Photography 101

Part 1: ExposureCheat sheet

Tools

Contents

Part 1: Exposure

  1. 1 Mastering the Exposure TriangleBalance aperture, shutter speed and ISO for brightness, depth, motion and noise.
  2. 2 ISO and image noiseWhen to raise ISO, why grain appears, and how to trade it for a faster shutter.
  3. 3 MeteringWhat the meter aims for, how to read it, the four metering modes, and Sunny 16 when there's no meter.
  4. 4 Shooting modes and the histogramLet the camera set one setting, steer it with exposure compensation, and check the result with the histogram and zebras.
  5. 5 Dynamic rangeHow many stops a camera can hold at once, what to keep when a scene is wider, and measured figures for real cameras.
  6. 6 Shutter speed and motionCamera shake, freezing or blurring a moving subject, and ND filters for long exposures.
  7. Part 1 cheat sheetFormulas and starting settings from chapters 1–6.
  8. Part 1 quizCheck yourself on chapters 1–6.

Part 2: Focus and depth

  1. 7 Camera LensLens anatomy and how to choose wide, standard, telephoto, prime, zoom and specialist lenses for real subjects.
  2. 8 Aperture and depth of fieldWhy a wider aperture blurs the background, what else controls blur, and the shape of bokeh.
  3. 9 Sensor size and crop factorWhat a smaller sensor crops, equivalent focal length and aperture, and why phones fake the blur.
  4. 10 Hyperfocal distanceSharp from here to infinity: focusing landscapes with blur circles, focus stacking and a cheat card.
  5. 11 Diffraction and the sharpest apertureWhy f/22 looks soft, where your lens is sharpest, and how pixel size changes it.
  6. Part 2 cheat sheetFormulas and starting settings from chapters 7–11.
  7. Part 2 quizCheck yourself on chapters 7–11.

Part 3: Composition

  1. 12 The composition reading planAll 15 chapters of The Elements of Composition, with printed page numbers and a photography lesson for each.
  2. 13 Introduction to compositionComposition as visual communication: choose what to show, compare three frames, and see how viewers read them.
  3. 14 What is composition?Arrange subject, space and edges to change what a photograph says; compare photos and make three versions of one scene.
  4. 15 Focal pointsChoose where the eye lands first, use contrast and space to build a visual path, then test thirds and diagonals in a field exercise.
  5. 16 LinesFollow straight, curved and implied lines through a photograph, then make three frames of one subject from different positions.
  6. 17 ShapesFind shapes made by subjects and space, use a frame within the frame, and compare three ways to place one subject.
  7. 18 TexturesMake a surface feel tangible with light, detail and context, then photograph one material three ways.
  8. 19 PatternsUse repetition to build rhythm, break a pattern to draw attention, and make three versions of one repeated scene.
  9. 20 SpaceUse positive and negative space, fill the frame, and simplify without losing meaning.
  10. 21 DepthLayer foreground, middle ground and background, and use perspective or deep space to show distance.
  11. 22 BalanceWeigh elements with symmetry, asymmetry and radial arrangements; explore the golden ratio as an optional guide.
  12. 23 ContrastCreate meaning and focus through contrasting subjects, light, shadows and colour.
  13. 24 ColorChoose hue, saturation and brightness, then compare complementary, triadic, analogous and monochromatic palettes.
  14. 25 ToneRead shadow, midtone and highlight; shape global and local tone while keeping meaningful detail.
  15. 26 AngleChange camera height and tilt to compare level, straight up or down, high and low viewpoints.
  16. 27 Composition conclusionBring the elements together in a four-frame story and develop your own way of seeing.

Part 4: Color Theory

  1. 28 Color Theory in PhotographyUse HSL, warm and cool depth, four color harmonies, white balance and selective editing to guide attention.
  2. 29 White balanceRead the color of light, match Kelvin and tint, and choose what to preserve when lights mix.

Tools

  1. Color wheelExplore hues, adjust saturation and luminosity, enter RGB or hex values, and preview the color live.
  2. Photo editorTry light, colour, detail and crop adjustments on a sample or your own photo, then save the result.
  3. Golden hour plannerSunrise, sunset, golden hour and blue hour for where you are, and where the sun rises and sets.
  4. ND filter calculatorYour shutter speed with an ND filter on, and a countdown timer for bulb mode.
  5. Depth of field calculatorHow much is sharp for your lens, aperture and focus distance, and the hyperfocal distance.
  6. Photo info and location removerSee a photo's camera settings and where it was taken, then remove the location before you share it.

Part 1: Exposure

Cheat sheet

The formulas and starting settings from every chapter in Part 1: Exposure. Use the settings as a starting point, then check the photo.

Chapter 1Mastering the Exposure Triangle

Formulas

One stop
light × 2  or  light ÷ 2
Three 1/3-stop clicks make one stop.
One click (1/3 stop)
light × 21/3 ≈ 1.26
1.26 × 1.26 × 1.26 ≈ 2
f-number
N = focal length ÷ opening diameter
50 mm at f/2: a 25 mm opening
Next full f-stop
N × √2 ≈ 1.414
f/2 → f/2.8 → f/4 → f/5.6
Next 1/3-stop f-number
N × 21/6 ≈ 1.122
f/2.8 → f/3.2 → f/3.5 → f/4

Settings

Full stops

Aperture
f/1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22
Shutter
1/30, 1/60, 1/125, 1/250, 1/500
ISO
100, 200, 400, 800, 1600, 3200

Three clicks, one stop

Aperture
f/2.8, 3.2, 3.5, 4
Shutter
1/125, 1/160, 1/200, 1/250
ISO
100, 125, 160, 200

Trading stops

Moving car: starting point
f/8, 1/125 s, ISO 100
Freeze motion, keep brightness
f/4, 1/500 s, ISO 100
Keep deep focus instead
f/8, 1/500 s, ISO 400
Split the trade
f/5.6, 1/500 s, ISO 200

Chapter 2ISO and image noise

Formulas

One ISO stop
ISO × 2
100 → 200 → 400 → 800
Keep brightness with a faster shutter
ISO × 2, shutter time ÷ 2
ISO 100 at 1/30 s → ISO 200 at 1/60 s
Light collected in that trade
half as much per shutter stop
1/30 s → 1/250 s is about three stops faster, or 1/8 as much light

Settings

Starting choices

Bright outdoors
Try ISO 100 or 200
Moving subject in dim light
Choose a fast shutter, then raise ISO as needed
Light changing quickly
Try Auto ISO

Remember

Aperture and shutter
Control captured light
ISO
Controls result brightness
Noise
Often more visible when less light is captured
Raising ISO
Bright areas turn white sooner

Camera ISO reference points (check the mode)

Nikon Z6III standard stills
ISO 100 floor; ISO 50 equivalent is extended
LUMIX S5IIX Normal / V-Log
100 / 640  ·  640 / 4,000
Sony FX3 Cine EI / S-Log3
800 / 12,800
Canon EOS C400 Log 2/3 or RAW
800 / 3,200 / 12,800

Chapter 3Metering

Formulas

Meter reading
0 = middle tone, +1 = one stop brighter
−1 means one stop darker than the meter suggests
Sunny 16
f/16 and shutter = 1 ÷ ISO
ISO 100: f/16 at 1/100 s (1/125 on most dials)
Less light than full sun
open one stop per step
Hazy f/11, overcast f/8, heavy overcast f/5.6, open shade f/4
Same exposure, traded
f/16, 1/125 = f/8, 1/500 = f/4, 1/2000
Two stops wider, two stops faster, each time
What every mode aims for
the area it reads → middle grey
Spot a white dress and it comes out grey unless you add exposure

Settings

Sunny 16 at 1/125 s, ISO 100

Snow or sand in sun
f/22
Bright sun
f/16
Hazy sun
f/11
Overcast
f/8
Heavy overcast
f/5.6
Open shade, sunset
f/4

Which metering mode

Most photos
Matrix (evaluative, multi)
Subject stays in the centre
Centre-weighted
Small subject, very bright or dark background
Spot, then adjust
Spotlit performer, bright costume
Highlight-weighted

Chapter 4Shooting modes and the histogram

Formulas

A pixel's brightness
Y = 0.2126 R + 0.7152 G + 0.0722 B
Green counts most, blue least
Which bar it adds to
bin = ⌊ Y × bins ÷ 256 ⌋
With 256 bins, brightness 118 goes in bin 118
Where the stops fall (sRGB)
white 255 · −1 at 188 · −2 at 137 · −3 at 99
Middle grey (18%) sits at about 118
In A, S or P
new metering mode → new exposure
In A at f/4, the camera picks a different shutter speed
In M with a fixed ISO
new metering mode → only the meter moves
The photo stays exactly as you set it

Settings

Exposure compensation

Snow, beach, white dress
+1 to +2
Backlit person
+1 to +2
Bright sky, half the frame
+⅔ to +1
Dark background, spotlit subject
−1 to −2
Sunset, rich colour
−⅔ to −1

Which mode

Depth of field matters
A / Av
Motion matters
S / Tv
Both, and the light keeps changing
M with Auto ISO
Steady light, or the meter gets fooled
M

Chapter 5Dynamic range

Formulas

Brightness ratio
ratio = 2stops
14 stops: 214 = 16,384× brighter
What one exposure keeps
from the clipping point down to the clipping point − dynamic range
Exposure moves the window; it never widens it
Bracketing
−2, 0, +2 can add up to about 4 stops
An 11.6-stop camera could cover about 15.6 stops in a still scene

Settings

Photographic dynamic range (Photons to Photos)

Sony A7 IV, full frame
11.6 stops at ISO 100
Nikon Z 8, full frame
11.3 stops at ISO 64
Sony A6700, APS-C
10.9 stops at ISO 100
Nikon Z 6III, full frame
10.4 stops at ISO 100

When the scene is too wide

Portrait by a window
Expose for the face
Sunset
Expose for the sky
Shooting RAW
Protect highlights, lift shadows later
Still scene, tripod
Bracket and merge

Chapter 6Shutter speed and motion

Formulas

Handheld starting speed
1 ÷ (focal length × crop factor)
50 mm on APS-C: 1 ÷ 75, so 1/80 s on the dial
Stabilisation
each stop lets you go 2× slower
1/80 s with 3 stops: 1/80 × 8 ≈ 1/10 s
ND filter stops
ND number = 2stops
ND8 = 2 × 2 × 2, so 3 stops
Shutter with an ND
new time = old time × ND number
1/125 s with ND64 ≈ 1/2 s

Settings

To freeze

Posed portrait
1/125 s
People walking
1/250 s
Children and pets running
1/500 to 1/1000 s
Football, cycling, cars
1/1000 to 1/2000 s
Birds in flight, splashing water
1/2000 s and faster

To blur on purpose

Panning a car or cyclist
1/30 to 1/60 s
Flowing waterfall
1/4 to 2 s
Car light trails at night
10 to 30 s
Smooth sea, streaking clouds
30 s and longer

ND filters from 1/125 s

ND2, 1 stop
1/60 s
ND8, 3 stops
1/15 s
ND64, 6 stops
1/2 s
ND1000, 10 stops
8 s