What to know about your equipment

 

Usually each photographer creates its own method to achieve the desired results in the final image here.

We will discuss equipment, here all depends on what we have in hand, a good lens with a perfect correction and a good lighting. this may seem secondary but it isn't, the brightness of a goal can affect the diaphragm. It is true that the optical quality is not so important in digital photography as it is on chemical picture, post decision process can greatly alleviate optical deficiencies. Cameras are another thing, here sensors have improved a lot, but light pollution between a sensor and the adjacent is the main problem and cause primary that effect blurry that all we have seen to open a digital picture and compare it with one from a negative.

Tone, Saturation, Luminosity

 

The tone is ultimately what defines a color red, green, yellow.... actually is enabling us to differentiate them from other.If we define a color like red or green we are simply taking one of their qualities.
Saturation we can define as the purity or intensity of a color saturation, when we mix a pure color with other colors we would get that its intensity vary. To have a notion of the degree of saturation of a color we can give an example... the green saturated color of an Apple when the sun is up and the unsaturated green of the leaves from the forest at dusk.
Luminosity is the degree of clarity or darkness of a color. If add you a color white we increase its lightness, if we add black reducing.
Something that we must realize is that to correct a parent of a particular color we must add the complement and for that I show below the circle chromatic subtractive synthesis, if you choose the magenta its complement is green, with this circle we can see color to add to delete a parent.

The power of the light

Light has other properties that significantly affect the final result in a landscape that could be characterized as "atmospheric". Lighting can give a scene for a dramatic, melancholic, mysterious, vibrant hue, i.e. suggest different mind States or different emotional responses as individuals. In other words the light causes aesthetic responses in people covering directly a landscape so that you can also do this your photographic representation.
This transfer to a picture is not simple, to make possible the photographer should develop a special sensitivity to the lighting and infinite patience: learn to expect and to recognize it. That is the decisive moment of shooting a picture of .

The Hyperfocal Distance or Depth of Field

This is the distance approach achieved greater depth of field, extending it from half the distance to infinity.

Imagine the following experiment: in a landscape we will set the focus to approach to infinity; then we try to find the closest object to us which is still the most acceptable focused object, this is the nearest limit of the current field depth.

 

 

If we fix this and now we focus to that point  we will achieve keep sharp plain infinity and we will have obtained an extra depth of field in front of the focused point, about half of the distance from the object to us. The found point is located at the hyperfocal distance.

 

In formulas:

Hyperfocal distance: H = (L2 / (f d)) + L

Where:

H = hyperfocal distance (in millimeters) L = focal length of the objective, the real, not the equivalent according to factor clipping (in millimeters)
f = diaphragm opening
d = diameter of the circle of confusion - see definition below-(in millimeters)

Some 'd' values

-In film: for 35 mm d = 0.03
-In digital: for FF d = 0.03; for 1.6 factor d = 0,019; to factor 1.5 d = 0.022.

They are general values that vary depending on the size of the photo sensors and its density.