Slide 1

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 2

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 3

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 4

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 5

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 6

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 7

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 8

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 9

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 10

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 11

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 12

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 13

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 14

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 15

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 16

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End


Slide 17

Digital Photography I

Teacher: Kenji Tachibana
.

Whole Stop
F/stop & Shutter Speed

Copyright 2003 Kenji Tachibana

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Lens Opening: Aperture & F/stop
Light enters the camera through the opening in the
lens called the aperture. The specific amount of light
entering the lens is controlled by specific f/stops.

F/2.8 lets in the most amount of light. And f/8 lets in the
least amount of light.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Extreme Limits:
You can’t let in more light through the lens aperture
than the ‘wide open’ f/2.8.

You can’t let in less light through the lens aperture than
the ‘fully stopped down’ f/8.
DSLR lenses have different wide open and fully
stopped down settings (F3.5 wide and f/22 down)

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Whole Stops:
Whole stop difference means that the amount of light
entering the lens either doubles or halves. It doubles
when going from f/4 to f/2.8. It halves when going
from f/4 to f5.6.

Doubles Halves
More light Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop & Increments

F/stop: Increments
Whole stops are usually sub-divided into 1/3 stop
increments as shown below.

2.8

I
I
3.2 3.6

4

I
4.5

I
5

5.6

I
I
6.3 7.1

8

Digital Photography I

Teacher: Kenji Tachibana

Camera Lens Notation

Fraction Notations: Human eye is 1.0
1
2.8

1
4

1
5.6

1
8

1
11

1
16

1/2.8

1/4

1/5.6

1/8

1/11

1/16

1÷2.8

1÷4

1÷5.6

1÷8

1÷11

1÷16

1:2.8

1:4

1:5.6

1:8

1:11

1:16

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Practical Considerations:
F/2.8 is not available on DSLR ‘Kit’ lens. DSLR kit lens
starts at f/3.5. The practical f/stop range on a compact
digital is f/2.8 to f/6.3.

2.8

3.2

3.6

4

4.5

5

5.6

6.3

7.1

8

Avoid using apertures smaller than f/6.3 if you want
maximum optical sharpness. Aperture range from f/7.1 to
f/8 suffer from lower resolution because of light diffraction.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Aperture Limitation:

It’s not physically possible to let in more light than wideopen. Nor to let in less light than fully stopped-down. If
your aperture is wide open and you need more light to
reach the sensor, shutter speed must become slower.
The ISO option not available to compact digital users.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Facts
To physically let in more light then f/2.8 or less light than
f/8, change the shutter speed. Use a slower speed to let
in more light. Use a faster speed to let in less light.


4 sec - 2 sec - 1 sec - ¼ - 1/8 - 1/15 - 1/30 - 1/60 - 1/125 - 1/250 - 1/500 - 1/1000 - 1/2000

More light

Less Light

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speeds: Greater range
The shutter speed has a much greater whole-stop range
compared to the aperture. I’m only showing 14 stops but their
can be more on both the slower and faster ends.
4 sec 2 sec 1 sec ½

¼ 1/8 1/15 1/30

1/60 1/125 1/250 1/500

1/1000 1/2000

Speed below 1/15 are not recommended for handheld shots.
The marginal speeds are colorized in yellow. Safer speeds
are colorized in green. Speeds higher than 1/500 are safe
speeds for handheld shooting and action shots.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Shutter Speed: Increments
Shutter speeds also have 1/3-stop increments. The 1/3
stop speeds are both colorized and enlarged.
1/30

1/40

1/50

1/60

1/80

1/100

1/125

1/160 1/200

1/250

Start paying attention to the aperture and shutter speed
settings. Digitals cameras designed to be tools instead of
toys display the vital data on the LCD monitor.
If you don’t see the information, toggle through the Display
options or press half-way-down on the shutter button to
activate the screen data feedback.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Camera LCD Display: Hands-on demo
The Display (LCD) button is used to cycle through
display options. It may be called LCD or something else
on your camera. Here are some of the possible display
options:
1. Clear LCD screen showing only the image.
2. Image plus all the camera settings.
3. Image plus some of the camera settings.
4. Image plus the exposure graph, histogram.
5. Image plus the composition grid.
6. Other camera manufacturer specific options?

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Depth of Field (dof): Hands-on demo
Except for the hairline plane-of-focus, nothing else can
be truly in focus. The usual sense-of-sharpness has to
do with the illusion-of-sharpness provided by the dof.
The rule-of-thumb goes:
- Wide-open for ‘shallow’ dof
- Stopped-down for ‘deep’ dof.

Do the Squint & Thumb Exercise’.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Computer help
Most digitals have a setting called Scene Modes. It
contains the so-called perfect settings for shooting
variety of things like:
o
o
o
o
o
o
o
o

Scenery
Portrait
Party
Baby
Pet
Candle Light
Fireworks
Sunset

o
o
o
o
o
o
o
o

Night Sky
Snow
Stage Shows
Snow
Sports
Panning
Aerial
Often less or
more

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Questionable usefulness
Scene modes are designed by engineers based on
‘perfect’ numbers under ideal conditions. When the
light levels dims, the perfect numbers based solutions
can become meaningless.
If the correct exposure is 1/30 sec at f/2.8 for the
lighting condition, but your need to shoot an action
shot. A much faster shutter speed (1/250 sec or
faster) is required for shooting action.
Setting the Scene Mode on Sport will not change the
setting. That’s because F/2.8 is already wide open
which limits the shutter speed to 1/30. Remember,
correct exposure is mostly about physics.

Digital Photography I

Teacher: Kenji Tachibana

Whole Stop

Scene Modes: Actual use
In dim light conditions, the digital camera is designed
to fire-off the built-in flash. Usually the modest light
from the flash only covers subjects up to 8’ from the
camera.
In the Pacific Northwest, dim light is more the rule
than the perfect light required by the digital camera.
So you may find yourself fighting the natural
tendency of the camera. Always make sure that the
flash is off.
The light from the flash tends to wash-out the beauty
of the existing natural light.

Digital Photography I

Teacher: Kenji Tachibana

x

End