Can we say that each camera model is designed unequal from others? This is a strong departure from the common assertion that every camera device is basically the same. But we can assume that all camera models are using the same basic photographic principles to start with. But after stating that, why there are so many differences on each other’s results even if each of them can be operated by the same (experimented) photographer? Yes, cameras are essentially tools but even the very basic ones are still reflecting the perceptive needs of their creators beginning first by their respective ergonomics.
The different camera model interpretations always fascinate me. Almost all the present digital camera models are incorporating features such as film simulations, special effects, exposure and focus algorithms that have a direct influence on the final picture registered. And all those operating functionalities can be set differently by the camera user.
Film simulations and white balance
The choice of film has been paramount during the traditional analog film era and their selection was large and diversified. Some -analog products were general use intended, others had a more specialized purpose especially regarding the type of light context you were facing. Many lens filters were also used to alter the final picture result. That film catalog has obligated the photographers of the time to maintain a fairly expand film stock and be able to interpret correctly their use, without saying that a changing of light has often resulted to a change of film cartridge.
Today many film simulations are readily available into the camera every time we need to do so. In conjunction with the white balance functionality making the modern digital camera models very versatile photographic devices. Color negative, slide and black & white setting are the most common. Many variations of these film simulations are part of the selection offered. Some formulas are direct emulation of the older film ones. Some are more caricatural and refers to old photographic techniques or older devices. Exploring all the possibilities integrated to your camera model can be very interesting et can help you to find new picture renderings.
Exposure factor
What is the "correct" amount of light exposure you require to get an acceptable picture? That can a very puzzle question for any photographer. And the modern exposure calculation are now state of the art functionality that compare a multitude of light situations, identify the subject type and apply specific algorithm that control not only the shutter speed and the lens aperture but also the ISO, the high and low light distribution and the stabilization efficiency. Those compute exposure calculations are based on standardized photographs that have been integrated to digital camera central system. They represent years of photographic experiences under an array of typical picture contexts and situations.
Having said that exposure automated system can outperformed human light appreciation in most cases, but it happens that the photographer’s choice might be voluntary different in creating special light mood or distribution that will better correspond to the authors intention. These biases have to be not only respected but also be comprehend as the emotive respond of the photographer for a particular subject. Experimentation is part of that process.
Special effects
Special effects are a blend of all sort of bias available for the camera user. Some are now overused and outdated. Many are considering that using already special effects designed by the manufacturers as a gimmickry that are destroying the true spirit of creating original photography. Although it is clear that many popular special effects are more caricatural than a photographic enhancing, some special effects are more basic color palette selections or light optical effects for example. Some special are graphical autocorrection system that replace optical expensive device such as tilt-shift lenses used in architectural or table-top tasks.
It happens that specific photographic subjects may ask for attended special effects bias. If you carefully exam the history of the past photographs, you may find which effect will suit more precisely the look-result which you are looking for. Most of the todays special effects have found their origin in duplicating older pictures.
Shutter speed (time exposure)
We see the world surrounding us as an animated or cinematographic picture representation. Fixing a precise moment of this continuous image representation is the essence of photography. In doing so by (very) briefly exposing our image captor (sensor, film), we are selecting some instant of our life. The time exposure (shutter speed) is often selected in order to "freeze" the motion of the subject but it happens sometime that it is not sufficient or that the photographer voluntary register that movement in a blurry subject. Moreover, background and foreground can be blur with the intention to concenter on a more define main subject especially in action photography.
In low light situation, photography always has been challenging but it is a not-say rule to challenge the limitation of the image captor (film, sensor) technology. By selecting a lower shutter speed, the photograph must concentrate on the subject (time and motion) travelling effect. That can be illustrate by blur exposure or by following the subject. Multi-exposures are another classic photographic effect. They can combine various subjects and contexts to create a completely virtual scene composed of different moments, perspectives or places. Log time exposure has been used in the past to be able to "clear" unwanted people or objects that are in place for a brief moment (that can be done by selecting very low ISO, strong neutral density filter and a good tripod support). Long time exposure can also help to facilitate multiple light-flash trigger and cumulate light sources.
Aperture (Deep of field)
The first use of the setting of the aperture of the taking lens is to regulate the amount of light that will be register by the image captor (sensor, film). The side effect of choosing a specific aperture value is its direct influence on the deep of field phenomena, i.e. the in-focus distance range that start in front of the focal point and finish at the rear of it. Commonly a large aperture restraint the deep of field and a smaller one will enlarge the area of the apparent focus accuracy.
Assuming that, in general. the observer will first privilege the subject that is in-focus, the deep of field effect will propose a visual discrimination of the different picture elements. There is no absolute rules to follow in selecting an aperture in regard of a subject type although some will pretend the contrary and will propose for landscape that you may use a small aperture and that for portrait subject, a large, if not the largest, value available should be preferable. Today we understand that even the blur area of a picture will participate in visual interest in equal level from the more focused ones.
If you are aware about the importance of the deep of field, you can add a tridimensional virtual dimension to your subject-picture project. Blurry areas on a picture can also contribute the mood atmosphere of the visual representation. They can also present knowable element that will add to the picture drama.
These are simply a few examples of special effects that are available in your camera model. For sure there is a plenty of other possibilities that can be explored especially if you add the ones that are available in image post processing. At the end, special effects are simply another tool to expand your photographic creativity.
