens as protection. Strongly colored filters are used with black and white film or for special effects with color film.
LENSES
Choose lenses according to the type of shots you want to take. Wide and long lenses increase flexibility.
Extension rings allow you to get in closer to a subject.
FILM
Always carry several rolls of spare film. If you have fast film you will be able to take photographs in dimly lit places.
CAMERA CARE KIT All you need for cleaning your camera and lenses are (from left to right) a soft lint-free cloth, special dust-free tissues, lens-cleaning fluid, and a blower brush. Use the cleaning fluid very sparingly. If a hair or piece of film debris gets lodged in an awkward area, then a pair of tweezers might be needed. A small screwdriver is also useful.
BASIC CAMERA EQUIPMENT
For the 35mm SLR user there is a wide range of equipment and accessories available to cover every area of photographic interest.
In terms of lenses, your camera may come with a standard 50mm lens already fitted.
Additionally, you should consider choosing a wide-angle lens between 28 and 35mm for shooting a broad panorama or when working in a confined area. A long-focus lens between 90 and 135mm is useful for portraits as well as more distant subjects.
However, a zoom lens gives you flexibility without changing lens. A tripod guarantees sharp images of stationary subjects and may be essential to avoid camera shake during a long exposure.
If there is room in your camera bag, then you should also include a few filters, a basic lens- and camera-cleaning kit, a notepad and pen, a portable flashgun, and some spare film of different speed ratings.
CAMERA BAG
A camera bag should be well padded inside and have adjustable compartments for holding equipment.
Taking photographs that have appeal and impact depends in part on your ability to see the potential in a subject and then interpret it in your own way. This section reveals how light affects form, color, texture, shape, and pattern, and shows how to
compose excellent photographs by
considering the different qualities of light.
It also illustrates the importance of selecting the viewpoint that will show your subject in the most effective and telling fashion.