Photography Photography Genres and Techniques Flashcards

24 sample cards from the Photography Genres and Techniques deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. Give four practical ways to work discreetly when photographing people in public.

   Use small, quiet gear (mirrorless with silent shutter); blend in with plain clothing and stay in one spot until ignored; shoot from waist level or use a tilting screen; avoid raising the camera abruptly or making prolonged eye contact through the lens.

2. Why do many street and documentary photographers favor small prime lenses (e.g., $35\ \text{mm}$ or $50\ \text{mm}$) for discreet work?

   Small primes are unintimidating and inconspicuous, force closer engagement that looks casual, are fast in low light, and their fixed field of view lets the photographer pre-visualize framing without raising the camera for long.

3. What is a model release, and when is one generally required?

   A signed agreement in which a recognizable person consents to specified uses of their image. It is generally required for commercial use (advertising, endorsements) but typically not for editorial, artistic, or news use in public places — though laws vary by country.

4. How do ethics differ between photographing people in public spaces versus private property?

   In most jurisdictions people in public have no legal expectation of privacy so candid photography is lawful; on private property the owner's permission is required, and anywhere a person has a reasonable expectation of privacy (homes, restrooms) photography is prohibited regardless of location.

5. What core ethical principles apply to wildlife photography?

   The subject's welfare comes first: never harass, bait with harmful food, or disturb nests/dens; keep distance (use long lenses); obey protected-area rules; avoid disclosing locations of vulnerable species; and never misrepresent captive or manipulated scenes as wild.

6. Define image magnification in macro photography and state the ratio that defines 'true macro.'

   Magnification $m = \frac{\text{image size on sensor}}{\text{actual subject size}}$. True macro is life-size reproduction, $m = 1$ (a $1{:}1$ ratio), meaning a $10\ \text{mm}$ subject projects $10\ \text{mm}$ onto the sensor.

7. What is 'working distance' in macro photography and why do longer macro lenses (e.g., $180\ \text{mm}$ vs $60\ \text{mm}$) offer an advantage?

   Working distance is the gap between the front of the lens and the subject at a given magnification. Longer focal lengths reach $1{:}1$ from farther away, so they are less likely to scare insects or block light falling on the subject.

8. How does effective aperture change with magnification, and what is the consequence at $1{:}1$?

   $$N_{\text{eff}} = N(1 + m)$$ At $m = 1$ a lens set to $f/11$ behaves like $f/22$ — about $2$ stops less light and increased diffraction, which is why macro shots often need flash or higher ISO.

9. How much extra magnification does an extension tube add, and what optical property makes tubes attractive?

   Added magnification $\Delta m \approx \frac{\text{tube length}}{\text{lens focal length}}$ (e.g., a $25\ \text{mm}$ tube on a $50\ \text{mm}$ lens adds $m = 0.5$). Tubes contain no glass, so they add no optical aberrations — but they cost light and remove infinity focus.

10. What is a close-up diopter (close-up filter), and how is its strength specified?

    A magnifying lens screwed onto the front filter thread that shortens the minimum focus distance. Strength is given in diopters $D$, where $D = \frac{1000}{f_{\text{mm}}}$; e.g., a $+4$ diopter acts like a $250\ \text{mm}$ close-up lens. It loses no light but can add edge softness.

11. Compare extension tubes and diopters on light loss, image quality, and which lenses they suit.

    Tubes: fit between camera and lens, cause light loss $\propto (1+m)^{2}$, no added glass so no new aberrations, work best on short-to-normal lenses. Diopters: screw on front, no light loss, add glass that can soften edges (achromatic versions are better), and work best on longer lenses.

12. Why is flash (rather than continuous light) the standard for lighting insects and other small subjects?

    Flash provides enough light for small apertures like $f/16$ at base ISO, and its brief duration ($\sim \frac{1}{1000}$ s or shorter) freezes both subject movement and camera shake at high magnification, where blur is greatly amplified.

13. Why must light sources be diffused for macro subjects, and how is it done?

    Bare flash relative to a tiny subject is a hard point source producing harsh specular highlights (especially on shiny insects); a diffuser placed close to the subject enlarges the apparent light size, giving soft wrap-around light. Softness depends on light size relative to subject.

14. What is a ring flash / twin flash and when is each preferred in macro work?

    A ring flash encircles the lens giving flat, nearly shadowless light — good for clinical/documentation shots at very short working distances. A twin (dual-head) flash mounts two adjustable heads for directional, modeled light with controllable shadows — preferred for natural-looking field macro.

15. Which autofocus configuration is standard for tracking moving wildlife or sports subjects?

    Continuous autofocus (AF-C / AI Servo) with a tracking or zone area mode (and subject/eye detection where available), combined with back-button focus and high-speed burst shooting to keep focus updating while firing.

16. Describe the panning technique and typical shutter speeds for conveying motion.

    Track the subject smoothly with the camera, rotating from the hips, releasing the shutter mid-swing and following through. Use slow shutter speeds — about $\frac{1}{30}$–$\frac{1}{60}$ s for cars, $\frac{1}{15}$–$\frac{1}{30}$ s for runners/cyclists — so the subject stays sharp while the background streaks.

17. What minimum shutter speeds are commonly used to freeze wildlife action?

    Roughly $\frac{1}{1000}$ s for walking/moving mammals, $\frac{1}{2000}$ s for birds in flight, and $\frac{1}{3200}$ s or faster for small fast birds or wingtips — the reciprocal rule alone is insufficient because subject motion dominates.

18. State the reciprocal (handholding) rule for telephoto lenses, including the crop-factor adjustment.

    Handheld shutter speed should be at least $\frac{1}{f_{\text{equivalent}}}$ seconds, where $f_{\text{equivalent}} = f \times \text{crop factor}$; e.g., a $400\ \text{mm}$ lens on a $1.5\times$ crop body needs $\geq \frac{1}{600}$ s (stabilization allows several stops slower).

19. Give four stability techniques for long telephoto lenses beyond fast shutter speeds.

    Support the lens by its foot on a tripod/monopod with a gimbal head; enable lens/body stabilization (panning mode when tracking); tuck elbows and brace the lens with the left hand under the barrel; use good long-lens technique — drape a hand over the barrel and squeeze, don't jab, the shutter.

20. Why does anticipating animal behavior matter more than camera speed in wildlife photography, and what signals help?

    Peak action lasts fractions of a second, so the photographer must pre-focus and compose before it happens. Cues include: birds defecating or crouching before takeoff, ears/eyes orienting before a predator's move, and knowing feeding, courtship, and activity patterns (dawn/dusk) from studying the species.

21. In event and street photography, what is the 'decisive moment' and how does a photographer prepare for it?

    Henri Cartier-Bresson's concept of the single instant when action, emotion, and composition align perfectly. Preparation: read the scene, predict where the action will peak, pre-compose and pre-focus on that spot, and shoot just before the anticipated peak.

22. What is light painting and what baseline camera settings does it use?

    Illuminating or drawing within a dark scene using a moving handheld light during a long exposure. Typical setup: tripod, Bulb or $10$–$30$ s exposure, $f/8$–$f/11$, ISO $100$; the moving painter stays invisible if they keep moving and wear dark clothing.

23. State the '500 rule' for photographing stars as points, and compute the limit for a $20\ \text{mm}$ full-frame lens.

    Maximum exposure before visible trailing: $$t \approx \frac{500}{f_{\text{equivalent}}}\ \text{seconds}$$ For $20\ \text{mm}$ full-frame: $t \approx \frac{500}{20} = 25$ s. (The stricter NPF rule gives shorter times on high-resolution sensors.)

24. How are star-trail images made, why is stacking preferred over one long exposure, and where must the camera point for circular trails?

    Shoot hundreds of consecutive $30$ s frames and blend them in stacking software; this avoids sensor heat noise and overexposure of a single hours-long frame. Point at the celestial pole (Polaris in the north); stars appear to rotate $15^{\circ}$ per hour, so a $2$-hour stack yields $30^{\circ}$ arcs.

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