How to Choose the Shutter Speed of a Camera

2024 Author: Samantha Chapman | [email protected]. Last modified: 2023-12-17 09:13

The "shutter speed" represents the time the shutter allows light to pass through the lens and reach the film or digital sensor. You will get contrasting and clear photos if you use the correct combination of "exposure settings": shutter speed, aperture, film or ISO "sensitivity". The shutter speed has limit parameters to obtain optimal photos and can also be adjusted to obtain artistic effects by blurring certain parts. Things change if you use the flash …

Steps

Step 1. Learn some of the important terms

It is important to familiarize yourself with the following terms and understand them because these are the main ones you will always find yourself using:

• Shutter. The device in a camera that blocks the passage of light to the sensor and exposes it to an adequate amount of light to form the image. (The sensor could also be film, but the term "sensor" is often used).

  

• Shutter speed. The time the shutter exposes the film, typically a small fraction of a second. Normally only the denominator is marked in a chamber, for example "125" means 1/125 s (second). Exposures for multiple seconds are common only in low light conditions and are indicated on the camera, if any; in a manual camera, the settings of bulb (the shutter is open while the button is pressed) or time (press to open and then again to close)

  

• Shutter between lenses (leaves). It is a shutter that sits between the elements of the lenses, in a mechanism that also includes the diaphragm. In a mechanical camera, its speed is set on the lens itself. It is made from overlapping metal blades that open fully at the beginning and close at the end of the exposure.

  

  • These metal blades are called "leaves". (A focal plane shutter also has metal blades but they are called "tendons" because in the past they were rubberized with curtain fabric.)

    

  • Since the leaves are not close to the focal plane, they do not print their outline on the sensor as shadows, but gradually (quickly) lighten and darken the entire image evenly.
  • A leaf shutter synchronizes with the flash at any speed.
  • Leaf shutters are common in all types of cameras except for 35mm and digital SLRs, that is, inexpensive and very expensive ones.
  • Since they can only fully open, change direction and fully close, leaf shutters reach a modest speed of 1/500 s.
  • A leaf shutter in an SLR that has one (such as a medium-format SLR) stays open before exposure. The shutter closes when the button is pressed, the mirror and rear baffle flip out of the film, and the shutter closes quickly. In the same way, the shutter of a digital camera with a display that shows in real time what the sensor sees is opened and closed quickly.

• Focal plane shutter.

  . A pair of curtains (fabric in old cameras, overlapping metal blades in modern ones) very close to the sensor that overlap leaving an adjustable width space in both. In a mechanical camera (but also in an electronic one), the speed is usually set on the camera itself. Being close to the focal plane, they print their shadow on the sensor. At slow speed, one opens exposing the sensor to light and after a while (usually a split second) the other follows the path to cover the sensor again. The highest speed, at least for an instant, with which the entire sensor is exposed to light in one fell swoop is called flash sync time.

  As with the leaf shutter, a focal plane shutter can change speed and direction only at this speed. But, because it prints more or less visible shadows on the film, the two curtains can only expose a small part of the film at a time (in quick succession) by dragging a slit across it. In this way, a focal plane shutter creates an extreme short exposure for any given part of the film, taking longer (flash sync time, more or less) for this general operation. The focal plane shutters of the new cameras achieve speeds of 1/8000 s and a flash sync time of 1/250 s;

  

  Camera with back open showing focal-plane shutter

  • Almost all SLRs and 35mm digital cameras have a focal plane shutter.
  • The focal plane shutter of a Graflex or Speed Graphic consists of a single curtain with a series of slots of different sizes. It is more difficult to use but more reliable; read and practice before you screw up a film (or shutter).

• Flash sync time. An electric flash produces a sudden light (1/1000 s or less), essentially instantaneous for most purposes. Leaf shutters open fully working together with the flash at any speed; the camera fires the flash when the shutter is fully open. As mentioned above, a focal plane shutter does not cover the entire sensor in one shot but instead passes a slit over it based on certain speed settings; in this case the flash will affect only part of the photo. The fastest speed at which a focal plane shutter covers the entire sensor in one shot is the "flash sync time", and the flash fires at that moment.

  • Sophisticated cameras often refuse to set a shutter speed higher than the flash sync speed with a flash attached.
  • The flash sync speed is often marked on the shutter speed dial with lightning or a different color.
  • A photo taken with a higher than expected flash sync time will not look good - one streak will be overly exposed and the rest will be dark.

  • Some sophisticated cameras with dedicated flashes have an high synchronization speed which uses a series of flashes to evenly illuminate the photo, if using a flash sync speed that is longer than necessary. This mode is rarely useful because it reduces flash range (the sensor receives a weak flash due to slowly stored condenser energy) and often does not work with certain automated flash functions. It could be useful instead for close-ups and for capturing water in motion.

    

• Second curtain synchronization. There is a function in sophisticated focal plane shutter cameras that is to trigger the flash when the shutter is about to close. In a long exposure of a moving subject, you will get a bright flash exposure at the end of the movement, leaving the background environment slightly blurry like a trail behind it, rather than in front of it.

  

  • Generally it gives a nice effect where you can notice it, so consider setting it as default.
  • It is not a good idea to use this feature to capture a "precise moment" due to the delay of the ambient light, but a long exposure is generally compatible with the random movement of the sends often necessary for moving photos.
• Faster Shutter Speed / Short Exposure: Film is exposed for less time. 1/125 s is faster than 1/30 s.
• Slower Shutter Speed / Long Exposure: Film is exposed for longer. 1/30 s is faster than 1/125 s.
• Stop: A two factor of exposure. (Originally referred to aperture space or "stop" settings for varying exposure by increasing it by two, which is typically the smallest increment that creates a "significant" difference in photo exposure. For example, 1 / 30 s is 1 stop faster than 1/15 and 2 stops slower than 1/125 (common measure instead of 1/120).

Step 2. Understand the basics of exposure

This article does not cover the correct exposure levels, only the specific effects of shutter speed.

Step 3. If you and your subject are more or less still and don't use the flash, all you need to do is make sure the shutter speed is fast enough to avoid blurry parts

Unlike aperture, which can dramatically change parts of a photo by blurring them more or less, shutter speed has essentially no effect (other than a general exposure level), except that something in the exposure moves enough to move. smudge at least one pixel. But even then, it will only make the photo a little softer except for something moving so much that it smudges more pixels.

• It is good that the shutter speed is almost equal to the reciprocal of the focal length (for 35mm). For example, 50mm lenses must be used with speeds greater than 1/50 s; the 200mm not less than 1/200 s. Use a 35mm equivalent focal length for small formats because the blur is greater; instead use a longer focal length for larger formats if you want the film to produce more vivid photos.
• An image stabilizer (in a camera) can make you take a stop 1 or 2 times slower, while holding the camera carefully. A cumulative benefit.

• Since a blurry photo is caused by small movements in causal directions, not always in the same direction, the problem increases but not proportionally if you use a slower shutter speed. On the other hand, in blurry photos in low light conditions, the problem is not the moving subject; use fast wide angle lenses (like 24mm f / 2) which are often less expensive than fast narrow angle lenses (like 50mm f / 1). (Often however the camera shake is more important than the quality of the lenses, so generally use the largest aperture and remember that only the area in focus will be clear, except that the focus will be set to infinity and therefore the whole landscape. will be clear.)

  

• To avoid blurry photos and leave the subject moving as the only limitation of a long exposure, use a tripod or something solid to position the camera or use a timer or remote control to avoid unwanted movement when the shutter is running. People normally can hold a position for, say, a quarter of a second, but remember to tell your subject not to move until you order them and not right after the camera has finished the exposure because a sometimes this continues even for a few fractions of a second later.

Step 4. If the subject is moving, use a faster shutter speed to get a clearer photo

The shutter speed depends on the speed with which the subject moves in the lens, which in turn depends on its distance, speed and whether the subject is moving towards the lens or away from it (which from the point of view of a camera, will zoom out or zoom in on the subject). Try 1/125 s to start with for moving photos of slow moving subjects and 1/500 s for sports.

• For example, if it is a subject on foot or by car, you will need a shutter speed of at least 1/250 s. Better to avoid the blurs that affect the whole photo instead of only a part.
• If you're using a digital camera, preview your photos and use the zoom to check that there are no blurry areas on the photo. If there are, increase the shutter speed.

Step 5. It is always best not to restrict your movements entirely

You might get a statue-like photo instead of having the impression of movement. Choose a speed that will make most of the subject appear clear (such as a runner's torso), but that leaves the moving part soft (such as legs, feet, a ball, or car tires).

• Moving water can also appear hard, soft, blurry and abstract like cotton candy if the shutter speed decreases as the water moves faster.

  

• A flash with a second curtain sync will produce a sharper photo after moving areas, but make sure it doesn't disturb athletes.

• Use the panning technique to portray moving subjects in groups, such as cars. Follow the subject so that most of the background is blurred. Panning is very useful with a relatively slow shutter speed, such as with leaf shutters as it may be these cameras' only way of getting sharp photos on the go

  

Step 6. A long shutter speed (you will need to use a tripod) can turn subjects into abstract streaks, or produce bright lights such as cars or fireworks in dark areas

In addition, they allow you to illuminate a large dark area with multiple flashes (do not get too close or too close to the flash which could produce a white photo).

Step 7. The shutter speed with the use of flash must be carefully considered

• This article is about electronic flashes only. Bulb flashes are different; if you want to use them read carefully how to do it (even if they are now rare, uncomfortable and used as collectibles).
• The most important thing is not to overdo the flash sync time. You will get a bad photo.

• Imagine the flash as two photos: a very sharp area obtained from the flash or from multiple synchronized flashes that are fast enough to capture any action, superimposed on a background area that can be strong or weak, of a different tint (the light is similar to the flash) and possibly blurred by the shutter speed, the moving camera or the moving subject. The flash exposure components depend solely on aperture, because the shutter will be open for the entire duration of the flash (or multiple synchronized flashes); ambient exposure depends on aperture and shutter speed.

  

• Use the "fill flash" technique in natural light conditions, usually sunlight, to have even light distribution, interesting shadows, and soften shadows with weak flash exposure. Set the exposure for ambient light and flash output to an aperture of 1 (for more softness, preferable for women) or 2 (for less softness, more suitable for men and objects) stops longer than the normal one. This technique doesn't block actions well because a blurry exposure could overload the flash.

  

  A high flash sync speed produces more light (wide aperture) without letting in too much natural light (wide aperture with fast shutter speed), for the "fill flash" technique and to freeze action at a distance

• In low light conditions, or to freeze low light action, adjust the flash aperture but set the shutter speed to underexpose the background no more than 2 stops, unless you want a dark effect. Set the color level of the flash (such as daylight) in a digital camera, because this will be the primary light source for the subject. Don't use too slow a shutter speed for a still subject to avoid lots of blurry areas, a slight blur effect is fine, because adequate lighting for a nice effect is more important than sharpness.

  

• If you use a direct flash or synchronized multiple flashes to illuminate the entire area, set an aperture speed high to avoid blurring or color changes in natural light and set an aperture compatible with the flash output.

  

Step 8. Use a digital camera for moving photos, especially if you want to create a small blur effect

Moving subjects are not prepared in advance or predictable and so you will need to take a photo before the intended action happens to compensate for the human and shutter lag, otherwise most photos will not be good. There will also be unpredictable errors when you want to achieve an "ideal" blur. A digital camera (preferably SLR, which focuses faster) gives you the opportunity to take lots of photos "for free" and then select the best ones. Plus, a digital camera allows you to pinpoint and fix problems during a photo session, so you can be sure you've set it up to get the desired effect. Film affects the quality of photos if you know what you are doing.

Step 9. Use an automatic mode in fast and convenient situations

If the shutter speed is particularly important and your subject won't stay still in motion for you to experiment with, set the shutter speed and usually let the camera choose reasonable presets for other settings with "shutter-priority" mode. of exposure. If the shutter speed isn't as important as keeping the camera from moving, use the "program" exposure mode (or the automated "green" mode). Either way, some digital cameras can be set to "Auto ISO" to increase sensitivity (you will have less sharpness but better than a blurry photo) to avoid long exposures.

Shutter-priority mode is the only way to choose the shutter speed for most compact cameras. Night mode allows for better exposure in low light conditions; action or sport modes have a faster shutter speed to freeze action

Advice

• Some older camera shutters are slow or protrude when used at low speeds due to dirt build-up or lack of lubrication. If your camera has this problem, get it checked or if you rarely use it, avoid setting a slow shutter speed.
• The "shutter speed" of a video camera, which generally does not have a physical shutter but an electronic sensor for each frame, can sometimes vary to capture sharp video of moving objects or to compensate for aperture adjustment at aperture.
• If the camera gives unwanted results even after calculating well and in normal light conditions, the shutter may have some problem. A problem in a focal plane shutter can cause uneven exposure on the film.

Warnings

• The shutters are very delicate to work quickly.
• A mechanical shutter must be disarmed (not taut) before storing the camera for a long time.
• Do not tamper with a focal plane shutter of a digital SLR camera. Behind is a very expensive, fragile and very important sensor.
• Never touch the shutter with your fingers or blow on it, it may become damaged or corrode over time. If something goes wrong, ask a professional for help if your camera is expensive.
• Do not force a mechanical shutter. Some can only be adjusted when armed (often by advancing the film with a focal plane shutter).
• The cloth curtain focal plane shutters on non-reflex cameras, such as Leicas and Speed Graphics, are very fragile and could burn in the sun, repairing them will be expensive. Keep your lenses close to sunlight and covered when you're not using them. Quickly raise the camera towards the direction of the sun to take a picture. (Or, if you have a Graflex, leave the focal plane shutter open and use the leaf shutter instead).