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Rich Harrington: Hi, my name's Rich Harrington. Robbie Carman: And I'm Robbie Carman. Rich Harrington: And welcome to this week, where we're going to be exploring the use of depth of field. And sort of the impact of sensor size, controlling exposure. There's a lot of related issues here, Rob. Robbie Carman: Right, there's the camera itself, and the sensor size that's on the camera. There's what you're going to put on the lens potentially to help you sort of shape the light and how the amount of light that's going to come in. Rich Harrington: Yeah, that lens cap would keep a lot of light out. Robbie Carman: Right. There's of course controls on the camera body itself in terms of aperture and shutter speed and that kind of stuff. Rich Harrington: Yeah. Robbie Carman: But then there's other gear.
Rich Harrington: Yeah, well, we'll talk about things, like this is a variable ND filter which is a very popular tool. And what it allows you to do as you rotate that, is adjust the total amount of light coming into the camera. Now, this is really one of those critical things. You know, we always say focus is critical. But before even focus, exposure's going to be essential. Robbie Carman: Yeah, and it's one of those things where you know, I look at a lot of, a lot of shots day in and day out. And it's one of those things that if something's slightly soft, yeah we can sharpen it up or we can just live with it. But when something's you know, twelve stops over exposed, Rich? People kind of have a problem with that.
Rich Harrington: Well, we can rescue a slightly underexposed shot, we can rescue a slightly overexposed shot. I think underexposure is a little bit easier to work with rather than overexposure. But there's so many variables when you get out in the field. And in this week's episode, we're going to actually do that we're going to head into the field. We're going to use things like, what's that contraption there? Robbie Carman: Yeah, this is a map box. A very simple map box, but a map box is something that attaches to the end of your camera lens or your camera body. Usually it's on a rail system, you can see that this one right here has you know, a place for rails.
And what's cool about it versus the ND filter that you showed is that instead of having to screw something on to the back of the lens. What you can do is simply slide filters right here into the filtration stage. And this particular mount box gives you two different filter stages. And one of them's even rotating, so if you ever need to do something like a polarizing filter or something like that. Rich Harrington: Yeah, this is just going to knock the overall exposure down. And what we have here is just a simple. Basically, sunglasses for the camera. Robbie Carman: Exactly. Rich Harrington: Now some of you might be saying well, why not just change the aperture on the camera, stomp it down to let in less light.
Well, when we come back, we're going to talk about how you balance out the aperture with all of these contraptions to get the desired depth of field and the exposure you need.
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