Field Quick-Reference Cards¶
This page brings together in one place the key numbers scattered across the chapters—the ones most worth a final glance before heading out the door. All of them are starting points, not rigid prescriptions: sensor format, distance, subject speed, and output size will all change the answers, and the source chapters provide the complete prerequisites and boundaries. When printed from a browser, this entire page typically fits onto one or two A4 sheets.
Four Steps Upon Arriving on Location¶
- First, define the frame: Who or what is most important? Which highlights or shadows can be let go?
- Next, determine motion: Secure the subject with shutter speed first, then decide whether you need image stabilization or a tripod.
- Then, decide on depth of field: Is the background useful information or a distraction? Choose your aperture and shooting position accordingly.
- Finally, let ISO make up the brightness: ISO does not make the sensor collect more light.
For details, see the Field Toolkit.
Sunny 16 Rule (Chapter 2)¶
Shutter speed ≈ 1/ISO seconds, select aperture based on shadows:
| Weather | Shadows | Aperture |
|---|---|---|
| Snow / White sand beach | Harsh and short, blinding glare | f/22 |
| Sunny | Sharp and distinct edges | f/16 |
| Thin clouds | Soft, indistinct edges | f/11 |
| Overcast | Barely discernible | f/8 |
| Heavy overcast | Virtually none | f/5.6 |
| Open shade / Sunset | None at all | f/4 |
Starting Shutter Speeds for Motion (Chapter 6)¶
| Subject | Shutter Speed |
|---|---|
| Static portrait (handheld) | From 1/125 s |
| Walking person | 1/250 s |
| Running, jumping | 1/500 s |
| Cycling, running children | 1/500–1/1000 s |
| Moving car | 1/1000 s |
| Birds in flight, sports | 1/1000–1/2000 s |
| Panning | 1/30–1/60 s, panning with the lens |
Motion across the frame is more prone to blur than motion toward the camera; when in doubt, increase by one stop.
Handholding and Image Stabilization (Chapters 3 & 6)¶
- Empirical baseline for safe shutter speed ≈ 1 / equivalent focal length; double the speed when inspecting high-resolution sensors at 100%.
- Synchronized image stabilization claims five to eight stops; in field shooting, estimate three to five stops.
- Image stabilization only accounts for your hands—not the motion of the subject.
Hyperfocal Distance Quick Reference (Full Frame, c = 0.03 mm; Chapters 5 & 8)¶
Focusing at the hyperfocal distance yields acceptable sharpness from half that distance to infinity:
| Focal Length | Aperture | Focus Distance | Sharp Range |
|---|---|---|---|
| 28 mm | f/8 | Approx. 3.3 m | 1.6 m to infinity |
| 28 mm | f/11 | Approx. 2.4 m | 1.2 m to infinity |
| 35 mm | f/8 | Approx. 5.1 m | 2.5 m to infinity |
| 35 mm | f/11 | Approx. 3.7 m | 1.9 m to infinity |
| 50 mm | f/8 | Approx. 10.4 m | Approx. 5 m to infinity |
For other combinations, use the Hyperfocal Distance Calculator.
ND Conversions (Chapter 9)¶
Every stop of reduction doubles the shutter speed: ND8 = 3 stops, ND64 = 6 stops, ND1000 = 10 stops. Example: 1/125 s with an ND1000 → approx. 8 s.
| Desired Effect | Approximate Exposure |
|---|---|
| Silky waves with dynamic texture | 0.5–2 seconds |
| Streams smoothed into silk | 2–5 seconds |
| Misty sea surface with emerging rocks | 10–30 seconds |
| Moving clouds streaked across the sky | 30 seconds to several minutes |
Lighting Ratios (Chapters 2 & 7)¶
Lit side to shadow side; each stop difference doubles the ratio:
| Lighting Ratio | Difference | Look & Feel |
|---|---|---|
| 1:1 | 0 stops | Flat light, passport/ID style |
| 2:1 | 1 stop | Soft, natural everyday |
| 3:1 | Approx. 1.5 stops | Classical portraiture |
| 4:1 | 2 stops | Dimensional, dramatic |
| 8:1 | 3 stops | Low-key, intense mood |
Color Temperature Reference (Chapter 2)¶
| Light Source | Color Temperature (Approx.) |
|---|---|
| Candlelight | 1800–2000 K |
| Incandescent / Tungsten | 2700–3200 K |
| Sunrise / Sunset | 2000–3000 K |
| Midday sunlight | 5500–6500 K |
| Overcast | 6500–7500 K |
| Shade / Blue sky | 7500–10000 K |
Fluorescent lights and certain LEDs also have a green tint, which requires correction toward magenta along the tint axis.
Four Questions for Image Review (Chapter 2)¶
Is the subject brightness correct? Are the shadows too deep? Have the highlights blown out? Is the color temperature off? Every question points directly to an action you can adjust on the very next shot.