By Philip Jodidio
Publication is bilingual: components are in English, components in Italian.
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Extra resources for Architecture in Switzerland
The comparatively wide-open aperture also enhanced the specular highlights where bright sunshine was reflected off the drops towards the upper right of the photo. 200mm f/4 macro lens, 1/80 of a second at f/8 and ISO 100, tripod mounted. Working with Aperture 61 Selective Focus and Bokeh Almost everyone can recognize sharpness of an entire composition as effective. However, edge-to-edge sharpness is not always attainable. Complete sharpness, even if achievable, isn’t creatively right for many photos.
But I liked the fact that you could see detail in the brighter, shadowed areas. Also, I was prepared to accept the blown-out highlight on the lower right (this blown-out area appears as the slightly out-of-focus white oval area). 200 mm f/4 macro lens, 1/250 of a second at f/8 and ISO 200, tripod mounted. 48 Understanding Exposure ▼ As part of a brand identity advertising campaign, I was asked to photograph Roses and make them look translucent. To photograph this Rose, I placed it on a light box, lighting it from above and below.
5, the largest aperture available. The camera’s aperture-preferred mode metering then selected the fastest possible shutter speed, 1/1250 of a second, that combined with the aperture to properly expose the image. 5 and ISO 200, handheld. ◀ Looking out at the Golden Gate Bridge, I knew that I wanted to use a long enough exposure time to exaggerate the motion of headlights, and to allow the slight atmospheric fog to soften the photo. I used shutter-preferred metering to set the shutter speed to 25 seconds, and allowed the camera to select the aperture.