TheDSLRSURVIVALGUIDEABeginner’sGuidetoSurviving

DigitalSLRPhotography

By:BlakeRudis

Copyright2013©BlakeRudis

AllRightsReserved

TrademarksAlltermsmentionedinthisbookthatareknowntobetrademarksorservicemarkshavebeenappropriatelycapitalized.-Adobe®PhotoshopCS6®,Adobe®CameraRaw7®,andAdobePhotoshopLightroom®areregisteredtrademarksofAdobeSystems,Inc.-photoFXlab™isatrademarkofTopazLabsLLC.-Gimp©isacopyrightofTheGimpTeam.-Picasa™isatrademarkofGoogle,Inc.-PhotomatixPro®isaregisteredtrademarkofHDRSoft.-Olympus®andOlympusMaster2®areregisteredtrademarksofOlympusImagingAmericaInc.-Canon®isaregisteredtrademarkofCanonInc.-Nikon®isaregisteredtrademarkofNikonInc.-Altoids®isaregisteredtrademarkofCallardandBowser.-CuriouslyStrong™isatrademarkofCallardandBowser.-Macintosh®andMac®areregisteredtrademarksofAppleInc.

Disclaimer,Copyright,&WarningTherearealotofcolorfulimagesinthisbook!Itisbestviewedoncolor

displays.Ifyouownadevicethatisinblackandwhite,IsuggestdownloadingaKindleProgramforyourpersonalcomputer.

Thisbookisdesignedtoprovideinformationforphotographersaboutthe

basicsofDigitalSingleLensReflex(DSLR)Photography.Everyefforthasbeenmadetomakethisbookascompleteandaccurateaspossibleatthetimeitwaswritten.

KeepinmindthateverymakeandmodelofDSLRisdifferentintheirform,

function,andconfiguration.YourbestreferenceforyourpersonalDSLRwillbeyourmanufacturer’sguidanceorOwner’sManual.RefertoitoftenasyoumayhavequestionsabouttheelementsofDSLRphotographybeingcoveredinthisbook.

Allrightstothispublicationandtheinformationcontainedhereinarethatof

theauthor,BlakeRudis.Allimages,figures,anddiagramsarecopyrightofBlakeRudis.Thewrittenandvisualcontentsmaynotbereproducedorduplicatedinanywayshapeorformwhetherprintordigitalwithoutexclusivepermissionfromtheauthor.YoumaycontactBlakeviaemail:everydayhdr@gmail.com.

Theinformation,views,andopinionscontainedwithinthisbookarethatof

theauthor,BlakeRudis.Blakecannotbeheldlegallyliableforanydamagesyoumayincurfromtheinformationprovidedherein.

TheDSLRSurvivalGuideisaproductofBlakeRudisPhotographyLLC.

Tomyson,

MichaelBenjaminRudis

IwishyoucouldseewhatIseewhenIlookatyou.

Watchingyougrowhasbeensurreal,enlightening,andinspirational!

Continuetobethegreatlittlemanthatyouare&approachlifewith

anopenmind.

Fillyourheartandspiritwithintegrity,compassion,&courageandyouwillovercomeanything!

TableofContentsTheDSLRSURVIVALGUIDEABeginner’sGuidetoSurvivingDigitalSLRPhotographyTrademarksDisclaimer,Copyright,&WarningTableofContentsAboutTheDSLRSurvivalGuideChapter1.TheCompositionTriangle

FramingAnglePerspectiveCompositionWrapUp

Chapter2.BreakingDowntheDSLRCameraTerminologyViewfinderModeLiveViewModeTheMegapixel

Chapter3.TheExposureTriangleApertureShutterSpeedISOReciprocity

Chapter4.CameraCaptureModesAutoModeSceneModesArtModesAperturePriorityModeShutterPriorityModeProgramShiftMode

ManualModeTheExposureIndicator

ExposureCompensationAutoExposureBracketing

Chapter5.FileFormatsJPEGRAWJPEG,RAWandTeriyakiBowls

Chapter6.Focus&MeteringFocusingMeteringTheHistogramMeteringModesExposure&FocusLock

Chapter7.WhiteBalanceBuilt-InCameraPresetsSettingaCustomWhiteBalance

Chapter8.TypesofLightingAmbientLighting

NaturalLightSuggestionsforPhotographingSubjectsinOutdoorLighting

IndoorLightSuggestionsforPhotographingSubjectsinIndoorLighting

FlashFlashShootingModes

DifferencesinFlashTypesChapter9.LensTypes&Characteristics

LensTypeFocalLengthCharacteristics

FixedLensZoomLensMacroLenses

MaximumApertureImageStabilizationCropFactor

Chapter10.GearEssentialsACameraBagATripodShutterReleaseSpareBatteriesFlashQualityLenses

Chapter11.PostProcessingSoftwareWhatShouldYouBeDoingToYourPhotographs?

ImageStraighteningNoiseReductionHighlightandShadowAdjustmentCurvesAdjustmentWhiteBalanceAdjustmentSaturationAdjustmentImageSizing

ChoosingYourPostProcessingSoftwareBeginnerLevelIntermediateLevelAdvancedLevel

TheBottomLineChapter12.FileOrganization

Blake’sFileOrganizationSystem

FileOrganizationinSummaryChapter13.Blake’sConcentricCirclesofImportanceinPhotography

CompositionFileFormatAperture/ShutterSpeedMeteringModeISO/FlashExposureCompensationWhiteBalanceFocusingMode

Chapter14.IntroductiontoHDRPhotographyCapturingMultipleExposuresforHDRPhotographyWhattodoWithAllofTheseExposures?

ClosingThoughtsBonusChapter.BuildingaPersonalSurvivalKit

WhatyouwillneedExplanationofItemsBuildingtheKit

AbouttheAuthorMoreInstructionbyBlakeRudisBlack,White&Beyond:TheDigitalZoneSystem

AboutTheDSLRSurvivalGuideTheDigitalSingleLensReflex(DSLR)worldisextremelyintimidatingto

theabsolutebeginner.Itisaworldthatcanbedifficulttoventureintowithouttheproperknowledgetosurvive.

Wouldyougointothewildernessalonewithoutasurvivalguideoratleastsomesurvivalawareness?Probablynot!WhywouldyouwanttodothesamewithDSLRphotography?

Let’sfaceit.TherearealotofelementstoDSLRphotographythatareconfusinganddifficulttoputtogetheronyourown.ReadingyourOwner’sManualisveryhelpful,butthetermsdiscussedwithinitcanleaveyourheadspinninginthedirectionofthepurchaseofaconvenient,userfriendlypointandshootcamera.

Beforeyouheaddownthatroad,Iimploreyoutostickitout!ThereisareasonwhyDSLR’sarebiggerandmoreconvolutedthanpointandshootcameras.

Theyproduceamazingphotographsthatcanhaveyourfriendsgawkingwiththeirtongueshangingoutoftheirmouths.Allyouneedisapushintherightdirection.AllyouneedisTheDSLRSurvivalGuide!

ContainedwithinthisguideiseverythingyouneedtoknowtoventureoutintotheworldofDSLRphotography.ItisdesignedtobreakdownthecommunicationbarrierbetweenyouandthelanguageofyourDSLR.Oncethatbarrierhasbeenbreachedsurvivingyourcameraisapieceofcake!

Therearefourimportantthingsyoushouldconsider&keepinmindthroughoutthisbook.

1.ItisdesignedfortheBEGINNER!Thisbookisdesignedfornovicephotographers.Thatisnottosayanintermediatephotographermaynotfindatrickortwoinhereeither.However,youshouldkeepinmindthatithasbeenwrittenfortheDSLRphotographynovice.

Furthermore,Isuggestthatyounotonlytakethisbookforfacevalue,butthatyouexpandyourknowledgethroughothermeans.TherearealotofeBooks,

writtenpublications,blogsandwebsitesthatwillalsohelpyouthroughyourDSLRadventure.Itcannotandshouldnotstophere!

2.ReadyourOwner’sManual!Afterreadingthisbookyouwillbesickofhearingthatphrase.Ireiterateitseveraltimesthroughouteachchapter.Idothatforareason.

Thereisaplethoraofvaluableinformationinyourmanual.Ihavereadminefronttobackatleast150times.ItakeitwithmewhereverItakemycameratouseasaquickreferenceguide.

OnlongplaneridesIreadmyOwner’sManual.Itmaysoundstrange,butthispracticehasbroadenedmyhorizonstotheoperationofmycamera.

3.Practiceyieldsperfection!YouwillnotlearnthisDSLRstuffovernight.YoumaystarttoclickwithitafterreadingtheinformationinthisbookorotherDSLRresources.However,noamountofreadingcanbeatpracticalhands-onexperimentation.Asyoureadthroughthechaptersinthisbook,oranyotherpublicationforthatmatter,besuretostopandreferbacktoyourcameraandOwner’sManual.Experimentwiththeinformationyoujustreadbeforemovingonfromchaptertochapter.Thereisareasonwhypracticeissocritical.

ThebeautyofDSLRphotographyisthataftertheinitialpurchaseofthecameraandlenses,thepicturesarefree!Youcansnapasmanyasyourheartdesireswithoutpayingadimeforthepictures,untilyouwanttoprintthemofcourse.Usethistoyouradvantageandpractice,practice,practice!

4.IamnotanOlympusorCanonguy!Youmayseemanyreferencestotwospecificcamerasinthisbook,theOlympusE-30andtheCanonEOS6D.ImakereferencetothemoftenbecauseIownthem.Iamnotaspecific“Canon”or“Olympus”guy,nordoIhavesomehatredtowardNikon.

Thecontentshowninthisguidewillgiveyoutheknowledgeyouneedtooperateanycameraaslongasyouownthecamera’smanualtorefertoasnecessary.

Chapter1.TheCompositionTriangle

IliketothinkofCompositionasthemostimportantelementtotheartofphotography.ThatiswhyitisChapter1!BeforeyouknowanythingaboutDSLRphotographyyoushouldknowhowtocomposeapicture.

Anyonecanbeacameratechnicianandknowthecamerainsideandout.However,knowinghowtocomposeaphotowillsetyouapartfromthecameratechniciansandhaveyouexcellingamongstthecrowd.

Compositioninphotographyishowyouframethephoto,theangleyoutakeitfrom,and/ortheperspectivethatiscaptured.

IncinemaandtheaterthereisaFrenchphrase,“MiseEnScene”.Itreferstotheplacementoftheobjectswithinthescene.Ifyoupayattentiontomoviesyoumayfindcertainobjectsstrategicallyplacedwithinthescenetoenhanceyourviewingexperiencebyconveyingacertainmood.

Whileyoumaynotbeabletoplacetheobjectsinthesceneofalandscapephoto,itisyourjobasthephotographertoframethephotoinaninterestingwaythattheobjectswithintheframecreateaninterestingphotograph.

Therearethreemainpointsthatembodycompositioninphotography.TheyareFraming,Angle,andPerspective.ThesethreepointsmakeuptheCompositionTriangle!

Whileallthreemaynotbenecessaryforeveryphotograph,usingoneormorewillhelptoimprovethecompositionofyourphotograph.

Figure1TheCompositionTriangle

FramingThefirstandmostsignificantpointoftheCompositionTriangleis

framing.Thequickestwaytobecomingabetterphotographeristopayparticularattentiontohowyouframeyoursubject.

Thereare5guidelinestofollowwhenframingyoursubjectinaphotograph.

1.UsetheRuleofThirds.

2.Capturethegeometryinthescene.

3.Becognizantofthegoldenratio.

4.CameraOrientation5.FilltheFrame!

1.UsetheRuleofThirds.ThefirstguidelineforframingistheRuleofThirds.Confusedyet,thefirst

guidelineisarule?

Theruleofthirdsisacompositionalframingtechniquethatentailsdividingtheimageintothirdshorizontallyandvertically.

Figure2TheRuleofThirdsBasedontheruleofthirds,youwouldplacethemainfocalpointononeoftheintersectionpointsofthedivisionlines.

Youwouldalsoplacethemostprominenthorizontalonornearoneofthehorizontaldivisionlinesorthemostprominentverticalonornearoneoftheverticaldivisionlines.

Theideaistokeepthemainfocalpoint,stronghorizonlines,orstrongverticallinesawayfromthecenterofthephoto.Whenyouplacethefocalpointorsubjectinthedeadcenterofthephotographitbecomestooeasilyrecognizableanddoesnotallowtheviewer’smindtoconcentrateonthephotoforverylong.Toputitharshly,centrallycomposedsubjectstypicallymakeforaboringphotograph.

Figure3TheRuleofThirdsinuseByfollowingthissimpleguidelineyouwillbecreatingmoreinterestinganddramaticphotographs.Whentheviewerseesapicturewithacentralfocalpointtheirmindimmediatelyrespondstowhatitis

andsubconsciouslymoveson.

Ifthesubjectisoffcenter,theviewerwilllookatthenegativespacesaroundthefocalpoint.Thiswelcomesthemtostayonthesamephotoforalongerperiodoftime.

Figure4AnotherexampleoftheRuleofThirdsManycamerasallowyoutosettheRuleofThirdsonyourLCDscreentohelpyoucomposeapicturewhileinLiveView

Mode.

Figure5TheRuleofThirdsgridontheLCDscreenofacameraAswithallrules,thereareexceptions.Ifthesubjecthappenstobeanareawithverystrongsymmetry,itisacceptableandmanytimesadvantageoustohavethefocalpointbethecenterof

theimage.Sometimesthebeautyisinthesymmetry.

Figure6Symmetricalbeauty,theexceptiontotheRuleofThirds

2.Capturethegeometryinthescene.MathandGeometryisnoteveryone’sfavoritesubject.Luckilyforthose,

findingthegeometryinaphotodoesnotrequireanymath!Allyoureallyhavetodoislookforobviousorimpliedshapes,rectangles,circles,triangles…etc.

Stronggeometriccompositionscanmakeforverysuccessfulphotographs.Theycanhelptheviewer’seyetravelaroundthephotonavigatingfromfocalpointtofocalpointbywayofobviousorimpliedshapes.

ThinkabouttheMonaLisa,byLeonardodaVinci.Mona’sheadandbodyformastrongtriangularcomposition.Herface,shoulders,andhandsencompassadiamondofmainfocalpoints.

Figure7TheMonaLisasketch,IpromiseBlakeisagoodartist!

Whileyoumaynotbeapainterwiththeabilitytopaintageometricalcomposition,youcanstillfindshapesinanysceneandusethemtocomposeamoreinterestingphotograph.Remember,theseshapescanbeobviousorimplied!

Figure8Practicalusageofimpliedgeometryinaphotograph

Figure9Astrongtriangularcomposition

3.Becognizantofthegoldenspiral.Thegoldenspiral,goldenratio,orFibonacciSpiral,isagreatcompositional

toolusedtomakeadynamicphotograph.Usingthegoldenratiorequiresyoutocomposethephotoinsuchawaythatsome(orall)oftheelementscontainedwithinitdirecttheviewerto,ornear,themainfocalpoint.

Figure10TheGoldenRatiospiral

Isuggestbeingcognizantofthegoldenspiralbecauseitisnotalwayspossibletomakeithappenineveryphoto.Theelementswithinthephotomaynotalwaysleadtothemainfocalpointinaspiralingmanner.

However,whenusedsuccessfullythegoldenspiralcanbethemosteffectivecompositionaltooltoattractyourviewerforalongerperiodoftime.

Figure11PracticalusageoftheGoldenRatio,obvious

Figure12PracticalusageoftheGoldenRatio,implied

4.CameraOrientationCameraOrientationisthewayinwhichyoutakethepictureforpresentation

purposes.Therearetwowaysyoucanorientyourcamerawhentakingphotographs.

HorizontalOrientation,alsoknownasLandscape,istypicallyusedforphotographingstronghorizontalscenes.Ithasbeenappropriatelynamed“Landscape”asmostlandscapephotographsarepresentedinahorizontalorientation.

Figure13HorizontalOrientation(Landscape)VerticalOrientation,alsoknownasPortrait,istypicallyreservedforphotographingpeople.WhenIthinkofa

portraitIoftenthinkbacktothetraditionalrenaissancepaintingswiththestrongverticalorientation.

Figure14VerticalOrientation(Portrait)Thesetwoorientationsaresuitablynamedfortheiridealuse.However,theyarenotsetinstone!

Experimentandusetheportraitorientationforalandscape.Also,tryusingthelandscapeorientationforaportrait.Youmaybequitesatisfiedwiththeresults.

Figure15Aportraitinlandscapeorientation

Figure16Alandscapeinportraitorientation

5.FilltheFrame

Fillingtheframerequiresyoutogetinalittleclosertoyoursubject.Theideaistofilltheframewithyourfocalpoint.Thisisespeciallyimportantifyourfocalpointismoreinterestingthanyourbackground.

Forinstance,ifyouarephotographingaportraityoumaywanttofilltheentireframewiththatpersonsface,orbust.However,ifyouarephotographingapersoninfrontofaskylinewheretheskylineisyourfocalpoint,thenbyallmeansfilltheframewiththebackground.

Therearetwowaystofilltheframe.Youcaneitherzoomthelensinclosertoyoursubjectoryoucanmovealittleclosertoyoursubject.Ifyoursubjectisfarawayzoomingisprobablythemostviableoption.However,ifyoursubjectiswithinwalkingdistanceIsuggestmovingclosertoit.

Theycallthis“zoomingfromthefoot”.Itmeansphysicallymovingclosertoyoursubjecttofilltheframe.Zoomingfromthefootwillgiveyouthesharpestimageasyourlensdoesnothavetomagnifythedetailsbyzooming.

Thistechniquemaynotbethebestideawithawideanglelensasthelensatitslowestfocallengthwhencloseuptopeopletendstocreateun-attractivedistortion.Experimentwithyourequipmentwhenzoomingfromthefoot!

Figure17Notfillingtheframewiththefocalpoint

Figure18Fillingtheframewiththefocalpoint

AngleThesecondpointoftheCompositionTriangleisAngle.Theangleofthe

camera,ortheposition,ofthecameraatthetimeoftheexposureisanimportantcontributingfactortoagoodcomposition.

Ashumansweseemosteverythingfromanaverageheightof5to6feet.Ifyouphotographeverythingfromtheaverageheightyouaremissingoutonaworldofcompositionalpossibilities.

Ifindthemostinterestingphotographsaretakenfromaclevercameraangle.Everydayordinaryobjectscanlookincredibleiftakenfromacreativeangle.Youmayrecognizethesubjectbutwhensomeoneoffersittoyoufromanobscureangleitcanchangethemoodandmakeitmuchmoreinteresting.

Thereareseveralwaysyoucanchangethecameraanglefromthenormaleyeheight.Trytakingaknee,layingontheground,orfindingahighervantagepointtotakethephoto.

Figure19Aphotoofatreetakenfromastandingposition

Figure20ThesametreephotographedwhilelyingunderitInFigure20Iwaslyingonthegroundwithmybacktothegrassandmycamerapointedstraightup.Thetreeisonlyabout7or8feettall,butfromthisvantagepointitexplodesintheframe

makingitappearmuchmoremonolithicthanitactuallyis.

Thislowervantagepointisparticularlyimportantwhenphotographingchildrenandpets.Asadultswealwaysseechildrenfromahighervantagepointandphotographingthemthatwaymakesforveryboringchildandpetpictures.

Imaginehowintimidatedtheymustfeelwithagiantlurkingoverthemwithaboxinfrontoftheirfacepointedatthem.

Themostimportanttipforphotographingchildrenandpets,getontheirlevel!ThismayrequirekneelingorevenlayingonthegroundlikeyouseeinFigure21.

Figure21PetphotosworkbestwhenyouareontheirlevelLowanglephotoscanalsobeverypowerfulwithlandscapescenes.Alwaysthinkoutsideoftheboxandphotographmultipleanglesofeverysceneyoufindyourselfinfrontof.

Figure22Alowangleshotcaninvokepowerandintimidation

PerspectiveThefinalpointontheCompositionTriangleisPerspective.Perspectivein

photographyisthespatialrelationshipbetweenoneobjectandanothertoachieveathreedimensionalappearanceonatwodimensionalplane.

Itsoundsmoreconfusingthanitactuallyis!Breakingdowntheplanesofaphotographisthefirststepinexploitingtheperspectiveinanygivenscene.

Theplanesofaphotographcanbebrokendownintothreemajorparts,theforeground,middleground,andbackground.Whenanobjecttranscendstwoormoreplanesinatwodimensionalphotographathreedimensionalappearancecanbeachieved.

TakealookattherailroadtrackinFigure23.Noticehowthetrackstartsintheforegroundandextendsbeyondintothebackground.

Figure23AverybasicexampleofperspectiveAnothergreatexamplecanbefoundinFigure24.Noticethestumpsinthewater.Theystartintheforegroundasthemainfocalpointandextendintothemiddleground,progressingtowardthe

background.

Figure24Amoreimpliedexampleofperspective

CompositionWrapUpCompositionisthemostcriticalcomponenttomakingasuccessful

photograph.Asstatedpreviously,anyonecanbeacameratechnician,butbecomingaphotographerrequiresknowledgeofthecamera,atrainedeye,andtheabilitytoapplyalloftheimportantcompositionalelements.

UsingthethreepointsoftheCompositionTriangle,(Framing,Angle,andPerspective)youcanbegintotrainyourselftomakebetterpictures.Practicemakesperfect,thereisareasonforthatsaying.

Donotthinkthatyoulack“theeye”forphotography.Itcanbetrained!Tryexperimentingwiththesethreecompositionalelementsthenexttimeyougrabyourcamera.

Chapter2.BreakingDowntheDSLR

YoumayhaveopenedtheboxtoyourDSLR,poppedthebatteryintothecompartment,slappedtheSDcardinandfiredaway.Thereisnothingwrongwiththat,Icommendyouforyourbravery!

Icommendyoufortakingsuchabeastofapieceoftechnologyandtryingtotameitwithoutaninklingofknowledgeaboutit.However,beforeyoujumpintothelion’sdenofdigitalphotographyitisimportanttoknowhowaDSLRworks.

DSLRstandsforDigitalSingleLensReflex.Basicallyspeaking,adigitalcamerathatusesasinglelensandamirrorsystemtoreflecttheimagethatyouseetoensureyoucaptureexactlythatontothesensor.

Thereareacoupleofkeypiecesofterminologytoknowinordertofullygrasptheconcept.

CameraTerminology

TheLensisthevehiclethatallowslighttoenterintoyourcamera.Thereareseveralelementsofglasscontainedwithinthelensthatassistthelightasitpassesthroughthelens.

TheApertureisanadjustablediaphragminsidethelensthatallowsyoutocontroltheamountoflightthatentersyourcamera.

TheViewfinderisthepartofthecamerayoulookthroughtocomposeapicture.

TheReflexMirrorreflectsthelightcomingfromthelenstotheviewfinderallowingyoutoseewhatyouareabouttophotograph.Oncethelightreflectsoffthemirroritbouncesoffaprismintotheviewfinder.

TheShutterisasetofblinds,sotospeak,infrontofthesensor.Whentheshutterreleaseisdepressedthereflexmirrorflipsupandtheshutteropensallowingthesensortorecordthelightenteringthecamera.Thedurationoftimethattheshutterisopenwilldictatetheamountofexposurethesensorhastothelightenteringthecamerathroughtheaperture.

TheSensoristheobjectinsidethecamerathatcreatesanimagefromtheamountoflightpassingthroughtheapertureandshutter.

Figure25showstheessentialpartsofthecameradiscussedabove.

Figure25ThecamerabrokendowntoitssimplestmostimportantpartsThereareseveralothermechanismsinvolvedinthephotographingofanimage.Thereareautofocusmechanisms,severalpiecesofglassinthelens,andallkindsofgizmosand

gadgetboardsinsidethecamera.

However,themostbasicelementsyouneedtoconcernyourselfwithtobetterunderstandyourcameratotakebetterpicturesarelistedabove.

Therearetwomodesyoucanutilizetocomposeaphotograph.Youcancomposeaphotothroughtheviewfinderorthelivepreviewscreenonthebackofyourcamera.

ViewfinderModeLightentersthelens,travelsthroughtheadjustableaperture,andreflectsoff

ofthereflexmirrorintoaprismwhichallowsthephotographertocomposethepreliminaryimagethroughtheviewfinder.ThisisshownastheyellowpathinFigure26.

Whentheshutterreleaseisdepressedthemirrorflipsupallowingthelighttopass.Then,theshutteropensforavariableamountoftimeallowingthesensortorecordtheimagecomposedthroughtheviewfinder.Thisisshownastheredpathinthefigurebelow.

Figure26AvisualrepresentationofaphotobeingexposedinViewfinderMode

LiveViewModeWhileyourcameraisinLiveViewModetheimageisvisibleontheLCD

screenonthebackofyourcamera.

WhenyouplaceyourcamerainLiveViewMode,themirrorisflippedupandtheshutteropensallowingthesensortoseethelightcomingfromthelens.Thisisshownastheyellowpathinthefigurebelow.

Sincethemirrorisraisedup,youwillnotbeabletoseetheimageintheviewfinderonmostcameras.

Figure27AvisualrepresentationofaphotobeingexposedinLiveViewMode

TheMegapixel

Thefirstthingyoumayhaveseenwhenyoupurchasedyourcamerawasalargenumberonthebox,somethinglike20.2Megapixels!Ofcoursewithanumberthatlargeithastobeanawesomecameraright?Notnecessarily!

Itisimportanttounderstandthemegapixelandwhatitmeansforyourphotos.Amegapixelstandsfor1Millionpixels.This“megapixel”comesfromtheproductoftheresolutionofyourimagedividedbyonemillion.

Forexampleifyourcameratakespictureswitharesolutionof4096by3084youwouldtake4096times3084anddividetheproductby1,000,000.Theresultingproductisyourmegapixelcount.

4096*3084=12,632,064

12,632,064/1,000,000=12.632064

12.6Megapixels

Sowhatdoesthatmean?Generallythehigherthemegapixelthelargertheimageyoucanproduceduetoitslargerresolution.Soitisnotnecessarilybetterthatacamerahave20megapixelsasopposedto12.

Youcanproduceverynicesizeprintsfroma12megapixelcamera.Ihavemadesomeverynice18x24evenventuringinto24x36printsfroma12megapixelphoto.

Youreallyhavetodecideforyourselfhowimportantthoseextramegapixelswillbeforyou.Donotgethunguponthemegapixelcount,insteadconsiderthecharacteristicsofthecameraandhowtheywillbenefityou.Bytheendofthisbookyouwillhaveanideaofwhatcharacteristicsyoufindmoreimportantthananother.

ImageSizeThecorrectimagesizeiscriticalforyourfinalphotograph.Yourcamera

hastheabilitytotakemultiplesizesofphotographs.Youmayhaveseenthesesizeslistedassmall,medium,large,largefine,largeregular,andetcetera.Thelistgoesonandon.Regardlessofthenameforit,Ihighlyrecommendthatyouusethesettingwiththehighestimageresolution.

YoumayseeachartsimilartotheonebelowinyourOwner’sManual.

Besuretosetyourcameratothemodewiththehighestresolution!Withhigherimageresolutioncomesahighermegapixelcount.Ahighermegapixelwillproducebetterimagedetailandalargerprintsize.

Ifyouselectedthe“JPEGSmall”optionfromthechartaboveyoureffectivemegapixelcountwouldbe.3.Youcouldexposeforabout26,000+pictures,buttheywouldbe26,000,.3megapixelpictures.Thoseareverysmallandpracticallyuseless.Takeadvantageofeverymegapixelinyourcamera!

Withdigitalphotographyitisimportanttounderstandtheconceptofqualityoverquantity.Ahighermegapixelcountwillyieldahigherqualityimageintheend.Besureyouareshootinginthehighestresolutionpossiblewithyourcamera!

Chapter3.TheExposureTriangle

Iliketotellallbeginningphotographersthattheyshouldnotlearntophotographtheirsubject.Theyshouldlearntophotographthelighttheirsubjectreflects.

Ifyoukeepinmindthatthecameraisalightcapturingdevice,youwillbemorecognizantofthelightaroundyoursubjectandhowyoushouldphotographtheminitandtroubleshootaccordingly.

Adigitalphotographisnothingmorethanthecapturingofameasurementoflightoveraspecificamountoftimeontoavariablespeedpixelrecordingsensor.Thefinalresultisreferredtoasanexposureor,morecommonly,aphotograph.

Therearethreemainvariablesthatmakeanexposure.IliketothinkofthemastheExposureTriangle!ThethreevariablesareAperture,ShutterSpeed,&ISO.

Figure28TheExposureTriangle

ApertureAdigitalphotographisnothingmorethanthecapturingofameasurementoflightoveraspecificamountoftimeontoavariablespeedpixelrecordingsensor.Thefinalresultisreferredtoasanexposureoraphotograph.

Theapertureiscontainedinsidethelensandisthemeasurementoflightusedtocreateanexposure.Theapertureisanadjustablediaphragmthatcontrolstheamountoflightenteringthecamerabyeitherexpandingorcontracting.Youhavetheabilitytoalloworrestricttheamountoflightenteringthecamerabyadjustingthesizeoftheaperture.

Aperturesizesarereferredtoasfnumbersorfstops.Youmayseef/1.4,f/8.0orevenf/22inreferencetotheaperture.Itisimportanttounderstandhowtheaperturewillaffectyourphotographs.

Alargeaperture,f/2.8-f/4.0,allowsalotoflighttoenterthecameraatonce.Sinceamassiveamountoflightisfloodingthesensor,thecameracanrecordtheimageveryfast.Duetothefastspeedoftheexposure,theobjectyouarefocusedonwillappearsharpwhileeverythingarounditappearsoutoffocussincethecameradidnothaveawholelotoftimetofocusonit.

Asmallaperture,f/18-f/32,allowsaverysmall-concentratedamountoflighttoenterthecameraatonetime.Sincethereisnotanabundanceoflightfloodingthecamera,thesensortakesmoretimetoexposetheimage.Thesloweramountoftimeallowsthecameratofocuslongeronthesceneproducingamuchwiderareainsharperfocus.

ThisiscalledDepthofFieldorDOF.Itistherelativedistancebetweenthenearestandfarthestobjectsinanysceneandhowsharptheyappearinaphotographatagivenaperture.

Alargeaperture(f/2.8,f/3.5,&f/4.0)willyieldaphotographwithanarrowdepthoffield.Asmallaperture(f/18,f/22,&f/32)willyieldaphotographwithaverywidedepthoffield.

Figure29Examplesofvariousaperturesfromlargest(f/3.5)tosmallest(f/22)Forinstance,aphototakenatf/2.8willexaggeratethefocalpointbyblurringoutthe

background.Thequalityoftheblurisknownas“bokeh”,pronouncedboh-kuh.

Figure30Anaperturesettingoff/2.8willproduceaverynarrowDOF,noticehowoutoffocus

everythingaroundtheicicleisFigure31Anaperturesettingoff/11willbegintobroadentheDOF,noticehowtheobjectsaroundtheiciclearebecomingmoreinfocusAphototakenatanapertureoff/22willhaveaverywidedepthoffield.Thebackgroundmayappearjustassharporcloseto

thatofthefocalpointintheforeground.

Figure32TheDOFatf/22isverywidemakingeverythingappearinsharperfocusYouhavealotofcontroloverthedepthoffieldinyourimageanditisveryimportanttounderstandtheapertureseffectonyoursubjectoroverallscene.Figure33

showsagreatexampleoftheimproperusageofaperturesettings.

Iwastakingsomepicturesofmywifeandsonafterphotographingalandscapescene.InthelandscapesceneIhadmyaperturesettof/2.8toexaggeratetheDOFonalogrestingbyapond.

Ithenphotographedmywifeandsonwithoutadjustingtheapertureproperly.Ihadfocusedonmysonasthefocalpointwhichresultedinmywifeappearingoutoffocus.Thatonefootofdistancefrommywife’sheadspositiontohisresultedinherfacebeingoutoffocus.

Figure33Whatnottodo!Thiswasaccidentallyexposedwithanapertureoff/2.8

IfIwouldhavesetmyaperturetosomethinglikef/8.0thiswouldnothavebeenaproblem.Iwouldhavehadmywifeandsonincrispfocusduetothebroaderdepthoffield.

Itisimportanttounderstandhowthedepthoffieldwillaffectyourphotographs.Besuretoexperimentwithmultipleaperturesforeveryscene.Whileyoucanfixalotofyourphotographswithpostprocessing,theonethingyoucannotdoisfixapooraperturesettingliketheoneabove.

Ifyourlenscannotachieveanaperturesizeoff/2.8itisbecauseyourlenscannotreachthatmaximumaperture,thisconceptwillbediscussedinChapter

9,LensTypes.

RefertoChapter4for“AperturePriorityMode”.

ShutterSpeedAdigitalphotographisnothingmorethanthecapturingofameasurementoflightoveraspecificamountoftimeontoavariablespeedpixelrecordingsensor.Thefinalresultisreferredtoasanexposureoraphotograph.

TheShutterSpeedisthespecificamountoftimethattheshutterremainsopentoallowtherecordingsensortocapturethelightenteringthroughtheaperture.Thisspecificamountoftimeismeasuredinsecondsorfractionsofseconds.

Youmayseeshutterspeedsdisplayedasnumberswithanapostropheorquotationmarkdenotingwholeseconds.I.E.1’or1”,20’or20”.

Fractionsofsecondsmayappearaswholenumbersorfractions.I.E.1/10or10,1/200or200.

Shutterspeedannotationvariesfromcameratocamera.Refertoyourcameramanufacturer’smanualtodeterminehowtoreadyourcamera’sshutterspeed.

Itisimportanttounderstandhowthespeedoftheshutteraffectstheresultingphotograph.Theslowertheshutterspeedtheharderitwillbetoachieveacrispexposurewithoutthehelpofatripodorsupportsystem.Allofthemovementinthesceneoryourhandwillberecordedwhichcouldyieldablurryphoto.However,itcouldcreatesomeinterestingeffectsaswell.

Haveyoueverseenapictureofawaterfallthatlookslikeamistywallofmagicalwateraction?Afterseeingit,didyoutrytoaccomplishthesameeffectwithyourowncamerawithlittleluck?IknowIdidafterseeingmyfirst“magical”waterfallpicture.

WithalittleexperimentationIwasabletodeducethatthespeedoftheshutterwasthecontributingfactortocapturinga“magical”waterfall.

Lookatthefollowingpicturesandpaycloseattentiontotheshutterspeedsdisplayedintheupperrightcorner.Keepinmindthattheshutterspeedsannotatedby“1/xxxx”arefractionsofseconds.

Figure34Awaterfallcapturedwithashutterspeedof1/1000thofasecondAt1/1000thofasecondthewaterfall’smotionisfrozenintime.Youcanseeindividualdropletsfallingtothelowersurface.Theshutterismatchingormovingfasterthanthe

speedofthewaterfall.

Figure35Awaterfallcapturedwithashutterspeedof1/125thofasecondAt1/125thofasecondthedropletsstarttoblurabit.Thewaterismovingfasterthanthespeed

oftheshutter,thereforethesensoriscapturingthewatersmotion.

Figure36Awaterfallcapturedwithashutterspeedof1/10thofasecondAt1/10thofasecondthewaterisalmostacompleteblurasitismovingveryrapidlycomparedtothe

speedoftheshutter.

Figure37Awaterfallcapturedwithashutterspeedof1/2ofasecondAthalfofasecondthewaterstartstocreatethatmisty-“magical”walleffect.Thewaterisrushing

incrediblyfast,sofastthatahalfofasecondshutterspeedseemslikethespeedofaturtle.Halfofasecondmaynotseemlikealongtime,butintermsof

shutterspeeditis!

Understandingshutterspeedcanbetrickyatfirst.Justremember,thefastertheshutterspeedthemoreactionwillbefrozenintime.Thelongertheshutterspeedthemoremovementwillbepresentinthefinalphoto.

Itmaynotbepossibletoalwaysfreezetheaction,ashutterof1/1000thorgreaterisveryfast.Suchafastshutterspeedrequiresagreatdealoflighttobepresentinthescene.Ifyouselectedashutterspeedof1/1000thorgreaterinadimlylitroomyourresultingexposurewouldbenearlyblack,orunderexposed.

Thereare2commontermsyoumayhearinreferencetoexposure,overandunderexposed.

Anoverexposedpicturewillappearbright.Overexposedpicturesresultfromlongershutterspeedsthanwererequiredtoachieveaproperexposure.

Alongershutterspeedwillforcethecameratocapturemorelight.Ifitletstoomuchlightinthepicturewillbeblownout,orverywhite.

Figure38AnexampleofanoverexposedpicturecomparedtoaproperlyexposedpictureAn

Underexposedpicturewillappeardark.Underexposedpicturesaretheresultofafastershutterspeedthantherequiredspeedtoachieveaproperlyexposed

photo.

Afastshutterspeedtellsthecameranottorecordasmuchlightinformation.Ifthecameradoesnotrecordenoughlighttheresultingphotographwillbeverydark.

Figure39AnexampleofanunderexposedpicturecomparedtoaproperlyexposedpictureExperimentwithvariousshutterspeedsettingsinthesamescenetoseehowthe

shutterspeedaffectsthefinalphotograph.

Thebeautyofdigitalphotographyisthatyouneverhavetopayforfilm!Ifthepictureturnsoutblack,bright,orblurryafterexperimentingwiththeshutter

speed,trashitandmoveon!

RefertoChapter4for“ShutterPriorityMode.

ISOAdigitalphotographisnothingmorethanthecapturingofameasurementoflightoveraspecificamountoftimeontoavariablespeedpixelrecordingsensor.Thefinalresultisreferredtoasanexposureoraphotograph.

ISOisthetermgiventothevariablespeedofthepixelrecordingsensorinyourdigitalcamera.Infilmphotographyitreferredtothespeedofthefilmthatyouwereusingtorecordtheimage.

ISO100filmwasusedforoutdoorconditions,whileISO800wasbestforindoorlowlightingconditions.Typically,ISO400wasyourgo-tofilmspeedasitwasrightinthemiddleandthemostconvenientformostsituations.

Figure40Thegoodolddays!ISO400filmTherewasonemajorlimitationwithfilmcamerasandthedifferentspeedsoffilm.YouhadtochangeyourfilmifyouwantedtogofromonelightingconditiontothenextasISO100filmwastooslowforpoorlylitindoorscenes.Icanrecallchangingmyfilmhalfway

througharollmanytimes.

AllofthatchangedwiththeinventionoftheDSLRcamera.NowyouhavetheabilitytochangetheISOwithinseconds.Goingfromafilmspeedof100to1600,3200,oreven12,600canbedonewiththepushofacoupleofbuttons!

ChangingtheISOallowsyoutomodifythespeedthatthesensorrecordsthelightenteringthecamera.DonotconfusethiswithShutterSpeed!ShutterspeedisthespeedoftheshuttermovementwhileISOisthespeedatwhichthesensorrecordsthephoto.

IfyouareabouttotakeapictureinapoorlylitenvironmentandnoticetheshutterspeedisveryslowyoucanincreasetheISOtoincreasethespeedoftheshutter.Thismakesiteasiertohandholdthecamerawhiletakingapictureandwillalsoreducetheamountofmovementpickedupintheexposure.

IncreasingtheISOmaycomewithapricethough,itcouldyieldnoisyphotos.VenturingpastISO1600maypresentyouwithahighvolumeofnoiseor“filmgrain”ontheresultingphoto.

Figure41ISO100anditslackofnoise

Figure42ISO400,subtlenoise

Figure43ISO1600,nearunacceptablenoise

Figure44ISO3200,horribleimagenoiseIntheaboveexamplesyoucanseeadrasticchangeintheshutterspeedfromISO100toISO3200.Youwillalsonoticeadrasticchangeinthequalityoftheimageduetotheintroductionoffilmgrain

fromthehigherISOoptions.

NewercamerashavemuchbettersensorswhichshowlittleornoimagenoiseathigherISO’s.TheexamplesinFigure41–44werephotographedwithanOlympusE-30whichisnearly5yearsoldatthetimeofthispublication.TheCanonEOS6D,about8monthsoldatthetimeofthispublication,canhandlemuchhigherISO’swithmuchlessimagenoise.

Refertoyourcamera’smanualtofindouthowtochangetheISOsettinginyourcamera.

ReciprocityReciprocityinphotographyistheinverserelationshipbetweenthethree

pointsontheExposureTriangle:Aperture,ShutterSpeed,andISO.DidyounoticeintheimageofthesquashandappleintheISOsectionthatastheISOincreasedsodidtheshutterspeed?Didyouhappentopickuponthepattern?

Theaperture(f/4.0)remainedconstanttomaintainthedepthoffield,butatISO400theshutterspeedwas1/20thofasecond.AtISO1600theshutterspeedwas1/80thofasecond.

Figure45SidebysideexamplesofhowISOwillaffectshutterspeedTheISOincreasedby4times,asdidtheshutterspeed.Thatisreciprocity!AtISO1600thecamerawouldbemucheasiertohandholdwithashutterspeedof1/80ththanthatofa

shutterspeedat1/20thofasecondatISO400.

Lookatthereciprocitychartbelow,itmakesitmucheasiertounderstand.Whatyouwillseeistheconstantapertureselected(orange),theshutterspeedandtheISO(greenandblue)andalloftheincrementsthatcouldbeinbetween.

Figure46Reciprocitychart,orangeisthecontrol,greenisthestartingvariable,andblueistheresultofthechangeAstheISOincreasedfrom400to1600ittook6stepstotherightonthechart.Theapertureremainedthesameandtheshutterspeedtook6stepsto

theright.

HadwekepttheISOat400andchangedtheaperture,asimilarreciprocity

changewouldhavetakenplace.

Figure47Reciprocitychart,orangeisthecontrol,greenisthestartingvariable,andblueistheresultofthechangeIntheexampleabove,theISOremainedat400.However,the

aperturesizeincreasedfromf/4.0tof/2.8.Thischangeproducedanincreaseintheshutterspeedfrom1/20thto1/40thofasecond.

Whatyouarewitnessingisthecamera’sabilitytomakereciprocalchangestotheStops.AStopisanincrementalchangeintheISO,Aperture,orShutterSpeed.

Asyoustopupyouaredoublingtheamountoflightenteringthecamera.Asyoustopdownyouaredecreasingtheamountoflightenteringthecameraby1/2.InFigure47,adecreaseintheapertureby1wholestopfromf/4.0tof/2.8doubledtheamountoflightenteringthecamera.Therefore,theshutterspeedincreasedfrom1/20thto1/40th.

Thef/3.2andf/3.5aperturesinbetweenf/2.8&f/4.0are1/3ofstops.Youmayseetheseincrementsinyourcameraaswell.

Figure48ReciprocitychartwithEVsexplainedYouhavetheabilitytochangethestopofanyofthethreeexposuretrianglepointstoachieveaproperexposure.Atfirstwrappingyourheadaroundreciprocitycanbedifficult,butthesooneryou

understandit,thesooneryouwillbeabletoapplyiteffectively.

Onewaytokeeptheexposuretrianglevariablesconstantistolearnand

understandyourcamera’scapturemodes.ThisleadsusseamlesslyintoChapter4:CameraCaptureModes!

Chapter4.CameraCaptureModes

Thereareseveralwaystohelpthecameradecidehowyouwouldliketotakeapicture.ThesedecisionsarecalledCameraCapturemodes.MostpeoplegethunguponalltheacronymsandsymbolsandfailtoventureawayfromfullAutoduetofearandintimidation.

Itisnotasscaryasyouthink.Thusfaryouhavelearnedhowtocomposeapicture,howthecamerafunctions,andwhatconstitutesanexposure.NowitistimetolearnhowtocontrolthecamerasoyougettheexposureyouwantwithoutusingAutoMode.

Figure49OlympusE-30ModeSelectionDialEverycamerahasmultiplemodesthatarefoundontheModeSelectionDial.Thesecameramodesgrantyoutheabilityto

tellthecamerahowtodoitsjob.Iliketothinkoftheseascommands.

Youcancommandthecameratodoalotofthingslike;Auto,“Hey,doeverythingforme!”

orAperturePriorityMode,“Hey,mindtheShutterSpeed.IwilltaketheAperturewithmeontheflank!”

orManualMode,“Hey,Igotthis,justsitthereandlookpretty!”

IguessitmakesmefeelmoreimportantwhenIthinkofmyselfasacommanderofthecamera.

Refertoyourcameramanualforthecorrectannotationofthecameramodes

describedinthischapter.Beawarethatyourcameramaynotpresentyouwiththesamesymbolsormodesdiscussedherein.

AutoMode

Figure50AutoModehighlightedAutoModeisusuallyannotatedbythewordAutoorA+.Youmayhaveheardthephrase“FullAuto”.Whilethattermispartially

correctthecameraisnotquitedoingeverythingforyou.

InAutoModethecameraisselectingtheAperture,ShutterSpeed,andISO.Yourjobistocompose,focusandmeterforthephoto.RefertoChapter5forFocusing&Metering.

Thoughtheintentofthisbookistogetyouthinkingoutsidetheautobox,therereallyisnothingwrongwithshootinginAutoMode.

IfyouplanonshootingcasualphotosAutoModemayworkjustfine.However,ifyouwanttogetthemostoutofyourcameraandexploitthecapabilitiesoftheApertureandShutterSpeedsettings,youwillneedtogetabetterunderstandingoftherestofthecameracapturemodes.

PROSofAutoMode-Thedecisionmakingisuptothecamera,youarefreetosnapaway.

-Greatforquick-candid“justcapturethemoment”times.

CONSofAutoMode-NocontroloverDepthofFieldduetotheautomaticnatureoftheAperture.

-ManycamerasoperateinsafezoneswhileinAutomode.Thecameramaynotselectthelowestorhighestapertures,slowshutterspeedsorlowISO’swhichlimitsthefullcapabilitiesofyourcamera.

SceneModes

Figure51SceneModeshighlightedDependingonthemakeandmodelofyourDSLRyoumaybepresentedwithaseriesofSceneModes.Thesearepre-programmedmodesthathavebeenaddedtoyourcamerabythemanufacture.Theymaybefoundonthedialitselfortheymaybehiddensomewhereinthecameramenu.Asusual,consultwithyourmanualformoreinformationaboutyourspecific

camera.

TheseModesareintendedtobeusedforthesceneorsubjectyouareabouttophotograph,i.e.Sports,NightTime,Portrait,Macro,orLandscape.WhenyouswitchtheModeSelectionDialtooneoftheSceneModesyourcamerawillattempttooptimizetheAperture,ShutterSpeed,andISOforthemodeyouselected.

Forinstance,ifyouselecttheActionMode,thecamerawilloptimizetheISO,Aperture,andShutterSpeedforactionshots.Itmayselectalargeaperturetoincreasetheshutterspeed,selectafastshutterspeed,orselectahigherISOtoincreasetheshutterspeedaswell.Itmayalsooverridethecamera’srateoffiretocapturemorephotospersecondtokeepupwithhighspeedmovement.

Whilescenemodescanbehelpful,youareleavingalotofcriticaldecisionsuptothecamera.

PROSofSceneModes-TheyarelikeasmartAutoModeastheyoperateinmorenarrowconditionstailoredtothespecificshootingconditionyoumayfindyourselfin.

-Theyworkrelativelywellfortheenvironmentsyouhavemodesfor.

CONSofSceneModes-Changingfromonescenetothenextquicklytoaccommodatechangingconditionsmaybedifficult,especiallyifthescenemodesarehiddeninthecameramenu.

-Somescenemodesdonotallowyoutooverridetheapertureorshutterspeedlimitingyourabilitytomakecreativedepthoffielddecisions.

ArtModes

Figure52ArtModeshighlightedSomeDSLRcamerascomewithArtModesorArtFilters.Theseproducesomereallyinterestingeffects.Forinstance,the

OlympusE-30canbesettoPopArtforanover-saturatedartisticeffect.ItcanalsosettoPinHoleorSoftFocustoachieveavignettedvintagephotooranout

offocushighkeyeffect.

Figure53ArtModesfromtopleftmovingclockwise:Grain&Film,PopArt,PinHole,andSoftFocusTheseArtModesareentertainingtoexperimentwith,howevertheyhaveverylimitedcapabilities.Iwouldnotrecommendshootingawholedayof

photosinArtMode.Thereisatimeandaplaceforthem.

Insteadofusingscenemodes,IwouldapplytheseeffectstoaphotoduringpostprocessingtoensureIhadaneffect-freeoriginalphotograph.OnceyoutakethepictureinanArtMode,itstaysinanArtMode.

PROSofArtModes-Theymakeforsomeprettycreativelookingphotographs

withouttheuseofexpensiveafter-marketpostprocessingprograms.

-Mayinspireyoutomakecreativedecisionsbasedonthedesiredartmodeeffect.

CONSofArtModes-ManyofthesemodesplaceyourcamerainanAutosettinglimitingyourabilitytomakecreativedecisionswiththeelementsintheExposureTriangle.

-Theyarenotidealforeveryphotograph,thereforeswitchingbetweenmodesduringtheheatofthephotographicmomentcouldmeanmissingtheshot.

AperturePriorityMode

Figure54AperturePriorityhighlightedAperturePriorityModeismyshootingmodeofchoice.InAperturePriorityModeyouselectanapertureandthecamerawillselectthecorrectshutterspeedrelevanttothelightinginthepresentsceneto

createaproperexposure.

IrefertothismodeastheProfessionalPhotographersAutoMode.WhileshootinginAperturePriorityMode,youhavetheabilitytocontrolthedepthoffieldinthephotographwithoutworryingabouttheshutterspeedasthecamerawillselectanappropriateoneforyoubasedonyourapertureandISO.

IwouldventuretosaythatIshootinAperturePriorityMode95%ofthetime.

PROSofAperturePriorityMode-GivesyoutheabilitytomakecreativedecisionswiththeApertureresultinginunlimiteddepthoffieldpossibilities.

-Thecameraautomaticallyselectsashutterspeedidealfortheapertureyouhaveselected.

CONSofAperturePriorityMode-Whenswitchingfromoneshootingconditiontothenext(outdoorstoindoors)youmayforgetwhichaperturesettingyouwerein.Itisimperativetobecognizantoftheapertureyouhaveselected.

ShutterPriorityMode

Figure55ShutterPriorityModehighlightedShutterPriorityModeisveryeffectivewhenthespeedatwhichthecameracapturesthemomentisofutmostimportance.WhenyouselecttheShutterPrioritySettingonthemodeselectiondialyouaretellingyourcamerathatyouwillchoosethespeedoftheshutter.Thecamera

willthenselectanaperturethatisreciprocaltocreatethebestexposurepossible.

Idealusesforvaryingshutterspeeds:1/8000thto1/4000th:Stoppingextremelyfastmovieobjectsintheirtracks(CarsorAirplanes,waterdroplets).

1/2000thto1-1000th:Stoppingfastmovingobjectsintheirtracks(Cars,Athletes)1/500thto1/250th:Usedforeverydayobjectsinnormallightingconditions.

1/125th:Notthebestforpanningandcapturingobjectsinmotion,butgreatforlandscapesandsceneswithlittlemovement.

1/60th:Usefulfortakingphotographsindoorsinlessthanidealconditions,considerusingatripoduntilyoulearntocontrolbreathingwhileshooting.

1/30th:Atripodmaybenecessaryasslowershutterspeedsmayrecordcamerashake.

1/15thto1second:Greatforcreatingimageswithintentionalblurfrommovingobjects.

Anythinglessthan1second:Idealforcreatingspecialeffectsinyourphotos(LightPainting,waterfalls).

Bulb:YoumayseetheBulbsettinginyourshutterpriorityormanualmodeoptionswhenyougobelowthelongestshutterspeed.Itwillbeannotatedwitha“B”orlistedas“Bulb”.Bulbsettingmayalsobeonthemodeselectiondial.

Thebulbsettingallowstheshuttertostayopenforaslongastheshutterisdepressed.Manycamerasonlyallowforamaximumshutterspeedof30-60seconds.However,inBulbModeyoucanuseashutterrelease(discussedinChapter10)toleavetheshutteropenfortimedintervalsbeyond30-60seconds.

PROSofShutterPriorityMode-Greatforphotographingfastmovingobjectssuchaskids,waterfalls,andothermovingobjects.

-Thecameraautomaticallyselectsanapertureidealfortheshutterspeedyouhaveselected.

CONSofShutterPriorityMode-Sincethecameraselectstheapertureforyou,makingcreativedepthoffielddecisionsmayberatherdifficult.

ProgramShiftMode

Figure56ProgramShiftModehighlighted

ProgramShiftModeislikeahybridAutoMode.Whenyoudepresstheshutterbuttonhalfwaythecamerawillfocuslockandmeterforthegivenshootingconditiongivingyouthemostoptimalshutterspeedandapertureforaproperlyexposedpicture.

Afterthecamerahasgivenyouitsautomaticshutterandapertureanalysisforthescene,youmayselectanewshutterspeedoraperture.Anincreaseordecreaseinaperturesizewillrenderareciprocalshutterspeedtomaintaintheproperexposure.

Likewise,youmayincreaseordecreasetheshutterspeed.Thecamerawillautomaticallyselectanaperturereciprocaltothechosenshutterspeedtocreateaproperlyexposedpicture.

Figure57Anexampleofhowyoucanchangetheapertureorshutter"onthefly"withPriorityShiftMode

InFigure57thecenterphotoisthe“keyimage”ortheinitialanalysisthecameragavewhentheshutterwasdepressedhalfway.AsImovedtheaperturesizedown1/3stop(f/3.5)theshutterspeedautomaticallydecreased1/3stopreciprocally(1/60).AsImovedtheshutterspeedup1/3stop(1/100)the

aperturesizeincreased1/3stop(f/2.8)reciprocally.

ConsultwithyourcameramanualforabetterunderstandingofhowyoucancontrolyourcamerawhileinProgramShiftMode.

PROSofProgramShiftMode

-Thecamerawillautomaticallyselecttheapertureandshutterspeedforthegivenscene.However,youmaintainfullcontrolovertheapertureandshutterspeeduntiltheshutterisfullydepressed.

-YouhavetheadvantagesofAutoModewiththecreativefreedomofmanualchangesbeforecommittingtotheshot.

CONSofProgramShiftMode

-Ittakesalotofpracticetogetthehangofmanipulatingtheapertureandshutterspeedinterchangeably.Youmayfindyourselfincreasingtheshutterspeedwhenyoumeanttoincreasetheapertureandviceversa.

-Maynotbeuseablewiththeoff-cameraorpop-upflashequipped.Consultwithyourcameramanualforconfirmation.

ManualMode

Figure58ManualModehighlightedManualModerequiresagreatdealofexpertisetoshootin.Youarethecameracontrollerfromtheaperture,totheshutterspeed,

totheISOandbackagain.

WhenyouplaceyourcameramodeselectiondialinManualModeyouaretellingyourcamera,“Justsitthereandlookpretty,Iwilltakecareofeverything!”Thecamerawillnotmakeanyreciprocaladjustmentstotheapertureorshutterspeedbasedonyourselections.

WithAperturePriorityModetheshutterwouldautomaticallychangetoobtainanoptimalpicture.InShutterPriorityModetheaperturewouldchangetoobtainanoptimalpicture.

ThatisnotthecaseinManualMode.Thecamerawillnotmakeanyreciprocalchangestotheapertureorshutterasyoumodifythem.

ItmaysoundlikeanExposureTriangleguessinggame.However,thereisabuiltinfeatureinyourdigitalcamerathatmakesshootinginManualModeabiteasierthanyouthink.

TheExposureIndicator

Figure59TheExposureIndicatorTheExposureIndicatormayrestontopofthecamerainanLCDscreen,insidetheviewfinder,orsomewhereonthedisplay

duringLiveViewMode.Thisindicatortellsyouhowfaroffyourexposureisin

incrementsof1/3ExposureValues(EV).

Thisindicatorisvaluableinanyshootingmode,butitisworthitsweightingoldwhenshootinginManualMode.Let’ssayforinstanceyouswitchtoManualModeandyoulookatyourExposureIndicatoranditlooksliketheyellowboxesinFigure60.

Theboxeshavebeenshadedyellowfordemonstrationpurposesonly.Theywillappearblackonyourcamera.

Figure60TheExposureIndicatorinuse,theyellowdotswillbeblackonyourdeviceTheExposureIndicatorabovedisplaysaphotographthatwillbe1and2/3Exposure

Values(EV)overexposediftheshutterbuttonweredepressedfully.TheexposuremustbemodifiedusingtheAperture,ShutterSpeed,and/ortheISO

by1&2/3EVtoensureonlyoneboxappearsbelowthe0.

Figure61TheExposureIndicatorinuse,theyellowdotswillbeblackonyourdeviceTheresultofanExposureIndicatorseeninFigure61willbeaproperlyexposed

photograph.

Figure62ThepracticalapplicationoftheExposureIndicatoranditseffectonaphotographConsultwithyourmanualifyoudonotseeanExposureIndicatorsimilartotheonedisplayedintheexamplesabove.YoumaynotseeanIndicator,youmay

seeanumbervalueprecededbya+or–symbol.

Ifyouseesomethinglike-2.3, thenyournumerical indicator is tellingyouthat your exposure is 2&1/3EVsunderexposed. Youneed to increase yourAperture size, decrease your Shutter Speed, increase your ISO, or do acombinationofallthree.

PROSofManualMode-100%controlovertheexposurebyadjustingtheaperture,shutterspeed,and/orISO.

-Thecameradoesnotmakeanydecisionsforyou.Thefinalproductisalluptoyou.

CONSofManualMode-Itmaytakesometimetogetusedtothereciprocalnatureofshutterspeed,aperture,andISO.ItisagoodideatoexperimentwithothercameramodesfirsttogetasolidunderstandingofhowtheExposureTriangleworksreciprocally.

-UnderstandinghowtousetheExposureIndicatortakessomepractice.ManualModeisnotsomethingyoucansimplypickuprightawayandunderstand.Whileitisintimidating,itcanbebestedwithproperpractice,experimentation,andpatience.

ExposureCompensationExposureCompensationisnotnecessarilyaCameraModeasitdoesnot

haveaplaceontheModeSelectionDial.However,itisimportanttodiscusswhenonthetopicofcameramodes.

ExposureCompensationisatechniqueusedtoaltertheexposurebyasetEVafterthecamerahasautomaticallymeteredforthescene.

Forinstance,let’ssayyouareinAperturePriorityModeandyoumeter,focus,andexposethephotobydepressingtheshutterbutton.Aftertheexposurehasbeentaken,youlookattheplaybackofthepreviousshotanditappearsalittletoodark.

YoucanselectExposureCompensation(refertoyourowner’smanual)anddecreasetheshutterspeedby1EVtoallowdoubletheamountoflightin.Therewillbea+1nexttoeithertheshutterspeedoraperturetodisplaythe1EVexposurecompensation.

Lookattheexamplesofthelionpicturesbelow.The0EVpicture,Figure63,wasatadbitunderexposed.

Figure63Aslightlyunderexposedimage,itappearsatadbittoodarkWiththeadditionof2/3EVor.7asdepictedinFigure64,theshutterspeedsloweddownjustahairto

letabitmorelightinyieldingaproperlyexposedphotograph.

Figure64UsingExposureCompensationtoquicklybrightentheexposureEverycameraoperatesindifferentEVincrements.Commonexposurecompensationstopsare

1/3,1/2,2/3,and1EV.Youhaveagreatdealofexposurecontrolwhenmodifyingyourexposurein1/3increments.

Somecamerashavea+/-buttononthecamerabody.WhenitisdepressedsimultaneouslywiththemovementoftheSubDialtheexposurewillbecompensateddependingonthedirectionitisrotated.

Figure65TheExposureCompensationButtonandtheSubDialontheOlympusE-30

TheCanonEOS6Dexposurecompensationcanbefoundinthemenuselection.Itdoesnotpossessanexposurecompensationbutton.ConsultwithyourOwner’sManualtolearnaboutyourcamera’sExposureCompensationandhowtocontrolit.

AutoExposureBracketingAveryusefultoolinyourcamera’stoolboxistheAutoExposure

Bracketing(AEB)function.ItisverysimilartoExposureCompensation.However,itallowsyoutosetseveralincrementsofexposurevaluestoberecordedinsuccession.

YoucansetthecameratoAEBinseveralincrements.Somecamerasallowfor1EVatatimewhilemanyallowfor1/3or2/3.Onceyousettheincrementyoumayalsosettheamountofbracketstobetaken,usuallyrangingfrom3,5,or7.

AftersettingtheAEB,pressandholdtheshutterbuttonandthecamerawillmakeoneexposureforeachbracketselectedforaslongastheshutterisdepressed.RefertothefigurebelowforanexampleofanAEBrangeof5exposuresat1EVincrements.

Figure66AutoExposurebracketing,+/-1EVover5exposures

AEBisveryusefulifyouwanttocapturemultiplephotoswithvaryingexposureswithoutthehassleofadjustingthesettingsmanually.Itisalsoan

essentialsettingwhenshootingforHighDynamicRangeImages(HDR),discussedinChapter14.

ExposureBracketingmaybelistedasAEBorABinyourcamerasettings.Refertoyourmanualforfurtherguidance.

Chapter5.FileFormats

Fileformatsareextremelyimportantindigitalphotography.Thereare2mainfileformatsavailableinyourdigitalcamera,RAWandJPEG.

ForyearsIshotinJPEGmode,becauseitiswhatIknew.IsawtheRAWformatonmycamerabutcouldnotwrapmyheadaroundhowitworkedandIcouldnotopenthefilewithmyPC.Insteadoftryingtofigureitout,IcontinuedtotakepicturesinJPEGformatjusttofindoutmuchlaterhowimportanttheRAWformatwas.

Iwillbreakthemdownforyouandletyoudecideforyourself.

JPEGYoumaybefamiliarwithJPEG.Youwillfinditallovertheweb,inyour

email,andonsocialmediasites.Itistheuniversalfileformatfortheconvenienceofitssmallsizewhilebeingabletorenderbeautifulcolorsanddetail.

TheJPEGwascreatedtotakealargeimagefileandcompressittomakeitlesscumbersomeonstoragedevices.Ithasbecometheuniversalmethodfortransferringandstoringmanyphotofiles.Itscompressednaturemakesitgreatforuploadingpicturestotheinternetandsocialmediasites.

ManycamerashaveJPEGfiltersthatprocessduringtherecordingofanimage.Thesefiltersconsistof,butarenotlimitedtoColorCorrection,NoiseReduction,ExposureCorrection,ContrastCorrection,Sharpening,andSaturationAdjustments.

CameramanufactureshavethesefiltersappliedtothephotobeingcapturedastheJPEGcompresses.Theyaredesignedtomaketheimagesappearasgoodaspossiblestraightoutofthecamera.

Theproblemwiththeseadjustmentsisthatyouarelimitedtohowmuchmoreyoucangetoutoftheimageinpostprocessing.DuetotheJPEG’scompressednature,itisverydifficulttosuccessfullyextractanymoreinformationafterthecompressiontakesplace.

Ifyouarethekindofpersonwhowillnotbedoingmuchpostprocessingworkwithyourphotographsaftertheyhavebeentaken,theJPEGformatisjustfineforyou.Ifyoufindyourselfmainlypostingyourpicturestosocialmediasites,JPEGwillbeperfectduetoitsuniversalconvenience.

BydefaultyourcameramayhavebeenautomaticallysettoJPEGmodewhenyoutookitoutofthebox.Ifnot,refertoyourOwner’sManualtolearnhowtochangeit.

ManycamerashavetheabilitytocapturemultiplesizesofJPEGS.Thesesizesaredictatedbytheamountofimagecompressiontheyundergo.Themoretheimageiscompressedthemorepixelateditwillappear.

Figure67Theimageontheleftisuncompressedtheimageontherightisseverelycompressed,noticethepoorrenderingofthewaterdropletsandlackofsharpdetail

BesureyouhavealowimagecompressionratesettoensureyouaregettingthebestqualityJPEGoutofyourcamera.ReferbacktoChapter2,ImageSizeforarefresher.

PROSofshootinginJPEGMode

-Imagesarerelativelysmallandlightonmemorycards.Youmaybeabletotake2-3timesasmanyJPEGphotographsasRAWfiles.ThefilesizewillbedictatedbytheMegapixelcountofyourcameraandtheimagesizeyouhaveselected.

-Thephotographsproducedfromthecamera’sJPEGfilterscanberathergoodstraightoutofthecamera.

CONSofshootinginJPEGMode

-TheJPEGfiltersmaybeproducingresultsonyourimagesthatyoumaynotlike.Fixingtheseissuesinpostprocessingsoftwaremayrenderunwantedresultsduetoitscompressednature.

-CanproduceJPEGartifacts,ahorriblebyproductofhighratesofimagecompression.

RAWTheRAWfileisthedigitalnegative,asIliketorefertoit.Itisuntouched,

unfilteredrawdata!ThecameradoesnotapplythefiltersitnormallywouldtoaJPEGfile.

TheRAWfileisnotcompressed,therefore,inpostprocessingyouhavetheabilitytoextractalotofinformationandmakesomeveryboldmoveswithoutlosingmuchimagequality.

Ihavebeenabletorecover3-4stopsoflightfromanunderexposedRAWfileandstillhaveagreatpicture!IfyoutriedthatwithaJPEGyoumayseeareasofcolordistortionorunattractivehighlightblowouts.

Figure68RAWandJPEGcomparisontheRAWimagepossessesmuchmoredynamicrangeintheskywhiletheJPEGcannotrendertheextentofthehighlightspresentintheRAWfileIprefer

RAWoverJPEGforitsseeminglyunlimitedcapabilities,butonethingyoumustknowisthataRAWfilerequiressometypeofpostprocessingbeforeyoucan

viewitproperly.

YourcamerashouldhavecomewithsoftwarethatallowsyoutomanipulatetheRAWfileoryoucanusesomemorepowerfulsoftwarelikeAdobePhotoshop’sAdobeCameraRaworAdobePhotoshopLightroom.

ThebestwaytothinkaboutaRAWfileisthatitisadigitalnegative.Inthe35mmfilmworldyouwouldgetanegativewhichcouldthenbeusedtomakemultiplepositives.NowwehavetheRAWfile(thenegative)whichmustbeprocessedandconvertedintoaJPEG,TIFF,PNG,etcetera(thepositive).

YoushouldconsiderdoingthesamethingsyourcameradoestoaJPEGtoyourRAWfile,however,yougettouseyourartisticeyetomaketheappropriateadjustments.Forexample,ColorCorrection,NoiseReduction,Sharpening,

ExposureCorrection,ContrastCorrection,andSaturationAdjustments.

UnliketheJPEG,thereistypicallyonlyonesizeforRAWimagefiles.ConsultwithyourOwner’sManualtoobtainabetterunderstandingoftheRAWfileandyourspecificcamera.

PROSofshootinginRAW

-Seeminglyunlimitedpossibilitieswiththephotographinpostprocessing.Youarenotsubjecttothecamera’sfilteringdecisionsandyouhaveaccesstomuchhigherlevelsofdynamicrange.

-WehavenotdiscussedWhiteBalanceyetwewilldothatinChapter7,however,itisnotanissuewithaRAWfile.WhiteBalancebecomesonelessthingtoworryaboutwhenphotographingyoursubjects.

CONSofshootinginRAW

-Thefilesizesareverylarge.Thesizewillbedeterminedbythemegapixelcountofyourcamera.Thesefilescangetverycumbersomeonyourmemorycardsandharddrivesveryquickly.

-Theymustbepostprocessedinordertobevieweduniversally.Thefilemustbeconvertedintoaviewablefileformatinordertobeshareduniversally(JPEG,TIF,GIF,PNG,ect…).

-Theyarenotuniversal.EverycamerahasitsownproprietaryRAWformat.

JPEG,RAWandTeriyakiBowlsCookinganalogieshelpoutatonwhencomparingandcontrastingtwo

concepts,sohereismyfavoriteRAWversusJPEGcookinganalogy.

ThinkoftheJPEGasamicrowaveableteriyakibowl.Popitinthemicrowave,watchitcook,andittastesdecent.Itisbetterthanabowloframennoodlesanditgetsthejobdone,itsatisfiesyourhunger.Whenitisdonecookingyoucanalwaysripawaytheprotectiveplasticandaddsomepepperorsalttospiceitup.

ThisisverysimilartoaJPEG.Youtaketheshot(placetheTeriyakibowlinthemicrowave)andthecameradoesalotofpostprocessingforyou(themicrowavecooking).WhenyouuploadyourJPEGsyoucanaddsomeotherpostprocessingworkbutnotawholelottomakeitbetter(thesaltandpepper).

Nowthinkofgoingtothegrocerystoreandpurchasingalloftheingredientsseparatelytocreateyourownhomemadeteriyakibowl.Youcutupthechicken,marinateit,cutupthevegetables,andthengetthericegoing.

Youmeticulouslyaddspicesandyummygoodnesstothebatchyouarecookingup.Whilethrowingitalltogetheryouhaveendlesspossibilities.Onceyouhaveitallcookedup,youindulge!

ThisisexactlylikeaRAWfileoutofthecamera.Youframeuptheshotandgetyoursettingsjustright(buyingtheingredients).YouthentakethefileintoAdobeCameraRawandgetthewhitebalance,exposure,saturation,contrast,andnoisereductionjustright(preparingtheingredients).

PriortosavingthefileasaJPEGor16bitTIFyouhaveendlesseditingpossibilitieswithlimitedrestrictions(addingallthespicesandcooking).Whenyouarefinishedyousitbackandlookatallyourhardwork(indulgingonyourmeticulouslypreparedfeast)!

TheBottomLineThereareprosandconsonbothsidesofthefileformatspectrum.In

general,theJPEGwillsufficefornovicephotographersuntiltheywanttoprogressfurtherintotherealmofpostprocessing.

TheRAWformatwillticklethefancyofthehobbyisttotheprofessional

photographerwhoreallywanttogetthemostoutoftheirphotoexperience.Eitherway,thereisnorightorwrongfileformat,justdifferentstrokesfordifferentfolks!

SomeofthebestpicturesIhaveevertakencamefromJPEGfilesbeforeIunderstoodtheimportanceofRAW.Youwillfigureoutwhichfileformatfitsyourworkflowthebest.

YoudohavetheabilitytotellyourcameratotakeJPEGandRAWfilessimultaneously.ConsultwithyourOwner’sManualtodiscoverhowyoucanstartshootingboth!

Figure69JPEGscanproducegreatimagesdespitetheircompressioncharacteristics

Chapter6.Focus&Metering

ThereareseveralwaystofocusandmeterwithinyourDSLRcamera.Focusingcanbeaccomplishedeitherautomaticallyormanually.Thereareseveralmeteringsettingsaswell.Thetwogohandinhandastheyaccomplishasimilartaskwhentheshutterbuttonisdepressedhalfway.

Focusingisthecamera’sabilitytojudgetherelativedistancebetweenthecameraandthefocalpointtoproduceapicturethatisinfocus.“Infocus”referstoacrisp-sharpphoto,freeofhazydistortioninthefinerdetails.Anoutoffocuspicturewillappearblurryandsometimesunrecognizable.

Meteringisthecamera’sabilitytodeterminetheproperexposurebasedonthelightreflectedbythescene,subject,orfocalpoint.Thereareseveralwaystometerforthelightpresentinagivensceneorreflectedbyacertainsubject.Whetheryouarecognizantofitornotyourcameraisconstantlymeteringforthelightthatisenteringthelens.

FocusingTherearetwowaysthecameracanbesettofocus,eitherAutofocusor

ManualFocus.

AutofocusWiththecamerasettoautofocus(AF)youwillfinddifferentpointsofAFwithintheviewfinder.Everycameramodelwillvaryastohowmanymaybeavailabletoyou.AsusualrefertothatOwner’sManual,Ihaveseenanywherefrom3to62pointsofAF!

Figure70AnexampleofautofocuspointsTheAFpointsallowyoutodesignatewhichareaoftheviewfinderwillbeusedforfocusing.Youmaybeabletoselecta

singlepointormultiplepointsforthefocusingreference.

TherearetwoprimarymodesforAutofocusing,SinglePointAutofocusandContinuousAutofocus.Canoncamerasrefertocontinuousautofocusas“AIServo”.

SinglePointAFisthesimplestformofautofocusing.Youselecttheobjectyouwouldliketofocuson,depresstheshutterbuttonhalfway,andthecamerawilllockontothatspecifictarget.

ContinuousAFisabitmorecomplexandhasproventobeinvaluablewhenphotographingmovingobjects.Youselecttheobjectyouwouldliketofocuson,depresstheshutterhalfway,andastheobjectmovesthefocusingmotorswillattempttokeepitinfocusasyoufollowit.

ContinuousAFisgreatforkidsandpetsastheytendtomoveunpredictably

whentheyarebeingphotographed.However,itisnotverypracticalwhenphotographinglandscapesorstillobjects.

MypersonalautofocuspreferenceistoselectsinglepointAFwithmycenterfocuspointselected.Setthefocuspointonthesubjectanddepresstheshutterbuttonhalfway.Thisactionwilllockthefocusonyourtarget.

Withyourtargetfocuslocked,youarefreetocomposethephotoaslongastheshutterbuttonremainshalfwaydepressed.Oncetheexposurehasbeencapturedyouwillhavetorepeattheprocess.

ProsofusingAutofocus-Itisonelessthingyouhavetoworryaboutwhencomposingaphoto.Itispoint-and-shootsimple!

-TheAFmechanismsindigitalcamerashavebecomeverysmartandcanyieldgreatsharpresults.

ConsofusingAutofocus-Mayhaveproblemsfocusinginpoorlightingconditions.AFworksfastestinwell-litenvironments,butmaynotworkatallinneardarklightingscenarios.

-Youmustensurethatthecameraisautofocusingonthecorrectobjectorpartofthescene.ThismayrequireagreatdealofpracticewiththemultipleAFshootingmodes.

ManualFocusWithManualFocusselectedyouareincontrolofthefocusofthecamera.

Youcanmanipulatethefocusmanuallybyturningthefocusringonthecameralens.Whileturningthefocusring,thelenselementscontainedinsidewillshiftallowingthefocustovarybasedontheirdistanceapart.

Figure71TheautofocusringoftheZuiko14-54mmlensManualfocusingcanbeobtainedbylookingthroughtheviewfinderorliveviewscreenandturningthefocusringsimultaneously.Asyouturnthefocusingring,becognizantofthesubjectswithinthesceneandhowtherotationaffectsthefocusonthesubject.

Itmaysoundsimpleatfirst,buttacksharpmanualfocusmaybedifficulttoachievewithoutpractice.

Manylenseshaveaveryhelpfulbuilt-indistanceindicatortool.Thedistanceindicatorisawindowwithnumberslistedinside.Thesenumbersrepresenttherelativedistancefromyoutothesubject.

Figure72ExampleofthedistanceindicatorbuiltintoalensThesenumberswillbeannotatedinFeetand/orMeters.Youcansetthenumbersbyjudgingthe

distancefromyourlenstotheobjectyouwouldliketophotograph.

Onceyouhaveassessedthedistanceyouwouldrotatethefocusingringuntil

youreachedthedistanceindicated.Alwaysdoublecheckthefocuswithintheviewfinderpriortotakingthephoto.

Alllenseswilloperateatdifferentrelativedistances.Ifyouhaverotatedthefocusingringsofarthatyouobserveaninfinite(∞)symbolthenyouhaveachievedthatlensesinfinitefocus.

Youmayhearsomeonesay“FocustoInfinite”theyarenottalkingaboutyourlong-termgoals!Theyaresimplytellingyoutofocusyourcameralenstoitsmaximumextent.

Ihaveagreatexampleoftheuseofinfinitefocuswhileinmanualfocusmode.Iwasinacave,averydarkcave.TheobjectIwantedtofocusonwaswellover50feetawayfromme.

Iattemptedtouseautofocus,buttheroomwastoodimlylittofocusonanything.Iswitchedtomanualfocusandfocusedmylenstoinfinite.Iwasunabletocheckthefocusduetothelackofavailablelight.SincethelensIhadequippedmaxedoutatjustabove15feet,IknewthatIwouldbesafewithinfinitefocus.

Afterfocusingthecamera,IdepressedtheshutterandbegantopainttheareasinthatIwantedtoshowinthepicturewithaflashlight.

Figure73ThisimagewascomposedusingManualFocuswiththefocusringsettoinfinitythesubjectswerepaintedinwithflashlightsduringalongexposureToseesometipsonhowyou

cancreateimagesinpuredarknessliketheoneabove,followthislinktoEverydayHDR.

ProsofusingManualFocus-Withpracticeyoucanobtainverysharpfocusratherquickly.YoumayfindyourselffocusingfasterwithManualFocusthanautofocusindimlylitenvironments.

-Bymanuallyfocusingyourphotoyouareensuringthatwhatisinfocusiswhatyouwanttobeinfocusandnotwhatthecameradecides.

-Youdonothavetowaitforthecameratolockonbeforetakingthepicture.Ifthecameracannotfocusinautofocusmodeitwillnottakethepicture.Thatisnotthecaseinmanualfocusmode.

ConsofusingManualFocus-Itisveryeasytoforgetyouareinmanualfocusmodewhenswitchingbetweenfocusingmodesoften.Besureyouareawareofyourfocusingsettingsbeforeyougettootriggerhappy!

-Withoutpracticeyoumayfindyourselfveryfrustratedwithhowlongittakesyoutogetanaccuratelyfocusedphoto.

HybridFocusingManycamerasofferwhatIliketocall“HybridFocusing”.HybridFocusingisAutoandManualFocuscombined.Youmayseeitlistedas“S-AF+MF”inyourcamera.ThismodewouldbeSingleAutofocusplusManualFocus.

Whenyoudepressyourshutterbuttonhalfwaythecamerawillrunthroughitsautofocusing,butallowyoutousethemanualfocusingringuntilyoudepresstheshutterbuttonfully.

RaisingyourfingerfromtheshutterbuttonwillresettheAFmechanism.DepressingtheshutterbuttonhalfwayagainwillyieldanotherrunoftheAFmechanism.

ProsofusingHybridFocus-Yougetthebestofbothworlds.Thecamerawilldotheinitialautofocusinganalysis.However,yougettofinetuneitwiththefocusingring.

ConsofusingHybridFocus-Itcanbeeasytoforgetyouareinhybridfocusmode.Ifyoubumporaccidentallyrotatethefocusingringpriortotakingtheexposure,youmayendupwithanunintentionallyblurryphoto.

MeteringWhetheryouknowitornot,meteringhappenscontinuouslyinsidethe

camera.Trythisquickexercise,removeyourlenscap,placeyourcamerainAperturePriorityMode,andpanyourcameraaroundtheroom.Noticethatasyoupanaroundtheroomtheshutterspeedchangeswhiletheaperturestaysthesame,thisismetering.

Meteringistheprocessthatthecameragoesthroughtoanalyzetheproperexposureforthelightitisreadingatanygiventime.Themeterreadingisdictatedbythelightthatisbeingreflectedfromtheobjectorscenetotheimagerecordingsensor.

Oncethecamerahasthereflectedlightreading,itwillmakeitsexposurejudgmentdependentupontheCameraCaptureModeyouarein.

Thereareseveralwaystotellthecamerahowtometerforthesubjectorsceneyouarephotographing.However,youmustunderstandfirstthateveryobjectyouarephotographingismerelyreflectedlight.

Toooftenwegethungupontakingphotos,butwhatwearereallydoingiscapturingthelightreflectedoffofanobject.Everyobjectreflectslightdifferentlybasedonitscolor,texture,orsurfacecharacteristics.

Onceyoubegintograspthataphotographistheresultofreflectedlightyoucanbetterunderstandwhatmeteringmodeyoushouldbeshootinginforanyphotographicsituation.Oneveryhelpfultooltounderstandreflectedlightisthehistogram.

TheHistogramThehistogramisasnapshotofthelightpresentinyourphotoandwhereit

wouldlayonabellcurve.Youmayhaveseenitonyourcamera’sdisplayasyoucyclethroughyourplaybackmodes.

Likeanyotherchartorgraph,thehistogramcanbeveryintimidatingtolookatwithoutabitofknowledgebeforegoingintoit.

-ThefarleftofthehistogramcontainsalloftheDarkinformationinthephotograph.

-ThemiddlecontainsMidtoneinformation.

-ThefarrightdisplaystheHighlightspresentinyourphotograph.

Figure74Thehistogramexplained,thedarkgradienthasbeenaddedtohelpyouvisualizetheareasofthehistogramEveryphotographhasitsownuniquehistogramthatcanhelpyoudissectthelightreadingofagivenareainrelationtotheentirephotograph.

Yourcamerawillmakemeteringdecisionsbasedontheseareas.

Figure75AvisualrepresentationofahistogramandwherecertainareasinthephotoresideonitAhighkeyimageisaphotographthatispredominantlyfocusedonthehighlights.Noticetheheavyweightedlightsonthefarrightofthehistogram.Thereisverylittledarkinformationinthephotographbasedonthefarleftofthehistogram.

Figure76Anexampleofahighkeyimageanditscorrespondinghistogram

Figure77AnexampleofalowkeyimageanditscorrespondinghistogramAlowkeyphotographisonethatishighlyconcentratedontheshadowspresent.Thereisverylittlelightinformationonthefarrightofthehistogramincomparisontothe

leftside.

Toachieveahighkeyphotoyoucanmeterforthehighlightsinthescene.Likewise,youcanmeterfortheshadowstoachievealowkeyimage.Themeteringmodeyouselectcouldbecrucialtotheoutcomeofyourfinalphotographdependingontheareayouaremeteringfor.

MeteringModesThenamesandfunctionsofthevariousMeteringModesmayvaryfrom

manufacturertomanufacturer.Asusual,refertoyourOwner’sManualtobrushuponyourspecificcamera’smeteringmodes.

Multi-ZoneMeteringMulti-ZoneMeteringmayhavemanynamesdependingonthecameramanufacturer.Ihavehearditreferredtobymanynamestoinclude:DigitalESP,Evaluative,Matrix,Multi-Segment,andHoneycombMetering.

Regardlessofwhatthemanufacturerscallit,itworksthesameacrosstheDSLRworld.WithMulti-ZoneMeteringselectedyourcamerawilltakealightreadingfromseveralareaswithinthescene.Onceithasmeteredfortheseareasitwillmakeitsbestmeteringjudgmentforanoverallproperlyexposedphoto.

Iwouldrecommendthismeteringmodeforgeneralpurposes.Thismodeisrelativelyforgivinginmostcases.

CenterWeightedMeteringWhilesettoCenterWeightedMetering,yourcamerawillplaceahighvalueof“weight”onthecenteroftheviewfinder(about70%)whenformulatingtheexposureforthelightreading.

Figure78AvisualrepresentationofCenterWeightedMeteringAsyoucanseeinFigure78,

thecamerawillplacealotofmeteringweightonthecenteroftheviewfinderandlessinthesurroundingareas.

SpotMeteringInSpotMeteringMode,thecamerawilltakealightreadingoftheexactspot

youhaveselected,about1-5%ofthetotalviewfinder.WithSpotMeteringactivethecamerawilltypicallytakeitslightreadingfromthecentrallylocatedpointoftheviewfinder.Somecamerasoffertheabilitytochangethespotmeteringlocation.

Figure79AvisualrepresentationofSpotMeteringSpotMeteringisveryeffectivewhenyoursubjectisagainstabrightbackground.Thecamerawillmeterforthelightreflectedoffofyoursubjectratherthantheoverallscene.Thiscouldbetheresultofaproperlyexposedpictureratherthananunderoroverexposedone.

Figure80showsaphotothatwasspotmeteredforthesky.Thespotmeteringpointisindicatedbytheyellowcircle.Noticehowtheskyisproperlyexposedwhilethebuildingisunderexposed.

Thecamerawasmoreworriedaboutgettingtheproperexposurefortheskythanitwasthebuildingsincethespotmeteringselectionwasthesky.

Figure80AphotographspotmeteredfortheskyFigure81showsaphotothatwasspotmeteredforthebuilding.Thespotmeteringpointisindicatedbytheyellow

circle.Noticehowthebuildingisproperlyexposedwhiletheskyisoverexposed.

Thecamerawasmoreworriedaboutgettingtheproperexposureforthebuildingthanitwastheskysincethespotmeteringselectionwasthebuilding.

Figure81AphotographspotmeteredforthebuildingInFigure80theshutterspeedwas1/1000thtoexposefortheskywhileFigure81itwas1/125thtoexposeforthe

building.

Thisisbecausethelightreflectedfromthecloudswasverybright.Thecameracouldtakethepictureveryquicklytoexposeforthesky.Theresultwas

averydarkbuilding.

However,whenspotmeteredforthebuildingthecamerahadtouseamuchlongershutterspeedtoobtainanaccurateexposuretocompensateforthedarkshingles.Theresultwasanoverexposedsky.

AverageMeteringWhilesettoAverageMeteringyourcamerawillmakeitsexposuredecisionbasedontheaveragelightreadingfromthewholescene.Thismodewillnotgiveanyweighttoanyonespecificarea,unlikethepreviousmeteringmodes.

Figure82AvisualrepresentationofAverageMetering

Exposure&FocusLockYouhavetheabilitytolocktheexposurereadingandfocuswhiletaking

yourpictures.Thisisaveryusefultoolwhenyouwanttofocusandmeterforanobjectintheforegroundbutrecomposethephotographtoincludemoreofthebackgroundwithoutreceivinganexposurereadingforthebackground.

Manycamerashavealockbuttonlocatedonthecamerabody.InFigure83youwillseetheOlympusE-30lockbuttonisindicatedbyAEL/AFLneartheLCDscreen.TheCanonEOS6Dhasthelockbuttontowardthetopofthecameraneartheshutterbuttonindicatedbya*.

Figure83ExposurelockbuttonsandtheirlocationontwodifferentcamerasTooperatetheexposureandfocuslock,simplypressandholdthelockbuttonafteryouhavefocusedandmeteredfortheareayouwouldliketolockinplace.Oncetheyarelockedyouarefreetocomposeyourphotowiththelockedsettingsforyour

initialfocalpoint.

IusethistechniqueveryfrequentlywhenIwanttospotmeterforaspecificpartofthescenebutwouldliketorecomposethephotoafterIhavemeteredforit.BylockingtheexposureandfocusdownIcanrecomposethephotoandensurethatmysettingsforthesubjectwillnotchange.

Youshouldconsultwithyourcameramanualtolearnmoreabouthowyoucancontroltheexposureandfocuslock.

Chapter7.WhiteBalance

Untilnowwehavediscussedmanycharacteristicsthataffecttheoutcomeofthefinalexposure.Thesecharacteristicsincludetheamountoflightcaptured(Aperture),thespeedatwhichthelightwascaptured(ShutterSpeed),andthesensitivityofthesensoracceptingthelight(ISO).

Thereisanothermajorcharacteristicthatcanaffecttheoutcomeofthefinalexposure,WhiteBalance.Whitebalanceisabuiltincamerafeaturethatallowsyoutobalancethetemperatureofthelightenteringthecamera.

Figure84TwodifferentwhitebalancesettingsusedonthesamephotoTogettechnical,everyformoflight,whethernaturalorman-made,givesoffacertaintemperature,also

referredtoasColorTemperature.ThetemperatureisrecordedindegreesKelvin.CoolerimagesscorehigherontheKelvin(K)scalethanwarmerones.

Figure85CommonlightsourcesandtheirrespectiveKelvinTemperaturesThereareseveralwaystocapturethecolortemperatureofthelightpresentinthesceneyouarephotographing.Yourcamerawilloffermanypresetsforquickwhitebalance

selection.

Built-InCameraPresetsYoumayfindpresetsinyourcamerathatmaynotbecoveredinthis

chapter.Asusual,refertoyourOwner’sManualifyouseeapresetthatisnotmentionedhere.

AUTO—OftenshownasAUTOorAWBintheWhiteBalance(WB)selectionmenu.AutoWBisveryhandyinmostsituations.IhavefoundtheAutoWBsettingtobeveryaccurate.

KelvinTemperature:Willvarybasedonthecamera’sanalysisofthescene.

Sunny—UsuallydepictedasasuniconintheWBmenu.Usethissettingwhenyouaretakingpicturesonaclearsunnyday.

KelvinTemperature:~5300K

Shade—Oftenshownasahousewithashadowbeingcast.Asthenameimplies,thisWBsettingisidealforphotographingasubjectintheshade.

KelvinTemperature:~7500K.

Cloudy—AcloudiconisusedtosetyourcameratoacloudyorovercastWB.Ifyoufindyourselfshootingoutsideonacloudydaythismaybeyourgo-tooption.

KelvinTemperature:~6000K.

Tungsten—Typicallydepictedasalightbulbicon.Thissettingisusuallygoodforindoorlightingsituationswhereincandescentlightsareused.

KelvinTemperature:~3000K.

Fluorescent:Youmayseethefluorescentsymboldepictedasabarwithdashedlinesaroundit.Sincethereareseveraltypesoffluorescentlights,somecamerasoffermultiplefluorescentWBsettings.

KelvinTemperature:~4000K

Flash:ThelightningboltsymbolthatiscommonlyusedtodepictthattheFlashisactivemayalsobeusedfortheFlashWBsetting.

KelvinTemperature:~5200K

Custom:ThecustomWBsettinglookslikeaboxwith2trianglesbelowit.Itissuggestiveoftwolightshighlightingasubject.ThissettingallowsyoutosettheappropriateWhiteBalanceusingawhitereferencecardorsimilar.

KelvinTemperature:Variabledependingonyourlightreadingofthewhitereferencecard.

CustomKelvin:ThecustomKelvinsettingmayvarydependingonyourcameraiftheoptionisavailable.IhaveseenitdepictedasCWBandK.ThissettingallowsyoutoselectyourowncustomKelvinTemperatureindegrees.

KelvinTemperature:Variabledependingonyourselection.

SettingaCustomWhiteBalanceWhileyouhavemanypresetstochoosefromforyourWB,therearealso

severalwaystosetacustomWhiteBalance.

SomecamerasallowyoutheabilitytosetacustomKelvindegree.Thiscanbeusefulifyouknowtheexacttemperaturereadingofthelightingbeingusedinthescene.SomebulbmanufacturerswillincludetheKelvinreadingonthepackaging.RefertoyourcameramanualformoreinformationregardingcustomKelvinsettings.

Figure86AnexampleofKelvintemperaturesannotatedonthemanufacturerspackaging

Youmayalsouseahandheldlightmeter.Theyarehandytohavebutcanberelativelyexpensive.

Therearetwoothermethodsthatmaybehelpfultoachievetheperfectwhitebalanceaswell.Thesemethodsrequiretheuseofawhitecardand/orpostprocessingsoftware.

Method1:CustomWBincamerafromawhitecard

MostcameraswillallowyoutocreateacustomWhiteBalancefromawhitereferencecard.Refertoyourmanualforthespecificbuttonorcombinationofbuttonstodothis.Theprocessisrelativelysimple.Youwanttotellyourcamerawhatiswhitebeforeshootinginthatlightingenvironment.

Iusuallycarryablanksheetofcomputerpaperinmycamerabag.Justan

8.5x11sheetofcomputerpaperwillwork.Itreallydoesnothavetobetooelaborateorfancy.Thebeautyofasheetofpaperisthatasitgetsoldyoucanreplaceitfornexttonothing.Therearespecificcardsthatcanbepurchasedforwhitebalancecalibration.However,awhitesheetofpaperwilltypicallyworkjustfine.

Withmycamera,IselectthecustomWBfromtheWBselectionmenu.WhileholdingdowntheFunctionbuttononmycameraItakeapictureofthewhitepieceofpaper.

ThisprocesstellsmycamerabeforeIstartshootingwhatiswhite.Ideallyallofthefuturepicturesshotinthesamelightingenvironmentwillhavethecorrectwhitebalance.

Thereareseveralthingstoconsiderwhensettingthecustomwhitebalanceinthisfashion.

Youwanttobesureyouplacethewhitesheetorcardinthesameareaofthesceneyouwillbecomposing.Ifyouwillbecomposingtheshotintheshade,placethewhitesheetintheshadedareaforyourcustomWBtestexposure.Ifyoumoveandyoursubjecthappenstobeinthesun,youmayneedtorepeatthecustomWBprocess.

Aslightingchangesfromoneareatothenextsodoesitscolortemperature.YourWBwillbeaffected.YoumayfindyourselftakingmultiplecustomWBexposurestoensuretheproperWBfromscenetoscene.Agoodexampleofthismaybegoingfromoutdoorstoindoorsorviceversa.

Insummary,thecustomwhitebalanceusingawhitecardisgreatforlightingenvironmentsthatdonotchangeoften.Studioenvironmentsareanidealplaceforthistechniqueasyoucangetanaccuratelightreadingfortheentirephotosession.Itmaynotbepracticaloutdoorsduetothevariouschangesincolortemperature.

Method2:CustomWBduringpostprocessing

Postprocessingisthetermusedforwhatyoudoaftertheshot.Itiswhathappenstotheimageinthecomputerafteryouhaveexposedthepictureandwanttotakeittothenextlevel.Postprocessingwillbediscussedbrieflyin

Chapter10.

Duringpostprocessingyouhavemanyoptionsforfixingthewhitebalanceinanyphoto.ThebenefitofRAWimagesisthattheycanbeshotinanywhitebalanceandberestoredveryeasilywithoutimagequalityloss.

JPEGimagesareanotherstory.Itisessentialtogetthecorrect(orclose)whitebalanceinthecamera.Anydrasticchangetothecolortemperatureinpostprocessingcouldresultinthelossofimagequality.

Manypostprocessingprogramsoffermultiplewaystochangethecolortemperature.Youmayusetonecurves,leveladjustments,coloredfilters,colorbalanceadjustments,ortemperatureadjustments.

Manyprogramsalsoofferyoutheabilitytomakeoneclickwhitebalancechanges.Itisverysimilartothewhitecardmethodmentionedpreviously.However,insteadofusingawhitecardyoumayclickonanareayouknowtobewhiteorneutralgreyandtheprogramwilladjustthecolortemperatureaccordingly.

Figure87AnexampleofaColorTemperatureadjustmentinAdobeCameraRaw

WhiteBalanceinSummaryThereareseveralwaystocontrolthecolortemperatureofthelightentering

yourimagesensor.Fromin-camerapresetstopostprocessing,youhavealotofoptions.

Onethingtoconsideristhatwhitebalanceisasubjectiveconceptinphotography.Surelytherearewhitebalancesettingsthatlookhorriblewhentheyaretoofartooneextremeofblueoryellow.

Youasthephotographerbecometheartistwhocontrolsthecolorinyourphotograph.Whilethereare“correct”colortemperatures,sometimesventuringalittlefurtherintoeithertheblueoryellowsidecanyieldsomebeautifulresults.

Addingabitmoreyellowwillmaketheimagewarmer.Whileaddingmorebluewillmakethephotofeelcooler.Youcanincorporatethesetemperaturesintoyourimagetoinvokemoreemotionordepictacertaintimeofday.

Figure88Differenttemperaturescaninvokeadifferentmood

Donotbetooconcernedwiththe“perfect”whitebalance.Itisveryhelpfultoknowhowyourimageisbeingaffectedbythepresetorwhitebalancesettingsyouchoose.However,useyourowncreativitytojazzupthefinalimagewhetheryoudoitinpostprocessingorinthecamera.

Chapter8.TypesofLighting

Earlier in Chapter 3 I defined an exposure as: . . . the capturing of ameasurementoflightoveraspecificamountoftimeontoavariablespeedpixelrecording sensor. The final result is referred to as an Exposure or aphotograph.

Thisdefinition,whilegreatforencompassingthenatureofadigitalphotograph,failstomentiontheQualityofthelight.Everyscenegrantsyouacertaintypeoflight,eachwithitsownqualitycharacteristic.

Thelightinginanauditoriumforaschoolplayisverydramatic,forcingtheviewertofocusonthestage.Whileitisgreatforchannelingyourvisiontothesubjects,itishorribleforphotographingthem.

Thistypeoflightingmakesitverydifficulttophotographwithoutblurringyoursubjects.DuetothispoorqualityoflightyoumayhavetoincreasetheISOtospeeduptheexposure.ThismayleadtopoorimagequalitydependingontheISOlimitsofyourparticularcamera.

Ontheotherhand,youmaybeoutsideonapartlycloudysummerdaywithamplelight.Thistypeoflightisofhighqualitymakingyourphotographicdecisionsrelativelyeasy.YoucanputtheISOatthelowestsettingpossiblewithoutthefearofimagequalityloss.

Thereareseveraltypesoflightingandeachonewillpresentyouwithacertainquality.Iliketobreakdownlightingintwocategories,AmbientandFlash.

AmbientLightingAmbientLightingisdefinedasthelightpresentwithintheenvironmentyou

arephotographing.Thiscouldbethenaturallightwhileshootingoutdoors,thelightproducedbyvariousindoorlightsources,orthecombinationofthetwo.

NaturalLightNaturallightingcanbeyourbestfriendoryourworstenemy!Italldepends

onthetimeofdayandthecloudcoverageoverhead.Ihavefoundthatthebesttimestoshootaresunrise&sunset,anhourbeforesunriseorsunset,andanhouraftersunriseorsunset.

Figure89Adramaticsunset,agreatsourceofnaturallightShadowsaredrasticallyaffectedbythepositionofthesun.Themiddaysun,directlyoverhead,producesvery

short,sharpanddarkshadows.Onthecontrary,theshadowsduringsunriseandsunsetareverysoft,muchlonger,andtendtotaperoffmoresubtly.

RefertoFigure90foravisualizationofhowthesunpositionaffectstheshadowsofyoursubject.

Figure90Avisualrepresentationofthepositionofthesunanditseffectonshadows

Sunrise

Justbeforesunriseyouoftengettheseverypowerfulorangecolorsasthesunrisesabovetheglobe.Thisisprobablymypersonalfavoritetimetotakepictures.Itisusuallyquieterinthecityandmorepeacefulinthecountry.Let’sfaceit;noonereallywantstowakeupearlierthantheyhaveto.

Figure91Sunrise

Sunset

Anhourbeforesunsetyouoftenseeabeautifulgoldencolor,alsoknownasthe“GoldenHour”.

Thisisoneofthebesttimestophotographpeopleoutdoorsastheshadowsoftheirfacialfeatureswillsoftlytaperoff.Underthemiddaysuntheshadowswillbeverysharpandharshandmayappearveryunflattering.

Figure92Sunset,GoldenHour

BlueHour

Onehouraftersunsetthebluespresentedinthenightskyareabsolutelybeautiful.Thistimeisalsoknownasthe“BlueHour”.

Whilephotographingduringthebluehouryoumayhavetodropyourshutterspeedtosecondsasopposedtofractionsofsecondstogetaproperlyexposedpicture.Theresultscanbeshocking.

Figure93BlueHour

Midday

Ontheotherhandofthespectrum,youhavethemiddaysun.Thecharacteristicsofthemiddaysunwithnocloudbreakscanbedetrimentaltoyourphotographs.

Lookathowthesuncastsashort,sharpshadowofthefigureontotheground.Alsonoticethepalebluesky.Youcanstilltakesomegreatphotographsinmiddaylightingconditions.However,theresultscouldbemuchmoreflatteringduringthegoldorbluehour.

Figure94Themiddaysuncastsharshshadows,noticethesculptureandtherailing

SuggestionsforPhotographingSubjectsinOutdoorLighting

Thereareseveralthingstoconsiderwhenphotographingsubjectsinoutdoorlighting.Firstandforemost,considerthetimeofdayandapplythefollowingsuggestions.

SunriseAtsunrisetheremaynotbeenoughlighttophotographyoursubject.You

maybefightingwithlongerexposuresduetothelackofavailableambientlight.

Ifyoursubjecthappenstobealandscapeyourbestsolutionmaybetotripodmountyourcameraandinvitethelongerexposure.Longerexposureswillrecordallofthemovementinthescenewhichcanbeadvantageousorunfavorable.

Fastmovingcloudswillappearasstreaksofcolorwhichcanbeverywhimsicalinyourfinalphotograph.Ontheotherhand,blowingwindcouldcausealotofmovementintreebranches.

IfyoudonothaveatripodyoucanincreasetheISOsensitivity.JustrememberthatincreasingtheISOcanalsoincreasethenoiseinthephoto.KnowingthelimitationsoftheISOsensitivityofyourcameraiscriticalintimeswhenyouarewithoutyourtripodbutneedafastershutter.

SunsetPhotographingduringthesunsetissimilartotakingpicturesduringsunrise.

Thesametechniquescanbeapplied.Theonlyrealdifferenceisthetimeofday.Thecolortemperaturesandlightqualitywillbeverysimilar.

Iwouldsuggestsettingupanoutdoorphotoshootwithaclientatsunsetasopposedtosunrise.Sunsetistypicallyabettertimeforeveryoneastheyaremoreawakeanddonothavethedroopyeyeaffectthatthemorninghourstendtohaveonushumans!

BlueHourTakingpicturesduringthebluehourwilloftenrequiretheuseofatripod.

Sincethesunhasalreadysetthereisnotenoughambientlighttohandholdthecamerawhilephotographing.Theresultingimagewillbeveryblurryduetoexcessivecamerashake.

Iwouldalsosuggestcarryingaflashlightinyourcamerabagatalltimes.Manyautofocusfeatureswillnotbeableto“lockon”ifthereisnotenoughlight.

Youcanusetheflashlighttohighlightyoursubjectlongenoughforyourcamera’sautofocusmechanismtolockon.Onceyouhaveyourcamerafocusedyoucanturnofftheflashlightandproceedwithtakingthepicture.

Youcanachievesomeincredibleresultswithlongerexposures.Forinstance,thephotoinFigure95wastakenonabusyFridaynightoutsideoftheKauffmanCenterinKansasCity.

Figure95LongerexposuresduringtheBlueHourcreatemagnificentresults

Therewerepeoplegoinginandoutofthedoor,walkingrightpastmycameraintheprocess.Withmycameratripodmountedandashutterspeedof12seconds,Iexposedthephoto.

Becausethepeople’smovementswerefasterthanthemovementofmyshutter,theywerenotpickedupontheimagesensor.Inthissituationthestationarysubjects,likethebuilding,wereregisteredinstead.

IfyouintendonphotographingpeopleduringthebluehourorintothenightIwouldsuggestusingatripodandaflash.Settheflashfor“SecondCurtain”operation.Thiswilltelltheflashtofireattheendoftheexposure.

Theresultshouldofferyouthebeautyofyourbackgroundwiththeproperlightingonyourforegroundsubject.Ofcourse,youmayneedtoexperimentwiththeconditionsseveraltimesbeforeyougetagoodshot.

MiddayThemiddaysunoffersamplelightforalmostanyphotographicsituation.

Thedownfallofthisparticularlightingisthesharpshadowsandtheboringpaleblueskies.Youdonotseeawholelotofvariationintheskywhichcanoftenmakeforlessthanappealinglandscapephotos.

RememberwhatIsaidaboutthemiddaysunproducingharshshadows?Theseshadowscanwreakhavoconportraits.Ifyouaregoingtophotographpeopleunderthemiddaysun,Isuggestpurchasingareflector.

Theyfolduprathersmallandareeasytotravelwith.Manyreflectorscomeas5in1allowingyoutoreflectlightwithwhite,silver,gold,orblack(forblockinglight).Ifyouunzipityouwillfindawhitetranslucentreflector.

Theideaistoplacethetranslucentreflectorbetweenthelightsource(thesun)andyoursubject.Sinceitistranslucentitwillreducetheamountoflightpassingthroughit,thuscreatinglessharshshadowsonyoursubject.

IndoorLightIngeneral,indoorlightingisanytypeoflightinggivenoffbyalightbulb,

man-madelightsource,orwindowlightfromanoutsidelightsource.AsthelightsourcechangessodothequalityandcolortemperatureasyousawinChapter7.

SuggestionsforPhotographingSubjectsinIndoorLighting

Similartophotographingoutdoors,shootingindoorscomeswithitsownsetofchallenges.Alotofindoorlightislessthandesirabletophotographin.Youmayhaveseenthiswhilephotographingcasualhangoutsorpicturesofthekidsaroundthehouse.

Youstartwalkingaroundwithyourcameratakingpicturesatrandomjusttofindtheyareallblurrywhenyouuploadthemtoyourcomputer.Thiscouldbeduetomanythings,howevercamerashakeormovementswithinthescenearethebiggestcontributingfactors.

Ifyouarephotographinginindoorlight,itisagoodideatomixyourlightsources.FindaNorthfacingwindowandplaceyoursubjectnearit.Thecombinationoflightsourcesmayhelpyoupulloutanextrastopoflightortwo.Thiswilldramaticallyreducethechanceofcamerashakeastheshutterspeedwillbefaster.

Howaboutaschoolgymoradancerecital?Thesevenuestendtomakephotographinginthemanightmare.Theseenvironmentsdonotofferanampleamountoflighttoshootinwhileyoursubjectsaremovingatafastrate.

YourbestbetforcapturingthemomentistoincreasetheISOtoasettingthatwillobtainthepicturewithoutawholelotofimagenoise.Youmayhavetoaskyourself,“DoIwantapicturewithnoiseornopictureatall?”

Flash

ThelasttypeoflightingisFlash.YouhavealotofflashoptionsintheDSLRworldanditissuchahugetopicthatitcouldtakereadingmanybookstoperfecttheartofit.

Iwouldhighlysuggestinvestinginanoff-cameraflash,alsoknownasahotshoeflash.Theycanbeprettyexpensive,aboutasmuchasagoodlens.However,theseflashesareworththeirweightingoldastheycanproducesomegreatimageswiththeversatilityandqualityoflighttheyprovide.

Figure96IamnotafanofthePop-UpFlash

Iwouldshyawayfromusingyourpop-upflashinautomode.AsamatteroffactIhaveminesettoalwaysbeoff,evenindoors.Manycamerasdefaulttopop-upautomaticallyasthecameradecidesitisneeded.

Theproblemwiththepop-upflashisthatitisanextremelyunattractivelightsourcefromahorribleposition.Itistheequivalentofshiningaflashlightonyoursubjectortakingamugshot!Theresultingphototakenwithapop-upflashinautotendstobeveryflat.

Thereisoneexceptionwiththepop-upflashwhereitcanprovetobevaluable.ThatisshootinginManualModewithaslightlylongershutterspeed.Thiswilltelltheflashtofireandthenallowtheambientlighttofillintheareascreatingmoredepth.

Figure97Thepop-upflashonauto(Left)incomparisontothepop-upflashinmanualmode(Right)

Amuchbetteroptionisanoff-cameraflash,orahotshoeflash.Theseflashescanbemountedtothetopofyourcamerabywayofthehotshoeattachment.

Theymayalsobemountedonabracketattachedtoyourcameraviathetripodmount.Oryoucanplacetheflashinyourhandandusetheflashasawandtodirectthelightexactlywhereyouwantit.Youmayalsoplacetheflashinthecornerofaroomandcommanditwithyourpop-upflashoraradiotransmitter.

Figure98Variouswaysyoucansetupanoff-cameraflash

Youcannotgowrongwithanoff-cameraflashinyourkit.ManyofthemcomewithafunctioncalledThrough-The-Lens,orTTL.TheseTTLflasheswill

communicatewiththelensanddotheirbesttofirethecorrectamountoflightforthescenethatwasmeteredbythecamera.

Ifanoff-cameraflashissomethingyouareinterestedin,gotheextramileandbuytheTTLflash.Itmaycostacouplehundredmorethanamanualflashbutthebenefitsfaroutweighthecost!

Alsoensuretheflashyouarepurchasingdoesnothaveasyncspeedlimit.FlashSyncSpeedistheflashesabilitytokeepupwiththeshutter.

Ifyoupurchaseaflashthathasasyncspeedofsay1/180th,anyshutterspeedfasterthan1/180thwillbefasterthantheflash,thereforeyouwillnotcapturethephoto.Insteadyoumayactuallyseetheshutterinthephoto!

FastflashesarereferredtoasSpeedlightsorSpeedlites.IwouldhighlyrecommendpurchasingaTTLSpeedlightFlash.

FlashShootingModesRegardlessofyourdecisiontouseapop-upflashoranoff-cameraflash,

thereareseveralmodesthatcanaffecthowtheflashoperates.

Consultwithyourmanualtoseewhatmodesyouhaveandhowtheycontrolyourflash.Youmayfindthatyourcamerahasflashmodesthatvaryfromtheonesdescribedinthisbook.

AutoFlash

AutoFlashisoftenseenasaflashsymbolwiththeletterAorAUTOnearorunderit.Withyourflashinautomode,thecamerawilldecidewhethertheflashisnecessaryornotbasedontheambientlightofthesceneyouareabouttophotograph.

RedEyeReduction

Theredeyereductionsettingonyourcameramayappearasaneyeball.Thecamerawillfireaseriesofpre-flashesatyoursubjectbeforefiringtheprimaryflash.

Redeyeisasideeffectoftheflashreflectingoffofthebackoftheeye.Thereflectedlightisareddishcolor.Toreducetherednessintheeye,apreflashisemittedallowingtheeyetimetoadjusttotheflash.

FlashOff

Oftendepictedasalightningboltwithanosymbolaroundit,thissettingwillturnofftheflash.Ioftenkeepmycamerasetinthismode.IfIfeeltheneedtouseaflashIwillchangeitatthattime.

Withmostcamerasyoumustselectthismodetoturntheautomaticpop-upflashoff.

Fill-InFlash

Fill-InFlashisoftenseenasalightningbolt.WiththeFill-InFlashmode

selected,theflashwillfireregardlessofthelightingcondition.

Fill-InFlashmodecanbeveryeffectivewhenphotographingasubjectintheshade.Itcanalsobeeffectiveifyourbackgroundisbrightlylit.

Ifyouarephotographingasettingsunwithapersonintheforegroundyoumayfindyourforegroundsubjecttoberatherdarkinthephoto.IfyouturnontheFill-Inflashandexposeforthebackground,whentheexposureistakenitwillfiretheflash.

Ideally,theresultwillbeawell-litforegroundwithaproperlyexposedbackground.Thistechniquemayrequireabitofexperimentation.

FirstCurtain(SlowSync)

Firstcurtainisoneoftwotypesofslowshutterspeedandflashsynchronizations.ThismodemaybedepictedasSLOW1or1stCurtain.

Inthepreviousflashmodes,theflashissimultaneouslyfiredastheshutteropensandthesensorcapturestheimage.With1stCurtainenabledtheflashwillfireatthebeginningoftheexposureassoonastheshutterrises.

In1stcurtainmodetheflashfiresastheshutteropenscapturingaglimpseofwhatthecamerasawatthebeginningoftheexposure.Thecamerawillcontinuetoexposetheimageallowingalloftheambientlighttofloodthesensor.

Dependingontheshutterspeed,thiscancreatesomeawesomeresultswhenphotographingpeopleindoorsinanenvironmentwithlowambientlight.Youcanachievesomeprettybreathtakingeffectswith1stcurtainmodeselected.

Rememberthatallofthemovementinthescenewillberecordedduetotheslowershutterspeed.Youmaynotalwayshavetheperfectexposurein1stcurtainmode.Youmustexperimentwithyourflash,camera,andtheenvironmentthatyouwillbephotographingin.

SecondCurtain(SlowSync)

Secondcurtain,alsoknownasrearcurtain,isthesecondslowshutterspeedsynchronizationmode.ItmaybedepictedasSLOW2,RearCurtain,andinsomecircumstancesREARwithaboltbelowit.

Withsecondcurtainmodeselectedyourflashwillfireattheendoftheexposure.Allofthemovementwithinthescenewillberecordedandastheshutterisclosingtheflashwillfire,hypotheticallyfreezingthelastthingthecamerasaw.

Justlike1stcurtain,2ndcurtaincanbeusedtocreatesomeamazingeffects.Iwouldsuggestexperimentingwithbothineverylightingsituation.

Thesemodesareverypopularinweddingphotographyduringthereception.Thephotographerwillplacetheirfocusonthebrideandgroomwhiletheyareonthedancefloor.Theshutterwillbesettosomethingslowthatwouldnormallycauseablurryphoto.

Withtheflashinfirstcurtain,theexposurecreatedwillrecordwhatthephotographersawasthebuttonwasbeingdepressed.Theflashwillgooffastheshutterisopened.

Withtheflashinsecondcurtainmode,theresultingphotowillhaverecordedallofthemovementalongwiththelastthingthecamerasawastheflashwasfired.

Theresultscanbemagnificent,however,itmayrequireabitofexperimentationtomastertheeffect.

ManualFlash

ManualFlashmaybedepictedasaLightningBoltfollowedbyFULL,½,¼,1/16,or1/64.Thiswilltelltheflashtoemitafixedamountoflightdeterminedbythesettingyouselected.

RemoteFlashCommanderManycamerashavetheabilitytoremotelycontrolanoff-cameraflashusing

thecamera’spop-upflash.InRemotemode,thepop-upflashwillnotaffectthelightingonthesubject.

Thepop-upflashissimplybeingusedasatransmittertosignalyouroff-cameraflashtofire.Withthissetup,youcanputtheflashalmostanywhereaslongasthepop-upflashcan“see”theoff-cameraflash.

Thisisaveryusefulfeaturewhenyouneedtocreateamultiplelightsetup.Manyphotographersusemultipleoff-cameraflashesinsteadofstudiolightstocreatetheirextensivelightingsetupsastheycanallbecontrolledfromthepop-upflashasacommander.

FlashIntensityControlYoumayhavetheabilitytocontroltheintensityoftheflashbeing

emitted.Manycamerasallowyoutoincreaseordecreasetheflashbyupto5stopsoflightatvaryingintervals.

Thiscanbeusefulwhenyourflashisnotemittingenoughorisemittingtoomuchlight.AdjustingtheflashintensityissimilartoadjustingtheexposurecompensationasseeninChapter4,ExposureCompensation.

Anincreaseintheflashintensitywilltelltheflashtoemitmorelightaccordingtotheincreaseyouselected.Likewise,adecreaseintheflashintensitywilltellyourflashtoemitlesslight.

Becarefulnottogotoofarontheflashintensity.Adrasticincreasewillblowoutthepicturemakingtheimageoverexposed.Adrasticdecreaseintheflashintensitywillmaketheimageunderexposed.

DifferencesinFlashTypesBelowisachartcomparingandcontrastingthepop-upflashtotheoff-

cameraflash.

Chapter9.LensTypes&Characteristics

LensesarethebuttertothebreadofDSLRphotography.Thecamerabodyyoupurchaseisimportant,however,thelensesyouputonthemareevenmorecritical.

Haveyouventuredouttoupgradeyourlensandbeendumbfoundedbytheirexpense?Itisdishearteningtoseethecostwhenyouhavenoideawhatyouaregettingyourselfinto.

Yourcameraprobablycamewitha“kit”lensortwo.Theselensesaregreattogetyoustartedbuttheylacksomeveryimportantcharacteristicsthatcanreallyhelpyouinthelongrun.

ThesecharacteristicsincludebutarenotlimitedtoLensType,MinimumAperture,andStabilization.

LensType

Thereareseveraltypesoflensesusedindigitalphotographyandeachlenshasaspecialplaceinyourkit.Thereareacoupleoffactorsthatdeterminehowthelenswilloperate.ThesefactorsaretheFocalLengthCharacteristicsandwhetherthelensisaFixedoraZoomLens.

FocalLengthCharacteristics

Thefocallengthofthelensisthedistancefromthecenterofthelenstotheimagecapturingsensor.Thefocallengthismeasuredinmillimeters(mm).

Intheindustrytheyplacenamestocertainfocallengthstohelpidentifytheeffectthelenswillhaveonthesubjectyouarephotographing.

Eachfocallengthwillyieldadifferentangleofview.Theangleofviewistheamountyoucancaptureinthescenebasedonthefocallengthyouareusing.

Takeyourindexfingerandthumbandcreateacircle.Thiscircleisahypotheticalfocallength.Takethecircleyouhavecreatedandholditdirectlyinfrontofyourdominanteyelikeyouarelookingthroughaviewfinder.Closetheoppositeeye.Noticethatyourviewableareaisverylarge.

Now,slowlymoveyourfingersawayfromyoureyewhilemaintainingyourfocusontheviewableareainsideyourfingers.Youwillnoticethattheviewableareadecreasesasyourfingerstravelawayfromyoureye.

Whatyouhavejustdemonstratedistheeffectthefocallengthofthelenswillhaveontheviewableareaofyourphotograph.Asthefocallengthofthelensincreasestheviewableareadecreases.

However,thehigherthefocallengththemoremagnificationoftheareayouarephotographing.Thelossofviewableareacomeswithanincreaseinmagnificationallowingyoutophotographsomethingveryfaraway.

Figure99thesamescenefocusedonthesamesubject.Oneat28mmtheotherat600mmFigure100showstherelationshipoftheangleofviewtothefocallengthofthelens.

Figure100VariouslenseswillyielddifferentanglesofviewWideAngleLensesWideAngleLensesrangefromtheFishEyeLens(7-8mm)to24mm.They

gettheirnamefromthewideangleofviewtheyoffer.Theyareadvantageousforgettingalotofsceneinformationintoonephoto.

Figure101AnexampleofawideanglephotoTheFishEyeLenscoversanextreme180°wideangleofview.Itdoesthisbytheshapeoftheglasscontainedinthelens.Theshapewillcreatedistortionofverticalandhorizontallinesasseeninthe

fencepostsofFigure102.ThetypicalfocallengthofaFishEyeLensis8mmor

lower.

Figure102AnexampleofaphototakenwithaFishEyelensWhileaFishEyeLensproducessomeprettycooleffects,itisnotnecessarilyamust-havelensinyourkit.Ihadoneforseveralyearsanduseditonlyahandfuloftimes.Donotget

mewrong,itisaveryfunlenstoexperimentwith!

NormalLensesNormalLensesarelensesthatdonothaveanyspecialwideangleor

telephotocharacteristics.Theirangleofviewis~50°andisdesignedtomimicwhatthenaturaleyesees.

Theselensesaregreatforportraitureastheytendtobeasclosetothehumaneyeaspossible.Wideanglelensescandistortfeatures.Thedistortioncanbeusedforacreativeeffectwithportraiture.However,anormallenswillgiveyouamorenaturalresult.

Anormallensisusuallyaround50mm,however,cropfactorcanplayastrongroleinwhatisconsiderednormalforyourcamera.SeeCropFactorfordetails.

Figure103AportraitcapturedwithanormallensTelephotoLensesTelephotoLenseshaveaverynarrowangleofviewandaretypicallydesired

fortheirlongzoomcharacteristics.Theirtypicalangleofviewislessthan10°.Theyhavebeenbrokenintodifferentcategories,liketheMediumTelephotolensthatwarrantsa30°angleofview.

TelephotoLensesareamustforanyphotographerinterestedinwildlifephotography.Theirintensezoomingcapabilitiesallowyoutoeithershyawayfromharmfulpredatorsorremainstealthywhenphotographingbirdsandotherskittishwildlife.Idonotleaveforthezoowithouta70-300mmtelephotolens!

Figure104Anexampleofaphototakenwithanextremetelephotolens

FixedLens

Fixedlenses,alsoknownasprimelenses,arelensesthathaveonespecificfocallength.Thelensislockedintoonefocallengthfromthemanufacture,typicallyforaspecificpurpose.

Somecommonexamplesare50mmand85mmlensesusedforportraiture.Theselensesgiveyouanaccuratedepictionofwhatyoureyeseesastheydonothavethedistortioneffectthata12mmwideanglelensmayhave.

Anothercommonexampleisa24or25mm“pancake”lens.Theseareexcellentforthrowingonandwalkingaroundthecityastheygiveyouagreat90°angleofviewandareextremelylight.

ProsofFixedlenses

-Areknowntotakesharperphotographsduetothelackofmovingpartslikeazoomlens.

-Themaximumaperture(discussedlaterinthischapter)ofthelensistypicallygreater,allowingforfastershutterspeedsinlowlightconditions.

-Theymayforceyoutomakemorecriticaldecisionswithyourphotographs.Thiswillstimulatecreativity!

ConsofFixedlenses

-Notasversatileasazoomlenssincetheyarelockedintoonefocallength.

ZoomLensZoomLensesareveryversatileastheyarenotfixedtoonefocallength.

Therearemanylensestochoosefrominthezoomcategory,Iwouldconsultwithyourcameramanufacturer’swebsitetoseetheirfulllineoflenses.

Ioftenhavea24-105mmzoomlensattachedtomycamerabody.Itismy“go-to”lens.Itgivesmetheabilitytocaptureawideangleofviewat24mm,butalsooffersadecentzoomat105mm.Thisisagreatlensforlandscapephotography.

Figure105TheKansasCityskylinetakenat24mmwitha24-105zoomlens

Figure106TheKansasCityskylinetakenat40mmwitha24-105zoomlens

Figure107TheKansasCityskylinetakenat105mmwitha24-105zoomlensProsofZoomlenses-Theyareextremelyversatileastheycancoverawiderangeofviews.

-Onezoomlenscantaketheplaceofmanyfixedlensesinyourcamerabag,greatforcuttingtheloadonalongphotoexcursion.

ConsofZoomlenses-Theyaremuchheavierthanfixedlenses.Walkingaroundforawhilewitheven3extrapoundsonyourcameracangetverycumbersomeveryquickly.

-Thepicturestakenwithazoomlensarenotassharpasthosetakenwithfixedlenses.Itisnotalwaysnoticeable,butfixedlensestendtotakemorecrispimages.Theabilitytozoommaycomewiththesacrificeofsharpness.

MacroLensesAmacrolensisanylensthatisdesignedforcloseupphotography.Macro

lenseshavelargereproductionratios.Thereproductionratioisthesizeoftheobjectonthesensorcomparedtoitsactualsize.Agoodmacrolenshasa1:1orgreaterreproductionratio.

Therearemanymacrolensesthatservemultiplepurposesbeyondthescopeofmacrophotography.Sincetheirfocallengthisusuallybetween50and100mm,theycanalsobegreatportraitlensesormediumtelephotolenses.

Youcanincreasethemagnificationofyourmacrolensbypullingitfarther

awayfromthecamerabody.Theconceptisverysimilartoamagnifyingglass.

Youcandothisbyaddinganextensiontube.Theycanbepricey,near$100ormore,oryoucanvisitEverydayHDRforaDIYversionusingarearlenscapandacamerabodycap.

Figure108AmacrophototakenwithanExtensionTubeona50mmMacroLens

MaximumApertureThelensesmaximumapertureisthelargesttheapertureinthelenscanreach

atthefocallengthselected.Thefocallengthandmaximumaperturecanbefoundonyourlens.Somelensesareontheoutsideringsurroundingtheoutsidelenselement.

Figure109LensMaximumApertureasseenonthefrontlenselementYoumayalsoseethefocallengthandmaximumapertureonthesideofthelens.

Figure110MaximumapertureasseenannotatedonthesideofthelensSomelenses,liketheoneintheaboveexamples,havethefocallengthandthemaximumaperturein

bothlocations.

Regardlessofthelocation,themaximumapertureisthelargestpossibleaperturethelenscanobtainatthefocallengthitissetto.Intheexampleabove,at14mmthelargestmaximumapertureisf/2.8,at54mmthelargestpossibleapertureisf/3.5.

Notalllenseswillhavearangeofmaximumapertures.Canon’s24-105mmzoomlenshasonemaximumaperture,f/4.0.Fixedlenseswillonlyhaveonemaximumapertureaswell.

Maximumapertureisacriticalpieceofinformationtoconsiderwhenpurchasingalens.Thelargerthemaximumaperturethefasterthecamerawillbeabletotakethepicturebasedonshutterspeedreciprocity.

Thiscanbeanimportantfactorinyourlensdecisionifyouknowyouwillbeusingitindoorsoften.Lenseswithalargemaximumaperture(f/2.8,f/2.0,f/1.4)areconsidered“FastLenses”.

Inmostcases,thelargerthemaximumaperturethemoreexpensivethelenswillbe.Thisisoneofthoseinstanceswhereyougetwhatyoupayfor.Iwouldsuggestsavingupthatextrafewbuckstogetthelensyoureallywantfortheconditionsyouwillfindyourselfphotographingin,itwillpayoffintheend!

ImageStabilizationAnotherveryimportantfactortoconsiderwhenpurchasingalensiswhether

ornotitpossessesImageStabilization(IS).IShelpsyoucaptureasteadyimagewhilehandholdingthecamera.Thisdoesnotpreventthesubjectfrommovingitsimplyhelpstheblurringcausedbynormalhandheldexposures.

SomecamerabodieshavetheISbuiltintothem.Thiscanmakethelensesabitcheaperforthesesystemssincethelenseshavefewercostlypartsinside.However,lensesthathavetheISbuiltintothemtendtobeabitmoreexpensive.

Theaddedcostofin-lensimagestabilizationisverybeneficial.SomelensIScapabilitiescanallowyoutoobtain2-4morestopsoflightwhilehandholding.

Youmaybewonderinghowalenscanstabilizeaphotoby2-4stopsoflight.Let’ssayforinstanceyourlenshasthecapabilityof3stopimagestabilization.Ifthelightmeterisreading1/8ofasecondfortheexposure,yourlensstabilizationwillcounterbalancethenormalcameramovementthatoccurswhenyoutakeapicture.

AsstatedinChapter3,anincreaseof1stopallows2timestheamountoflight.Sodouble1/8isequalto1/15,anddoubleagainwouldbe1/30,anddoubleagainwouldbe1/60th.Whatisactuallya1/8exposurewillseemlike1/60thwith3stopimagestabilization.

Figure111AnexampleofImageStabilizationasseenonaReciprocityChartWhileimagestabilizationisaveryusefulfeatureinlensesthatpossessit,Iwouldstillrelyheavilyonposture,breathingtechniques,and/oratripodtoensurethecamerais

stable.

CropFactorTheCropFactorisnotsomethingfoundinsidethelens,ratheritiswhat

happensinsidethecamerathateffectshowthelenswillaffectthephoto.Thesmallerthecamerasensorthelargerthecropfactorbasedona35mmcamera.

Thiswillessentiallymultiplyyourfocallengthbythecropfactormagnificationdedicatedtothesensorsize.Thereisanexplanationforthemagnification,butitisnotnecessarilyimportanttoknowthesciencejargonbehindit.Itisimportanttoknowyoursensorscropfactorandhowitmagnifiesthefocallengthofyourlens.

Thereareseveralwaystofindyourcamera’ssensorsize.Youcanlookinyourcameramanualunderthe“Specifications”.Lookforsomethingalongthelinesofsensor,imagepickupdevice,orsensorsize.Lookatthefollowingcharttoseewhatthecropfactormagnificationis.

Tofindtheactualfocallengthofyourlensmountedonyourcameraincomparisontoatraditional35mmformat,youwouldmultiplythelensfocallengthbyyourcropfactor.

SofortheOlympus4/3rdssensorwitha14-54mmlensmounted,Iamactuallyusinga28-108mmlensincomparisontoa35mmfilmcamerasinceithasacropfactorof2.0x.

WiththeCanonEOS6D,whichisafullframesensor,the24-105mmlenswouldbeatrue24-105mmlenssinceithasacropfactorof1.0x.

Figure112showsanexampleofafullframesensor(Canon6D)withthefocallengthsetto24mmanda4/3rdssensor(OlympusE-30)withthefocallengthsetto24mm.

Noticethe4/3rdsimageisamuchtightercropduetothedoublingofthe

focallength.Whatshouldbe24mmisactually48mm.

Figure112AnexampleoftheeffectsofcropfactorOnthewideangleendofthespectrumthe4/3rdssensorcamerasreallymissoutasthesensordoublesthefocallength.

However,onthetelephotosidethe4/3rdssensorsgiveyoudoubleyourtelephotocapabilities.

Figure113showsanexampleofafullframesensor(Canon6D)withthefocallengthsetto300mmandFigure114showsa4/3rdssensor(OlympusE-30)withthefocallengthsetto300mm.

Figure113Atelephotophotoat300mmonafullframecamera

Figure114Atelephotophotoat300mmona4/3rdscameranoticethedoublingeffectofthecropfactorNoticehowmuchmoremagnificationthe4/3rdssensorhasonthetelephotoside.Whatwas300mmisactuallytheequivalentof600mm.

Chapter10.GearEssentials

OverthecourseofmyDSLRjourneyIhaveboughtalotofGearformycamera.AlotofitIthoughtwasessentialatthetime,butcametofindoutitwaseithernotnecessaryorturnedouttobejunk.JustlikeanysurvivalkitthereareNecessities&Niceties.

Asthenameimplies,necessitiesareanythingyouneedtosurvive.Nicetiesareitemsthatarenotnecessarybutmaymakeyourlifeeasier.

ThereareseveralitemsthatIfindabsolutelynecessarywhenbuildingyourDSLRSurvivalKit.ItallstartswiththeCameraBag.

ACameraBagWhenchoosingacamerabag,findonethatwillgiveyouroomtogrow.The

biggestmistakeImadeinthebeginningofmyDSLRhobbywasbuyingabagthatwaslargeenoughforwhatIhadatthetime.

Ihadacamerabodyand2lenses.Ispentnearly$100onabagthatwastheperfectsize.Overthecourseofayearmykitgrewfrom2lensesto4withtheadditionofalargeoff-cameraflash.Needlesstosay,thatperfectsizebagveryquicklybecameentirelytoosmall!BeforeanyphotoexcursionIwouldhavetodecidewhatIwantedtobringwithme.

Itishardtoprioritizewhatyouwillneedwhenthepossibilitiesareendlesswithallofyourgear.Isuggestbuyingabagthatwillgiveyouplentyofroomtogrowinto.

Othercharacteristicstoconsider:Thicknessofthepadding:Findacamerabagwithnicethickpadding.Thiswillkeeptheequipmentprotectedfromhardhitsorfalls.

AmountofStraps:Therearemanystylesofcamerabagstochoosefrom.Thereareonestrapmessengerbags,onestrapovertheshoulderbags,andtwostrapsovertheshoulderbags.

Iamnotafanofthesingleshoulderstrapcamerabags.Theyarenotvery

comfortablewhentheyareonyourbackandshouldersforextendedperiodsoftime.Whiletheslingmethodofopeningisconvenient,thepainanddiscomfortarenotworthit.

Ipreferthetwostrapbags.Theyseemtodistributetheweightveryevenlyoverbothshouldersmakinglongphotoexcursionsveryeasytomanage.

Ihadaonestrapbagthatwasperfectwithonly10orsopoundsinit.WhenIputanymoreweightinit,itwoulddigintomyshoulder.Longdaysoutturnedintorestlessnightsandaverysoreshoulderthefollowingday.

Besureyoudonotoverfillyourbageither.Imadethemistakeofputtingallofmygearinonebagforatrip.Abouthalfwaythroughthetripthestraponmyrightshoulderbegantotearawayfromthebag.TurnsoutthatbagwasnotquiteratedfortheweightIhadinit!

Shyawayfromtheflashy:Itrynottopurchaseacamerabagthatscreams,“HEYYOU!Iamacamerabagthatholdsalotofexpensiveequipment!”Iwouldalsocutoffalltagsormanufactureridentifiersfromtheoutsideofthebag.

Peoplewhoknowcamerasknowwhotheheavyhittercompaniesarethatmanufacturecamerabags.Thievesdoaswell!

ATripodAtripodisamustinmyopinion.Thebenefitsofatripodgreatlyoutweigh

thecost.However,costcanbeanissue,tripodsrangefrom$10-$700ormore.Youhavetodecidewhatisbestforyouwhendecidingonatripod.

Alsoconsiderthattherearetwopartstowhatyoucallatripod.Therearethelegsandtheballhead.Someofthecheapertripodsaresoldcompletewithboth,whileotherprofessionalmodelsaresoldseparately.

Figure115AtripodconsistsofthecombinationofaballheadandlegsTheycangetpriceyprettyquickly.Youshouldexpecttopayaround$100foradecenttripodand$400-800foranexcellentone(ballheadandlegs).Youshouldkeepthreethingsinmindwhensearchingforatripodstability,function,andweight.

Stability:Asturdytripodisessentialfortakingpictureswithlongershutterspeeds.Themoreexpensivetripodsareusuallymorereliable.

Asturdyballheadisalsocritical.Thesturdiertheballheadthemoreweightitcanhandle.Thatbecomesimportantwhenyouhaveheavytelephotolensesattachedtoyourcamera.Theytendtobeheavyandcouldoutweighthespecificationsoftheballhead.

Function:Therearemanydifferentfunctionsfromtripodtotripod.Somehavetensiondevicesonthelegsthatclipandholdtheminplace.Withothertripodsyoumusttwistwithascrewingactiontolockthelegsinplace.

Figure116Differenttripodlegadjustors,clampstyleontheleftgripstyleontherightIhaveownedbothandprefertheclipsfortheirspeed,butIhavealsobrokenafewclipsbypushingtoohard.Inspecttheconditionoftheplasticormetal

clampsbeforepurchasingtoensureitwillbesturdyenoughtostandthetestoftime.

Allballheadsfunctiondifferentlyaswell.Somehaveleversthatmanipulatethe

camerapositionwhileothersuseagripaction.Ipreferthepistolgriptypeaboveallelse.

Withapistolgripballhead,yousqueezethehandletomoveitaround.Whenyouhaveyourdesiredpositionyousimplyreleasethegripandtheballhead

maintainsitsposition.

Figure117ApistolgripballheadWeight:Alltripodsandballheadsaremadeofdifferentmaterialsfromplastictocarbonfibertodifferenttypesofmetal.Somematerialsarelighterthanothers.Carbonfiberandtitaniumareknownfortheir

lightweight,butcanalsobeveryexpensive!

Ifyouwillbeatravelingphotographerwhospendshourstrekkingwithyourgear,asmall,light-weighttripodmaybeapriorityforyou.

ShutterReleaseAshutterreleasecanbeusedtoremotelycontroltheshutterbuttononyour

camera.Shutterreleasesareveryusefulwhenyouwanttominimizecamerashake.Itisveryeasytoinducecamerashakebymanuallyoperatingtheshutterrelease,evenwhentripodmounted!

Therearethreecommontypesofshutterreleases,IRRemote,CableRemote,andRadioFrequency.

Figure118IRRemoteShutterReleaseManyIRremoteshutterreleasesareverysmall,simpledevicesthatcontroltheshutterbywayofanIRbeam,verysimilartoaTVRemote.Dependingonyourcamera,theIRreceivermayeitherbeonthefront,back,orboth.ConsultwithyourOwner’sManualtofindthelocationof

theIRreceiveronyourcamera.

Figure119CableRemoteShutterReleaseAcableremoteshutterreleaseattachestoyourcamerabywayofacable,usuallytotheUSBportorspecializedremoteport.Somecableremotesaremorecomplexthanothers.Ipreferasimpleonebuttonshutterreleasewithalockingmechanismfortakingmultipleexposuresatonce.

Therearecompaniesthatmakespecialcablesthatcanbeattachedtoyourcellphoneaswell.Theyrequireyoutodownloadanappandpurchaseaspecificcable.Youcancontrolalotoffeaturesonyourcamerafromthesecellphoneappremotes,theycanbeveryhandy.

Youcanalsocontroltheshutterfromaradiofrequencydevice.Thesedevicesattachtothehotshoeofyourcameraandarecontrolledbyaradiofrequencyremote.Whilethesedevicesareexpensivetheyhavethemostrangeofthethreeshutterreleases.

SpareBatteriesItisalwaysagreatideatohaveasparebatteryortwohandyinyourcamera

bag.Sparebatteriesfromyourcameramanufacturercanbeveryexpensive,$50-$100each.However,thereareseveraloffbrandbatteriesthatareinexpensive,Ihaveseenthemforunder$5each.

Theproblemwithoffbrandmodelsisthatsomeofthemtendtobe“duds”.Theymayholdachargeforacoupleofoutingsandgraduallylosetheirabilitytocharge.Somemayonlyallowyoutotake200picturesasopposedtoyourmanufacturer’sbatterywhichisusuallyaround500-700.

WhenIpurchaseoffbrandbatteries,Iusuallybuyseveralatatime.IfIpurchase4at$5,Iamonlyout$20.Itisveryprobablethatatleastonewilllast.Youcouldveryeasilysave$30-$70purchasingcheapoffbrandbatteriesoverbuyingthemanufacturersrecommendedbattery.

FlashThemostcriticaliteminanycamerabagisagoodflash.Youcanonlydo

somuchwithambientlightandISObeforetheintroductionofaflashisnecessary.AgoodThrough-The-Lens(TTL)speedlightflashisparamount.

TTLflashescanbeexpensive,closetothepriceofahighqualityprimelens.Makingthatpurchaseisdifficultandquitefrankly,Ididnotbuymineuntilmykitwasfulloflenses.Iregretnotbuyingonesoonerasitwouldhavesavedmealotofheadacheinlowlightsituations.

Ifyouarecandidlyphotographingchildrenordoinganyproductphotography,agoodTTLflashisamust.

QualityLensesItisagoodideatoinvestinhighqualitylenses.Whilethehighquality

lensescomewithaheftypricetag,theytypicallytranscendtimebetterthanthecamerabodiesyouputthemon!Afterall,adigitalcamerasensorisonlyasgoodastheglassyouputinfrontofit.

Thequalityofyourphotographsisgreatlyaffectedbythequalityofthelensyoutookthemwith.Afewproblemareasincludevignettesaroundtheedgesofthephotographatlargeraperturesizes,distortionofhorizontalandverticallines,andoverallsharpness.

Whileyoucanbuyawholethreelensoutfitforthepriceofonequalitylens,

Iwouldadvisethatyousavethatmoneyandputittowardonesolidlensandslowlybuildupyourlensarsenal.

Asyoubuildupyourkit,Iwouldalsosuggestgoingonoutingswithonelensatatime.Icallthese“LensChallenges”.DuringtheselenschallengesIwilltakeonlyonelenswithme,beita50mmor70-300mm.

IndoingsoIamlimitedbywhatItakealongwithme.Youwilllearnalotaboutthestrengths,weaknesses,andlimitationsofyourlenseswhenyouchallengeyourselftouseoneatatime.

Iwouldsuggestyouownoneofeachtypeoflens:-AWideAngleLens(preferablyzoom):24mmequivalentaftercropfactor-A50,85,or100mmLens:Greatforportraitureandmacro-A70-300mmLens:Greatforwildlifeoutingsaswellaschildren’ssportsphotoshoots.

Chapter11.PostProcessingSoftware

PostprocessingsoftwareisabsolutelyessentialintheworldofDSLRphotography.Asamatteroffact,ifyoureallywanttosurviveinthisworlditisabsolutelynecessarytopostprocessyourphotographs.

Postprocessingiswhatyoudoafteryouhavetakenthepictureinthecameraandwanttotakeittothenextlevel.Therearethousandsofthingsyoucandotoaphotographafteryoutakeitinthecamera.

Iadviseyounottoassumethatthepictureiscompleteonceyouhavedownloadedittoyourcomputer.IamnotonetoshowanyofmyphotographsuntilafterIhavepostprocessedthem.

IwillnotevenshowmywifemypicturesuntilIhavetakenthemtothenextlevelwithmypostprocessingsoftware.

Figure120Straightoutofthecamera

Figure121Apostprocessedversionoftheimageabove

Lookatitthisway.Intheolddaysoffilmphotographyitwouldberareforaphotographertosay,“HeylookatallthesegreatnegativesIhavehere”andnevertaketheminthedarkroomtomakeafinishedprint.

Comparethepicturesyoutakeinadigitalcameratoafilmnegative.Theyneedtobetakentothenextlevel.Theyneedsomedigitaldarkroomtime!

Ihaveheardmanyphotographerspridethemselvesinthefactthattheydonotpostprocesstheirphotographs.Youmayhaveheardthisone,“Itookthatstraightoutofthecamera,itisnotPhotoshoppedatall”.

Idespisethatterm,“Photoshopped”.Ithassuchanegativeconnotationbehindit.ItisasifeverypicturethatisbroughtintoPhotoshopissomehownotalegitimatephotographanymorebecauseyoumadeitlookbetter.Howridiculousisthat?

Thetruthofitis,ifyouarenot“Photoshopping”yourphotographs,youaremissingoutonaworldofendlesspossibilitiestomakebetterpictures.Mostpeopleassumetheterm“Photoshopped”meansthatsomeonehastakensomethingfromonephotoandplaceditintoanother.

Whilethatistrue,youcandothat,youcanalsoutilizemanyfunctionswithinPhotoshoptoimprovetheoveralllookofyourphotos.

YouarenotlimitedtotheincrediblyexpensivePhotoshopeither.Therearetonsofprogramsonthemarketthatallowyoutodosomeawesomephotoediting.

WhatShouldYouBeDoingToYourPhotographs?

Therearealotofimportantareasofpostprocessingtoconsiderwheneditingyourphotographs.Photoeditingisasubjectiveprocess.WhatIdotomyphotographssomeoneelsemaynotdo,ordoinadifferentorder.Thisiscalledaworkflow.

Everyone’sworkflowisdifferent.Thatisnottosaythatoneperson’sworkflowisbetterthananother’s.Theyarejustdifferent!

BelowareacoupleofthingsthatIdotoeveryphotographstraightoutofthecamera.Imaydomorebutthesearethemostcommon.Observethisphotographstraightoutofthecamera.

Figure122Beforepostprocessing

ImageStraighteningIhavebeentakingpicturesforwellover15yearsnowandIstillhave

problemstakingalevelpicture.Iknowtherearelevelcontrolswithinmycameraandevenonmytripodtohelpmegetastraightshot.

IdonotknowifIforgetaboutthiscrucialstepwhenIamtakingpicturesorifmyheadiscockeyedbyabout2degrees.ItissomethingIshouldbemoreconsciousof,buthey,weallmakemistakesinthephotoprocess.Luckily,Ihavepostprocessingsoftwarethatallowsmetocorrectmylopsidedhead.

Figure123Afterimagestraightening

NoiseReductionNoisereductionisacrucialstepwhenpostprocessingyourphotos.Whether

youareusingahighISOoryouareshootinginRAW,noisereductionisabsolutelynecessary.WediscussedimagenoiseathigherISO’sinChapter3.

RAWimagesdonotreceivethesamefiltertreatmentthataJPEGissubjectedto.OneofthosefiltersthatyourcameraappliestoaJPEGisnoisereduction.SinceaRAWfiledoesnotreceivenoisereductioninthecamera,itisimportanttoaddressanypossiblenoisewhilepostprocessing.

Figure124Beforeandafternoisereductionintheexampleimage

Figure125Anexampleofnoisereductiononadifferentphoto.Theeffectsaremoreapparentinthisexample

HighlightandShadowAdjustmentOneexcellentwaytoincreasethecontrastinyourphotosandmakeyour

subjectspopoffthescreenistoadjustthehighlightsandshadows.

Itisverydifficulttoexposeaphotographforboththeskyandtheforegroundasyoucanseeintheexamplephoto.However,duringpostprocessing,youcanopenupthoseshadowareasthatwerenotexposedforproperlyinthecamera.RAWfileshavealotofrangetoworkwithintheshadowandhighlightareas.

JPEGfilestendtothrowalotofvaluableinformationawayduringthecompressionprocess.Someofthattossedinformationisfoundinthehighlightsandshadows.InordertotakefulladvantageoverthehighlightsandshadowsIhighlyrecommendyoushootinRAW.

Figure126Afterhighlightandshadowadjustment

CurvesAdjustmentAlotofpostprocessingprogramsallowyoutomodifythetonecurveofthe

image.Modifyingthetonecurvecanaddsomemuchneededcontrastanddepthtoanotherwiseflatlookingphoto.

Theprocessofmodifyingthetonecurveisprettysimplebutintimidatingatfirst.Bymakinganadjustmenttothepointsonthetonecurveyoucanmodifythehighlights,midtones,andshadowsindependently.

Figure127AnexampleofatonecurveandthepointsyouwanttotargetDoyounoticethehistogramthatisvisibleinthecurvesadjustment?Wediscussedthehistogram

inChapter6.

Aslights-curveisaverypowerfuladjustmentthatcanbebeneficialtoanyphotograph.Itcanbemadebyslightlyincreasingthehighlightsanddecreasing

theshadows.Thisprocessmakesyourdarksabitdarkerandyourlightsabitlighter.

Figure128AslightS-Curveappliedtothephotogaph’stonecurve

Figure129Afterthetonecurveadjustment

WhiteBalanceAdjustmentWhiteBalance,orcolortemperature,wasdiscussedingreatdetailinChapter

7.EarlierIstated:“Duringpostprocessingyouhavemanyoptionsforfixingthewhitebalanceinanyphoto.ThebenefitofRAWimagesisthattheycanbeshotinanywhitebalanceandberestoredveryeasilywithoutimagequalityloss.”

OneofthegloriousthingsaboutaRAWfileisthatitdoesnotrecordasetcolortemperature.Therefore,youcanveryeasilychangethewhitebalancewithoutthefearofdestroyingyourphoto.

Thisphotowasshotduringsunrise,butyoucannottellinthebeforeimage.Italmostlooksasifitcouldhavebeenshotatnoonbythelackofwarmtones.Addingabitofyellowtothecolortemperaturehelpsbringbackthatsunrisefeel.

Figure130Aftercolortemperatureadjustment

SaturationAdjustmentAnotherveryimportantaspecttopostprocessingisSaturation.Saturationis

theamountofemphasisacolorhasinaphotograph.Ahighlysaturatedimagehasveryvibrantcolors.Ontheotherhand,animagethatiscompletelydesaturatedisBlackandWhite.

Manypostprocessingprogramsallowyoutoincreasetheoverallsaturationorthesaturationofindividualcolorsindependently.WhenshootinginRAW,thephotosdonothavethesaturationfiltersappliedthatJPEGSdo.

ItisimperativethatyoukickupthesaturationabitinyourRAWfiles.Thatdoesnotmeanyouhavetogocrazywithiteither!Saturationislikeblackpepper,alittlebitgoesalongwayandtoomuchcanruinyourfood!

LookatthefinalbeforeandafterimagesinFigure131andFigure132.Itisextremelyimportanttopostprocessyourphotographstotakethemfrom“eh”to“WOW!”Thewholeprocedureofpostprocessingthisphotographonlytookabout30seconds.

Theresultingimageisexponentiallybetterthanwhereitstarted.

Figure131Beforepostprocessing

Figure132Afterallpostprocessing

ImageSizingFromfilesharingonsocialmediasitestoapersonalwebsiteoreven

printing,thesizeoftheimagewillplayanintegralroleinthefinalproduct.Iftheimageistoolargeitwilltakeawhiletoloadonawebsite.Thatisonereasonwhysocialmediasiteshaverestrictionsontheirallowedfilesize.

Ontheothersideofthespectrum,iftheimagesizeistoosmallandyoutrytoprintitlargeitwilllookhorribleandpixelated.Agoodstandardtofollowwhensavingis72pixelsperinchforwebsitesand240-300pixelsperinchforprinting.

ChoosingYourPostProcessingSoftware

Justlikecameras,thereisatonofpostprocessingsoftwareprogramsonthemarket.Theyrangefromverybasictoextremelyintricate.Itisagoodideatostartatthebasiclevelandprogressforwardasyoufeelmorecomfortable.

Whentryingtodecidewhichsoftwaretopurchasethereareseveralpointstoconsider:

1.Whatisyourlevelofexperience?

2.Doyouintendondoingalotofpostprocessing?

3.Howmuchareyouwillingtospend?

Thefirstpointisyourlevelofexperience.IfyouhaveneverpostprocessedaphotographbeforeyoumaynotwanttodiveintosomethingadvancedlikeAdobePhotoshoprightoffthebat.

Youwillbelost,confused,andmaygetfrustratedtothepointofnoreturn!Itmaybewiseofyoutostartsmallandprogressforward.

Secondly,doyouintendtodoalotofpostprocessing?Youmaybesatisfiedfromtheresultsinyourcamera.Thatisfine,everyonemovesathisorherownpacewithDSLRphotography.Postprocessingtakesalotoftime,anditcomeswithahugelearningcurve!

Youmaynotbereadyforthedauntingtaskofpostprocessing,butIcanguaranteeyoutherewillcomeatimewhenyouwillwanttostart.Youwillstartwhenyouareready.

Thelastpoint,howmuchareyouwillingtospend?Manyoftheadvancedprogramscomewithahugepricetag.ItmaybeverydifficulttoobtainacopyofPhotoshopduetoitsprice.However,itispricedatthecostofalensbecauseitisaverypowerfulasset.

Thereareotherprogramsthatarereasonablypriced,butitallgoesbacktopoint#2.Doyouintendonpostprocessingyourphotosanddoesthepricejustifytheusage.

Formypurposes,Photoshopisasmallexpensefortheamountofpower

behinditandhowoftenIuseit,everyday!However,youmaynotuseevenhalfofthefeaturespackedinitoruseitasfrequently.

Thereareaplethoraofprogramsoutthere.Isuggestdoingsomeresearchtofindwhichsoftwarewillworkbestforyou.Mostprogramsoffer30dayfreetrialswhichareperfectforgettingyourfeetwetbeforejumpingcompletelyintothepool.

BeginnerLevel

PicasaFigure133ScreenshotofPicasaDescription:PicasaisaGoogleproductspecificallydesignedfororganizing,editingandsharingphotographswithease.Therearealotoffeaturespackedintothisprogramthatmakeitagreatjumpingoffpointfor

anybeginnerlookingtogetintopostprocessing.

WhoIsItFor?Picasaisperfectforthenovicephotographerwhohasneverusedpostprocessingsoftware.Itisalsoagreattoolforanyonewhoenjoyspostingtheirimagestosocialmediasites.

Cost:ThepriceisrightwithPicasa,free!

BestFeatures:-Agreatorganizationaltoolforyourphotographsifyouaresomeonewhoisnotaveryorganized.

-RAWfilesofmanycamerasareacceptedinPicasamakingitagreattoolforpostprocessingRAWdata.

-Extremelyeasyimageediting,offeringoneclickfeaturesthatactuallylookprettyprofessionalintheend.

ProprietaryCameraSoftware

Figure134ScreenshotofOlympusMaster2

Description:Oftendigitalcamerascomewithpostprocessingsoftwarespecificallydesignedtoworkwellwithyourcamera.Everyproprietarysoftwareprogramisdifferent,consultwithyourcameramanufacturerforinformationabouttheirproduct.

WhoIsItFor?Theseprogramsareforthosewhowouldliketogivepostprocessingatry.Theyaredesignedforrelativelybasiceditingandarepackedwiththenecessarytoolstogetagoodlookingfinalproduct.

Cost:Usuallyfree,consultwithyourcameramanufacturer.Itmaycomeonadiskwithyourcameraoryoumaybeabletodownloaditfromyourcameramanufacturer’swebsite.

BestFeatures:-YoucanedittheRAWfilesthatyourcameraproduceswithoutpurchasinganyoftheexpensivesoftwarealternatives.

-Featuresmayvarydependingonyourmanufacturer’ssoftware.

IntermediateLevel

AdobePhotoshopLightroom

Figure135ScreenshotfromAdobeLightroomDescription:LightroomisthephotographersdreamprogramproducedbythemakersofPhotoshop.Youcan

useittoorganize,edit,shareandevencreatebooksofyourphotographs.

WhoIsItFor?Lightroomisagreatoptionforanyonelookingtogetseriousaboutpostprocessingphotographs.ItisnotnearlyasintimidatingasPhotoshopanditcomeswithsomeintensefeatures.

Cost:$150.AsofJune2013LightroomwillalsobepartoftheCreativeCloud,requiringasubscriptionfeeof$49.99amonthforaccesstotheentirecreativesuite,or$19.99forindividualprograms,likeLightroom.

BestFeatures:-Imageorganizationisrelativelysimpleonceyougetitupandrunning.Youcanaddfavoritestoimagesforeasyaccess.Youcaneventagyourphotosforeasysearchingandratethemtoo.

-Highcaliberimageeditingfeatures.Lightroomcouldreallybeyourendallphotoeditingsoftwareonceyougetthehangofit.

-Theabilitytolinkittoanyofyoursocialmediasites.Onceyouhavetheminsync,youcanuploadphotoswiththeclickofabuttonwithoutevengoingtotheindividualwebsites!

-AlloftheeditsyoudoinLightroomdonotaffecttheoriginalfile.

Lightroomsavesa“ghost”imageratherthansavingovertheoriginalfilepreservingalloftheoriginaldata.Thisisknownas“non-destructiveediting”.

photoFXlab

Figure136ScreenshotofphotoFXlab

Description:photoFXlabwascreatedbyTopazLabsasawaytounifyalloftheirplug-ins.PriortoitsreleasetheTopazplug-inswereenhancementstootherpostprocessingsoftware,likePhotoshop.WithphotoFXlabyoucanpurchaseseveralhelpfulplug-instoaidinpostprocessing.

WhoIsItFor?photoFXlabisgreatforanyonewhoownsTopazplug-ins.Ifyoudonotowntheplug-insitisnotaseffectivebutcanstilloffermanyessentialpostprocessingoptions.

Cost:$79.99(notincludingtheplug-ins).

BestFeatures:

-ItactsasagatewaytoalloftheTopazplug-instoconsolidatetheminoneprogramwitheasyandorganizedaccess.

-Ithassomerelativelypowerfulpostprocessingfeaturesthatmakeitstandoutamongothercompetitionintheintermediatelevel.

AdvancedLevel

GimpFigure137ScreenshotofGimpDescription:GimpisfreewarethatisverysimilartoPhotoshop.Itpacksquiteapowerfulpunchwhenpostprocessingimages.

WhoIsItFor?ItisforanyonewhowouldliketotrysomesimilarfeaturesfoundinPhotoshopwithoutspendingthemoney.ItisnotasuserfriendlyanditdoesnothavequiteasmuchreferencematerialasPhotoshop.However,IhaveseensomeamazingworkcomeoutofGimp.

Cost:Free!

BestFeatures:-ItisessentiallyafreewareversionofPhotoshop!Ithasmanyofthesamecapabilities,howeverthetwoprogramsarenotaffiliatedinanyway.

PhotoshopFigure138ScreenshotofAdobePhotoshopDescription:Themostpowerfulimageeditingsoftwareontheplanet.Thepossibilitiesareendless.However,those

possibilitiescomewithaveryvastlearningcurve.

Whathasmostcommonlybeenknownasaprogramforgraphicdesignworkisalsogreatforphotographers.TheadditionofAdobeCameraRawforRAWfileprocessinghasmadeitaninvaluableasset.AdobeCameraRawemulatesthe

featuresfoundinAdobeLightroomforRAWediting.

WhoIsItFor?Photoshopisforanyonewhoislookingtogetreallyseriousaboutpostprocessingtheirdigitalphotographs.Itcanbeveryintimidating,frustrating,andtimeconsuming.Howeveritdoesnotgetmuchbetterthanthisasfarasimageeditingcapabilities.

Cost:PhotoshopCS6,$700-$1000.AsofJune2013PhotoshopwillbepartoftheCreativeCloud,requiringasubscriptionfeeof$49.99amonthforaccesstotheentirecreativesuite,or$19.99forindividualprograms,likePhotoshop.

BestFeature(s):-Theabilitytodoanythingfathomablewithyourdigitalphotographs,yourimaginationandknowledgeoftheprogramareyouronlylimitations.

-ComeswithAdobeBridge,aphotoorganizationaltoolandAdobeCameraRaw,oneofthemostpowerfulRAWeditingprogramsonthemarket.

TheBottomLineTherearePro’sandCon’stoallpostprocessingsoftware.Thegoodnewsis

thatmostprogramsoffersometypeoffreetrialversion.Someoffer15–30daysofunrestrictedaccesswhileothersleavetheprogramopenandapplyawatermarktotheprocessedphotos.

Isuggestyoushoparound,dothe30dayfreetrials,andrunthesamephotothroughallofthem.Whatyouwillfindisthatsomeprogramsmatchyourbrainstructurebetterthanothers.

IstartedusingPhotoshopforimageandlogocreationbeforeIbecameaphotographer.WhenIstartedtakingpicturesInaturallyusedPhotoshoptoenhancethem.IhavegrownsousedtomyPhotoshopworkflowthatthethoughtofswitchingtoanotherprogramdiscouragesmeandseemsunproductive.

OtherpeopleclaimPhotoshopisnotmeantfordaytodayphotoeditingandthatsomethinglikeLightroomisbetter.I,however,seemtosyncwellwithPhotoshopandamreluctanttogoastray.

Overtimeyouwillbegintodevelopaworkflowwithwhateverprogramyouuse.Inthebeginningitmaytakeyouhourstogetonegreatlookingphoto,afterawhilethatwilldroptoseveralminuteswhichwillshortlybecomesecondswithanefficientworkflow.

IinviteyoutovisittheEverydayHDRTutorialspageoftenasIupdateitregularlywithusefulvideoandwrittentutorials,mostofwhicharePhotoshop

related.

Chapter12.FileOrganization

FileorganizationmaybethemostcomplicatingaspectofDSLRphotography.WhenIfirststartedtakingdigitalpicturesIdownloadedeverypicturefrommymemorycardtothesamefolder,itwastitled,getthis…“Pictures”.IputeverypictureIevertookoverthecourseof2yearsinthatfolder.

Itclearlymadesense,putallofmypicturesinthe“Pictures”folderright?Wrong…Itbecameanightmaretogothroughallofthemtryingtofindaspecificpicturefromaspecificshoot.Ilearnedthehardwayhowimportantitwastomanagemyfilescorrectly.

Thereareseveralprogramsouttherethathaveexceptionalwaysofcategorizingyourphotos,Lightroomisoneofthem.However,noteveryonewillhaveaccesstosuchaluxury.IknowIdidnotwhenIfirststartedthiswholephotographygig.

Idevelopedasystemthatworksflawlesslyforme.Thissystemmaynotworkforeveryoneaseveryone’sbrainiswireddifferently,buttakealookatitandseewhatyouthink.

ThefollowingworkflowisshownusingaPC.FeelfreetocopyitusingaMac.

Blake’sFileOrganizationSystemThisseriesofscreenshotsanddirectionswilltakeyoustepbystepfromthe

momentmypicturescomeintocontactwithmycomputer.

1.Isuggestyoustartafolderthatallofyourphotoswillgointo.Ichoseafoldertitled,“Photographs”onmyC:/Drive.Allofmyphotographswillenterthisfolder.

Irefrainfromputtingmyphotosinthe“MyPictures”folderfoundin“MyDocuments”onPC’s.Mybrotherhad6yearsofphotographsofhisfamilythatwerelostduetoavirusthattargetedthe“MyDocuments”folder.

Figure139PlaceallphotographsinafoldernamedPhotographs2.WhenIuploadnewphotos,Iuploadthemintothis“Photographs”folderintherespectiveyearthey

werephotographed.

Figure140Makenewfoldersforeachyearinsidethe"Photographs"folder3.Iliketokeeppastyearsinayearstampedfolder.IfIweretoopenthe2012folderIwouldfindallofmyphotographsfrom2012intheirrespectiveYear,MonthandDate

(YYYYMMDD)folder.

4.Sinceweareintheyear2013,Iwillnotarchivethesephotosintoa2013

folderuntil2013isover.Atwhichtime,Iwillmoveallofthe2013foldersintoanew2013folder.Thiskeepsallofmynewestshotsreadilyavailable.

AsyoucanseeinFigure141,the2013foldersarehangingoutindependentlywhilethe2012foldersareconfinedinthe“2012”Folder.

Figure141Eachphotosessionshouldbelabeledaccordingtothedate"YYYYMMDD"

5.Allofthephotographstakenin2013willbeplacedinfolderstitledlikethis,“YYYYMMDDKeyWord(s)”.Thatisthe4digityear,2digitMonthand2digitdayandanykeywordsfromthatshootforeasyrecognition.Thiswillhelpkeeptheminorderbydate.

6.IneachofthedatedfoldersIplaceanotherfoldertitled“Processed”.AssoonasIhaveeditedaphoto,Iplaceitinthe“Processed”folder.Thisletsmeknowwhichphotoshavebeenprocessedandwhichonesstillneedtobeprocessed.

Figure142Placeafolderinsideeachsessioncalled"Processed"allofthefinalphotoswillgoinhere7.AfteraphotoshootIuploadmyphotosfromthememorycardtoanewfolder

locationtitledaccordingtothedatetheshoottookplace.

8.OncethephotoshavebeenuploadedIdeletethemfromthememorycard.ThisensuresIhaveafreshmemorycardthenexttimeIgoouttoshoot.

9.Everymonth,orasIseenecessary,Ibackuptheentire“Photographs”foldertoanexternalharddrive.Itisimportanttodosotoinsureyoudonotloseallofyourimportantphotographs.

Backingupyourphotosisabreezeiftheyareallinoneplace,likethe“Photographs”folderdiscussedabove.

FileOrganizationinSummary

AsIstatedearlierinthischapter,thismethodworksverywellforsomeonewhodoesnotownpostprocessingsoftwarethatorganizestheirphotographsforthem.Itkeepsyourphotosandyourworkfloworganized,butittakesquiteabitofworktokeepitthatway.

Ontheotherhand,Lightroomisagreatprogramthatorganizesyourphotosforyouwithouttheheadacheoffolderandsubfoldercreation.Inthelongrun,Lightroommaybeyourbestoptionforfileorganizationaswellasphotoeditingbecauseitisallinoneplace.

Youwillfigureoutwhatworksbestforyou.However,keepinmindthateffectivefileorganizationwillhelpwithamoreefficientpostprocessingworkflow.

Chapter13.Blake’sConcentricCirclesofImportanceinPhotography

Concentriccirclesareagreatvisualapproachtounderstandingtheimportanceofagiventopic.Thecentercircleisofutmostimportanceandthesurroundingringsmoveoutfromgreatesttoleastimportance.

OverthecoursemyDSLRphotographyjourneyIhavefoundtherearesomeelementsthataremoreimportantthanothers.Keepinmindthatasyoulookatmyconcentriccirclesofphotographicimportanceyoursorotherphotographersmaybedifferent.

Therearealotofelementstoaphotographthatneedtobeconsideredwhenmakingapicture.Ihavelistedmytopeightintheimagebelow.Ididnotincludelensselectionoraccessories,justtheelementsthatoccurwithinthecameraitself.

Figure143Blake'sConcentricCirclesofPhotography

CompositionWhenafinalphotographispresented,Icanguaranteeyouthatsomeoneis

notgoingtosay,

“Wow,greatuseofaperturef/11,withanISOof200,andwhitebalancesettofluorescentlighting.Youalsomadegreatuseofsinglepointautofocusandcenterweightedmetering!”

Theyaremorethanlikelygoingtocommentonthingstheyareabletoseeinthefinalphotograph,likethecameraangle,theperspective,maybeeventheframingoruseofcropping.RememberallofthoseimportantthingswediscussedinChapter1?

Sothesinglemostimportantelementtomeiscomposition.Intheend,itisratherdifficultfortheviewertoknowallofthetechnicalcameraaspects.However,theywillbeabletoseeyouruseofcomposition!

FileFormatRefertoChapter5forarefresheronFileFormats.

Followingcomposition,theformatofthephotoisofgreatimportancetome.Iamahugefanofpostprocessing.AsyouknowfromreadingChapter5,therearemanybenefitstoshootinginRAWforsomeonewhowantstopostprocesstheirworkasyousawinChapter10.

IveryrarelyshootinJPEGduetoitspostworklimitations.Therefore,IalwaysensuremycameraissettocaptureintheRAWformatbeforeshooting.

Aperture/ShutterSpeedThirdonmylistisapertureand/orshutterspeed.Thedecisionreally

dependsonthephotographicsituationIamshootingin.

IfIamphotographingamovingobjectsuchasasportingeventoranF-22Raptoratanairshow,IwouldbepredominantlyworriedaboutmyShutterSpeed.

Afastershutterspeedwouldbeidealtostoptheactionofsports.OrforadramaticeffectIcouldselectaslowershutterspeedandpan(follow)withthesubjecttocreateastreakingmovementbehindthem.RefertoChapter4,ShutterPriorityMode.

IfIamnottooconcernedwithmysubjectmoving,suchasalandscapeorportraitsession,Iwouldbemostconcernedwithmyaperturesetting.

Selectingalargeraperture(f/2.8)wouldyieldablurrybackgroundwhichcanbeaniceeffectforsinglingoutsubjects.Asmalleraperture(f/22)wouldmakeeverythinginsharpfocuswhichcouldbeidealforalandscapethathasalotofdetailfromtheforegroundintothebackground.RefertoChapter4,AperturePriorityMode.

MeteringModeThemeteringmodeIamshootinginisprettyimportant,butischangedona

casebycasebasis.ItreallydependsontheenvironmentandthelightingIamshootingin.

IfIamshootingabrightlandscapeameteringmodeofAverageorCenterWeightedwillbejustfine.However,itiswhenIstarttoventureintolightingextremesthatIwantmycameratobesetonamoreprecisemeteringmode.

Aperfectexamplewouldbeifmysubjectisstandinginfrontofabrightbackground.Inthatcase,spotmeteringwithmyspotfocalpointonthesubjectwouldbebestsuited.

ISO/FlashInmostsituationsItrytokeepmyISOaslowaspossibletoreducethe

amountofimagenoiseduetothehighersensorsensitivity.However,itisnotalwayspossibletoremaininISO100withoutadecentamountoflight.ThatiswhenIhavetodecidewhetherIwanttoaddaflashorincreasetheISO.

IncreasingtheISOwillallowmetokeepthequalityoftheavailablelight,butincreasethespeedatwhichthesensorrecordstheimagebyincreasingitssensitivitytolight.AsdiscussedinChapter3.

ManyamateurcamerasarenotbuiltforhigherISO’s.InthatcaseitmaybebesttoaddaFlash.Iwouldstartbyaddinganoff-cameraorhotshoeflashandangleittoapointthatitiseitherbouncingoffofawalloraceiling.Ifthatisnotpossibleduetothestructureoftheroom,addingabouncetotheflashunitcanachieveadecentproductaswell.

ThelastresortIwouldgotoisusingtheoncamera,orpop-upflash.Iliketorefertothepop-upflashasthe“mugshotflash”ifyouuseitincorrectly.Ifyouusethepop-upflashonfull-autoandfull-poweritproducessomenastymugshotlikeresults.

Instead,Iwouldusetheflashonalowerpowerwiththeflashmodesettosecondcurtain.Thatwaytheflashfillsinabitofextralightformeattheendoftheexposurebutusestheambientlightforthebulkoftheexposure.

ExposureCompensationTherearetimeswhenItakeapicture,reviewtheLCDscreen,andnoticemy

focalpointcomesoutabitoverorunderexposed.ThiscouldberelatedtothemeteringmodeandIcouldverywellgobackintomysettingsandchangethemeteringmode.

Icouldalsouseexposurecompensationtofixtheimproperexposure.IfindtheexposurecompensationmethodtobeslightlyquickerasIcancontrolitfromtheoutsideofthecamerawithouthavingtogointothecameramenutoadjustthemeteringmode.

WhiteBalanceThewhitebalancesettingisoneoftheleastofmyworries.AsIstatedin

Chapter5,ImainlyshootinRAWforitsexceptionalversatilityduringpostprocessing.SincetheRAWfileswhitebalancecanbeadjustedveryeasilyduringpostprocessing,itgenerallyisnotaworryofmineduringaphotoshoot.

Donotgetmewrong,IdoensurethewhitebalancelooksacceptablewhileIamshooting,butitisnotastrongpriority.

FocusingModeLastlyonmycamerasettingconcentriccircleismyfocusingmode.I

generallystayinautofocuswithmyfocalpointsettothemiddleoftheviewfinder.Icansetmyfocalpointbydepressingtheshutterreleasebuttonhalfway,lockingtheexposure,andthenrecomposingmyimage.

ThismethodworksgreataslongasIdonotrepositionmycameraorbodyintheforwardorbackwarddirection.Doingsowilloffsetthefocaldistanceandinturncausethefocalpointtobeoutoffocus.Ifmybodypositionorcameramovestothefrontorback,Ire-addressmyautofocusaccordingly.

SinceIpredominantlyphotographlandscapesandstillobjects,autofocussettothemiddlefocalpointworksgreat.However,therearetimeswhenImoveintofullmanualfocus.

IusuallyusemanualfocuswhenIamphotographingobjectsinmacro.AtwhichpointIwillplacethecamerainmanualfocuswiththefocussettoinfinitytoachievethehighestlevelofmagnification.Tofocusonmysubject,Iwillmoveeithermyselformycameraforwardorbackwardtoachieveproperfocus.

Chapter14.IntroductiontoHDRPhotography

IhavereferredtoEverydayHDRseveraltimesinthisbook.EverydayHDRismycontributiontotheHDRcommunity.ItisexclusivelydedicatedtotheartofHDRPhotographyandmakingitfreeandeasilyaccessibletotheeverydayphotographer.

SowhatisHDRPhotography?

HDRstandsforHighDynamicRangephotography.Dynamicrangeistheratiooflighttodarkinaphotograph.Ahighdynamicrangephotographhasaheightenedratiooflighttodarkproducingahighlydetailedcontrastandcolorrichphoto.

HDRimagestendtodepictamorerealisticversionofthesceneyouoriginallyphotographed.

Trytakingapictureofasunsetwiththefocalpointonsomethingintheforeground,likeatree.Youwillnoticethatthecameradoesnotdoagreatjobofaccuratelydepictingthebackground.Theforegroundwillbewelllitwhilethesunsetwillbewashedout.

Figure144PhotographexposedfortheforegroundNow,takethatsamesunsetsceneandexposeforthesunsettingsky.Youwillnoticetheskyfocalpointisproperly

exposedwhiletheforegroundisextremelyunderexposed.

Figure145PhotographexposedforthebackgroundYourcameracanonlycreateoneexposurevalueatatime,thereforeitispracticallyimpossibletorecordallofthe

dynamicrangeinformationinasunsetscenefromtheforegroundintothebackground.

Thehumaneyeiscapableofseeingmultipleexposurevaluesatonetime.Inordertoseeaphotolikethehumaneye,youhavetotakemultipleexposuresandmergethemtogetherinpostprocessing.

Somecamerasdoin-cameraHDR,butitisnotalwaysaseffectiveastheHDRprocess.

CapturingMultipleExposuresforHDRPhotography

Thereareseveralwaystorecordmultipleexposurestoobtainallofthedynamicrangeinformationinagivenscene.ThemostcommonandreliablewayistouseafeatureinyourcameracalledAutoExposureBracketing.

YoumayshootineitherRAWorJPEG,asusualIpreferRAW.ForawhileIdidshootforHDRinJPEGandfounditverydifficulttotakethepostprocessingveryfarinthedigitaldarkroom.OnceIswitchedtoRAWIsawaworldofdifferenceinmyHDRphotos.

AutoExposureBracketing(AEB)tellsyourcameratotakemultipleexposuresofthesamesceneatdifferentapertureorshutterspeedintervals.TheintervalisdependentupontheExposureValue(EV)differenceyousetyourcamerato.

ForHDRPhotographyyouwantyourcamerainAperturePriorityMode(A,Av,etc.).WhileinAperturePriorityModeyouwillbekeepingyourdepthoffieldthesamebymaintainingthesamesizeaperturethroughoutalloftheexposures.

WithyourcamerasettoAEBinapertureprioritymode,itwilltakemultipleexposuresfordifferentshutterspeeds.Theamountofexposuresandtimewillbedependentupontheintervalthatyouset.Iwouldsuggestatleast3photoswithyourAEBintervalsettoatleast+/-1EV.ConsultwithyourmanualtolearnhowtosettheAEBfunctiononyourcamera.

Whenyoudepresstheshutterandholdit,youwillhearthecameratakemultipleexposures.Itisimperativethatthecameraremainsteadythroughoutthisprocess.Ihighlyrecommendusingatripodandaremoteshutterreleaseifyouhavenotmasteredtheartofhandheldshootingyet.

Whenyoupresstheplaybackonyourcameraandcyclethroughthephotosyoushouldseeoneproperlyexposed(0EV)photo,oneunderexposedphoto(-1EV),andoneoverexposedphoto(+1EV).

Figure146AEBsetof3exposuresat+/-1EV

Somecamerashavetheabilitytocapturemorethan3exposures.TheOlympusE-30cancapture5exposuresat+/-1EV.Thiswillgiveyouarangeof-2,-1,0,+1,+2EV’s.ThisistheperfectrangeforHDRasyouobtainmoredarkinformationandmorelightinformationinthe-2and+2EVs.

TheCanon6Dhastheabilitytotakeupto7exposuresat+/-1EV.Whilethatisalotofexposuresitmaynotbeabsolutelynecessaryineveryscene.3aredecent,5aregreat,and7maybealittlemuch!

IhavedoneseveralextensiveHDRstudiesandfoundthatarangeof-2,0,+2EVtobeperfectforHDR,youdonotnecessarilyneedthe+1and-1exposures.

FollowthislinktoseeanexperimentonEverydayHDR.

BelowisachecklistforHDRphotography.

__RAWFileFormat(orJPEGifpreferred)__AperturePriorityMode__ApertureSettingUsuallyf/8.0willgiveyouthesharpestresults.However,youmaywantthedepthoffieldeffectsofasmallerorlargeraperture.

__ISOSetasLowasPossiblehigherISO’swillinvitemorenoiseintoyourHDRphotos.NoisetendstocompoundduringtheHDRprocess,thelowertheISOthebetter!

__AutoExposureBracketing__TripodMountedorsteadilyhandheld,i.e.bracedagainstawallortree.Goodbreathingtechniquesalsohelpagreatdealwhenshootinghandheld.Takethepicturesatthemiddleofanexhale.Donotholdyourbreath;itincreasesyourheartratewhichwillinducecamerashake.

__ShutterReleaseEquippeddrasticallyreducestheriskofcamerashake.

__ContinuousFiringModeSelectedincontinuousfiringmodeyourcamerawillnotstoptoresetthefocusinbetweenshots,theexposureswillbecapturedinrapidsuccession.

__Onceyouhaveallofthesettingsinplace,pickyourfocalpointandblastthatshutteraway.

BeawarethatyouareinHDRmode.YoumayneedtoswitchoutofautoexposurebracketingtotakeasingleexposurewithouttheexcessexposuresforHDR.Iforgetthatallofthetime!

WhattodoWithAllofTheseExposures?

Sonowyouhaveacamerafullofover,under,andproperlyexposedpictures.ThereisquiteabitofworkthatneedstobedoneinposttoturnthissmorgasbordofexposuresintoHDRimages.ThereareseveraltechniquesyoucanusetocreateanHDRimage.

Youcancombinetwoexposures,oneexposedfortheforegroundandoneexposedforthebackground.

Figure147Combining2exposurestomakeanHDRimage

YoucanuseasingleRAWfileandadjustthelightanddarkinformationindependently.LightroomandCameraRawdoastunningjobofheighteningthedynamicrangeofanimage.

Figure148AsingleRAWfileprocessedinAdobeCameraRawtoexploittheexistingDynamicRange

Youcanalsousetonemappingtechniqueswithmultipleimages.ThisisprobablythemostcommonmethodofwhatyoutypicallyseeasHDR.

Figure149AtonemappedHDRimagefrom5exposures

ThetonemappingprocessallowsyoutomanipulatealloftheimportantlightanddarkinformationfromalloftheexposuresandmergethemtogetherononefinalHDRimage.

Therearequiteafewsoftwareprogramsouttherethatallowyouto

effectivelytonemapyourphotographs.IhighlysuggestPhotomatixProbyHDRSoft.IhavetriedthemallandfindPhotomatixalwaysgivesmeadesirablefinalproduct.

TofurtheryourknowledgeofHDRandlearnjustaboutallofmysecrets,youcanpickupExploringHDR.ItisapublicationofminethatoutlinesallofthevariousHDRmethodsalongwiththeessentialknowledgeyouneedtopostprocessyourHDRimages.

ExploringHDR:Photoshop,Photomatix,&TopazAdjust

ClosingThoughts

Youmadeitthisfar!BythispointyoushouldfeelabitmorecomfortableventuringoutintotheworldofDSLRphotography.Keepthissurvivalguideclosebyincaseyouneedtolooksomethingupfromtimetotime,however,Iwouldnotstophere.Hereareafewthingstokeepinmindasyoucontinueyourphotographicjourney:

1.Therearethousandsofusefulresourcesonlinetoguideyouthroughtheelementsofphotographythatyouneedmorehelpwith.Asimplesearchaboutthesubjectorstyleyouwanttophotographwillresultinalotoffreeadvice.

IinviteyoutovisitEverydayHDRregularly.IcontinuallyupdatemysitewithfreshcontentthatisbothHDRandstandardphotographyrelated.However,myblogisnottheonlyvaluableresourceontheweb.

2.Iadviseyoutocontinuetopracticeasyoudevelopyourskills.DSLRPhotographyisnotassimpleaspointandclickevenwhenyouknowthepropernomenclatureandsettings.

3.Challengeyourselfbytakingonphotographictasksthattakeyououtofyourcomfortzone.Thethingsyoulearnthroughthesechallengeswillmakeyouabetterphotographer.

Takemylenschallengesforexample.Iwillgooutwithmycameraandonlyonelens,macro,telephoto,orwideangle.Ionlyusethatlenstheentiretime.Thishelpsmegettoknowtheadvantagesandlimitationsofmyequipment.

4.Donotgiveup!Gettingfrustratedisagoodthing.Itshowspassionandtheyearningtobegreater.Ifyoufeellikegivingup,putthecameradownforadayorsoandgetbackatit!

AtonepointinmyphotographycareerInearlyputitallawayandwentbacktopainting.IwassofrustratedthatotherphotographershadsuchgreatpicturesthatIcouldnotobtain.Ithoughtthetroublestemmedfrommy

cameraasIcouldnotgettheresultstheyreceived.

Itturnsout,Ihadnoideahowimportantitwastopostprocessmyphotos.Ididnotunderstandthatthephotostheyhadwerenotentirelyfromthecamera,theywerefromtheirpostprocessingtechniques.Insteadofgivingup,IpickedupmygearandwentbackatitwiththethoughtinmindthatIneededtospendabitmoretimepostprocessingmywork.

Iamverythankfulfornotgivinguponmycamera.Photographyhashelpedmeappreciatelifefromadifferentperspective.

Asunsetisnolongerabeamoflightpassingthroughacoupleofclouds.ItisafreshlypaintedevolvingcanvasbythehandofGodwaitingtobephotodocumented.Picturesofmyfamilyarekeepsakes,briefsnippetsofamomentintimethatcanneverberepeatedorreplaced.

DigitalPhotographymaybedifficultatfirst,butthereishope,ashaftoflightattheendoftheaperturesotospeak.Everyonewhohaseversucceededhasfailednumeroustimes.Welcomefailure,thefruitsofyoursuccesswillonlytastethatmuchmoredelicious.

BonusChapter.BuildingaPersonalSurvivalKit

WhatwouldabookaboutDSLRsurvivalbewithoutsomeinstructionsonbuildingyourownpersonalsurvivalkitforyourcamerabag?

Apersonalsurvivalkitisjustasimportantasagoodcameralensorastabletripod.Iliketohikearoundwithmycamerageartofindthebestshotspossible.

Ihavefoundmyselfkneedeepinoceanwaterandthighhighintickinfestedbrushtogettheperfectshot.ManytimesItraverserockyterrain,thickforests,orsandcoveredbeachesforhoursuntilthatperfectshotmakesitselfavailable.

Inconditionsliketheseitisimperativetohaveasurvivalkitjustincasesomethinggoeswrong.Somemaycallmea“DoomsdayPrepper”or“ZombieApocalypseFreak”butIliketolookatsurvivalkitsinawholedifferentlight.Theyareinsurancepolicies,verycheap,one-timepurchaseinsurancepolicies!

ForthatreasonIhavesurvivalkitsofalldifferentshapesandsizeseverywhere.Therearelargeonesinmyhome,mediumsizedonesinourcars,andaminioneinmycamerabag.

Ievencarryasmallfoldingknife,lipbalmandalightereverywhereIgo.Iamnotasmoker,wellIwasasmokeruntilImetmygorgeousnon-smokingwife,butIlearnedanimportantpieceofsurvivalintelligenceduringmysmokingyears.Ifyouhavetheabilitytomakefireanywhere,youareingoodshape.Alwayscarryalighter!

ThekitIcarryinmycamerabagisverysmallandcanbemadeveryeasilywithmanyitemsthatyoumayhaveinyourhomerightnow.Itisaverysimplekittobuildandshouldonlytakeabout5minutesifyouhavealloftheitemsyouneedonhand.Imaginebeingstrandedsomewherewithoutasurvivalkitafterknowingitonlytakes5minutestobuildone.

Whatyouwillneed:

1Altoids®ContainerorSimilar2BooksofMatches1Smallfishingkit(seeinstructionsforbuildingbelow)6AdhesiveBandages32”x2”Self-LockingBags1BottleofWaterPurificationTablets3RazorBlades1Non-LubricatedLatexCondom18”x12”HeavyDutyAluminumFoil20”DuctTape

Figure150Requiredcontentsforthesurvivalkit

ExplanationofItems

AltoidsContainer:Thiswillserveasthecontainerforallofthesurvivalitemslistedabove.Youcanuseanycontainerreally,butanAltoidscontainerisrelativelyinexpensive.Ialsohaveanabundanceofthemduetomyaddictiontothat“CuriouslyStrong”mint.

BooksofMatches:Ofcoursethesewillbeusedtostartfires.Isuggest2booksassomepeoplearenotasgoodatstartingafireasothers.Oneofthebiggestproblemswithstartingfiresisnothavingenoughfireproductstostartwith.

Searcharoundfordriedmoss,leaves,thinbirchbark,ordriedlichenslikewitcheshair.Witcheshairisthatgnarlygreenstuffthatcollectsonmostconifertrees.Itisawesomefirecraftmaterial.Ifyoucollectabaseballsizedamountofwitch’shairyouwillbeset!

Aftercollectingthemoss,leaves,birchbark,orwitcheshairstartcollectingdeadbranchesthesizeof#2pencillead.Collectaboutthesizeofyourindexfingerandthumbtouching.

Next,collectsomedeadbranchesthesizeof#2pencils.Youshouldgrabanicesizedhandfulofthese.Alsogrababranchaboutthesizeofyourwrist.

Nowbuildthefirestartingfromyoursmallestkindlingtoyourlargestkindling.Youcandothisbylayingthewitcheshair,leaves,driedmoss,orthinbirchbarkdownfirst.

Next,placethewristsizedbranchabout2inchesawayfromyourkindling.Fanoutthepencilleadsizedbranchesovertopofthekindlingwhilerestingthemonthewristsizedbranch.Next,fanoutacoupleofthelargerbranchesoverthesmalleronesintheoppositedirection.

Tostartthefire,lightamatchandholdittothesmallkindling.Onceitcatchesitshouldstarttolighttherestofthebranches.Youcanlightlyliftthewristsizedbranchupanddowntointroduceoxygentotheflame.Thiswill

expeditetheprocessandhelpconservematches.

Oncethefiregetsroaringyoucanbegintoplacelargerbranchesandotherburnablematerialontop.Ifyouwanttobenoticed,youcangatheralotofgreenfoliageorlivebranchesandburnthem.Theywillproducethickblacksmokewhenburned.Thesmokecanactasasignaltonearbyvehiclesorhikers.

Knowingfirecraftwillhelpyouconservematchesandsaveyourlife!

SmallFishingKit:Asmallfishingkitcaneasilybeconstructedfromasmall-thinpieceofcardboard,afishinghook,andabout10feetoffishingline.Wrapthefishinglinearoundthecardboardandtiethefreeendtoafishinghook.

AdhesiveBandages:Thesearerelativelycheapandcanhelpoutinapinch.Theymaynotbethebiggestbandagesouttherebuttheycanhelpkeepminorcutsprotectedfromtheelements.

Self-LockingBags:Youcanfindthesesmall2”x2”bagsatjustaboutanycoincollectingorhobbyshop.Theyaretypicallyusedforsmallcraftprojectsandcoins,butareawesomeinsmallsurvivalkits.

IodineTablets:Theseareanecessityinanysurvivalkit.However,thebottledoesnotquitefitinanAltoidscontainer.Thisiswheretheself-lockingbagsplayanintegralrole.

Openthetabletbottle.Mostofthesebottlescomewithapieceofcottonstuffedinthetoptokeepthetabletsfrommovingaroundandbreakinguptoomuch.Donotthrowthisaway!Placeitinoneofthebags.Thiswillactaskindlingintheeventyoucannotfindanydryfirecraft.

Placethetabletsinanotherbagandsealitwithouttrappinganyairinside.Placethebagoftabletsinsideanotherself-lockingbag.Youmaywanttoputapieceoftapeacrossthesealtoensureitremainsairtight.

Iodinetabletsdonotpurifywater.Thatisacommonmisconception!Theycoatanybacteriainthewaterwithiodinesoitcanpassthroughyoursystem.

Also,donotusethemwithsaltwater.Iodinemixedwithsaltwaterisstillsaltwaterwhichisnotsafeforconsumption.Itwilldehydrateyouveryquickly!

Youmaywanttowritethemanufacturersrecommendeddosageonaslipofpaperandputitinthekitaswell.

RazorBlades:Theselittleguyscomeinhandybecausetheypacklightlybutareextremelysharp!Iwouldputthreeinthecontainer,butyouarefreetoputmoreorless.

Non-LubricatedLatexCondom:Alright...leaveallofyourdirtythoughtsandjokesaside!Non-LubricatedCondomsworkgreatforwaterstorageandprocurement.Forthatreasonitwillbereferredtoasa“waterbag”fortherestofthistutorial.

HeavyDutyAluminumFoil:Ifyouendupcatchingsomefishortrappingsomesquirrelyouwillneedsomethingtocookitin.TheAltoidscontainercouldwork,butyoutypicallywanttoreservethatforcarryingyoursurvivalitems.

Youcanusethealuminumfoiltocookanyfoodyoumightcatch.Thereareseveralotherusesforitaswell.Youcoulduseittomakeacupifyoudonothaveawaterbagorvessel.

DuctTape:Theducttapewillbeusedtosealthecontainer.Youwillwanttosplititdownthemiddlelengthwisetocreate2piecesoftapemeasuring20incheseach.

Intheeventofanemergencywhereyouwillneedthiskit,removethetapeslowlyifpossible.Youcanre-usetheducttapeforjustaboutanything,maybeeventore-sealthecontainer.

BuildingtheKit

Figure151Staggertheadhesivebandagesfirst

1.Startbuildingthekitbyplacingtheadhesivebandagesacrossthebottomofthetin.Alternatethemtodistributethebulk.

Figure152Placethefoilontopofthebandages

2.Carefullyfoldthefoilinhalfrepeatedlyuntilyouachieveasizethatwillfitinsidethetin.Takecautionandtrytoavoidcrumplingituptoomuch.

Figure153Placetherazorbladesandfishingkitontopoffoilandbandages

3.Placetherazorbladesontopofthefoil.Placethefishingkitwiththehooksfacingdownontopoftherazorblades.Keepthehooksbelowthebladestohelpdistributethebulk.

Figure154Placethematchesandwaterbagsinthecontainer

4.Placethebooksofmatchesontopoftherazorbladesmakingsurethatthefishinghooksandpointededgesofthebladesarecovered.Placethewaterbagontopofthebooksofmatches.Youcanleaveitintheoriginalpackageorplaceitina2”x2”interlockingbag

Figure155Placetheiodinetabletsandcottoninsertinlast

5.Placethedoublebaggediodinetabletsandthecottoninsertontopofthewaterbagandmatches.Closethetinbygentlycompressingthesurvivalitemswhilesimultaneouslysecuringthelid.

Figure156Wrapthetinwithducttapetosealittightly

6.Cutthepieceofducttapedownthecenterlengthwisemakingtwolongpieces.Foldoneendofeachpieceonitselfabout½”toformapulltab.Startingfromthehingesonthebackofthetin,wrapthetapealongthebaseandlidofthetinmakingsureitissealedtightly.

Figure157Finishsealingthetinbyplacingapieceoftapearoundthetop

7.Takethesecondpieceofducttapeandwrapitaroundthetopandbottomofthetin.

Thereisplentyofroominthissurvivaltinformoreitems.Feelfreetopickandchoosewhichaccessoriesyouwouldliketoputinyourkit.Justremembertopickitemsthatarerelativelysmallandflattoensureyoucanstillclosethecontainerwhenyouaredone!

Packitawayandhopeyouneverhavetouseit!

AbouttheAuthor

Figure158Hi,mynameisBlakeBlakeRudisisthecreatorandhostofwww.everydayhdr.com.HereceivedhisBachelorofFineArtsdegreefromtheUniversityofDelawarein2006.Hestudiedprintmakingandsculpture,buthadaninterestinpainting,photographyandceramicsaswell.BlakehassincechanneledhispassionfortheartsintohisloveofHDRphotography!

Since2010,Blakehasbeenpublishingwrittenandvideotutorialsonhiswebsite,EverydayHDR.Blakeaimstoinformthemassesofupcomingproductsandsoftwarewithto-the-pointreviews.HehaswrittenarticlesandconductedreviewsandtutorialsforseveraltonemappingsoftwarecompaniestoincludeTopazLabs,NikSoftware,andHDRSoft.In2012,EverydayHDRwasawarded“TheBestHDRBlogof2012”bythereadersofHDROneMagazine.

VisitEverydayHDRforplentyoffreePhotoshopandphotographytutorialstoday!

MoreInstructionbyBlakeRudis:

ExploringHDR:Photoshop,Photomatix,&TopazAdjust

11ThingsEveryPhotographerShouldKnowAboutHDRPhotography

Haveyoualreadyreadthem?Ifso,Iwouldreallyappreciateyourthoughts.YoucanclickonthelinkandwriteareviewonAmazon.com!Thanks!

Iwanttocordiallyinviteyouto:

HDRInsiderisasubscriptionbasedwebsitewithmanyreasonstojoin!

Everymonththesiteisupdatedwiththefollowing:

1. AnHDRProjecttoworkon:Isupplythebracketedimagesandyouhavetheopportunitytoeditthem

2. AFullWorkflowTutorial:AttheendofthemonthIwillshowyouhowIworkedonthebracketedimageswithanentireHDRWorkflowtutorial

3. AGiveaway:IgiveawayprizestotheindividualwhoexceedstheexpectationsoftheHDRProject.

4. PhotoshopActions:AtthebeginningofthemonthanewPhotoshopAction,orActionsetisavailablefordownload.

5. AnonymousPhotoCritiques:InthemiddleofthemonthIconductHDRcritiquesofmemberimages.ThisisavideoCritiquethatmanymembersfindtobeofmostvalue.

Black,White&Beyond:TheDigitalZoneSystemBlack,White&Beyond:TheDigitalZoneSystemisa3hourand40minutetrainingpackagethat

teachesyouhowtogetthemostoutofyourimageswithextremecontrolovercontrastutilizingthepoweroftheZoneSystem.

Thezonesystemiscomprisedof11zonesfrom0-10.Zone5isequaltothecamera’sinitialmeterreading,everyothertonalrangefallseitheraboveorbelowZone5,Zone0beingBlackandZoneXbeingWhite.Anincreaseof1Stopor1ExposureValueeffectivelychangestheexposureofZone5toZone6.EveryotherZonewouldmoveoneexposureuprespectively.Thissystemallowsthephotographertovisualizewhatishappeningtoallofthetonalvalueintheirphotobeforetheyevenprintedthepicture!

WiththeDigitalZoneSystem,weareabletomakeextremelyaccurateselectionsofourtonesbasedonthe11pointZoneSystemtohoneinandtargetspecificareas.Indoingthiswebecomemuchmoreefficient,Ihavecutmypostprocessingtimedownby90%,yes90%.Whatusedtotakeme45minutesnowtakes4-5.ThisisbecauseIammakingmoredeliberateadjustmentsandcuttingouttheguessworkinmyphotos.

Formoreinformationvisit:Take$10offwithCouponCodekindleDSLR