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إضافات اختيارية .. البدء .. كيفية التقاط وتطوير الصور بالأبيض والأسود
OPTIONAL EXTRAS
So far , we have suggested that you acquire just enough equipment to get started , and that you concentrate on learning to use a straightforward selection well , rather than burdening yourself with exotic items that can actually inter- fere with the process of seeing and capturing images . Apart from anything else , the expense usually curbs most people's appetite for more equipment .
The listings on the earlier pages already represent a fair outlay . If , however , your budget can stand some extra acquisitions , there are some additions that you might like to consider . Nevertheless , start with the basic set .
LENSES
If you want to invest further in your photography , extra lenses are probably the wisest choice . A new focal length will have a direct and immediately visible effect on your work . If you already have a moderate wide - angle and telephoto , you might want to experiment with more extreme focal lengths in either direc- tion . The graphic effects can be unusual and dramatic , but the more extreme the focal length , the more difficult the lens will be to use well and consistently . Expense is normally higher with these extreme lenses and long telephoto lenses can be very heavy .
Very short focal lengths , such as 20mm on a 35mm camera , give spectacular angles of view , which can open up new possibilities in , for example , photo- graphing interiors . Their depth of field is also very good , and this can be used to provide impressive front - to - back sharpness in , say , a landscape . At the same time , they can give pronounced distortion close to the edges , and if you frame the view so that a recognizeable shape , such as a circular object or a face , is in a corner of the image , the result will look odd .
Long telephotos , of 500mm or more , make it possible to select and magnify views that you might not notice with your eye alone . They also enable photo- graphs of things that have restricted access , such as a close view of a tackle in a football match , or an elusive animal . Very long lenses , however , have smaller maximum apertures , and the very expensive fast super telephotos are also extremely heavy and bulky .
Apart from focal length , there are several special designs of lens to allow particular kinds of photography . Fish - eye lenses give the widest coverage of all - some over 180 degrees - but at the expense of strongly curved distortion . Macro lenses are computed to perform best at close distances . Shift lenses ( also sometimes designated P - C , or perspective - control ) can be moved vertically in their mount , and can be used in architectural photography to shoot tall build- ings without tilting the camera upwards and so causing converging lines .
METERS
The other useful category of optional extra is that of hand - held meters . It may seem that these are outdated by the camera's own through - the - lens meter- ing , but in many lighting situations they have distinct advantages . Most hand- held meters permit two kinds of reading : direct , like the through - the - lens meter , and incident . The latter is a measure of the light falling on the subject , irrespective of the brightness of the object being photographed . Perhaps an even more fundamental benefit of a hand - held meter is that it encourages the photographer to think about exposure and to become familiar with light levels - no bad thing if you intend to take a craftsmanlike approach to photography .
The Difference a Lens Makes ...
Telephoto lenses really come into their own when shooting wildlife ; the great magnification offered enables the photographer to remain at a safe distance from the subject , while still filling the frame . The relatively small depth of field common to telephotos also singles out the subject from the backdrop .
When conditions are cramped and you want to get the whole scene in , or when you're simply looking to add drama , fit a wide - angle . The great depth of field will usually lead to photos being sharp from foreground to background , although the more wide - angle the lens , the more the distortion around the edge of the frame .
Macro lenses , designed for close - up work , shed a new light on the world . They are particularly useful for photographing insect life , although using a mild- telephoto macro will ensure that you do not scare your subject away . Because field is at a premium , focusing tends to be very critical .
And Why
Long focus lenses come in three basic forms . Medium telephotos , such as the one shown left , fall into a focal length range from 85mm to 200mm . They tend to be compact , with the result that they are popular with photographers who work in situations where tripods are inconvenient and it is preferable to hand - hold the lens . Mirror or reflex designs use a combination of mirrors to fold the light path into short light barrels , and invariably offer great magnification . Long telephotos , from 300mm to 800mm , give large magnifications but their weight , and length usually demand that they are used on a tripod .
Wide - angle lenses , such as this 28mm shown left , have obvious applications where the standard 50mm lens cannot fit everything into the frame . Wide - angles tend to be compact , the exceptions being the incredibly cumbersome fish - eyes . The most common maximum aperture found on the most popular wide - angle lenses - 28mm and 35mm - is f2.8 , although , at a price , maximum apertures of f2 and even f1.4 are available . The great depth - of - field ( distance before and after the point of focus that will remain sharp ) offered by wide - angles means that focusing becomes almost a secondary consideration .
Macro lenses vary in focal length from standard ( this is , 50mm for a 35mm camera ) to medium telephoto ( 100mm and 200mm are not uncommon ) .
Good optical quality is easier to maintain with a standard focal length , but the advantage of a longer focal length is that the working distance is greater ; for example , you can stay further away from a potentially dangerous subject !
OPTIONAL EXTRAS
So far , we have suggested that you acquire just enough equipment to get started , and that you concentrate on learning to use a straightforward selection well , rather than burdening yourself with exotic items that can actually inter- fere with the process of seeing and capturing images . Apart from anything else , the expense usually curbs most people's appetite for more equipment .
The listings on the earlier pages already represent a fair outlay . If , however , your budget can stand some extra acquisitions , there are some additions that you might like to consider . Nevertheless , start with the basic set .
LENSES
If you want to invest further in your photography , extra lenses are probably the wisest choice . A new focal length will have a direct and immediately visible effect on your work . If you already have a moderate wide - angle and telephoto , you might want to experiment with more extreme focal lengths in either direc- tion . The graphic effects can be unusual and dramatic , but the more extreme the focal length , the more difficult the lens will be to use well and consistently . Expense is normally higher with these extreme lenses and long telephoto lenses can be very heavy .
Very short focal lengths , such as 20mm on a 35mm camera , give spectacular angles of view , which can open up new possibilities in , for example , photo- graphing interiors . Their depth of field is also very good , and this can be used to provide impressive front - to - back sharpness in , say , a landscape . At the same time , they can give pronounced distortion close to the edges , and if you frame the view so that a recognizeable shape , such as a circular object or a face , is in a corner of the image , the result will look odd .
Long telephotos , of 500mm or more , make it possible to select and magnify views that you might not notice with your eye alone . They also enable photo- graphs of things that have restricted access , such as a close view of a tackle in a football match , or an elusive animal . Very long lenses , however , have smaller maximum apertures , and the very expensive fast super telephotos are also extremely heavy and bulky .
Apart from focal length , there are several special designs of lens to allow particular kinds of photography . Fish - eye lenses give the widest coverage of all - some over 180 degrees - but at the expense of strongly curved distortion . Macro lenses are computed to perform best at close distances . Shift lenses ( also sometimes designated P - C , or perspective - control ) can be moved vertically in their mount , and can be used in architectural photography to shoot tall build- ings without tilting the camera upwards and so causing converging lines .
METERS
The other useful category of optional extra is that of hand - held meters . It may seem that these are outdated by the camera's own through - the - lens meter- ing , but in many lighting situations they have distinct advantages . Most hand- held meters permit two kinds of reading : direct , like the through - the - lens meter , and incident . The latter is a measure of the light falling on the subject , irrespective of the brightness of the object being photographed . Perhaps an even more fundamental benefit of a hand - held meter is that it encourages the photographer to think about exposure and to become familiar with light levels - no bad thing if you intend to take a craftsmanlike approach to photography .
The Difference a Lens Makes ...
Telephoto lenses really come into their own when shooting wildlife ; the great magnification offered enables the photographer to remain at a safe distance from the subject , while still filling the frame . The relatively small depth of field common to telephotos also singles out the subject from the backdrop .
When conditions are cramped and you want to get the whole scene in , or when you're simply looking to add drama , fit a wide - angle . The great depth of field will usually lead to photos being sharp from foreground to background , although the more wide - angle the lens , the more the distortion around the edge of the frame .
Macro lenses , designed for close - up work , shed a new light on the world . They are particularly useful for photographing insect life , although using a mild- telephoto macro will ensure that you do not scare your subject away . Because field is at a premium , focusing tends to be very critical .
And Why
Long focus lenses come in three basic forms . Medium telephotos , such as the one shown left , fall into a focal length range from 85mm to 200mm . They tend to be compact , with the result that they are popular with photographers who work in situations where tripods are inconvenient and it is preferable to hand - hold the lens . Mirror or reflex designs use a combination of mirrors to fold the light path into short light barrels , and invariably offer great magnification . Long telephotos , from 300mm to 800mm , give large magnifications but their weight , and length usually demand that they are used on a tripod .
Wide - angle lenses , such as this 28mm shown left , have obvious applications where the standard 50mm lens cannot fit everything into the frame . Wide - angles tend to be compact , the exceptions being the incredibly cumbersome fish - eyes . The most common maximum aperture found on the most popular wide - angle lenses - 28mm and 35mm - is f2.8 , although , at a price , maximum apertures of f2 and even f1.4 are available . The great depth - of - field ( distance before and after the point of focus that will remain sharp ) offered by wide - angles means that focusing becomes almost a secondary consideration .
Macro lenses vary in focal length from standard ( this is , 50mm for a 35mm camera ) to medium telephoto ( 100mm and 200mm are not uncommon ) .
Good optical quality is easier to maintain with a standard focal length , but the advantage of a longer focal length is that the working distance is greater ; for example , you can stay further away from a potentially dangerous subject !
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