Understanding Maximum Aperture

Aperture refers to the opening of a lens's diaphragm through which light passes. It is calibrated in f/stops and is
generally written as numbers such as 1.4, 2, 2.8, 4, 5.6, 8, 11 and 16. The lower f/stops give more exposure
because they represent the larger apertures, while the higher f/stops give less exposure because they represent
smaller apertures. This may seem a little contradictory at first but will become clearer as you take pictures at
varying f/stops. Be sure to check your manual first to learn how to set your camera for Aperture Priority, then try
experimenting to get comfortable with changing the aperture and recognizing the effects different apertures will
have on the end-result image.

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How Aperture Affects Depth of Field
Depth of field is defined as "the zone of acceptable sharpness in front of and behind the subject on which the
lens is focused." Simply put: how sharp or blurry is the area behind your subject. Here's the equation:
The lower the f/stopthe larger the opening in the lensthe less depth of fieldthe blurrier the background.
The higher the f/stopthe smaller the opening in the lensthe greater the depth of fieldthe sharper the
background.

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How Aperture Affects Shutter Speed
The f/stop also affects shutter speed. Using a low f/stop means more light is entering the lens and therefore the
shutter doesn't need to stay open as long to make a correct exposure which translates into a faster shutter speed.
Again, the reverse is true: using a high f/stop means that less light is entering the lens and therefore the shutter
will need to stay open a little longer which translates into a slower shutter speed.

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Where to Find the Aperture
All lenses have a maximum aperture, and all NIKKOR lenses list the widest possible aperture on the lens barrel.
Some zoom lenses will detail something like f/3.5-5.6 on the lens barrel or 1:3.5-5.6 (below right). These numbers,
the 3.5 and the 5.6, are referring to the maximum aperture or widest opening the lens can achieve for each end
of the zoom range. Some higher end lenses can maintain the largest aperture throughout the entire zoom range,
so only one number is detailed (below left).

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Choosing the Aperture
Now that we know how to control depth of field, what determines the choices we make in selecting the aperture?
We use focus and depth of field to direct attention to what is important in the photograph, and we use lack of
focus to minimize distractions that cannot be eliminated from the composition. While there are no rules, there are
some guidelines.
For classic portraiture we separate our subject from the surroundings by using "selective focus." Choosing a
large aperture (lower f/stop, like f2.8) creates very shallow depth of field with only the subject, or just a portion of
the subject, in focus. This helps direct the viewer's attention to the subject.


In a landscape or scenic photograph we usually want to see as much detail as possible from foreground to
background; we want to achieve the maximum depth of field by choosing a small aperture (higher f/stop, like f/8
or f/11).
While we can get the maximum or minimum depth of field by working at each end of the aperture range,
sometimes we want a more intermediate level of depth of field, limiting focus to a specific range of distances
within the overall photograph. One way to do this is to choose a mid-range f/stop, like f/5.6, and shoot a test
frame. In image playback, use the magnifying function of the LCD to zoom in and check the depth of field; make
adjustments if necessary and reshoot.


Understanding ISO Sensitivity
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Glossary OffGlossary On
Photography is built on the three pillars of exposure: shutter speed, aperture and sensitivity. Shutter and aperture
are controls for adjusting how much light comes into the camera. How much light is needed is determined by the
sensitivity of the medium used. That was as true for glass plates as it is for film and now digital sensors. Over the
years that sensitivity has been expressed in various ways, most recently as ASA and now ISO.
The "normal" range of ISO is about 200 to 1600. With today's digital cameras you can sometimes go as low as
50 or as high as 204,800. The number chosen has two important qualities associated with it. First, it sets the
amount of light needed for a good exposure. The lower the number, the more light required. The more light that's
required, the more likely a slow shutter speed will have to be used. That means low ISOs, like 100 or 200, are
most often used in bright situations (like sunlight) or when the camera is mounted on a tripod. If you don't have a
lot of light, or need a fast shutter speed, you would probably raise the ISO.
Each time you double the ISO (for example, from 200 to 400), the camera needs only half as much light for the
same exposure. So if you had a shutter speed of 1/250 at 200 ISO, going to 400 ISO would let you get the same
exposure at 1/500 second (providing the aperture remains unchanged). This is why high ISOs are so often used
indoors, especially at sporting events. Needing a fast shutter speed to stop action, photographers regularly
choose ISO 1600 or above.

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The other important quality tied to ISO is the amount of noise in the image. In the days of film, as you used film
with higher ISO values (often referred to as ASA then), your images had more visible grain. Film grain is what
made up the image, and higher numbers resulted in larger grain, which was more obvious. Most people found
visible grain objectionable and so photographers worked to avoid it when possible.
In digital cameras, raising the ISO means a similar decrease in quality, with an increase in what's called "noise."
It's the digital equivalent of grain and results in a sort of "chunky" look to the image. Very early digital cameras
had objectionable levels of noise at ISOs as low as 800. Today most digital SLRs can make good quality images
at ISOs up to 1600 and above. However, several variables affect this.
One important factor affecting the amount of digital noise in an image is the size of the pixels used on the sensor.
Large pixels result in less noise than small ones. That's why digital SLRs perform much better at high ISOs than
compact cameras. The SLRs have larger sensors and larger pixels.
Another factor is the amount and type of noise reduction being applied in the camera. Because all pixels collect
some noise, every digital camera runs processing on every image (although with a NEF, or RAW, file that can be
changed later) to minimize that noise. Newer cameras use newer technology to reduce that noise, with the result
being less noise at similar ISOs than what earlier cameras could achieve.
All of this means photographers are constantly doing a balancing act. They want to keep their ISO low for high
quality images (low noise), but also they need a fast enough shutter speed to get a sharp picture. That's why
there's such high value placed on groundbreaking cameras such as Nikon's D3, D700 and D3S that allow
photographers to shoot at higher ISOs with less noise than ever before.
Auto ISO was introduced into digital cameras several years ago to help photographers manage that balance.
Turning on that feature allows the camera to push the ISO up when it decides the shutter speed is getting too low
for a good picture. Even better, newer Nikon cameras have added "ISO Sensitivity Auto Control" to the menu
choices. This takes Auto ISO and lets you have some say about what happens. Using it, you set the limit for how
high it can go (800? 3200?) and at what shutter speed it should start raising the ISO (1/125? 1/30?). The amount
of control this feature allows means more photographers will start taking advantage of it.
A solid understanding of ISO will help you make smart decisions about how to set your camera. And that, in turn,
will lead to better pictures.





with NX300s Rich Tones Feature
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Graffiti art has been made famous by the likes of Banksy and OaKoAk, and it seems that
every metropolitan city has at least one area sprinkled with the latest spray job. In San
Francisco, the Mission District takes the cake for having delightfully surprising street art, and
Clarion Alley is the cherry on top. Despite its central location, this narrow slit between
Valencia and Mission St. still retains its hidden alleyway allure.
NX300 |
1/100 | f/4 | ISO 200 | 27mm


NX300 |
1/40 | f/3.5 | ISO 400 | 18mm
NX300 |
1/25 | f/3.5 | ISO 400 | 18mm
With Samsung NX300s Rich Tones feature you can inject a boost of color into your shots on
the spot. Simply put your camera into SMART mode and tap the Rich Tones icon on your
screen. Rich Tones captures and merges multiple images in various exposures to create soft
and rich colors. Graffiti art was a great way to test this featureso many of my photos were
brighter and more saturated than before.
Before Rich Tones After Rich Tones


NX300 |
1/80 | f/3.5 | ISO 200 | 18mm
Before Rich Tones After Rich Tones
NX300 |
1/125 | f/4.5 | ISO 100 | 18mm
Before Rich Tones After Rich Tones
NX300 |
1/60 | f/3.5 | ISO 200 | 18mm
Before Rich Tones After Rich Tones


NX300 |
1/80 | f/3.5 | ISO 100 | 18mm
Although the results can be subtle, using the Rich Tones feature also helps increase the
overall clarity and quality of your photos. Its a simple way to give your photos a bit of extra
pop, whether youre shooting street art, having a blast at a carnival, celebrating at a childrens
birthday party, or taking some foodie shots on an epicurean adventure.
NX300 |
1/160 | f/5 | ISO 100 | 45mm


NX300 |
1/40 | f/3.5 | ISO 400 | 18mm
NX300 |
1/50 | f/3.5 | ISO 200 | 18mm


NX300 |
1/60 | f/3.5 | ISO 200 | 18mm
NX300 |
1/20 | f/3.5 | ISO 400 | 20mm
Samsungs SMART CAMERA offers a variety of features that are customized to make the
most out of particular shooting situations. Much like learning how to adjust your shutter
speed and aperture, knowing how to read your scene and testing out these features will allow
you to make the most out of your photo sessions.


NX300 |
1/80 | f/3.5 | ISO 100 | 18mm