Getting Started in Digital Photography

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TRY OUT NEW PHOTO SKILLS UNDERSTAND CAMERA MODES DIGITAL PHOTOGRAPHY GETTING STARTED IN IMPROVE YOUR PHOTO SKILLS AND TAKE BETTER PICTURES HOW TO TAKE TOP PORTRAITS NEW! EXPERT ADVICE MASTER CAMERA SETTINGS BEGINNER-FRIENDLY GUIDES LEARN NEW PHOTO SKILLS ESSENTIAL PHOTO KIT AND MORE! MASTER YOUR DIGITAL CAMERA! SETTINGS AND ADVICE FOR ALL DSLR & CSC USERS

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Transcript of Getting Started in Digital Photography

Page 1: Getting Started in Digital Photography

TRYOUTNEW

PHOTO SKILLS

UNDERSTAND

CAMERAMODES

DIGITALPHOTOGRAPHY

GETTING STARTED IN

IMPROVEYOURPHOTOSKILLSANDTAKEBETTERPICTURES

HOWTOTAKE

TOPPORTRAITS

ALNEW

!

EXPERTADVICE

MASTERCAMERASETTINGS

BEGINNER-FRIENDLYG

UIDES

LEARNNEWPHOTOSKILLS

ESSENTIALPHOTOKIT

ANDMORE!

MASTER YOURDIGITAL CAMERA!SETTINGSANDADVICEFORALLDSLR&CSCUSERS

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GETTING STARTED IN

DIGITALPHOTOGRAPHY

INSIDE!EXPERTADVICE TOHELPYOUTAKEBETTERPICTURES

FROMTHEEXPERTSAT

TrycreativetechniquesFollowourstep-by-stepguidesand learnhowtoshootstunning imageswithease

TakebetterpicturesTheUK’s leadingphotographersofferexpertadvice tohelpyou improveyourphotography

Choose the best gearAuthoritativeadviceonchoosingandusinglenses,flash,studiokit&muchmore!

UnderstandyourcameraEssentialadviceexplained ina jargon-freestyle forbeginners todigital photography

LearnmodesandsettingsAdviceoneverything fromautofocus toexposuremodestomakingthemostofRaw

Master keyphoto skillsFindouthowbest touse features likeapertures, shutterspeedsand ISOratings

PHOTOGRAPHYDIGITALTHEIDEAL

COMPANIONFOR

YOURDIGITALCAMERA!MASTERYOUR

CAMERA!SETTINGSANDADVICEFORALLMAJORDSLR&CSCBRANDS

Page 3: Getting Started in Digital Photography

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Understandingyourdigitalcamera 3GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Welcome...“If you’ve recently started using a digital SLR or Compact SystemCamera, you have taken a major step towards shooting betterpictures. Boasting an incredible level of versatility, delivering superbimage quality and forming the heart of a system that can beexpanded with lenses, flashguns and various other accessories, theseinterchangeable-lens cameras has led to a revolution in photography.While these digital cameras are relatively easy to use for simple

‘snapshot’ photography, the truth is that getting the very best from your camera kitand, more importantly, developing the creative side of your photography, requiressome time and dedication to learning new techniques and skills. The good news isthat Getting Started in Digital Photography, produced by the experts at Digital SLRPhotography magazine, is packed with information, advice and techniques that willhelp you become a better photographer. If you’ve ever looked at images from theprofessionals and wondered how they managed to get such great results, then thisguide is for you. We’ve covered all the basics of photography and provided tried andtested practical techniques for shooting stunning images, along with expert adviceto choosing the best gear and pages of inspiring images to get your creative juicesflowing. Good luck with your photography. All the best!”

DANIEL LEZANO, EDITOR

All our experts are teammembers or regular contributors toDigital SLRPhotographymagazine.Formore expert advice and inspiration, pick up the latest issue, available on the secondTuesdayof everymonth. For further information, visit themagazine’swebsite atwww.digitalslrphoto.com

Meet ourdigitalphotographyexperts

ROSSHODDINOTTA regular contributor toDigital SLR Photography,Ross is an award-winningnature photographer,specialising in natural historyandmacro photography.

BRETTHARKNESSBrett isoneof theUK’sleadingportraitandsocialphotographersandrunsregularphotoworkshops.For furtherdetails, visit:www.brettharkness.com

DANIELLEZANOEditor Lezano is passionateabout photography and hasbeen taking pictures for over25 years. He is especially keenon shooting portraits withnatural light and in the studio.

PAULWARDPaul is a professionalphotographer who regularlycontributes to Digital SLRPhotography. He’s expert inall types of photography fromportraits to landscapes.

COVER

IMAGE:LEE

FROST

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Contents gettingstarted indigitalphotography

Understandyourcamera06 Introduction to digital camerasWe take a look at the key features of digitalSLRs and Compact System Cameras and howthey influence the quality of your images.

18 Program andScene modesHow different fully-automatic modes work.

20 Aperture-priority AE modeThe most useful exposure mode explained.22 Shutter-priority AE modeHow to choose and use shutter speeds.

24 Manual modeTake full control by dialling M for manual.26 AutofocussystemsHow your camera’s AF system works and howyou can set it up for sharp results every time.

34 Image QualitysettingsThe pros and cons of Raw and JPEG.36 Understanding ISO ratingsLearn how to control ISO ratings.

38 Noise reductionHow to take care of noise at high ISOs.

40 Shooting in RawCapture images in maximum detail.

46 White BalanceHowWhite Balance affects colour accuracy.

48 Customise your cameraSet up your camera how you like it!

Phototechnique52 Fundamentals of compositionWhere to place your subject in the frame.

54 The basics of exposureFundamentals of exposure explained.

56 Metering patternsdiscover how your camera exposes a scene.58 Exposure overridesHow you can control the exposure system.

60 Fine-tune your exposuresImprove results using exposure aids.62 DominatingskiesHow to avoid underexposing an imagewith sky-filled vistas.

64 The basics of aperturesThe importance of aperture settings.

66 Apertures and exposureHow aperture changes the image.

68 Apertures and depth-of-fieldUnderstand this essential relationship.

70 Apertures and landscapesHow to ensure pin-sharp scenics.

72 Understandingdepth-of-fieldThe basics of how depth-of-field works andhow to use it for portraits and close-ups.

76 The principle ofshutterspeedsthe basics of using shutter speeds.78 Shutterspeeds and exposureHow shutter speeds influence exposures.

80 Usingfastshutterspeedshow to freeze a moment in time.

82 Capture motion in landscapesBlur moving elements in general scenics.

84 Shoot traffic trailsUse long exposures for great night shots.

86 Guide to daylight portraitshow to control and manipulate daylight insunlight, cloud, shade and for silhouettes.

Choosing&usingkit100 LensesEssential advice on optics, including thehumble standard 50mm, wide-angles,telephotos and macro lenses.

112 UsingflashMaster flash modes with our in-depth look atbuilt-in and hotshoe-mounted flashguns.

124 Studioflashexpert advice on how to use studioflash.128 Our favourite photo accessoriesThe essential items to add to your outfit,including remotes, tripods and bags.

130 Ensure perfect exposuresHow to use our free grey card to give perfectexposures every time.

turn to page 122 to find out aboutour fantastic subscription offers

56 metering patterns

30 autofocus

46 white balance

80 fast shutter speeds

38 noise reduction

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132PAGESOFEXPERTADVICEANDTECHNIQUE

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Knowyourcamerainside&out!Digital cameras boast an incredibleamount of technology. Our guideaims to explain all the key featuresand reveal a few secrets, too.

UNTIL VERY RECENTLY, if you wanted a digital camera with interchangeablelenses, then your choice was easy: most of us would opt for a 35mm-baseddigital SLR, (while aminority of pros chose amedium-format DSLR costingtens of thousands of pounds). However, in the last couple of years, CompactSystemCameras (CSCs), also known as ‘hybrids’, have come on to the scene,offering an alternative option.This latest generation hasmany similarities to DSLRs, offering virtually

identical specifications and operating in a similarmanner, albeit with one ortwomajor differences. The handling, features and performance of digitalSLRs have been refined and improved over the years so that users find themas simple as possible to operate. Itmakes sense then, sincemostmanufacturers of CSCs also produce digital SLRs, that CSCs feature similaroperating systems to their SLR counterparts. Not only does thismeanCSCshave the potential to be great performers as its technology is already quiteadvanced, but itmakes the crossover fromone camera type to another fairlyeasy for thosewhowant tomake the transition.In this section of the guide, we’ll be looking at all the key features of

your digital camera, explaining what they do and how you should usethem to improve the quality of your images. We’ll also be comparingand contrasting the twomain interchangeable-lens camera systems.As you’ll discover, both sharemany common areas and only a fewpractical differences. In this month’s issue, we provide a generaloverview of a camera’s main functions and look in detail at theheart of every digital camera: the image sensor.

Understanding howyour cameraworks is key to gettingthe best from it.We take a look at themain features you’llfind ondigital SLRs andCompact SystemCameras

Interchangeable-lenscameras

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8 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Key features and controls found on DSLRs & CSCsKey features and controls found on DSLRs & CSCs

REGARDLESSOFWHETHERyou’re using a digital SLR(DSLR) or a CompactSystemCamera (CSC), youhave in your possession anincredibly impressive pieceof equipment. Your camerais packedwith cutting-edgetechnology designed todeliver perfect images forthe vastmajority of shootingsituations, aswell as,morerecently, HD video. Despiteall these features, thecameras are also designedto be as easy to use aspossible, with somemodelsmanaging to be simpler touse than others. That said,with somuch on offer, it’seasy to get confused as tothe purpose of somefunctions, or to totallyoverlook useful facilities thatcouldmake your life easier.No problem:we’re here tohelp. Our informative guidecovers everything you needto know to get themost fromyour camera and,moreimportantly, help you takebetter pictures.

Anatomyofaninterchangeable-lenscameraFindyourwayaroundyourdigitalcamerawithourannotatedguide.Asyou’lldiscover, therearemoresimilaritiesthandifferencesbetweenaDSLRandaCSC!

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1)Shutter release button:Theshutter button has a two-stageaction – press halfway to activatethe AF andmetering systems andfully depress it to take the exposure.

Did you know? If you’ve left yourcamera switched on for a fewminutes and it’s entered standbymode to preserve battery power,tap the shutter release gently toswitch it back on. Alsoworth notingis thatmany cameras have acustom function that can setwhether the shutter release locksAF, exposure or both.

2) Integral flash:Found on thevastmajority of cameras. However,a few top-endDSLRs and someCSCs lack this facility, catering forflash via the hotshoemount only.Many CSCs lacking an integral flashhave a small clip-on unit suppliedalongwith the camera. Flashcoverage is usually good enough for

amoderate wide-angle lens andsubjects within a couple ofmetresaway. All offer a choice of flashmodes. The automode is fine forcapturing standard low-lightportraits, but there are a number offlashmodes on offer that allow forfarmore creativity, includingslow-sync and rear-curtain sync.

3) Flash-up button:Press to pop up theintegral flash (if yourcamera has one).While

some cameras automatically raisethe flashwhen required in certainfully-automaticmodes, all requireyou to activate itmanually shouldyouwish to use it in a semi-auto ormanual exposuremode.

Did you know?With somecameras, you can press and holdthe Flash-up button to accessadditional flashmodes, rather thanneeding to use themenu system to

do this.Withmostmodels, aseparate flashmode button on thefour-way control is used to do this.

4) AF illuminator lamp: In lowlight, your camera can struggle tofocus. The AF lamp, housed in theintegral flash or on the front of thecamera body, fires a flash burst or apatterned beamof light to aid theAF lock on the subject.

5)Lensreleasebutton:Press this button to allowthe lens to be removed.

Did you know?Nikon’slenses are removed in the oppositedirection tomost other brands.

6) AF/M: This switch,found on the lens or thecamera body, is used toset the focusing to

manual or autofocus.

7)Self-timerlamp:Visuallyindicates the self-timer countdown.

8) Microphone:Used to recordaudio when shootingmovies. Canalso be used on some cameras to‘write’ audio notes to images.

9) Depth-of-fieldpreview:Once popularon filmSLRs, this is nowless common. Using it

closes the lens iris to the selectedaperture, allowing you to previewthe extent of depth-of-field in theviewfinder. However, this darkensthe viewfinder image,makingit tricky to use, especially withsmall apertures. Cameraswithelectronic viewfinders boost thebrightness when using depth-of-field preview, which is an advantageover optical viewfinders.

Did you know?Canon users canuse this functionwith LiveView,allowing depth-of-field to bemoreeasily assessed on the LCDmonitorthan is possible with the viewfinder.

DID YOU KNOW?With your camera set to single-shot AFand single frame advance, once you

have pressed the shutter release to takethe initial image, releasing it only to the

halfway stage locks the AF andexposure settings for the next shot.

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10) Main dial:This is arguably themost important control on yourcamera as it is used to set theexposuremode. Some have acentral locking system, butmosthaven’t, so before shooting, be sureit hasn’t been nudged to amodeyou don’t wish to use.

Did you know?Many semi-pro/proDSLRs use a button rather than adial to set the exposuremode.

11) Hotshoe:Also known as anaccessory shoe, this allows you tofit a flashgun to your camera. Theseflashguns provide additional powerand features and give you fargreater scopewith your flashphotos. Aswell as a flashgun, youcan attach other accessories, suchas a control unit for syncingmultiple flash set-ups and remotetriggers. The central contact firesthe flash, the others are used totransfer information.

Did you know? The unconventionaldesign of the Sony hotshoe is basedon theMinolta Dynax hotshoe,introduced in 1988.12) On/offswitch:Turn thecamera on or off with this switch.If you leave it to theOn positionaccidentally, the camerawillnormally switch off the powerafter fiveminutes if unused. Pressthe shutter release gently to switchthe camera back on.13) Display:Your camera uses adefault exposure display on itsmonitor. Pressing the displaybutton changes the format:bringing up the histogram,changing the colour of the screendisplay or switching it off.14) ISO:The ISO rating determinesthe ‘sensitivity’ of your sensor tolight,much like different filmspeeds in the past. A low ISO ratinghas less sensitivity, but delivers

better image quality. Once youincrease the ISO rating, the amountof signal ‘noise’ increases, leadingto a loss in quality (mainly in termsof colour reproduction andsharpness), which ismost apparentat speeds of around ISO 800 andabove. Recentmodels offer betternoise handling than oldermodels.

15) Input dial:This is usuallyplaced close to the shutter releaseor by the thumbrest on the rear.It’s an important dial that is used tochange variables such as theshutter speed or aperture.

16)Sensor plane marker:Thismarking provides a visualmarkeras to where the sensor plane is.

CamerasCamerasshownshownlife-sizeife-sizeshownlife-sizeshownshownlife-sizeshownlife-size

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10 Understandingyourdigitalcamera

Key features and controls found on DSLRs & CSCs

1) Exposure compensation:This is themost commonly usedexposure override and increases ordecreases the indicated exposureby a set amount, usually in 1/3 or½-stop increments.Withexperience, you’ll discover how itsuse suits certain scenes, such asadding +2 stopswhen shootingsnow or setting a negative value(-2 to -3 stops) when using flash todarken the background for addedmood.When shooting inmanualmode, pressing this button allowsthe aperture to be changed.

Did you know?Most cameras havea custom function that lets you setwhether changes aremade in½,1/3 or full-stop increments.

2)Shortcut button: ‘Shortcut’buttons are becoming increasinglycommon, giving fast access to keyfeatures via the LCDmonitor andfour-way control. For instance,press Canon’s Q (Quick) button andyou can quickly access theaperture/shutter speed, ISO rating,Picture Style,White Balance andexposure compensation, to namebut a few. On some cameras, suchas the Pentax K-x, a similar functionis performed by the Info button,while other brands, such as Sony,offer a Fn (function button) thatallows for shortcuts.

3) Viewfinder: Digital SLRs offerThrough The Lens (TTL) viewing,sowhat you see in the viewfinder isan image coming directly throughthe lens. Sony’s AlphaDSLTs (eg

the A33, A35 and A55) have anelectronic finder, as do CSCs thatsport a viewfinder.We coverviewfinders inmore detail on p13.

4)AFpointselection: Multi-pointAF is found on all cameras, helpingwith focus on off-centre subjects.This button lets you switch betweenmulti-point AF or switch tosingle-point AF. Choosing one pointonly is useful in situationswhenyou need precise control of thefocus, such aswith portraits whenyou need to be certain to focus onthe subject’s eye. The central AFpoint normally boasts themostprecise AF sensor,making it thebest choice.

5) Menu: Press this to access all ofthe camera’s functions. It’s worthnavigating themenu system andlearning its set-upwhen you firstget the camera. As you’ll discover,all use a series of sub-menus/tabssplit into various categories tomake your life easier.

6) Image processing lamp:Thislights upwhen images are beingtransferred from the camera to thememory card.

7) AE-Lock:This popular overrideis particularly useful when youneed towork quickly as it’s fast toset. Use it to take and lock ameterreading from amid-tonewhenshooting in tricky lightingsituations. It’s particularly usefulwhen shooting a backlit subject.

Did you know? You can useAE-Lockwith anymetering pattern,

but it’s best to switch to the spot/partial or centre-weighted averagepattern, rather than using it withmulti-zonemetering.

8) Four-way control:Virtuallyevery newDSLR andCSCboasts afour-way control systemon its rear,as it offers a fast and versatile formof setting key functions. Eachbutton has its own primaryfunction, but the four-way set-upallows the same buttons to be usedwith themenu display to scrollthrough the navigation system.9) White Balance:Aswell as thedefault AutoWhite Balance (AWB)setting, your camera has a numberof presets for different lightingconditions. Setting the bestmatched preset will ensuremoreaccurate colours. You can also set acustomWhite Balance yourselfusing a grey card.With experienceyou’ll discover how setting anincorrectWB setting can lead tocreative results.10) PictureStyles:Aswell as thestandard setting, your camera hasa number of picture settings thatare optimised for certain types ofsubject, such as portraits,landscapes and so on. You can alsocustomise some settings to suityour own preferences.11) Frame advance:The standardsetting for your camera is to shoota single framewith every press ofthe shutter button. However, it canbe set to shoot sequenceswhen setto continuous. You can also delaythe exposure being taken by setting

the ten/12-second self-timer, whichis ideal when youwant to be in thepicture yourself. The two-secondself-timer is used to reduce the riskof shakewhen using a longexposure. You can also use thisbuttonwhen youwant to shootusing a remote release.

12) AF button:Your camera offersat least twomain autofocusmodes:single-shot AF for static subjectsand servo/continuous AF formoving subjects. Many also havean AI Servo/Auto-AFmode, whichworks like single-shot until subjectmovement is detected, when itswitches automatically tocontinuous focus.

13)Movie mode:Fancy shootingvideo rather than taking ‘stills’?That’s no problem for the latestDSLRs andCSCs, that shoot highqualitymovies,many in Full HD.A variety of formats and settingsare available to suit amateur andprofessional use.

14) Image magnification:Themagnifying glass symbols arefound on virtually every camera.They highlight the buttons that areused to zoom in to images to checksharpnesswhen reviewing imagesor using LiveView. Once zoomed in,the four-way control is used tomove around themagnified image.

15) Playback:Use this to reviewimages on yourmemory card.

16) Delete:Press this while inPlaybackmode to delete thecurrently displayed image.

See p14 for more onSee p14 for more onSee p14 for more onSee p14 for more onthe image sensorthe image sensorthethethe imagimagthe imagthe image sensorimagimage sensorimagimagimag sensorsensorthe image sensorimag sensorsensorimagimag sensorsensorthethe imagimag sensorsensorimagimag sensorsensoreethethe sensorsensorsensorthe image sensor

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Understandingyourdigitalcamera 11

DID YOU KNOW?The level of articulation and hinge

position of vari-angle monitors variesfrommodel tomodel, so if this

feature is important, try it out at yourlocal dealer before purchase.

The LCD monitor

better anti-glare performance.A simple and inexpensive way toimprove your viewing of the screenis to attach amonitor hood, whichshields direct light from reachingthe screen. With some CSCslacking a viewfinder and havingthemonitor as the only method forcomposing images, using a hoodcanmake amajor difference.

Screenconstruction:The vastmajority of monitors use a LiquidCrystal Display (LCD) but anumber use different materialsthat are claimed to offer brightercolours and better anti-glareperformance. These includeSamsung’s AMOLED (ActiveMatrix Organic Light EmittingDiode) and the OLED (Organic

Light Emitting Diode) screen usedon some Olympus CSCmodels.

LiveView:This facility lets you usethemonitor to frame the scene.With some cameras, when criticalfocusing is needed, part of theimage can bemagnified to allow for‘fine-tuning’ of the focus.While theAF performance of LiveView in thepast was poor,more recentcameras have shown amarkedimprovement. Sony Alpha’sLiveView system, alongwith thelatest Olympus and PanasonicCSCs, boasts excellent LiveViewAF.However, whilemonitors are sharpand offer good contrast, they arestill difficult to use in bright lightingconditions, so we’d recommendusing an LCD shade.

Screensize:Most current camerashave a screen size of at least 2.7in,withmany boasting a 3in screen.The larger the screen the better, asit makes it quicker to navigate themenu system and easy to reviewimages or use LiveView.

Screenresolution:The resolution,stated in dots, is important as thehigher it is, the sharper the display.Most monitors have a 460,000-dotscreen, which is very good, butway short of the sharpness andclarity of screens that boast920,000 ormore dots.

Vari-anglemonitors:Whilemost screens are fixed, articulatedmonitors are becoming increasingcommon due to their usefulnesswhen using LiveView or whenshootingmovies.

Menusystem:Themany controlbuttons on your camera allow youto quickly select most keymodesand functions, but it’s the camera’smenu system that allows youaccess to every feature on thecamera. Everymenu hassub-divisions or ‘tabs’ for thevarious types of functions theycontrol, making it easier andquicker to access the function youwant. Canon and Nikon aregenerally regarded as having thebest-designedmenus but all areeasy to use once you’ve playedwith them for a little while.

Exposureinformation:Thedefault setting for themonitor is toshow the key exposure informationon the screen. You can usuallycustomise the layout and coloursto your liking, so check yourcamera’s instructionmanual orexplore themenu system a little tosee what options are available.

Screenbrightness:Many usersaren’t aware that their camera’smenu system offers an option thatallows the brightness of thedisplay to be adjusted. Set it toyour liking –most people boostbrightness when shooting in brightconditions, reduce it in low lightand use amid-setting in studioconditions or when checkingexposure accuracy.

Touchscreenfunctionality:A feature of a small number ofCSCs that allows you to selectmodes, focus and fire the shutterby pressing the appropriate iconson themonitor screen.

QuickGuides:A feature that isbecoming increasing common is theQuickGuide. Foundpredominantlyon entry-levelmodels, it providesillustrated instructions for variouspicture-taking skills.

Monitorhood:Bright daylightmakes it difficult to view themonitor, even withmore recentmodels that boast displays with

Great forGreat forLiveViewLiveView

With a number of key roles, the importance of the LCDmonitor should not be underestimated, as you’ll be using iton a regular basis, Here are the essential facts to consider.

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Compartments & connections

1) Battery:A few cameras useAA batteries, but the vastmajorityuse lithium-ion batteries. These arerechargeable and last for severalhundred frames, but have thedisadvantage of beingmoreexpensive should you need a spare.Did you know? Independentbrands like Hahnel, Delkin andHama produce compatible lithiumbatteries considerably cheaperthan branded batteries.

2) Accessory grip: It’s worthnoting that many cameras allowoptional grips to be attached.These offer a number ofadvantages as follows:Handling: The additional gripprovides amore solid hold, whichis particularly useful when usingthe camera in portrait format.Bear inmind, however, that italsomeans you’ve a larger andheavier outfit to carry.Additional function buttons:The grip has a secondary set ofbuttons that duplicate those on thebody and again help whenshooting in portrait format. Theseare usually made up of thefollowing: shutter release, inputdial, exposure compensation,AF point selection and AE-Lock.Additional power: The grip holdsadditional batteries, which allowsfor extended shooting. Withmanygrips, as well as allowing the use oflithium-ion batteries, an adapterallows AA batteries to be used, too.

3) Tripod bush:A¼in threadbush is located on the bottomof

every camera and is a standard sizefor usewith tripods,monopods andother camera supports.Card slot:Most cameras feature acard slot, protected by a hingeddoor, on the right side of thecamera. Better-specifiedmodelshave a twist-lock security switch toprevent it accidentally opening.Placing the card slot in the batterycompartment on the base of thecamera is becoming increasinglycommon, but we’re not so keen onthis position as it causes problemswith access when your camera istripod-mounted. Some camerasoffer two slots rather than one,boosting capacity and allowingyou to set up the camera totransfer video to one slot and stillimages to the other, or do a similarthing with Raw and JPEG files.

4) Camera connections:The following are themostpopular connection sockets:HDMI: Plug your camera directlyinto your HDTV and view imagesandmovies on the big screen.Remote: Connect a corded remoteand shoot night exposures withless risk of camera shake.USB: Connect your cameradirectly to a computer or acompatible inkjet printer.Mic:When shooting video, plugin an external microphone togreatly improve audio quality.PC socket: Found on the front ofmany enthusiast and pro-speccameras, this accepts the standardsync lead for use with studioflash.

HowsizeandweightrelatestobuildqualityAll cameras aremade to a very high standard, but some aremadeto a higher standard than others, so it’s worth noting how buildquality varies as you spendmore.

Budget ‘entry-level’ models are made to be as small and lightas possible, hence they have amainly polycarbonate body thatfeels somewhat plasticky compared to rivals.

Mid-range cameras are designed for heavier use and so aremore sturdy, often having an alloy chassis to improve strength.Some have enhanced weatherproofing, too.

Promodels use a steel or magnesium alloy chassis and shellfor maximum protection. All areas of the camera, from thereinforced shutter system to the weatherproof seals around thebuttons and dials, are made as durable as possible. The outcomeof this is that the cameras are bigger and heavier.

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Magnification:The higher themagnification of the viewfinder, thebetter, as itmeans a clearer, largerimage that places less strain on theeye.Most cameras offer a similarperformance in this respect tosimilarly priced rivals. ABOVE: Some cameras have a

Custom Function to add gridlines.

The viewfinder is important as, formostphotographers, it’s how the image is framed. Its sizeand clarity improves as you spendmore on yourDSLR. Entry-levelmodels have relatively small butclear viewfinders,mid-rangeDSLRs see animprovement, with viewfinders being larger andbrighter. Full-frameDSLRs have the best viewfinders,providing a large, very sharp and clear image.

Electronic viewfindersCSCs, aswell as Sony’s translucent-mirror DSLTs (AlphaA33, A35andA55), use an electronic colour finder as opposed to the traditionaloptical type found inDSLRs. These have the advantage of providing100%coverage and their live display is useful to judge exposure andWhite Balance. They also allow for plenty of exposure information tobe displayed. However, they’re notwithout their problems, particularlywhen used in low light, as they don’t provide as clear an image asconventional viewfinders. The latest electronic finders are better thanprevious generations in this respect, but traditional viewfinders stillhold the edge in terms of clarity and brightness.

Did You know? SomeCSCs lack an integral viewfinder altogether,with users using the LCDmonitor to compose the scene. This isusually to keep down the cost of the camera or to reduce its size.

The viewfinder

5) Dioptric correction:Spectaclewearers can use a dial or switch tosharpen the viewfinder image forusewithout wearing their glasses.Most cameras offer a range ofaround +2 to -1 dioptres.

6)Viewfinderhood:Provideacomfortable rest andprevent straylight entering the viewfinder.Mostaredetachable, allowing forviewfinder accessories tobefitted.These includeaviewfinder extender,whichprovidesmorecomfortableviewing, andanangle-finder thataids low-level viewing.

7) Viewfinderscreen: Most showthe position of the focusing pointswhile some show the central spot/partialmetering zone.Most screenshave LEDs on the AF points thatlight up redwhen activated.Exposure information is usuallyshown along the bottom in green,although some have it runningalong the right side.

Did you know?A small number ofmid-range and semi-pro/promodels boast interchangeableviewfinder screens to suit specialistuses, such asmacro or architecturalphotography. Some cameras allow

you to superimpose gridlineson the screen via a customfunction,meaning you don’thave to buy an extra screen.

Viewfinder blind: It’s importantto cover the viewfinder whentaking pictures as stray lightpenetrating the viewfinder housingcan reach themetering sensor,leading to poor exposures. Sometop-end cameras have an integralblind, but formost consumer-levelDSLRs, an eyepiece cover isprovidedwith the camera either asa standalone accessory or attachedto the supplied camera strap.

Eyesensor:This handy littlefeature saves battery power bydeactivating the LCDmonitorwhen it senses that thephotographer’s eye is lookingthrough the viewfinder.

Framecoverage: While thesemi-pro andprofessionalmodelsboast a 100%coverage,mostmodels only provide a95%coverageof the image frame. Thismeans that,when composing the image, the finalresultwill include slightlymore ofthe scene at its edges than is evidentthrough the viewfinder.

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ActualActualsizesizeFour-Thirds

Full-frame

APS-H

APS-C

ImagesensorTHESENSORATTHEHEARTOFTHECAMERAPLAYSAFUNDAMENTALROLEINDIGITALPHOTOGRAPHY.UNDERSTANDITSKEYCHARACTERISTICSTOGETTHEMOSTFROMYOURCAMERA

SensorsizeImage sensors are produced in anumber of sizes, with the full-framesensor being the same size as a35mmfilm frame. It’s vital that youunderstand the importance ofsensor sizes for a number ofreasons, as follows:1) The size of the sensordetermines the effective focallength of lenses usedwith thecamera (see panel).2) In general, larger sensors canproduce better quality imagesbecause the pixels are larger,produce less noise and aren’t sotightly cramped together.3) Larger sensors aremoreexpensive to produce, so camerasaremore expensive, too.4) A camerawith a larger sensoralso has a bigger, brighterviewfinder.

5) All else being equal, largersensors give slightly shallowerdepth-of-field compared tosmaller sensors.

Full-frame sensors are found insemi-pro and promodels, and havethe same dimensions as a 35mmfilm frame. Their size allows forextremely high-resolutions:Canon’s EOS-1DSMkIII has 21.1million pixels, Sony’s Alpha 900has 24.6megapixels, while theNikonD3X has 24.5million pixels.

The APS-H sensor is used in theEOS-1D series and is aimedpredominantly at sports andwildlife photographers who preferthe extra boost the slightly smallersensor provides.

APS-C is themost popularsensor size, found in the vastmajority of DSLRs, as well as theSony and Samsung CSCs.

The Four-Thirds sensor was thesmallest of the four main typesuntil the release of the Nikon 1System and Pentax Q.

Full-frame: 36x24mmAPS-H: 28.7x19.1mmAPS-C: 23.6x15.5mm (Nikon,Pentax, Sony)APS-C: 22.3x14.9mm (Canon)Four-Thirds: 17.3x13mmNikon CX-format: 13.2x8.8mmPentax Q: 6.17x4.55mm

1) Lens mount: The lensmounthas electronic pins to transferinformation used by the autofocusand exposure systems between thecamera and lens. Different brandshave different lensmounts,although Olympus PEN andPanasonic Lumix CSCs share the

Micro Four-Thirds ‘open’lensmount system.

Remove the lens and it’s easyto tell a digital SLR from aCSC. The sensor on a DSLR isobscured by the reflexmirror(and also the shutter curtainbehind it), while the sensor ofthe CSC is fully exposed.

2) DSLR:ReflexmirrorDigitalSLRs have a reflexmirror thatreflects light upwardswhere a prismdirects it towards the viewfinder.When you fire the shutter releasebutton, themirror raises out of thelight path and a shutter curtainbehind it opens to allow theexposure to reach the sensor. It’s atried and tested system, but adds tomanufacturing costs and size of thecamerawhen compared toCSCs.

3) CSC:Missing a mirrorWhiledigital SLRs and CSCs sharemanysimilarities, the biggest differenceis that CSCs lack a reflexmirror.This allows them to be smaller andslimmer than a DSLR. The lack of amirror means CSCs use anelectronic finder and/or LCDmonitor to compose images, withthe image coming directly fromthe sensor, which is clearly visiblewhen the lens is removed.

DID YOU KNOW?The twomain sensor types are

CMOS (ComplementaryMetal–Oxide–Semiconductor)and CCD (Charged CoupledDevice). The former is themost commonly used.

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SensitivityBack in the ‘analogue’ days, filmsensitivity was stated as an ISO(International StandardsOrganisation) rating. This systemis also used with imaging sensors.The lower the ISO rating, the lesssensitive the sensor is to light. Asyou increase the ISO rating, thesignal output of the sensor isincreased to boost its sensitivity,but this has the effect of increasingnoise, too, which is undesirable.The sensitivity range varies fromsensor to sensor, but most offerISO 100-6400. Top-endmodelsoffer a low ISO 50 rating, whilesome cameras have a top ISO of102,400, which is sensitive enoughto capture images at night. Mostcameras offer some form of noisereduction as an option.

Image resolutionAn image sensor is made up ofmillions of light-receptivephotosites, best known as pixels.Themore pixels a sensor has, thehigher its resolution. The generalterm for amillion pixels is‘megapixels’, hence a sensor with12-million pixels is commonlyreferred to as having a

12-megapixel resolution.While it’s easy to assume that

sensors with a higher resolutiondeliver better image quality thanthose with less pixels, that is notalways the case. The size of thesensor plays a part: as mentionedearlier, the larger pixels on biggersensors generally deliver superiorquality. Also important is theimage processor, which uses theraw information provided by thesensor to produce the images. It’simportant to remember that theoptical quality of the lens used onthe camera has amajor influenceon overall quality, too.

Sensors & lensesThe relationship between theimage sensor and the lenses usedwith your camera can seemconfusing at first, but you’ll getused to it with a little experience.It all relates to how the coverageprovided by a lens changesdepending on the sensor size.

If you take two identical lensesand fit one to a camera with afull-frame sensor and the other toa camera with an APS-C sensor,you’ll find that the latter provides amagnified version of the scene.

This is because the smaller sensoruses a smaller area of the ‘circle ofillumination’, which refers to thelight passing through the lens. Ineffect, the smaller sensor ‘crops’the image, using only a centralportion, and is said to haveincreased the effective focal lengthof the lens. This is usually statedas an equivalent to the 35mmfilmformat or full-frame sensor.

Each sensor has a cropfactor, whichmust bemultipliedwith the focal length to give theeffective focal length. For instance,APS-C sensors have a crop factorof 1.5x (1.6x with Canon), andFour-Thirds sensors have a cropfactor of 2x. So, for example, a50mm lens used on a Four-Thirdssensor is stated as providing theequivalent focal length as a100mm lens. The image itproduces has the same field ofview as a 100mm lens used on a35mmfilm/full-frame sensor.

The importance of this increasein effective focal length is thatlenses usedwith smaller sensorseffectively havemore pulling powerthanwhen used on larger sensors.So a 100-300mmused on aNikonDSLRwith an APS-C sensor

has an effective focal length of150-450mm. That’s great news ifyou shoot a distant subject as youcan fillmore of the framewith it.The downside is apparent whenusing wide-angles: its coverage isrestricted as it no longer has sucha wide field-of-view. The cropfactor of themain sensor sizes are:

Full-frame: 1xAPS-H: 1.3xAPS-C: 1.5x (Nikon, Pentax, Sony)APS-C: 1.6x (Canon)Four-Thirds: 2xNikon CX-format: 2.7xPentax Q: 5.5x

Digital-only lensesThe popularity of the APS-Csensor has led to variousmanufacturers making lensessuitable only for DSLRs with thissize of sensor. These digital-onlylenses are usually more compactthanmainstream lenses andcannot be used on DSLRs withfull-frame sensors as they willcause gross vignetting. Thesedigital-only lenses are designatedby themain brands as follows:

Canon EF-S; Nikon DX,Sigma DC and Tamron Di II.

Full-frame

APS-H

APS-CFour-Thirds

DIDYOUKNOW?Asmallnumberof imagesensorsdonotfollowthestandarddesign.TheseincludeFuji’sSuperCCDandSigma’sFoveonsensor.

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I AM THE NEW ADVANCED CAMERA WITH INTERCHANGEABLE LENS

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Understandingyourdigitalcamera 17GettinGStartedindiGitalPhotoGraPhy

UnderstandingexposuremodesWant to takebettershots?Then learnhowtouseeachmodeto itsbestadvantageto improveyour images…

Digitalcamerasare complicatedinstruments, seemingly withmore featuresand functions these days than the controlroomof a nuclear submarine. Of course,if you press thewrong button on your camera,the worst that’s going to happen is you’ll ruin apotentially great shot, rather than start a worldwar! Nevertheless, if youwant to realise yourfull potential as a photographer, it’s importantthat you can find your way around the verything you use to take photographs.High on the list of essential features you

need to understand are exposuremodes,simply because you need to use one of

them every time you press the shutter.the basic job of an exposuremode is to

ensure that just the right amount of lightreaches the image sensor to record a‘correctly’ exposed image using a suitableaperture and shutter speed combination.Dslrs andcscs typically have fourmainexposuremodes – program, aperture-priority,shutter-priority andmanual – plus a range ofspecialist programmodes, biased to specificsubjects, such as sport, landscape, portraitsand close-ups.all themodes are designed to give the

correct exposure, but where they differ is in

how they influence the final result, the amountof control you have over the aperture andshutter speed selected, and also how quickand easy they are to use.chances are you have a favourite exposure

mode that you use all the time.Whether or notit’s the bestmode for you is anothermatter, asmany photographers tend to settle on away ofworking and stick with it without consideringthe alternatives. to help you find out, thisdetailed guide to exposuremodes explainswhat each one does so that you can pick andchoose differentmodes for different subjects,and startmaking themost of your camera.

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18 Understandingyourdigitalcamera

THEEXPOSUREMODEyou selectwill play amajor role in howyour camera captures thescene, so it’s essential you learn howeachworks and the influence they have on thefinal result. Your camera offers you awidechoice of options, but they canbedividedinto twomain types: basic and creative. Thebasicmodes include the Full-Auto andScenemodes: in otherwords, the fully-automaticmodes that only give you very basic controlover how the picture is taken. Thesemodesaremeant for beginners to photographywhohave yet to learn the fundamentals, such ashowapertures and shutter speedswork.The creativemodes,whichwe also like to

term the core four, are program, aperture-priority, shutter-priority andmanualmode.These provide youwith creative control ofyour photography andbecause they are the

fourmodeswe’d recommend you learn, we’llcover them in detail in this guide. These fourmodes all work in very differentways: forinstance, in programmode, the cameratakes care of the shutter speed and aperture,but gives you scope to adjust virtually everyother setting on the camera. Aperture- andshutter-prioritymodes are semi-automatic:you take care of either the aperture orshutter speed,with the camera taking careof the other.Manual, as you’d expect, iswhere you have control of both.Withexperience, you’ll come to have yourfavourite – formost people, that’s aperture-prioritymode, but there are timeswhen youmay count on someof the othermodes, too.By following our expert advice, you’ll be ableto choose the appropriatemode every time,whichwill help you to take better pictures.

UnderstandingexposuremodesIf takingbetterpictures isyourgoal, thenyouneedtounderstandexposuremodes.Don’tworry, it’snotasdifficultasyoumight think…

Functions FullAuto Portrait Landscapes Close-up Action Program

General settings Aperture&shutterspeed *

ISOrating

WhiteBalance

Focusing One-ShotAF - -

ContinuousAF - - - -

AI-Focus - - - -

AFpointselection

Exposure Multi-zone

Spot/Partial - - - - -

Centre-weighted - - - - -

Exposurecompensation - - - - -

AEB&AE-Lock - - - - -

Drive Singleframe -

Continuous - - - - -

Self-timer

Built-inflash Auto-flash - -

Forced-on - - - - -

Flash-off - - -

HowtosetexposuremodesAs the exposuremode is a primaryfunction of the camera, it should be simpleto set. Virtually all DSLRs have an exposuremode dial on the top-plate, which allowsthemode to be set easily and quickly. ProDSLRs normally negate the dial in favour ofamode button, used in conjunctionwiththe input dial. SomeCSCs have amodedial similar to a DSLR, located on thetop-plate or on the rear, or a touchscreenoption.Many – in particular, those at thebudget end – lack a dial and instead usethemenu screen and four-way control.

Scenemodes represent (in principle, at least)the perfect way for beginners to take brilliantpictures of different types of subjects. It allseems so easy: a novice shooting their lovedone needs only choose portraitmode and snapaway; while a walker on Snowdonia setsLandscapemode and, hey presto, a stunningscenic is recorded. The truth is a little lessphoto-utopia than this.While the camerawilltake a sharp, well-exposed image, it won’t beanywhere near as good as if you use a creativemode and select the camera settings yourself.Ultimately, Scenemodes give high-qualitysnaps that you could takewith a decentcompact – your DSLR or CSC can give you somuchmore, so only use them if taking images

of sceneswhere you’re unsure what to do.Every Scenemode is designed to bias the

camera for the subject you’re shooting: to dothis, it removes control of the camera’s keyfeatures.We’re not just talking about just theshutter speed and aperture either –metering,AF, exposure overrides, drivemode, built-inflash andWhite Balance, as well as the ISO, areall taken out of your hands. Froma beginner’spoint of view, that’s a lot of potential problemstaken care of by the camera, but from acreative photographer’s point of view, that’s amajor loss of control. Our reference tableshows themost popular Scenemodes and thekey functions the camera takes care of orallows you to control. It’s applicable tomost,

but not all cameras, so check your instructionsfor amore detailed guide. As you’ll see, you’vemuch less influence on the result as usingprogramor a creativemode, which is why thecamerawill never replace the photographer –it simply does not knowwhat type of imageyou’re trying to capture. The other keyweakness of Scenemodes is that they’llalways play it safe with exposure settings –in particular, using a shutter speed to avoidshake (the camera generally presumes you’reshooting hand-held). It will rarely go toextremes either, so if you’re shooting a portraitin bright light andwant very shallow depth-of-field, you’re unlikely to find the aperture wideopen, but rather at amore safe setting of f/5.6.

Table key: Set automatically User-selectable - Not available * Program Shift

Scenemodes(alsoknownassubject-biasedprograms)

DSLR CSC

Every camera hasprogrammodes thatwork slightly differently, so it’sworthspending a fewminutes reading theinstructions to see howyoursworks

Readtheinstructions!

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Understandingyourdigitalcamera 19GETTINGSTARTEDINDIGITALPHOTOGRAPHY

3) ‘Fuss-free’ general photographyWhen you simply want to quickly grab a sceneand haven’t time to change settings, selectprogram, fire off a couple of shots, then if youhave time, use program shift to alter settingsa little more to your liking. Perfect for candids.

1) Indoor ‘informal’ shotsIf you’re taking informal pictures of family andfriends, select P, pop up the flash if neededand fire away. You could also use Full-Auto, butthis usually results in the flash being used,which often gives a less pleasing result.

2) Fill-in flash exposuresProgram is a good choice when you want toadd a touch of fill-in flash to outdoor portraits.Just pop up the flash (or switch on ahotshoe-mounted flashgun) and let thecamera take care of the exposure for you.

ProgrammodeandflashWhen light levels fall, the lightning symbolflashes as a visual indication for you to pop upthe flash. If you don’t, the camera will still takethe picture, but if you’re hand-holding, you riskshake. If you pop up the flash, the camera setsthe shutter speed to the flash sync speed andusually leaves the aperture wide open to extendthe flash range. The camera is only concernedwith correctly exposing the subject, so thebackground will normally appear very dark – ifyou want to reveal detail in the backdrop, youneed to use another mode.

FlashingshutterspeedsYour camerawill do its best to give awinningcombination of shutter speed and aperture, butin extremely bright or dark shooting situations (ievery rare situations), thismay prove impossible.In very bright conditions, if themaximumshutterspeed and smallest aperture are flashing, itindicates a risk of overexposure, so lower the ISOrating and, if the problempersists, use anNDfilter. In dark situations, if the slowest shutterspeed andmaximumaperture blink, itmeansyou risk underexposure, so raise the ISO rating.

Shootingsituationswhenit’sbesttouseprogrammode

ProgramshiftProgram shift lets you change thecombination of aperture and shutterspeed by rotating the input dial until youget your preferred choice. Use it toquickly change the aperture to awider orsmaller one, letting the camera changethe shutter speed tomaintain correctexposure, or select a faster or slowershutter speed, andwatch the aperturechange automatically. If you’re shootinglandscapes, for example, where youwantmore depth-of-field, you just need to‘shift’ towards a smaller aperture,whereas if you’re shooting action, ‘shift’towards a faster shutter speed.

Set your camera to ‘P’ and it becomes a fullyautomatedmachine. Point it towards a subjector scene youwant to photograph and not onlywill it measure light levels to determine thecorrect exposure, but it will then go ahead andset both the aperture and shutter speed for youto achieve that exposure.

Whether or not you see this as an advantageor a hindrance depends howmuch experienceyou have behind a camera. Beginners likeprogrammode because it’s quick and easy –all you do is point, focus and shoot, with theminimumof things to think about, andtherefore less chance (or so it seems) ofmaking amistake. Experienced hands are lessenthusiastic about programmode for the verysame reason: they feel it’s too automated andprefer to take control of the camera, ratherthan feeling that the camera has taken controlof them. This is achieved by opting for asemi-automatic ormanualmode.

For snapshots at parties or when you’re onholiday and so on, programmode is ideal as itwill deliver good photographs time after time.It can alsoworkwell if you’re wanderingaround, shooting a variety of different subjects,or if you need to act fast when takingphotographs at, say, carnivals and festivals,

and aremore interested in getting decent shotsrather than trying to create works of art.

Themain drawbackwith programmode isthat the combination of aperture and shutterspeed seems almost to be chosen at randomby the camera, so youmay findwhen you pointit at your subject in readiness to take a shotthat it sets a wide aperture and fast shutterspeedwhen you really need a smaller apertureto increase depth-of-field or a slower shutterspeed to blurmovement. The camera doesn’tknow this because it can’t read yourmind(technicians are working on that one!), but itdoes go someway towards this by offeringprogram shift (see panel on the right).

You can also increase or reduce theexposure to correct errors for creative effect byusing the camera’s exposure compensationfacility. Thismakes programmodemuchmoreversatile and, in experienced hands, it canworkwell as a quick and easy all-rounder.Nevertheless, it still tends to be the choice ofbeginners who don’t yet understand things likedepth-of-field and just want to take sharp, wellexposed photographs. And once they do havea better understanding, they then tend toprogress on to less automated exposuremodes that offer increased control.

As well as the standard programmode (P),most cameras offer another fully automaticmode, commonly known as the ‘green square’,‘Green Auto’mode or ‘Full-Auto’mode. At firstsight, thismay seem identical to the programmode, but they have their differences. Yourcamera’s instruction book can givemore details,but the key difference is that with programmode, only the aperture and shutter speed areset automatically by the camera: all the otherfunctions, such as AF ormetering patterns, canbe set by you. This also includes the flash. Inprogram, the camera indicates when flash isrequired (by flashing the lightning symbol), butrequires you to pop up the integral flash before itwill fire.With full-automode, the camerawillautomatically fire the flash if required. This isbecause the Full-Automode assumes the userhasminimal photo knowledge: in other words,that they are an absolute beginner. Manycameras now boast an intelligent auto (iAuto orA+)mode, which actsmuch like the Full-Automode, but allows the usermore control.

Programmode(P)

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20 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

As the name implies, if you set your camera tothis exposuremode, priority is given to theaperture selected. In fact, you decidewhichaperture (f/number) to set, and once you’vedone that (by using the input dial orappropriate buttons), the camera instantlychooses and sets a shutter speed to achievecorrect exposure, based on the light readingtaken by themetering system. The apertureand shutter speed set will be displayed in thecamera’s viewfinder, top-plate LCD and/or rearLCDmonitor so you’re fully aware of both, eventhough you’ve only chosen the aperture.

Aperture-priority is an ideal exposuremodeto usewhen you need to control depth-of-field(howmuch of the scene appears sharplyfocused). If you’re shooting landscapes andarchitecture where front-to-back sharpness is

required, all you do is select a small aperture,such as f/11 or f/16 or f/22. At the otherextreme, if you need tominimise depth-of-fieldso only a shallow zone of sharp focus isachieved –when shooting portraits, forexample – you can set a wide aperture (smallnumber), such as f/4 or f/2.8.

Because the camera instantly responds toany change of aperture by adjusting the shutterspeed so correct exposure ismaintained, youcanwork quickly – shooting at a small aperture(and slower shutter speed) oneminute, thenswitching to awider aperture (and fastershutter speed) the next. This alsomakesaperture-priority the best exposuremode forgeneral shooting situations, and it’s perhapsthemost widely usedmode among seriousand experienced photographers.

Aperture-prioritymode(AorA )

AperturecontrolWith depth-of-field being such animportant element in a picture’ssuccess, it’s no surprise thataperture-priority is the mostpopular choice of mode.

Shootingsituationswhenit’sbesttouseaperture-priority

1)Landscapes:maximisedepth-of-fieldBy changing the aperture, you’re in full controlof depth-of-field and howmuch of the sceneappears sharp.Most landscape photographersuse aperture-priority for this reason.

2)Portraits:backgroundoutoffocusMost portraits aim for the subject to stand outfrom the background so as to grab the viewer’sgaze. Nothing does this better than focusing onthe eye and choosing awide aperture.

3)MacrophotographyWhen you’re working at very close distances,depth-of-field isminimal, so critical focusing,alongwith being able to use the optimumaperture, is essential for sharp results.

4)OptimalsharpnessfromyourlensEvery lens has an aperture that gives thesharpest results – usually between f/8 andf/13. So if ultimate sharpness is your aim, setaperture-priority and shoot at these settings.

Aperture-priority &slowshutterspeedsThemain thing to be aware ofwhen using aperture-priority isthat as you choose a smalleraperture, the correspondingshutter speed set by the camerawill become slower and slower,so the risk of camera shakeincreases. It’s easy to forget thiswhen you’re busy shooting,especially in low light, or if youdecide to use a polarising filter,which loses two stops of light,as you’re giving priority to theaperture and depth-of-field.

But it’s also important to keep aneye on the shutter speed beingset by the camera so you don’tend upwith blurred images!Once the shutter speed dropsbelow a level that you can safelyhand-hold, you’ve three options:1) Set awider aperture so theshutter speed increases. Forexample, if the shutter speed atf/11 is 1/15sec, at f/8 it will be1/30sec, at f/5.6 it is 1/60secand at f/4 it will be 1/125sec. Thisoptionwon’t work if you need asmall aperture to give lots ofdepth-of-field, butphotographersoften stop their lens down too far,

so youmay be able to use awider aperturewithoutcompromising depth-of-field.2) If you can’t sacrificedepth-of-field by using a wideraperture to increase the shutterspeed,mount your camera on atripod or some other support sothat it’s not going tomove. Thatway, it doesn’t matter if theshutter speed is really slow. Thisis the best option for staticsubjects, such as landscapes,architecture and still life.3) The final option is to increasethe ISO setting so a fastershutter speed can be used. For

example, if shooting at ISO 100at 1/30sec at f/16, increasingthe ISO to 200will allow you touse a shutter speed of 1/60secat f/11, raise it to 400 and theshutter speed will be 1/125secat f/11, and so on.

If you’re on the ball, you cancombine the above options.Increasing a stop lets youmaintain your chosen apertureand use a faster shutter speedwithoutmuch compromise onimage quality. If that doesn’t dothe trick, you can also open upthe aperture a stopwithoutlosing toomuch depth-of-field.

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Understandingyourdigitalcamera 21GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Warning!FlashingshutterspeedWhen selecting the aperture, youmay get to a point wherethe shutter speed starts flashing. This indicates that thecamera is unable to provide a corresponding shutter speed,whichwill lead to poor exposures. This could be becauseyou’re shooting in very bright light and have selected too fastan aperture or, alternatively, have set too small an aperture inlow light.With the former situation, lower the ISO rating andconsider using anNDfilter.With the latter, raise the ISOrating. If this doesn’t solve the problem, you’ll need to changethe aperture setting until the shutter speed stops flashing.

Exposurecompensationandaperture-priorityIf you apply exposure compensation in aperture-prioritymode, the shutter speedis adjusted to change the exposure and the aperture stays the same, as you aregiving it priority. For example, if you’re shooting at 1/250sec at f/4 and you dial in+1EV (one stop) of exposure compensation, the camerawill change the shutterspeed to 1/125sec, but leave the aperture unchanged at f/4.

Aperture-priorityandflashHowaperture-priorityworkswith flash varies onthe brand andmodel ofcamera you have. Forinstance, withmostCanon andPentaxmodels, once you selectthe aperture, the camerachooses a shutter speedto correctly expose thebackground, so in lowlight, the camera needs to be tripod-mounted to avoid shake.In effect, the camera is automatically applying slow-syncflash.WithNikon, Sony andOlympus, the shutter speed islimited to prevent shake, unless the slow-sync flashmode isselected. Check the instructionmanual to see howaperture-priority workswith flash and experimentwith results.

Thismode is usually usedwhen youwant

to control depth-of-field. Remember, the

wider the aperture (eg f/2.8), themore

shallow thedepth-of-field and vice-versa

Depth-of-fieldDepth-of-field

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Warning!FlashingapertureWhen choosing a shutter speed, the aperturevaluemay start to blink, indicating that thecamera is unable to provide a correspondingaperture setting speed, whichmay lead topoor exposures. This could be because youhave selected too fast or too slow a shutterspeed for the lighting conditions. If this is thecase, change the ISO rating until the apertureno longer blinks, or if shooting in very brightconditions, use an ND filter.

Exposurecompensationandshutter-priorityIf you apply exposure compensation in shutter-prioritymode, the aperture is changed and theshutter speed stays the same. So if you havean exposure of 1/250sec at f/5.6 and apply+1EV, it will change to 1/250sec at f/4.

Shutter-prioritywithflashVirtually all cameras handle flash exposures inshutter-priority the sameway. You choose theshutter speed youwant to use and the cameraselects an aperture that will allow the scene tobe correctly exposed by the ambient light, withthe flash output exposing the subject correctly.

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Avoid camerashakewith the reciprocal ruleThere is an easymethod to determinewhen you risk your images sufferingfrom camera shake. Ensure the shutterspeed you use is the reciprocal of thefocal length. So if you use a 55-200mm,set a shutter speed of at least 1/200sec;with a 70-300mm, use at least1/300sec, and so on. Obviously lensesboasting an image stabiliser allow youto get away with slightly slower speedsthan the reciprocal rule suggests, but itremains a good guideline to follow.

This is the second semi-automatic exposuremode that you’ll find on all DSLRs andCSCs,and, as the name suggests, it gives priority tothe shutter speed. Shutter-priority allows youto choose the one youwant to usewhile thecamera sets the aperture automatically toachieve correct exposure – in other words, it’sthe opposite to aperture-priority.

Shutter-priority is the ideal exposuremodeto usewhen you’re shooting subjects thatrequire careful choice of shutter speed tocontrolmotion. Sport and action are top of thelist as you generally want to freezemovementby choosing a shutter speed thatmatches thesubject: the faster themovement, the fasterthe shutter speed needed to freeze it, and viceversa. Common sense, really. Naturephotographers often use shutter-priority, too,when photographing birds in flight, say, oranimals on themove.While everyday actionsubjects, such as your kids running around inthe park or the family dog shaking its wet coatafter a dip in the sea,may also benefit from theuse of shutter-prioritymode.

Of course, shutter-priority isn’t reserved onlyfor freezingmovement: sometimes youwillalso want to intentionally blur it to capture asense of grace andmotion in your images.Sport and action subjects can bephotographed using a slow shutter speed bypanning the camera, so the subject comes outrelatively sharpwhile the background isblurred. Or youmay simply decide to keep thecamera still and letmoving subjects record ascolourful streaks.Movingwater in rivers,waterfalls and the sea is also oftenphotographed using a slow shutter speed, so itrecords as amilky blur. In each case, there is

usually an optimumshutter speed to help youachieve the best result, and shutter-prioritymodewill allow you to set it.

Youmay be one step ahead of us here andthinking, ‘But surely I can set the shutter speedI want in aperture-prioritymode just bychanging the aperture until the camera setsthe shutter speed I want, or in programmodeby changing the aperture and shutter speedcombination?’ If so, you’re correct. However,the benefit of using shutter-prioritymodewhen you need to shoot at a certain shutterspeed is that, once it’s set, it won’t change ifthe light levels fluctuate or you change cameraposition. If the exposure needs to be adjustedin shutter-prioritymode, it’s the aperture thatchanges, so that the shutter speed remainsconstant (the opposite happens in aperture-priority). The same applies if you use yourcamera’s exposure compensation to increaseor reduce the exposure – in shutter-prioritymode, the aperture is increased or reducedand the shutter speed remains unchanged.

If prevailing light levels are too low to allowyou to use a fast enough shutter speed, evenwith the lens at its widest aperture, all is notlost – simply increase the ISO. For example, ifthe fastest shutter speed you canmanage atISO 100 is 1/125sec, at ISO 200 it will increaseto 1/250sec, at ISO 400 it will be 1/500sec,and so on, giving you additional control so youcan set the shutter speed you need.

At the other extreme, if you need to set aslow shutter speed to blurmovement, whenlight levels are high youmay find that theslowest you canmanage isn’t slow enough.Again, reducing the ISOmay do the trick.Some cameras have a ‘Low’ ISO setting that’s

Shutter-prioritymode(SorT )

Shootingsituationswhenit’sbesttouseshutter-priority

1)Sports&wildlife:freezingactionWhen shooting fast-moving subjects with theaim to freeze theirmovement, you need to seta fast shutter speed. Using shutter-priority letsyou set the exact speed youwant to use.

2)Movingsubject:emphasisemotionIf you want to get a little more creative withyour images of moving subjects, try using aslower shutter speed to blur their movements.It’s also the ideal mode for panning too.

3)ZoomburstsThis creative technique involves zooming thelens during a relatively slow exposure. Usingshutter-priority lets you determinewhichshutter speed is best for the zoomyou’re using.

4)Landscapes:blurringwaterThe shutter speed has a dramatic effect onhowwater is recorded. Using shutter-priority,use a fast shutter speed to freeze itsmotion, ora very slow speed to turn it into amilky blur.

half the speed of the default ISO, so if youselect it, the slowest shutter speed you can usewill halve – from 1/15sec to 1/8sec, forexample. If that doesn’t work, you’ll need toresort to using filters. A polariser loses twostops of light, so if you pop one on your lens,¼sec becomes one second. Alternatively, useaNeutral Density (ND) filter to increase theexposure – a 0.6NDwill have the same effectas a polariser, a 0.9ND requires a three-stopexposure increase and a 1.2ND requires afour-stop exposure increase. For generalshooting, youwon’t need filters for slowershutter speeds, but once you startexperimentingwith the creative use of blur,they are useful and allow you tomake full useof your camera’s shutter speed range.

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MasteringmotionUse shutter-priority when youwant control over howmovingsubjects appear in the frame.

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ManualmodewithflashMany people believe that because the camera isinmanual, the flash functions inmanualmode,too. In fact, that’s not the case. Inmanualmode,you select an aperture and shutter speed toilluminate the background, with the flashconcentrating only on correctly exposing thesubject. Even though the camera is inmanualmode, the flash still uses TTL (Through TheLens) flashmetering to give an accurate flashexposure.Withmore sophisticated flashguns, adistance scale appears on the rear LCDmonitorso that you’re given an indication of the distancethe flash can cover.

Manual exposuremode is calledmanualbecause you have to do all the work.Whereaswith othermodes the camera sets the apertureand shutter speed for you – or one or the other– inmanual, you set both. An indicator in theviewfinder, top-plate LCD and/or rear screentells youwhen the combination you’ve chosenhas achieved correct exposure, or how far overor under the ‘correct’ exposure you are.Because of this, it’s the slowest exposuremodeto use and, consequently, the least used.

Some photographers swear bymanualmode because they foolishly believe that thecamera’smetering system ismore accurate inthatmode than any other. However, there isabsolutely no truth in this. The only way youcan change how your camerameasures light todetermine the correct exposure is by selectinga differentmetering pattern. But if you leavethemetering pattern alone (most of us preferto usewhichevermulti-zone pattern ourcamera offers, such as Evaluative with CanonandMatrix with Nikon), it will measure light inexactly the sameway, nomatter whichexposuremode you use. Anyone favouringmanual exposuremode over, say, aperture-priority for this reason is thereforemaking lifemore difficult for the sake of it, with no gain.

So, is there a use formanual exposuremodein thismodern, automated digital age?Absolutely. If you’re shootingwith studioflash,for example, you need to setmanualmode sothat you can set the aperture needed to givethe correct flash exposure, alongwith thecamera’s flash sync speed. If you usestudioflashwith aperture-prioritymode, youcan still select the aperture, but the camerawillautomatically set a shutter speed to correctly

expose the ambient light levels, not the flash.If you do a lot of low-light photography andregularly need to use the Bulb (B) setting sothe shutter can be left open to record traffictrails, fireworks, star trails etc, youmay alsoneed to set the camera tomanual exposuremode to access the Bulb setting. SomeDSLRshave Bulb as a self-contained setting, but onmany, it’s simply at the end of the shutterspeed range inmanual exposuremode.

Another benefit ofmanual exposuremode isthat once you’ve set the exposure on thecamera, it won’t change, even if youmove thecamera or light levels go up or down. If you’reshooting in tricky or changeable light, but needtomaintain a fixed exposure, it’s easier to dothat inmanualmode than using exposurecompensation, or the exposure lock inconjunctionwith a different exposuremode.

Of course, this can be a curse asmuch as ablessing because if light levels change and youneed to change the exposure, but forget towhen shooting inmanualmode, you’ll end upwith a badly exposed image. This doesn’thappenwith the other exposuremodesbecause either the aperture, shutter speed orboth are set by the camera, so if light levelschange, the exposurewill also changeautomatically tomaintain correct exposure.

There are some photographers who prefermanualmode to other exposuremodes,simply because they feelmore in control of thecamera, and that’s perfectly fine. If you’ve onlystarted shooting seriously in recent years, youmay find this idea rather daft, but forphotographers who spent years or decadesshootingwithmanual-only cameras, old habitsdie hard and it just feelsmore familiar.

Manual(M)

Shootingsituationswhenit’sbesttousemanualmode

1)StudioflashphotographyYou need to usemanual mode when usingstudioflash. The shutter speedmust be set atthe flash sync speed (or lower), while theexposure is determined by the aperture.

2)NightphotographyWhile you could use either of the semi-automodes for night shots, manual mode is thefastest way tomake changes to the exposure,making it best for speed and convenience.

3)BulbexposuresThe vast majority of cameras need to be set tomanual mode to allow for the selection of theBulb setting. This allows for creative longexposures that can last for up to an hour.

4)ExposurebracketingThose new to bracketing often use aperture-priority with exposure compensation, but afaster way is tomake adjustments to theaperture and shutter speed inmanual.

In experienced hands,manualmode can alsobe quick and reliable because it keeps youmore in touchwith both the aperture andshutter speed, and if the exposure needs to beoverridden to correct error, you can do it bychanging one, the other or both, instead ofhaving to rely on using the camera’s exposurecompensation facility.

It’s a case of oneman’smeat being anotherman’s poison.Manual is slower and slightlymore fiddly than othermodes, but some of usjust prefer it that way!

UsingtheexposurescaleAchieving the correct exposure inmanualmode iseasier than youmay think.When changing theaperture and camera settings, all youneed to dois use the exposure scale as a guide towhetheryour current settingswill lead to over- orunderexposure. Change the aperture and/orshutter speeduntil the exposure levelmark sits onthe ‘0’, which indicates correct exposure. There isno exposure compensation facility inmanualmode, but you can effectively over- orunderexpose the scenedeliberately bymoving thelevelmark from ‘0’ to a positive or negative value.

Settingapertures&shutterspeedsinmanualThis varies from camera to camera, butthemajority of models use the followingmethod: with the camera inmanualmode, use the input dial to change theshutter speed. To change the aperture,press and hold the exposurecompensation button and use the inputdial to select the aperture. With someCSCs, the process is a little more fiddly,requiring you to use the four-way controland ring surrounding it to access theaperture and shutter speed.

DSLR CSC

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ReadyforchangeExperienced photographers use

manual when shooting in difficultlighting conditions as it’s the

fastest way to compensate forfactors like backlit subjects.

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THETECHNOLOGYBUILT into even entry-levelDSLRs these days is phenomenalwhen you thinkabout it; all that computerwizardry processinginformation inmilliseconds to give us high qualityimages at the touch of a button. The trouble is,because today’s digital cameras are so good,wetend to rely on them toomuch, expecting perfectphotographs every time, andwhenwedon’t getwhatwewant, we blame the camera!

This is especially truewhen it comes to focusing.Wind the clock back 25 years and focusingwas amanual affair. Someof youmay remember thosehalcyondays spent twiddling thumband forefingerwhile trying to get two images tomerge at thecentre of the focusing screen so that sharp focuswas achieved, but formost your only experience offocusingwill be pointing the camera at your chosensubject, pressing the shutter release and assuminga sharply focused imagewill result.

More often than not it does, especiallywhenshooting static subjects that dominate thecomposition. But in some situations youwill needto take control – either by choosing settings to suitcertain subjects and conditions, or by taking overcompletely and focusingmanually.We’ll be taking

a look at those scenarios shortly, but first a quickrundownonhowautofocus actuallyworks, so youhopefully have a better understanding ofwhy thecamera doesn’t always dowhat youwant it to do!

Basically, when light passes into your camerathrough the lens,most of it is bouncedupoff thereflexmirror into the viewfinder so you can see animage, but some is also reflected downonto asub-mirror, which thenbounces that light onto theAF sensor. On top of theAF sensor is a set of opticsthat splits the light into twobeams. The sensoranalyses these beams to determine how farout-of-focus the image is andwhether focus is infront of or behind the focal plane, then adjustsfocus accordingly. This happens so quickly thatyour camera can continually adjust focus as youtrack amoving subject,making successful actionphotography easier than ever before.

The system, knownasPhase-Detection, uses theAF sensors to determinewhere to focus. Thenumber of sensors varies frommodel tomodel butgenerally, themore expensive the camera, themore sensors there are – theCanonEOS550Dhas9, for example, while theNikonD3Shas 51. You caneither activate themall, then leave the camera todecidewhich ones to use, or select a specificsensor or sensors so youhavemore control overwhat the lens focuses on. Phase-DetectionAF isn’tfoolproof and even the best systems can struggle

whenused in low light or if you try to focuson aplain area.

If you use LiveViewmode, theAFsystemswitches fromPhase-Detection toContrast-Detection, as the systemcanonlyworkwhen the reflexmirror in thecamera is in the ‘down’ position forviewing.When youuse LiveView themirror flips up so light entering the lensgoes straight to the camera’s sensor.Contrast-Detectionworks on the principle

that the contrast in an image is at its highestwhenthat image is sharply focused so theAF systemadjusts focus stage by stage and analyses contrast,often going past the critical point so it knowswhereit is then adjusting back and locking focus. Contrast-Detection can focus on any part of the image area,which iswhy compact cameras have features suchas Face-Detection. In the past, it proved slowerthanPhaseDetection, sowasn’t suitable for focustracking onmoving subjects, and struggled in lowlight. However, notable exceptions are theSonyAlpha’s LiveView,which uses a unique system, andthe latest generation of Compact SystemCameras.

Autofocus:UnderstandingthefundamentalsofhowAFworksYourcameraoffersavarietyofautofocusoptionstohelpensureyoucapturesharpresultsandit’simportantthatyouknowhowtheywork

FocusandmeteringInmore recent DSLRs – such as the Nikon D7000 –the AF is linked to themetering system to increasethe chance of correct exposure. So, if you’re usingsingle point AF, the exposure set will be biasedtowards the brightness/tonality of whatever isbehind the selected AF point whereas if you’re usingawide area AFwhere a number or AF points areactive, the exposure will be influenced bywhateveris behind the selected area (which gets bigger asthe number of AF points increases). Nikon’s SceneRecognition Systembroke new ground by linkingthe autofocusmetering andWhite Balance systems,whilemore recently Canon has incorporated iFCL(Focus, Colour and Luminance), a system usingautofocus colour and luminance information.

CriticalfocusLearningmore about yourcamera’s AFmodes will helpensure you focus on thecorrect area of the image.

AFsensorsThere are two types ofAF sensor used inDSLRs– cross-type and lineor linear. DSLRs haveamixture of both, withthe cross-type beingclusteredmore aroundthe central area of theviewfinder and linearsensors towards theedges.Cross-type sensorscomprise of two linear sensors crossing at 90°, hencethe name. They’remore accurate than linear sensorsas they can detect both vertical and horizontal lightpatterns whereas linear sensors can only work in onedimension. Therefore, cross-type sensors aremoreeffective. That said, on high-endDSLRs that havelots of cross-type AF sensors, some of these sensorsonly work as cross-type when usedwith ‘fast’ lensesthat have amaximumaperture of f/2.8 or wider, soif you’re using zoomswith amaximumaperture off/4 or f/5.6, some of the cross-type sensors will onlywork like linear sensors.

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ArangeoffocusingoptionsDigitalSLRsandCompactSystemCamerasnowofferseveralways inwhichyoucanfocusonyoursubject.Hereare themostcommontypes.offeramodes.Hereweshowhowtoset itonfivepopularDSLRsfromthe leading

KARLSHAW

PhaseDetection:Thismethodis the system that has beentraditionally usedby filmanddigitalSLRs and remains the primarymethodused for focusing in thesecameras. Itsmain advantage is that itis incredibly quick and accurate,regardless ofwhether the subject isclose by or at a distance. The systemworks by using a beamsplitterwithinthe camera that directs light on to asensor – thismeasureswhat is knownas the phase difference tocalculate the subject distance. Phasedetection struggleswhen thereis a lackof contrast in the scene, suchas in low light –wecover theseproblemsand their solutionsonpage32.Upuntil the last year or two,itwasundeniably the fastest,most accurate formof autofocus incameras, but the latest generationofCompactSystemCamerasoffercontrast-AF systems that rival theperformanceof passiveAF.

Contrast-AF:The vastmajorityof Compact System cameras, aswell as the LiveView systemusedonmanyDSLRs, focus on subjectsusing contrast rather than distanceto achieve accurate results. In thepast this system has proven to beslower and less accurate than thephase-detectionmethod, butrecent generations of DSLRs and CSCs have showmajorimprovements in performance. In fact the latest CSCs boastcontrast-AF systems as fast – if not quicker – thanmost DSLRs.While the contrast-AF used inmost DSLR’s LiveView systems lagbehind phase-detection AF, the Sony Alpha’s LiveView is on a parwith the best contrast-AF and phase detection systems.

Face-priorityAF:This systemfirst appeared ondigital compactsbut has since been included onmanyCSCs aswell as a smallnumber of DSLRs. It is designed tomake it very easy for photographersto capture sharply-focusedportraits– in particularwith twoormorepeople in the frame. The cameradoes this by ‘detecting’ facesanywhere in the frameand focusing on it. This is a useful focusmode for beginnerswho are still getting used tomulti-point AF.

SmiledetectionAF:This facilitytakes face-priority AF a step further,with the camera firing the shutteronce it detects the subject in theframe smiling.While thismight seemlike a bit of a gimmick, it’s usefulwhen you’re shooting a self-portrait,as the camerawon’t fire until yousmile. It’s also handywhen shootinggroups. Shout out ‘Smile!’ and thecamera aswell as the subjectswill respond to your request!

Touchscreenfocus:A growing number of CSCs now boasttouchscreen LCDmonitors, that allow you to changemodes andfunctions by touching the relevant icons on the screen. Thisincludes focusing – by using your finger to press the screenwhereyour subject is positioned, you’re able to instantly activate the AFsystem to lock focus on it.

Trapfocus:Asmall number of cameras offer a feature thatallows you to set the focus to a particular distance, then leave thecamera to fire the shutter once the subject reaches this distance. It’sparticularly useful whenphotographing fastmoving subjects thatare difficult to track using alternative focusing systems.

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Autofocus:YourchoiceofmodesYourcamera’sAFsystemhastwouser-selectablefunctions:theAFmodeandtheAFpointselection.Knowinghowtoeachfordifferentshootingsituationswillhelpensureyoursubjectiscorrectlyfocused

Single-shotAF

AF-SIn AF-Smode, the focus lockson the subjectwhen youpartially depress the shutter

release and stays focused on the samedistance for as longas the shutter is helddown.A focus confirmation indicator in theviewfinder lightswhen the lenshas lockedfocus, andanaudible ‘beep’ canbeheard.You thenpress the shutter buttonall thewaydown to take a shot. AF-S is ideal forstatic subjects –however, if either youorthe subjectmovesonce focushas locked,your subjectmaywell endupout of focusas the focuswill remainon theoriginalpoint. To avoid that, youhave topress theshutter release again to refocuson thesubject in its newposition. If the camerastruggles to lock focus– say, because thearea you’re trying to focuson is closer thantheminimumfocusdistance– the shutterwon’t fire. You can useAF-Swith focuslock to focus on off-centre subjects. To dothis, select single AFpoint (most peoplechoose the central point), adjust thecomposition of the shot so the focus pointfalls over the area youwant to focus onandpartially depress the shutter button tolock focus. Providing you keep the shutterbutton held down, the focuswon’t shift, soyou can recompose, then press the shutterbutton down fully to take the shot.

AutomaticAF

AFAF-AAThis is an ‘intelligent’ AFmodefound in some of the latestDSLRs andCSCswhere the

camera automatically switches betweenAF-S andAF-C, depending on the subject.If the camera detects that the subject isstationary then it will set AF-Smode to getit in focus, whereas if it detects that thesubject you’re shooting ismoving, it willset AF-C to increase the chance of yougetting the image pin-sharp. It’s a handymode to use if you’re shooting a variety ofdifferent subjects in quick succession,somemoving, some not, such as streetphotography and reportage. However,experienced photographers tend to stickwith a specific AFmode so they knowhowthe cameramight react.

Manualfocus

MAlthough the latest AF systemsare fast, accurate and reliable,there is still a case for using

good oldmanual focus. If you’ve been aphotographer for a long time, youmaysimply prefer it – old habits die hard andall that – but for some static subjects,being able to choose exactly where thelens focuses can be of benefit.Withlandscapes, for example, you usually wantto record thewhole scene in focus. To dothat you need to be able to control how farinto the scene the lens is focusing (ideallyon the hyperfocal distance), and it’smucheasier to do that if you focusmanually.Once you’ve focused the lensmanually,you can also leave the camera in positionwhile youwait for the light to improve, say,and be ready to shoot. It’s also useful inlow light or low contrast sceneswhere AFmay struggle andmacro is another areawheremanual focus can be handy.Depth-of-field can be so shallow that onlythe point you actually focus onwill comeout sharp, so it’s preferable if you canchoose that point and be able to adjust itas required, without relying onAF pointsand focus lock.Manual focus isn’t souseful formoving subjects – AF-C isquicker andmore reliable – but for staticsubjects, it’s definitely worth trying.

ContinuousAF

AFAF-CCAlso knownasServo-AF, in thismode, the autofocuswillcontinually adjust to keep your

subject in sharp focus if it’smoving oryou’removing – or both! To useAF-C,make sure an activeAFpoint is positionedover your subject then partially depressthe shutter button to lock focus. Providingyou keep the shutter release partiallydepressed, and an activeAFpoint overyour subject, it should remain in sharpfocus until you’re ready to press theshutter button down fully to take a shot. Ifyou have the camera set to continuousdrivemode, you can also shoot rapidsequences of images by keeping theshutter button presseddown, and eachframe should be in focus. That said, unlikeAF-S, in AF-Cmode the shutterwill fireand take a shot even if the lens hasn’tlocked focus, or focus has strayed ontosomething other than yourmain subject,andwhen this happens youneed to becareful that youdon’t end upwith lots ofout of focus images. Using FocusAssistpoints orDynamic/Extended areaAFwillhelp, as itmeans that if the subject fallsoutside themainAFpoint you’re using totrack it, other AFpointswill keep it insharp focus. This is handy for trickysubjects, such as birds in flight.

Architecture:Single-shotAF is ideal for static subjects,like buildings and bridges.

Children:AF-A focus lockson a child, then tracks themshould they startmoving.

Macro:With very shallowdepth-of-field, it ensures thecorrect area appears sharp.

Animals:Try continuousAF onwildlife to ensure youtake sharpwildlife images.

Perfect for…

Perfect for… Perfect for…

Perfect for…

Autofocus modes: TheseallowyoutoeitherlockonthesubjectorcontinuouslyadjustAFtotrackit

Portraits: Use oneAFsensor to focus on the eyeand capture perfect portraits.

Candids:If you’re focusingon a subjectwithout lookingthrough the viewfinder.

Lowlight:YourAFmayhave trouble locking on asubject, so focusmanually.

Sport:Your first attemptsat fast-moving subjectsshould bewithAF-Cmode.

Whilemost cameras offer all these AF

modes, each have a slightly different

designation, as follows:

KnowyourmodesKnowyourmod

designation, as follows:

AF-S AF-C AF-A

CANON One Shot AI Servo AI Focus

NIKON AF-S AF-C AF-A

OLYMPUS S-AF C-AF –

PENTAX AF.S AF.C AF.A

SONY AF-S AF-C AF-A

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Single-pointAFSerious photographerstend to use single-pointAF all the time as itallows you to choose

exactly what the lens focuses on,rather than leaving it to the cameraand risking itmaking a baddecision. There are twoways to dothis. The first is to select the centralAF point, as it’s themost sensitivepoint your camera has. If the areayouwant to focus on is off-centre, allyou do is place the central AF pointover that area, half-press the shutterrelease to lock focus, recompose theshot and fire. Thismay sound fiddly,but if you do it all the time, itbecomes second nature. Thesecondmethod is to select a singleoff-centre AF point and use that. Ifyou’re taking lots of shots of anoff-centre subject, especially if thatsubject ismoving, this works betterthan using the central AF point asyou don’t need to recompose afterlocking focus. It’s also preferablewhen shooting at really wideapertures and depth-of-field isshallow. Locking focuswith thecentral AF point then recomposingmaymean that the point youfocused on is no longer in focus,

Focus pointselection: HaveallAFsensorsactivetocoveralargeareaorfocususingasingleAFpoint

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Multi-pointAFInmulti-point AFmode,all the focus points, or anumber selected by you,are active at the same

time andwhen you partially pressthe shutter button, the points thatare activated (in other words, arefocusing on the subject) will flashred. Preference tends to be given towhatever is closest to the camera. Ifyou’re an absolute beginner,multi-point AF can be handy, as itgives you one less thing to thinkabout. If you’re taking general shotswith your lens set to a smallishaperture (f/8, f/11, f/16), multi-pointAF can also work fine because youwant everything in focus and no oneelement in the scene needs to takecentre stage. However, because youhave little control over what the lensfocuses on, in situations where youdo need to focus on somethingspecific, such as a person’s eye, it’sbest avoided as focus error is likely,especially when you’re shooting ata wide aperture and depth-of-fieldis limited. Themain exception onsome cameras is where you canselect amain focus point, thennominate others around it as focus‘assist’ points so that if your subjectstrays beyond themain focus point,the others will still keep it in focus. Ifamoving subject is travellingacross the frame, and remains at

roughly the same distance fromyou,multi-point AF can also workbecause as the subjectmoves to anarea covered by another AF point,that sensor becomes active andkeeps the subject in sharp focus.

USINGMULTI-POINTAF: When in multi-point AF mode, and having partiallydepressed the shutter button, the focuspoints select areas closest to the camera.When focus is locked, the points turn red.If you want to select different focus points,release and re-press the shutter.

whereas this won’t be the case if youselect an AF point that allows you tocompose the shot then focus on thedesired spot, such as a person’s eye,withoutmoving the camera.

USINGSINGLE-POINTAF: 1) Withmulti-point AF selected, the camera hasfocused on the nose and due to the veryshallow depth-of-field, the face is outof focus. 2) Select single-point AF andchoose the sensor that falls over thesubject’s eye to ensure the subject isfocused correctly. The final image nowhas the subject’s eyes in sharp focus.

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ANIMALS RUNNING AT TOP speed, birds in flight, race cars topping200mph… Experienced sport and nature photographers make it lookeasy to produce pin-sharp, well composed and perfectly timed imagesof subjects that are moving so fast it’s hard for the eye to keep up,never mind a camera. But it isn’t easy, and when you consider thatlong, heavy telephoto lenses are usually required, which means depth-of-field is severely limited, the level of skill required becomes evengreater because there’s so little room for error.

If you started photography when there was only manual focus,you’ll know that autofocus systems are a dream: they make the task ofcapturing moving subjects easier than ever before because they’re soaccurate and responsive. They’re not totally foolproof, though, so youstill need to have your wits about you.

Small subjects moving at high speed are especially tricky becausein order to keep them in sharp focus when using AF, you must makesure an active AF point falls over them – if you fail to do that, thefocusing is likely to start ‘hunting’ for something else to lock onto andyour main subject may well be thrown out of focus. In the case of

birds in flight, where the background is usually plain sky, this can bedisastrous because the lens will struggle to focus on the sky and throwthe main subject out of focus. And you’ll probably struggle to get itback in focus before the opportunity has gone. Sports subjects, suchas football and rugby, also pose problems because another playercrossing the path of the one you’re tracking may cause the lens to shiftfocus – usually at the critical moment you’re about to shoot!Put that match under floodlighting or murky conditions and it getseven harder as AF systems are less effective in low light.

The more you practise, the better you’ll become. You need to getused to how your camera’s focusing system works, its weaknessesand how to change AF points quickly with the camera at your eye soyou never lose sight of your subject. It will also help for you to knowhow to optimise the performance of the AF system using features suchas Assist Points, Dynamic Area AF and others specific to particularcameras. The technology is there to help you – so let it! The focusingtechnique you use is also governed by the type of moving subjectyou’re shooting. We explain the best two focusing techniques to try.

MOTORRACING:As all the carsfollow the optimum racing line, youshould pre-focus on a part of trackyou know the carswill pass andpress the shutter as they reach it.

CYCLING:Pre-focus on a specificpart of the track or, if you’reshooting the end of a race, focuson the finishing line and press theshutter as the cyclists approach it.

Pre-focusingWhen moving subjects follow a predictable route, they’re easier tophotograph because you can lay and wait for them by focusing ona specific point. If you watch motor racing, for example, you’ll seethat the drivers all take the same racing line around the track, so youcan pre-focus your lens on a point, then fire away whenever a carreaches it. In effect, you let the race come to you, rather than chasingthe action. The same applies with any sporting event or subject thatfollows a predictable route – athletics, motocross, cycling and so on.

To pre focus-use AF, select single-shot (AF-S) and single-pointAF. The focus point activated can be the central one, but if you useit, you may have to focus, lock focus by keeping the shutter buttonpartially depressed, then recompose and wait for your subject beforefiring. It’s easier to select a focus point that falls on the area yoursubject will pass so you don’t have to recompose. The alternative ismanual focus. A benefit of this is that once the lens is focused on apoint, it stays focused even when you take your finger off the shutterbutton, so if there’s a chance you can take several shots in fairlyquick succession, it may work better than using AF, where the lenswill need to refocus each time you press the shutter release.

Finally, don’t wait until your subject reaches the point you’vefocused on before firing the shutter, as the slight delay between youdeciding to fire and your finger actually depressing the button maybe long enough for the subject to have passed the critical pointbefore the shutter opens. Instead, fire just before it reaches the pointyou’ve focused on and you should end up with a perfect shot.

HowtofocusonamovingsubjectYourcamera’scontinuousAFsystemwilldoitsbesttotrackamovingsubject,butit isn’talwaysperfect.Thereareskillsyoucanlearn,however,toimproveyourchancesoftakingsomeimpressivepictures

Use it for…

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USINGPRE-FOCUSING: This set of images provides an ideal scenario forusing the pre-focus technique to ensure the subject is recorded in sharpfocus. 1) With the camera set to single-point AF and with AF-S selected,half-depress the shutter button and lock focus on the hurdle. 2) Wait until theathlete approaches and as he reaches the hurdle, fire the shutter. Easy!

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FocustrackingIf your subject doesn’t followa predetermined route, suchas a football player, a birdin flight or a wild animalchasing its prey, you needto track it with your camerauntil you’re ready to take ashot. In pre-digital days thisinvolved a technique knownas ‘follow-focusing’ whereyou manually adjusted focusas you followed your subject – a skill that took years to master.Thankfully, autofocus now does it for you, so even relative beginnerscan take pin-sharp shots of fast-moving action.

First, you need to set continuous AF mode so it automaticallyadjusts focus as camera-to-subject distance changes, providing anactive AF target falls over the subject. Next, choose a focus pointsetting that increases your chance of keeping that subject sharp.Having all the AF points active doesn’t always work well because theAF will be confused as to what it should focus on, especially whensubjects occupy a small part of the frame. Using one AF point makesit hard to keep your subject sharp at all times. However, there areother AF settings, such as Focus Assist points or Dynamic Area AF,that allow you to select one AF point but have others around it thatact as back-up, so that if your subject strays from the main AF point,the others will keep it sharply focused. Alternatively, some camerasallow you to use a small group of AF points (usually five, seven, nineor 11) in the central area of the frame.

Once the camera is set and ready, all you do is pick your subject inthe viewfinder, lock focus by partially depressing the shutter button,then follow your subject while keeping the shutter button down. Thefocus automatically shifts to keep the subject sharp and you can fireat will. Whether or not you also set the camera to continuous drivemode is up to you. It’s handy being able to shoot rapid sequences ofimages, but stick to short, steady bursts – remember, the camera’sbuffer will fill up quickly with continuous firing, and you don’t wantthat to happen just as the action peaks!

CHILDRENATPLAY:The erraticmovement of childrenwill test yourcamera’s AF tracking to the limit.Shoot in bright light to improveyour rate of success.

WILDLIFE:Focus tracking isideal for following themovementof animals, such as birds flyingor deer running, and is an idealtechnique to trywith a telezoom.

MIGUEL

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Use it for...

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FOCUS TRACKING: Using multi-point AF and the continuous AF setting,the camera will continuously adjust its focus to keep the subject sharp.Selecting a smaller group of AF points, (in this example, nine) canimprove accuracy. With this scene, having all AF points active may haveresulted in the AF sensors to the left focusing on the flowers.

DANIEL

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HowtohelpyourautofocuswhenitstrugglesYourcamera’sautofocussystemisresponsiveandaccurateinmostshootingsituations,butnotall.Acrossthenexttwopages,we’llcoversituationswhereAFmightstruggleandprovideadviceonthetechniquesyouneedtohelpyouachievetheperfectfocuswithminimaleffort

1)ShootingthroughglassIf you try to shoot through awindowusingautofocus, youmayfind that your lens eitherhunts around and fails to focus on anything,or locks focus on the glass itself, rather than thescene beyond it. This is especially true if theglass is dirty or scratched, as your camerawilldetect contrast and assume that’swhat youwant to focus on. Try using single-point AF. Ifthat doesn’t work, switch tomanual focus soyou can focus the lenswhere youwant it.

2)ShootingreflectionsThe keywith shooting reflections inwater, glassandmetal is not to focus on the reflectivesurface, but on the reflection itself, so you knowthat the reflectionwill be in sharp focus. This isparticularly important if you’re shootingwith atelephoto lens or at awide aperture, asdepth-of-field is reduced. If you try to do thisusing autofocus, your lensmay focus on thereflective surface. If that happens, switch tomanual focus and refocus on the reflection.

3)ShootingfromthehipThis is a hit-and-miss technique as you can’tactually seewhat you’re shooting, but it canproduce fantastic results. The bestmethod is tosetmanual focus andpre-focus the lens on acertain point. Use amid-aperture like f/8 or f/11to get decent depth-of-field, especiallywhenusingwide-angle lenses, which give you lots ofdepth-of-field at small apertures. Also trymulti-point AF – youmayfind it workswell aslong as yourmain subject is the closest to you.

Three tricky focusingscenarios: Problems &solutions

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Shootinglow-lightorlow-contrastsubjectsAs light levels fall, AF is less effective. Thephase-detection system in yourDSLRorCSC is better than the contrast-detectionAF found in digital compacts, but it’s nottotally foolproof. Outdoors, shooting urbansceneswithman-made illumination, youshouldn’t have any problemsusingAF(single-point andAF-S is recommended),as therewill be bright areas andplenty ofcontrast, but if you’re shooting landscapesbymoonlight or the night sky, or indoors inlow light, theAFmay struggle to lock ontoyour subject. SomeDSLRs andCSCshavea FocusAssist illuminator, which is basicallya light that shineswhen low lighting isdetected, to increase contrast in the subjectso that the lens can focus.Many flashgunsalso have infrared illuminators that do thesame job. If you don’t have either, shining atorch on your subjectwill allow you to focus.Alternatively, try using single-pointAFwith the central AF point selected– as it’s themost sensitive – andfocus on something the samedistance fromyou as your subjectthat the lens can lock onto, holdthe shutter button down,recompose and takethe shot. If that fails,focus yourself byswitching fromAFtomanual – alwaysa good last resort.

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Hyperfocalfocusing:Forfront-to-backsharpnessAscene that is sharp throughout is usually the goalwhen shooting landscapesandunless you have a creative reason to do so, it looks odd if the foregroundormost distant areas of the scene are out of focus. To ensure that doesn’t happen,you need to be able to control depth-of-field to ensure thewhole scene comes outsharp. Themost effectiveway is by using a technique knownas hyperfocalfocusing, which is based on the idea that depth-of-field ismaximised for any givenfocal length and aperture setting if you focus the lens on a specific distance – thehyperfocal distance. The charts below show the hyperfocal distances for commonfocal lengths. As you can see, the distances are quite specific. Focusing on thosedistances usingAF is possible – all you do is position an activeAFpoint over anarea in the scene that you think is the correct distance away, half-depress theshutter button to lock focus, recompose, then take the shot. However, this is fiddlyto dowith the camera on a tripod and you’ll have to repeat it for each frame.Another option is to compose the shot as youwant to take it, choose a point in thescene you feel represents the hyperfocal distance, then set anAFpoint that coversthat area and focus usingAF-Smode. Amuch easier solution is to usemanualfocus, compose the shot and focus on the hyperfocal distance by eye. Thatway,once focus is set, it stays set, so youwait until the light’s just right before shooting.

ShootinganimalsinzoosThe key to photographing zoo animals is to tryto exclude any signs of captivity so the shotscould just as easily have been taken in thewild.A good starting point is to set your lens to itsmaximumaperture, so depth-of-field is reducedand you can throw the backgroundout of focus.Another reason for doing this is that if you haveto shoot throughwiremesh fencing or cage barsthat are closely spaced, the lack ofdepth-of-field should throw themso far out offocus that you can’t see them. For the bestresults, place the lens as close to themesh/barsas you can. AF shouldwork fine – single-shotand single-point AFbeing the best settings –though if the lens struggles to focus on yoursubject, you can always use focus lock to focus,recompose and shoot. If you’re shootingthrough the glass panel of an aquarium, fit arubber lens hood to your lens and rest thatagainst the glass to cut out glare and reflections.The lens should focus through the glasswithoutany problemsusingAF– thoughusingmanualfocus is an option if necessary.

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Focal length 12mm 15mm 17mm 20mm 24mm 28mm 35mm 50mm 70mm 100mm 135mm

Aperture f/8 3.2ft 5ft 6.4ft 8.9ft 12.6ft 17ft 27ft 55ft 105ft 218ft 395ft

f/11 2.3ft 3.5ft 4.5ft 6.2ft 9ft 12ft 19ft 39ft 75ft 155ft 280ft

f/16 1.7ft 2.5ft 3.3ft 4.4ft 6.4ft 8.6ft 14.5ft 27ft 54ft 110ft 198ft

f/22 1.2ft 0.9ft 2.3ft 3.2ft 4.5ft 6ft 9.5ft 19.2ft 38ft 77ft 140ft

Hyperfocaldistance:apS-csensors

Focal length 16mm 20mm 24mm 28mm 35mm 50mm 70mm 100mm 135mm

Aperture f/8 3.8ft 5.6ft 8.0ft 11ft 17ft 35ft 68ft 138ft 250ft

f/11 2.6ft 3.9ft 5.8ft 7.8ft 12ft 25ft 48ft 98ft 178ft

f/16 1.9ft 2.9ft 4.0ft 5.5ft 8.5ft 17.5ft 34ft 70ft 125ft

f/22 0.4ft 2.0ft 2.9ft 3.9ft 6ft 12.5ft 24ft 49ft 89ft

Hyperfocaldistance:Full-framesensors

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34 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

ImagequalityYourcameraoffersanumberof imagesettings,basedaroundshooting inRaworJPEG,whichhaveamajoreffectonthequalityofyour images.Weexplainwhat theyareandwhenyoushouldusethem

WHENYOUTAKEAPICTURE, your camerasends the information from the imagesensor via the processor to thememorycard. You have control, via the ImageQualitysettings, over how the imagedata from thesensor is processedbefore reaching thememory card. You can set it to record thehighest imagequality, to compress theimage information at varying degrees, or toshoot at a lower resolution to fitmore on thecard and speedupprocessing. The choice isyours and it’sworth understanding theoptions available to ensure your images bestsuit your requirements.

Mainfileformats:Raw&JPEGThereare twomainfile formatsadigitalcameracansaveyour imagesas:RawandJPEG.Raw format is, as its namesuggests,anunprocessedfile that containsall theoriginal datacapturedby the imagesensor.It’s usedwhenmaximumimagequality andflexibility isdesired,but the resultant largefilesizemeans that speedandthenumberoffiles thatcanbestoredonamemorycardarereduced.Shooting inJPEGhasanumberofadvantages,which iswhymanyamateurphotographers favour it.ImagescapturedasaJPEGareprocessedmorequickly thanaRawfileandrequire less spaceonamemorycard, soyoucanstoreconsiderablymoreimages.As imagesarecompressed to reducethefile size, there is some loss inquality, butformostuses,whenminimumcompressionisused, this is negligible.And for thoseof youwondering, JPEGstands for JointPhotographicExpertsGroup.Most camerasallowyou toselect

Raw+JPEG,whichprovidesyouwithaJPEGimage for fast image reviewandselection,and theRawfiles toedit forbestquality.

JPEG:ImagecompressionAsmentioned earlier, shooting in JPEG is acompromise between imagequality andfile

size. JPEG iswhat’s knownas a ‘lossy’format in that some information

is lost to be able to compressthe image. Themore theimage is compressed, thehigher the amount ofinformation that is lostand hence the imagequalitywill beworse.When selecting JPEGasyour file format, you canset the level ofcompression and therefore

determine the amount ofdata loss.Most cameras provide a

choice of three settings, allowingminimal,mediumandmaximumamountsof compression. If you choose theminimalcompression, you’ll reduce file size but limitthe amount of information lost, andbecausethe best-quality JPEGs look virtuallyindistinguishable in general use toRawfiles,this is themost popular choice of settingwithmanyphotographers.Once you compress imagefiles further,

you begin to lose increasing amounts of datathat degrade the image, reducing the level of

detail and introducingwhat is commonlytermedartefacts:most notably blockinessand addednoise, noticeable in areas of theimagewith even tones. The problemof JPEGcompression isn’t as clear to seewithimages that are reproduced at a small size,but if you crop areas of an image or print A4or larger, it’s far easier to spot compression-related problems.We’vemagnified aportionof an image to show the difference of savingat high,mediumormaximumcompression.Onefinal point to note is that you lose a

little extra data every time you resave animage. So save the same JPEGfile ten or 20times and it will have lost a significantamount of information thatmaybe apparentwhen viewed at highmagnification.

WheretofindImageQualitysettingsonyourcameraThis isamajor function,soyoushouldfindit isoneofyourfirstoptions.Here’swhereto locate itonmostpopularbrandsofcamera.

RawtoJPEGOnemajor advantage ofshooting in Raw that’srarely mentioned, is thebenefits of converting to aJPEG in post-production. Byconverting a Raw file on yourcomputer, the resulting image willnormally retain slightly more detail than aJPEG processed in-camera. Thedifference is small, but for the very bestJPEG, convert from Raw.

ImagequalityandmemorycardcapacityThe following table is a quick guide to the approximate number of full resolution images that fiton a 4GB and 8GB card at different image settings. As you can see, each brand compresses todifferent levels, so the figures aren’t always as you’d expect them to be. Cameras used for thistable were the Panasonic Lumix GF3, SamsungNX11, NikonD7000 andCanon EOS 550D.

CAMERARESOLUTION(MEGAPIXELS)

RAW RAW+JPEG(Max) JPEG(Maxquality) JPEG(MinQuality)

4GB 8GB 4GB 8GB 4GB 8GB 4GB 8GB

12 280 540 180 370 600 1,180 1200 2,350

14.6 140 280 102 200 550 1,120 1,700 3,350

16 116 225 82 160 280 550 1,100 2,100

18 150 300 118 230 555 1,080 1,100 2,150

CanonTheQuality optionis very easy to find:it’s on the first lineof the first tab.

NikonFound on theShootingMenu oraccessed via aQuality button.

OlympusLook for thesymbol, locatedon the ShootingMenu 1.

PanasonicPressMENUandchooseRec or addQuality option toyourQMENU.

PentaxPress theMENUbutton and ImageQuality is oncameramenu 1.

SamsungPress theMENUbutton and ImageQuality is onShootingMenu 1.

SonyPress theMENUbutton and you’llfindQuality onShootingMenu 1.

Rawformats

The following are the Raw fileextensions for major brands

Canon: .CR2/.CRWNikon: .NEF

Olympus: .ORFPanasonic: .RW2Pentax: .PEF/DNG

Samsung: .SRW/DNGSony: .ARW

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IMAGES

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Imagesize

Brand Maximumresolution

Mediumresolution

Lowestresolution

Canon L M S

Nikon L M S

Olympus(older) SHQ HQ SQ

Olympus(newer)

Panasonic L M S

Pentax(K-x) 12M 10Mor6M 2M

Samsung(NX11) 14M 10Mor6M 2M

Sony L M S

Aswell as taking pictures atmaximum resolution, you can set yourcamera to shoot at lower resolutions, too. Themost common use forthis is when taking images for web use, whenmemory card capacityis at a premium or when shooting items to sell on eBay. You’ll need torefer to your camera’s instructionmanual to see what each settingrelates to in terms of resolution, but, in general, themiddle settingshoots at slightly higher thanmid-resolution, while the lowest settingis around two- to four-megapixels. Here’s how the image sizes arestated on popular brands (note some oldermodelsmay vary).

JPEGcompression

Brand LeastCompression

MediumCompression

MostCompression

Canon –

Nikon Fine Normal Basic

Olympus(older) SHQ HQ SQ

Olympus(newer) F N –

Panasonic –––––– ––– –

Pentax* ★ ★ ★★ ★ ★ ★ ★★ ★ ★★

Samsung SuperFine Fine Normal

Sony Fine Standard –

JPEG compression is displayed differently, depending on your brandof camera, as follows. Remember, select minimum compression forthe best quality andmaximum compression when you need tomaximise space on your card at the cost of image quality.

Above: JPEG quality comparisonJPEGs use a ‘lossy’ compressionsystem, whichmeanswith every save, a little bit of image information is lost.Resave a file toomany times and it will adversely affect image quality.

Original Raw file JPEG: Saved once

JPEG: Saved over 30 times

* Some newer Pentaxmodels offer four levels of compression

L M S

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ISOratingBychangingthe ISOrating,you’reable toaffect thesensor’ssensitivity to lightandyourability tocapturegreat images inall lightingconditions

The ISO (International StandardsOrganisation) ratingwas originally createdto indicate the sensitivity of film emulsion,but has carried on through to the digitalage, where it nowprovides a standardmeasure of an image sensor’s sensitivity tolight. The lower the ISO rating, the lesssensitive the sensor is to light; the higherthe ISO rating, themore sensitive it is. TheISO rating, alongwith the aperture andshutter speed, plays an integral part in theexposure of an image. Low ISO ratings aresometimes described as ‘slow’, as using itusually results in a slow shutter speed beingrequired; while high ISO ratings areoccasionally termed ‘fast’ because theyallow for fast shutter speeds to be used.however, themost common terms for ISOratings are low (ISO200 and below),medium (ISO250-640), fast (ISO800-1600) and very fast (ISO 3200 and above).

ISO‘sensitivity’andnoiseThe image sensor is receptive to light andhas an electronic current, or signal, passingthrough it, which feeds the imageinformation through to the processor beforethe data is transferred to thememory card.As you change the ISO rating, you’reactually not increasing the sensor’ssensitivity to light, but rather adjusting thestrength of the signal passing through it.Increasing the signal has the unwanted sideeffect of increasing signal noise, whichbecomesmore visible in images takenwithfast ISO ratings. The higher the ISO, thestronger the signal and therefore the greaterthe amount of noise present in images.

ISO50

ISO200

ISO1600ISO800

ISO100

ISO400

ISO3200

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WhentouseLowISOs(ISO 50-200)For the best possible image quality, use a low ISO. Colours are at theirmost accurate, tones exhibit smooth gradation, noise isminimal, whilesharpness and detail is at its highest. A low ISOmeans the sensor haslow sensitivity to light and limits your choice of shutter speeds, so evenat a wide aperture, take care to avoid camera shake by using a tripod orimage stabilisation.Most enthusiast and pro landscape photographersshoot with a low ISO and their camera on a support. Studio-basedphotographers using flash heads use a low ISO, too, as the powerfulstudioflash heads provide enough light to shoot handheld. Avoid using alow ISO if you’re shooting hand-held, except in the brightest conditions.Even then, take care if using amid-to-small aperture with a telezoom.

WhentousefastISOs(ISO 800-1600)Selecting a fast ISO rating should be the result of necessity. A higherISO results in images havingmore noise and less sharpness, especiallyif using Noise Reduction (covered later). That said, themost recentcameras have seen amarked improvement in the quality of theirhigh-ISO images. Themost obvious time to use a high ISO is whentaking hand-held pictures in low light, such as outdoors in the eveningor indoors. A high ISO allows you to select a fast enough shutter speedto avoid shake, with the use of an image stabiliser helpingmattersfurther. Many use a low ISO and risk images being blurred by cameramovement, but we suggest using a fast ISO: it’s better to have a sharp,noisy image taken at ISO 1000 than a blurry image taken at ISO 400.

WhentousemediumISOs(ISO 250-640)We’d suggest youmake ISO 400 your default setting. It gives a two-stopadvantage over ISO 100, which provides farmore flexibility in yourchoice of exposure settings. Despite this increase in speed, all but themost discernible eyewill see any difference in quality compared to anISO 100 image. Those regularly using the integral flashwill note anincrease in flash range: ideal when shooting portraits indoors. So, whatare the drawbacks?Well, there aren’t really any of significance. Youcould argue that colours aren’t as natural, noise is higher and sharpnesslower, but, in truth, the differences are hard to spot. So, for general use,leave your camera at ISO 400 unless shooting in low light and need afaster speed, or want to use a low ISO for the ultimate quality.

WhentouseveryfastISOs (ISO 3200+)Digital cameras already performbetter at fast ISOs than filmmanaged,especiallymodels like Nikon’s D3x, which produces unbelievable qualityat high ISOs. Images taken at ISO 3200 are characterised by increasednoise, less than accurate colours and reduced sharpness, with all theseinherent problems gettingworse as the ISO rating is increased. Somemodels, like the Canon EOS-1DMkIV andNikonD3s, boast a top ratingof ISO 102,400 – fast enough to capture images bymoonlight,making itideal for surveillance, but formost forms of photography, this speed isexcessive. Therefore, only use it if you really have to. If you’re out at nightand spot a yeti or a UFO hovering overhead, by all means select ISO12,800 or above and capture the evidence. Otherwise, use a lower ISO.

UsingISOratingsMost cameras cover the ISO range of 100-3200,a few go as low as ISO50,whilemany go ashigh as ISO6400. There are a fewmodelswitheven higher ISO ratings, such as theNikonD3s,which has amaximum ISOof 102,400! Aswithapertures and shutter speeds, ISOs arechanged in full stops or fractions of a stop. Allyou need to do is press the ISObutton andselect the rating youwish to use, based on theshooting conditions and the effect you’re tryingto capture. Aswith the other two exposurevariables, ISO can be used creatively, so getting

to understand how ISOworks can really benefityour photography. Remember that your choiceof ISOhas an effect on how your scene iscaptured, especially if it includes anymovingelements. A low ISO limits the choice of shutterspeeds, somay result inmoving subjects beingblurred, whereas a fast ISO gives youmorechoice at the expense of noise.

Aswell as being able to set ISOmanually,there is anAuto setting that lets the camerachoose the ISO for you. This is particularlyuseful when shooting in low light as it helps

balance ambient light with flash, butwe’dsuggest you avoid the ISOAuto settingwhenshooting creatively. For instance, there is nopoint tripod-mounting your camera to shootdusk and setting a high ISOof 1000 to avoidshake, as it will only add substantial noise.

Knowingwhat ISO rating is best to usecomeswith experience, inmuch the samewayas learningwhich shutter speed or aperture isbest. However, there are somegeneralguidelines as towhen you should select a low,mediumor high ISO rating, as follows…

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ISO 3200 High ISO NR Off

ISO 3200 High ISO NR On

ISO Noise Reduction comparisonTaken at ISO 3200, noise is evident, as expectedwith Noise Reduction off. Using NR reduces the problem, but with a small loss in sharpness.

Thebestsoftwarepackagesfornoisereduction

NoiseReductionOnthepreviouspages,weseehownoiseincreasesasyouusehigherISOratings. It’salsothecasethat longexposurescanincreasenoise, too.HerewecoverthetwoNoiseReductionsystemsfoundonyourcamera

BEFORELOOKINGATNoiseReduction, it’sworthnoting that there are twomain typesof noise:Luminancenoise andChrominancenoise.Luminancenoise is thedark greyor blacknoise(often calledgrain) present in all images. As subjectdetail is linked to this typeof noise, removing thisnoisewill lead to a loss in detail. Chrominancenoiseis the coloured specklednoise,more readily seen indarker areasof the frame. It isn’t linked todetail andso its removal has less effect on image sharpness.

In-cameraNoiseReductionMost camerasboast bothmodesof in-cameraNR.LongexposureNoiseReduction is used to reducenoise from longexposures of several secondsorminutes,whileHigh ISONoiseReduction reducesnoise from images capturedusing ahigh ISO rating.TheHigh ISONR targetsChrominancenoise,with

the aimofminimising loss in detail.WithHigh ISONR,mostmodels offer a simpleOn/Off choice,while others offer a choice of Low,StandardorStrong settings. In our limited tests,we’ve foundStronghas anunwanted impact onLuminancenoise, sowe’d avoidusing it and stick to usingLoworStandard settings, or switching it toOff andusingpost-processing software.TheLongExposureNRshoots a ‘Dark Frame’

alongwith the actual exposure, and thenuses thenoisedata from thedark frame to subtract noisefrom theactual image. It’s a system thatworkswellinmost cases, but exposure timesaredoubled, astheDark Frame lasts as longas the actual exposure.The successof both these typesofNRvaries from

camera to camera, so it’sworth runninga series oftestswith your cameraandcomparing resultswithandwithoutNR.Pleasenote thatRawfiles areexcluded from in-cameraNoiseReduction, so itseffectwill only be seenon JPEGs.

NoiseReductionsoftwareThere are anumber of third-party softwarepackages that canbeused to reduce imagenoiseandhereweprovide anoutline of themost popularthreepackages. It’sworthnoting that all offer theoptionof a free30-day trial, so havea try and seewhich youfindeasiest to use andmost effective.

NoiseNinja$35-$80www.picturecode.comA favourite withmanyprofessionals, as well as amateurphotographers, Noise Ninja is alsoused by various newspaper andphoto agencies around theworld.If it’s good enough for them, it’smore than likely good enough foryou! Various options are available,from a standalone version to onethat works through PhotoshopElements, PhotoshopCS,LightroomandApple Aperture.Well worth trying out.

PhotoshopCS5£650Elements10£80www.adobe.comYou’d expect theworld’s leadingimage-editing package to offer adecent Noise Reduction facility,and you’re not wrong. JPEG userscan access noise via Filter>Noise>ReduceNoise and get very goodresults. However, for even betterperformance, we’d recommendyou apply noise reduction to yourRaw files, alongwith any otheredits you need tomake, beforeconverting to JPEG or TIFF.

AdobeLightroom3£238www.adobe.comThis brilliant package added aNoise Reduction facility thatcombines ease of use and speedwith superb results. UsingLuminance andColor sliders,applyingNoise Reduction issimple and fast. If you already ownLightroom3, there’s little need tolook elsewhere, as it’s verycapable. If you don’t, this facility,alongwith its Raw converter andvarious other editing benefits,make it a worthwhile buy.

Noiseware4.0$50-$70www.imagenomic.comThis Photoshop plug-in is gainingan increasing reputation foroffering awide range of featuresand excellent performance. ItsDetailGuardmode allows you toalter luminance and colour noise,while also protecting detail andcolour accuracy.With a range ofmanual and automatic functions,it has plenty of depth. It’s not aseasy to use asNoise Ninja (itsmain rival), but it offers plenty, soit’s worth a look via its free trial.

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Without Long Exposure Noise Reduction

With Long Exposure Noise Reduction

A25-second exposure at ISO 100shows a small amount of noisewith noNoise Reduction applied.

At highmagnification, we see thatusing Long Exposure NR gives adefinite improvement.

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40 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

PHOTOGRAPHERSLIKETOhave a topic toargue about. Film, lenses, cameramodels:prettymuch everything associatedwithpicture-taking has been the subject of onedebate or another over the decades. Forthe last few years, ‘Raw v JPEG’ has beenthe hot topic, with the vastmajority ofserious photographers insisting that Rawfiles are better by amile, while a small, butvocal,minority burst blood vessels insupport of JPEGs and accuseRaw fans ofbeing lemming-like nerdswhohaven’t gota clue. As oneAmerican JPEGdevoteeonce said: “Shooting inRaw is likehoarding newspapers for 20 years – youknowyoumight need the informationsometime, but it sure gets in theway. Andother people think you’re crazy!”Whetherthat’s true or not depends onwhat youshoot, howyou shoot it and howmuchcontrol you like to have over the finalimage. There are pros and cons to both

formats, just as therewerewith negativefilmand slide film.Back in the days of film,photographers accepted that andusedboth. In this digital age, however, thereseems to be a reluctance to follow suit –it’s either Rawor JPEGand ‘never thetwain shallmeet’.It’s often thought shooting in Raw is for

experienced photographers and JPEGsare better suited to beginners – which iswhy newcomers tend to use JPEG overRaw. However, to a large extent theopposite applies, as this guide willhopefully show.When you take a photo, data is recorded

by the sensor. If you leave this data in itsoriginal form, you have a Raw file, which isa 12-14 bit uncompressed file containingall the lossless data from the sensor.All digital cameras initially produceRaw

files, but if you shoot in JPEG format, thecamera’s firmware (its internal software)processes the Raw file before saving it tothememory card. In doing so, itcompresses the file by deleting data itdoesn’t think is necessary – data thatcan’t be retrieved later – as well asadjusting colour, contrast and sharpeningthe image. A simple way to compare Rawfiles and JPEGs is bymaking an analogywith film. If you imagine that Raw files andJPEGs are the digital equivalent ofnegatives, shooting in Raw is likeprocessing and printing your own film inthat you have farmore control andcreative scope, but it takes longer toachieve the end result. JPEG, on the otherhand, is like taking your film to amini laband picking up awallet of prints an hourlater – quick and convenient, but theprints have beenmade by amachine andaren’t necessarily the best that can beachieved from those negatives.

Key benefits of RawRawfiles containmore data than you

need to create a successful image, so theycanbeprocessed and interpreted in anynumber ofways – think of themasdigitalnegativeswith high dynamic range.You can correct exposure error without

compromising image quality.When you process a Raw file, you still

have the original in its unmolested form.You can return to Raw files in the

future when you’remore experiencedand skilled and reprocess them again,achieving better results.Image quality is superior – Raw files

are 12-14 bit uncompressed.A computer has farmore processing

power than a camera.

SoftwareforRawPerhaps the biggest drawbackof using Raw is that, in order towork with Raw files, you needspecialist software, often referred to asa RawConverter, to open and edit Rawfiles before saving as a TIFF or JPEG.

Each camera brand has its own Rawformat, so when you buy a camera, it’ssupplied with its own RawConverter,but in truth,most photographers preferto use a third-party converter. Thereare a number available, from freewarelike Gimp, to the likes of Capture Oneand Apple Aperture (Mac only), whichare both aimed at enthusiasts andpros. However, for the vastmajority ofus, it’s Adobe Camera Raw (ACR),found in Lightroom and Photoshop,that is used, and is the one covered indetail in this guide. It works brilliantlyand, formost, produces resultsindistinguishable from specialist Rawpackages. Please note: if you upgradeyour camera, youmay have to wait forPhotoshop’s updated Raw plug-in.Worse still, if you have an older versionof Photoshop (eg CS2 or CS3) and buya new cameramodel, no upgradedplug-ins for your old version ofPhotoshop are available,meaning youneed to buy a Photoshop upgrade!

SoftwareforRaw

WorkingwithRawfilesShooting inRawformatproducessuperior imagefilesand,ultimately,betterphotographsthanJPEGs–butonly if youknowwhat todowithyourRawfilesonceyou’veshot them!Here,weexplainhowtodo just that

ThreereasonswhyyoushoulduseRaw1) White Balance (WB)Shoot in JPEG and your camera applies theselectedWhite Balance to the images. In Raw,you can change it later in post-production tosuit your tastes or salvage images taken usingthe wrongWBpreset.

2) ExposureWhile there are limits to what is possible,you can pull a lotmore information from apoorly exposed Raw file than you can from aJPEG. Such versatility allows for special uses,such as HDR images.

3) Image qualityJPEGsmade in-camera are very goodquality, but can’tmatch a Raw file for detail.Also, while it’s hard to spot unless scrutinisedcarefully, JPEGs fromRaw are better thanin-camera JPEGs.

IMAGES

:ISTOCKPHOTO

Page 41: Getting Started in Digital Photography

Getultimatequality!Capturing a scene in Rawformat retains all the data

you need to create an imagewith perfect exposure and

maximum detail.

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42 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

The toolbar

1) Zoom Tool: Magnify theimage to see it inmore detail.2) Hand Tool: Navigatearound themagnified image.3) White Balance Tool:Allows you to correct and set acustomWhiteBalance byclicking on neutral areas in thepreview image, such aswhite.4) ColorSampler Tool:Allows you to select a colouryouwant to adjust by clickingon that area of the image.5) Crop Tool: Use this tocrop your image.

At the top-left corner of the interface are various symbols, eachwith a use to edit your pictures.CS5 has a few new additions to the CS4 arsenal, which we outline below, but themain tools you’lluse for everyday Raw editing are the Zoom, Hand, Rotate andWhite Balance tools. Others, suchas Color Sampler, Crop, Straighten and Retouch tools, work well, but unless you’re editing solelyin Raw, are best left to Photoshop once the Raw file is processed. Red-Eye Removal is handy if youneed it, but you’re unlikely to processmany portraits shot in Raw that suffer from red-eye!

6)Straighten Tool: Correcta wonky horizon or rotate.7) Retouch Tool: Gets rid ofsensor spots and otherunwanted blemishes.8) Red-Eye Removal Tool:Click on the eye to get rid ofred-eye in portraits.9) Preferences: Click hereto access the Camera RawPreferences dialogue box.10)Rotatecounterclockwise&Rotateclockwisetools:Rotate anticlockwise orclockwise by 90°.

11) Targeted AdjustmentTool: Instead of using thesliders, drag this tool on theimage tomake edits (CS5).12) Adjustment Brush:Usethis tool tomake localisededits to the image (CS5).13) Graduated Filter:Drawa line across your image torecreate the effect of agraduated filter. You can thenadjust the Exposure,Brightness, Contrast,Saturation, Clarity, Sharpnessand Color of the filter to suityour picture (CS5).

Open ObjectOnce you’ve done all yournecessary Raw editing,press Shift to turn theOpen button to OpenObject to process yourRaw file in Photoshop asa Smart Object. Thebenefit of a Smart Objectis that you can double-click on the layer inPhotoshop to reopen theRaw file and continueany Raw edits in ACR.Alternatively, hold downAlt to turn the Openbutton to Open Copy (soyou don’t work on theoriginal Raw file inPhotoshop) and theCancel button to Reset torevert your image backto its original state.

1013

14

12111 2 3 4 5 6 7 8 9

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Understandingyourdigitalcamera 43GETTINGSTARTEDINDIGITALPHOTOGRAPHY

UnderstandyourRawconverterANY TECHNICAL PROCESS seemscomplicated and daunting when you try itfor the first time. Remember taking yourfirst digital photograph or ‘Photoshopping’your first image? Chances are, you didn’thave a clue what youwere doing, butthrough trial and error andmaking lots ofmistakes, you got there in the end. It’s thesamewith processing your Raw files.Themain reasonwhyphotographers stick

to shooting in JPEG is because it’s quick,

easy and safe: the camera does thecomplicated stuff and all you’re left with area few tweaks inPhotoshopor Lightroom tofinish the job off. Shooting inRaw, on theother hand, involves another steep learningcurve because every shot you take needs tobeworked on. It’s the digital equivalent togoing from taking your films to a high streetlab for processing andprinting to setting upadarkroomanddoing the job yourself. Is itreallyworth all the hassle?

In aword, yes! To realise your full potentialas a photographer, you need to take controlof your photography and the onlyway toreally do this is to shoot andprocessRawfiles. It’s important therefore to learn how touse themain controls and tools available inPhotoshop’sRawconverter –AdobeCameraRaw– to reallymake themost of your Rawfiles. Below is an explanation of theBasicstab,which features everything you need for abasic Rawfile conversion.

Togo fromanoriginalRawfile toafinal image, ‘process’ it usingaRawconverter likeAdobeCameraRaw

VibranceandSaturation:This tool is an alternative to theSaturation slider,which adjusts all the colours in an image equally.TheVibranceTool, on the other hand, affectscolours that needboosting, having less effect onthe colours already high in saturation.

WhiteBalance: Shooting inRawmeans thatyou can control theWhiteBalance inpost-production, rather than having to select therightWhiteBalance preset in-camera. Under theBasic tab, you have all the in-cameraWBpresetsavailable in a drop-downmenu to pick from (egAuto, Daylight, Cloudy etc). You can also use theTemperature andTint sliders to create your ownCustomWB.Alternatively, you could use theWhiteBalanceTool, found in the toolbar.

Recovery:This is an image saver for anyonewho has slightly overexposed their highlights.This nifty tool should obviously not be reliedupon, but is definitely one of themost invaluablefeatures in ACR as it can recovermid-tone detailfromclipped highlights. It’s not amiracle worker,though: the detail has to be there to beginwith.

FillLight: Fill Light attempts to recover detailsfromshadows,without brightening any blacks.Similar to using fill-in flash, this tool will castsome light into your foreground. Use it with theBlacks slider to addmore punch, but be carefulnot to overdo it for unnatural results.

The basic tools forRaw conversion

Adjustmentpanels:Themain controlsyou’re going to usewhenprocessingRawfiles areto be foundon the right side of theRaw Interface,between the histogramand the control sliders.There are eight icons covering the following set ofoptions (from left to right): Basic, ToneCurve,Detail, HSL/Grayscale, Split Toning, LensCorrections, CameraCalibrations andPresets.

Most of Adobe’s Rawcontrols are adjusted viasliders,making them fast and easy to use. Hereare the key features located under theBasics tab:

Exposure:Foundat the topof theBasics tab,underWhiteBalance, theExposure slider adjuststheoverall brightnessof the image,withgreaterfocuson thehighlights. Thevaluesare inincrementsequivalent to f/stops. Formanyphotographers, this tool is their savinggraceas itallows themtocorrect their in-cameraexposure.Watchout fornoiseandartefacts creeping inwhenyoupush theexposure too far.Use inconjunctionwithRecovery to reduce thehighlight values.

Blacks:This slider shifts the left part of thehistogramevenmore to the left,making theblacks in the imagea lotmoredominant, and is ausefulwayof increasing theoverall contrast.

Brightness/Contrast:Brightnessworks inasimilarway toExposure.However, insteadofclipping thehighlightsandshadows, it compressesandexpands the information.Set theoverall tonalrangefirst using theExposure,Recover andBlackssliders, thenadjustBrightness. TheContrast slidermainly affectsmid-tones, causing themtobrightenordarken to increasecontrast.

Clarity:Addsdepth toan imageby increasinglocal contrast,with thegreatest effect on themid-tones. Itworks similar toa large radiusUnsharpMask inPhotoshop.Zoom into the image100%tosee theeffects andstopwhenyoustart toseehalosappearnear theedges in the image.

Raw interfaceWhen youopen aRawfile inAdobeCameraRaw, you’representedwith this interface.The preview image shows theRaw image in its original state.14) Zoom: You can vary thesize of the preview image andalso zoom into it using thetabs in the bottom left-handcorner of the interface.15) Workflow Option: At thebottom of the screen is theWorkflowOption. If you clickon this, a dialogue box opens,

giving you various options. ForSpace (colour space), AdobeRGB (1998) ismost widelyused. For Depth, choose 16Bits/Channel. For Size, go forthe one thatmatches the pixelresolution of your camera (nopoint paying for thosemegapixels then not usingthem!). And for Resolution,enter 300 pixels/inch.16) Histogram: In the topright-hand corner is theimage’s histogram,whichshows the distribution of tonesin theRed,Green andBlue

channels.Where you see cyan,it indicates a crossoverbetween the green andbluechannels, yellow is thecrossover between red andgreen channels, andmagentais the crossover between redandblue channels.Whiteshowswhere all three channelscrossover. Use the histogram tojudge the exposure as youadjust the sliders.17) Clipping warning:Thetwo triangular tabs in the topleft and right of the histogramtell you if there has been any

clipping of the highlights orshadows. If the triangles areblack, no clipping hasoccurred. If the tabs changecolour, the colour tells you thata colour channel or acombination of channels havebeen clipped. If the triangle iswhite, all three channels areclipped. If you click on the tabs,areas in the preview imageswillbe highlighted to showwhereclipping has occurred – clippedshadows showas flashing blueand clippedhighlights asflashing red.

Page 44: Getting Started in Digital Photography

Processingrawfiles is a straightforward task, though how long ittakes and howmany adjustments you need tomake to the imagedepends on how close you get it to finished image in-camera.Photographerswho are used to shooting filmbefore switching to digital,tend to domorework on their images at the time they’re taken becausethat’s what they had to dowith film. old habits die hard, and that’s not abad thing in this case. if you’ve only ever used a digital camera there’s a

greater chance you’ll relymore on software to sort out yourmistakes,whichmeans spending far longer at a computer than you need to.

our step-by-step guide shows you how to process rawfiles usingadobecamera raw (acr) andwhat the different tools do to the image.we’ve intentionally chosen a rawfile that needed plenty of work, butideally it shouldn’t take longer than a handfulminutes to open a rawfile,process it and turn it into a high-quality JPegor Tiff file.

HowtoprocessRawfilestoperfectionourstep-by-stepprovidesasimpleandeffectivewaytoconvertarawfile intoastunningJPegorTiff

2Rawfiles produce the best imagewhen the tones areweighted to theright side of the histogram.But if they touch the right side, highlightswill

be ‘clipped’, whichmeans somearea of the imagehaveno recordeddetail.Click the red triangle above the histogram to showoverexposed areas in red.

1Whenyouopen yourRawfiles, youmaybedisappointedbecause theyoften look rather flat andwashed-out. This is because you’re seeing the

image in an unadulterated state,whereas the preview image you see on yourcamera’s LCD is a small JPEGof theRawfile and so tends to look better.

5Clicking on theToneCurve icon in the tool bar brings up aCurveswindowwith sliders forHighlights, Lights, Darks andShadows. In this case,

increasing the values for theHighlights andLights, and reducing the valuesforDarks andShadowsboosts contrast andbrings the image to life.

6Check theColour Temperature next. Our shotwas takenwith the cameraset toAutoWhiteBalance andhas a slightwarmcast. Normally, that

would be a good thing, but, in this case, it gives the imageamuddy look, sothe colour temperature is changed toDaylight (5500K) to cool it downa little.

3‘Clipped’ highlightsmainly happen in the sky andare quite commonwhen shooting landscapes.Overexposedhighlights canbe recovered, to

an extent, using theRecovery slider inACR. In this case, applying it to a levelof 20 sorts out the sky. Recovery flattens contrast, so use it sparingly.

4Thenext job is to tackle the exposure as the image is still lookingwishy-washy. Pulling theExposure slider to the left to -0.75makes a

noticeable differencebydarkening the image, though it still looks a little flatand lifeless. Again, this is commonwhen you shoot inRaw, but easily solved.

44 Understandingyourdigitalcamera GettinGStartedindiGitalPhotoGraPhy

Page 45: Getting Started in Digital Photography

9Rawfiles always need sharpening to optimise imagequality. There areseveralways to do this andphotographers have their own favourites, but

whenusingACR, zoom in to the image 100%andadjust the sliders, keepingRadius at 1.0.Watch out for noise creeping in.

10 Images shotwith ultra-wide lenses or zoomsoften exhibit vignettingwhere the corners of the image comeout darker than the rest.

This canbe corrected inACRusing the LensVignetting slider in the LensCorrectionwindow.Chromatic aberration can also be corrected.

7Now it’s time to boost the colours. There are two sliders you canuse inACR–Vibrance andSaturation. Vibrance ismore subtle because it

affects lower-saturated colours and leaves alone those that are alreadydeeply saturated.Here, settingVibrance to 20does the trick.

8Another handy slider inACR isClarity,which adds depth to an imagebyincreasing local contrast. Zoom in to 100%whenusing it, increase the

level until halos appear near the edgedetails then reduce it slightly. Or simplyapply in a low level – in this case+10– to give the imagean extra boost.

FinalimageThe imagewas saved as a16-bit TIFF and opened inPhotoshop, where sensorblemisheswere removedusing theHealingBrush

and Levels tweaked to addimpact to the sky.

Page 46: Getting Started in Digital Photography

WhiteBalanceYour camera’s sensor is very sensitiveto the colour temperature of light,and it’s theWhite Balance setting thathelps with colour reproduction

EvErylightsourcEhas a varying amount ofthe three primary colours: red, green andblue(rgB),with the temperature of lightmeasured indegrees of Kelvin (K). lower temperatures have agreater percentage of redwavelengths, so appearwarmer; higher temperatures have a largerproportion of bluewavelengths, so appear cooler.While our eyes naturally adjust for the light’stemperature – so thatwe ‘see’ it aswhite orneutral – a camera’s sensor needs a little help. Adigital slrorcsc’sWhiteBalance function isdesigned to do exactly that – correct undesiredcasts producedby varying temperatures of light.

in order to capture the light’s colourauthentically, photographers need tomatch thecolour temperature of the light falling on thesubjectwith the appropriateWhiteBalancesetting. the cameramakes this simple by beingprogrammedwith a variety ofWhiteBalancepresets to correct themost common lightingconditions, for example, Daylight, cloud, shade,Fluorescent, tungsten and Flash.Match thepresetwith the light source and the camerabiases the settings to neutralise the cast. there iseven anAutoWhiteBalance setting, where thecamera looks at the overall colour of the imageand setsWhiteBalance accordingly.While notinfallible, theAuto setting is often very reliable,producing good results in themajority ofsituations. however, as a result, it is easy tosimply leave your camera’sWhiteBalance set toautomatic and overlook the huge creativepossibilities of this camera function.

AlthoughWhiteBalance is designed forcorrection, it can also be used creatively. BydeliberatelymismatchingWhiteBalancewith thescene’s lighting conditions, you can createstrong, artificial colour casts that dramaticallyalter themood, look and feel of your images. Justthink ofWhiteBalance as a handy formofin-camera filtration. you can apply a vast numberof different colour casts to your images by simplyadjusting theWBsetting – effects that, beforedigital, you could only create by using filters.

WhiteBalance is an underused creativefunction. Presets designed to correct a low colourtemperature – like Fluorescent –will cool downan image;while settings designed to compensatefor a high colour temperature – likecloudy orshade –will create an artificiallywarmcast. Andyoudon’t have to rely on the camera’s presets ifyou don’t wish to – your digital slrorcschas acustomWhiteBalance feature, which allowsphotographers tomanually set the exact colourtemperature they require for the look and feel ofthe image. to provide youwith a simple exampleof creativeWBuse, rosshoddinott headed to thecoast to capture a tranquil scenewithmood.

ABOVE:We shot an image inRawon a sunny day andthen converted it into five differentWhiteBalancesettings to showhow the colourswill vary. Note thatwhile inaccurate, the effects can be pleasing!

BELOW: KELViN scALE This scale indicates colour temperatures and rates themainWhite Balancepresets (it’s worth noting that these temperatures may vary frommodel tomodel). The Kelvin scaleruns fromwarm to cool, with the Kelvin value increasing as the light becomes cooler.

2000k 10000k6000k4000k 8000k

Tungsten CloudyFlash Shade

3400k 5500k 7000k

Daylight

5200k

RawandWhiteBalanceif you shoot in raw format, or raw+JPEg,the need to getWB as you want it in-camera isless critical. raw images are effectivelyunprocessed data. the shooting parameters are‘attached’ to the file, rather than applied to theimage at the time of capture. therefore, settingslikeWB can be altered and fine-tuned forcreative effect using raw processing softwarelike lightroom, Aperture or the softwaresupplied with your camera.

AWB(AutoWhiteBalance)the camera evaluates the scene and sets itsownWhite Balance accordingly. it’s a goodchoice for beginners, but you should thinkabout setting the appropriate preset for thelighting conditions you’re shooting in wheneverpossible, as it will give themost accuratecolours. the value for fluorescent light variesbecause the colour temperature given off byfluorescent tubes can be different. somecameras, in fact, have three settings to balancethese different types of fluorescent light. Withcustom, you set theWhite Balance by followingyour digital slr or csc’s preset procedure – it’sa good choice when shooting inmixed lighting.

WhiteBalancebracketingsome cameras allow you to bracket theWhiteBalance of your exposures. this fires an imageat theWhite Balance preset you’ve selected,then another frame that’s slightly warmer andanother that’s cooler.

46 Understandingyourdigitalcamera GettinGStartedindiGitalPhotoGraPhY

Daylight Cloudy

Setting WBselecting White Balance (WB) is easy viathe camera’s menu system. typically, WBis found under the shooting Menu. scrollthrough and select the preset you require.some cameras will allow you to fine-tunethe WB value to suit your exact taste.For ultimate control, select the camera’scustom setting and dial in the value yourequire. some models will allow you to saveyour customWB settings to reuse later.

WhiteBalanceaccessoriesYou can use the Custompreset to set an exactWhite Balance by usinga white surface or greycard (depending on yourcamera) as a benchmark.an alternative is to place acustom-made disc in frontof the lens to take a White Balance readingfrom. the advantage is that it’s smallenough to keep with you everywhere yougo. look at the expodisc (www.flaghead.co.uk) or obtain a cheap and cheerful greycard from your local photo retailer.

Page 47: Getting Started in Digital Photography

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It’s worth experimentingwith differentWhite Balance settings. Leaving it set toDaylightwhen shooting in tungsten-lit

conditions can produce imageswith awarmorange cast that enhances the result.

Understandingyourdigitalcamera 47GettinGStartedindiGitalPhotoGraPhy

Shade Tungsten Fluorescent

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48 Understandingyourdigitalcamera GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Setupyourcamerathewayyoulikeit!In less time than it takes to drink a cup of tea, you can learn something newabout your camera that will change theway you take pictures – guaranteed!

FILENUMBERINGWith this setting,choosewhetheryouwant to startnumbering imagesfrom0001 everytime a new card isinserted, or number yourshots continuously.We’d recommendthe latter, otherwise you can endupwith different pictureswithidentical file names,meaning youcould accidentally copy over oneimage filewith another. Somecameras also let you change theletters at the start of each file to yourinitials (for example: DPL0127.jpg).

SETUPYOURINPUTDIALSIf your camera hastwo input dials,and it’s annoyingyou that thethumbdialadjusts shutter speedwhilethe front dial under your forefingercontrols aperture, then it will bewelcomenews that somecamerasallow you to swap this functionalityaround. You can also often specify inwhich direction the dial turns toincrease or decrease the value.On asimilar theme, someOlympusmodelseven allow you to swap the direction inwhich the focus ring is turned!

AUDIBLE ‘BEEP’Theworld is dividedinto thosewho likea beep to tell themtheir camera hasachieved properfocus, and thosewho find this irritating. Ifyou’re in the second of these camps,look for the setting in your camera’smenu system to silence the sound.

VIEWFINDERGRIDIf you are one ofthose peoplewhocan never holdtheir camera level,resulting inwonkyhorizons, then theability to switch on gridlineswill be a bonus. Othermanufacturers let you view grid lineswhen composing in LiveView, whichproves particularly useful forarchitectural photography.

FUNCTIONBUTTONManyDSLRs andCSCs offer a‘Function’ buttonthat you can set toperformone of anumber ofpredetermined options. These taskscan include activating LiveView,switching to RAWmode, activating aparticularmetering pattern orselecting a certain AF areamode.

MakeyourtweaksHowwell do youknowyour camera’sset-upmenuandcustom functions?Hiddenaway in thesemenusaresettings that control virtually everyaspect of your camera’s behaviour.It’sworth spending timecustomisingit towork thewayyouwant.Here aresomeof our favourites…

Theworld is dividedlikewhothoseinto

a beep to tell them

nd this irritating. Ifwho fiyou’re in the second of these camps,

VIEWFINDERGRID

ability to switch on gridlineswill be a bonus. Other

tasksTheseoptions.predetermined

AutoISOmodeIn the days of film, youpicked your ISO rating and you stuckwith it for thenext 36 frames. In the digital world, though, ISOs have becomeanothervariable, just like apertures and shutter speeds. You can change them inhalves or thirds of a stop over a range of some seven stops, depending onyour camera. That’smore than the aperture range in some standard zooms.

To reflect this,mostDSLRs andCSCshave anAuto ISO settingwhere theISO is raised automatically as light levels dim, usually in order tomaintain ashutter speed for shake-free handheld shooting. SomePentaxDSLRs evengo so far as to include an ISOprioritymode (SAv), where the shutter speedand aperture are both locked and it is only the ISO that is changed in response to changing light.

Auto ISO is a particularly useful function for the street photographer.When light levels are changing, butyou areworking quickly, you don’t always have chance to noticewhether your shutter speedhas dipped intothe camera-shake territory or not, and up the ISO to compensate.Whynot let your camera do this for you?

ManyDSLRs andCSCs allow you to customise their Auto ISOoption, specifying aminimumshutter speedafterwhich the camerawill start to change ISO instead. You’ll also be able to specify themaximum ISOvaluehere, which is crucial if this feature is going towork for you, for as the ISOclimbs higher, picture quality tendsto degrade,with noise becomingmore apparent. Experimentwith your camera to find your own ISO limit – asettingwhich you’re happy towork at, but not beyond. If you are lucky enough to have a high-spec full-framecamera – like anEOS5DMkII orNikonD700– then this could be some ISO3200or higher. Back in the realworld, though, it’smore likely to be around ISO640-800on amodel like aCanonEOS550DorNikonD3100.

LiveViewmodeLiveView is a feature that lets you compose a picture ontheDSLRorCSC’s rearmonitor – as youmightwith acompact camera – instead of through its viewfinder.When it was first introduced,many labelled it a gimmick,but since then,more andmore uses for this technologyhave emerged. Themost obvious use for LiveView isworking at different viewpointswithout pulling amuscle.Shooting fromdownbelowor over heads in large crowdsismuch easier thisway. There are other advantages, too.Someargue that it’s easier to seewhether a compositionwill work or not by using the LCDmonitor andnot theviewfinder – and if you set your camera to black&whitemode, it’s possible to preview the scene in front of you inmono. Furthermore, on someDSLRandCSCs (CanonandPentax particularly), LiveView is carried out using theaperture set on the camera,whichmeans you can use itto previewdepth-of-field and the effect ofNDgradfilters. ABOVE:LiveViewcanbeuseful forcomposition.

FILENUMBERING

imagesnumbering

inserted, or number yourshots continuously.We’d recommend

adjusts shutter speedwhilengerthe front dial under your forefi

ISTO

CKPHOTO

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Understandingyourdigitalcamera 49GETTINGSTARTEDINDIGITALPHOTOGRAPHY

AUTO IMAGE-REVIEWOFFOne feature thatdivides opinionalmost asmuchas the audiblebeep is the auto-image review.This is where the image of the lastframe taken appears on the LCDscreen shortly after firing the shutter.Not only does this use extra batterypower, it can be quite distractingwhen looking through the viewfinder.Somephotographers switch off theinstant playback for another reason,too – it’s too tempting to check itstraight away, andwhile you arelooking at the screen, you could bemissing out on other good photoopportunities. Some cameras alsohave an auto-power off function,designed to save battery power. Thiscan usually be disabled or extendedin the camera’smenu systemaswell.

SHUTTERRELEASEW/OUTCARDThis is a setting tofind, switch offand leave alone.We recommendyounever have your camera setso it canfirewith nomemory cardin it. It’ll only be amatter of timebefore youmake the ultimatemistakeand take a dozen (great) shots, andfail to record any of them!

AF/AELOCKOneof themostuseful customfunctions is thatwhich dictateshow theAFandAE lockswork.Everyone has their ownpreferredwayofworking, so it’s good that youcan customise this control sowell. Forinstance,when youhalf-press theshutter release, do you like both theexposure and focus to lock?Or justthe focus?Or just the exposure?Maybe you like the exposure to lockwhen youhold down theAE-L button.Ormaybe youwant it to lockwhenyou simply press theAE-L buttononce, andnot unlock until it’s pressedagain.Whicheverway youprefer towork, it’smost likely yourDSLRorCSCcanbe set up towork thatway.

SCREENBRIGHTNESSStruggling to seeyour screen in thebright sunlight?You can turn itsbrightness up inyour camera’smenu.Or turn itdown if youwant to save battery, orareworking in dimconditions at night.

CREATING‘MYMENU’Having read thisfar, anddiscovereda fewnew thingsabout yourcamera just byplayingwith it, you’ll have learneda lot about howyour cameraworks.Youmayalso be irritated because youcan’t rememberwhichmenu is hometo a specific function. Usefully, someDSLRs andCSCshave a custommenu (often calledMyMenu) that youcan set-up for fast access to yourfavourite commands.Give it a try!

beep is the auto-image review.

you never have your camera set

preferredowntheirhasEveryone

your camera’smenu.Or turn it

far, anddiscovered

playingwith it, you’ll have learned

ABOVE:Selectpicturestylesfromthemenuandchoose fromtheoptions.

UsingyourhistogramTake a picture on yourDSLRorCSCandwebet the first thing youdo istake a good long look at the back of your camera to review the picture onthe LCDmonitor. Nothingwrongwith that, of course – it’s one of the bestthings about digital photography –but can you really believewhat youare looking at in this preview?Well, yes andno. You can zoom in andcheck that the sharpness is okay, and, of course, it’ll showyourcomposition and framing, butwhen it comes to exposure, the humblescreen doesn’t always show the truth. It can be influencedparticularly byambient light – bright sunlightmakes pictures appear underexposed,while dimconditionswillmake things look too bright. The answer is touse your camera’s histogram. This is a graphic representation of how thevarious tones are distributed throughout the picture: on theX-axis aretones, frompure black on the left-hand side to purewhite on the right. Onthe Y-axis is the number of pixels in the scene that have a specific tone.

Rather than interpret the histogram in termsof hard and fast numbers,it’s better to look for trends and shapes. For an average, properly-exposedscene that contains a variety of tones, you’d expect to see an evendistribution of tones throughout the histogram. If the scene isunderexposed, though, the histogramwill be skewed to the left-hand side(the black end). Likewise, if overexposed, the peakwill appear on theright of the scale. This is amuchmore reliable indication of exposureaccuracy than looking at the image itself.

This is, of course, only true for ‘average’ subjects. Shoot a high-key orlow-key scene (ie one filledmostlywith dark or light tones) and youshould expect to see the histogrambiased towards one endof the scaleanyway. Again, once you knowwhat to look for in a histogram, you canuse it to gauge just howclose you are to getting the perfect exposure.For further information onusing histograms, see page60.

Lightscene

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Picturestyles/filtereffectsThe great thing about digital photography is the control you have overfactors such as colour saturation, contrast and sharpnesswhen editingpictures on your computer – but did you knowyou can also do thisin-camera?MostDSLRs andCSCsoffer the facility to tweak imagesettings like this. Somehave predeterminedpicture settings, such asLandscape or Portrait, while others givemore individual control oversettings like brightness, contrast and saturation, letting you save theseas presets. If your camera offersmanual control over picture settings,here’s one to get you started: try reducing the colour saturation asmuch as you canwithoutmaking the image completelymono, andthenpumpup the contrast as high as it’ll go. You’ll get a hard, grittylook that is great for striking portraiture. Landscapersmay like to trythe opposite – boosting saturation and leaving contrast set to normal.

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Phot0techniqueThe essential knowledge you need to take impressive photos with your camera

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EvErytimEwE raise a camera to our eye to take a photowe’re‘composing’, but themistakemanyphotographersmake is failing to spendenough timedeciding if what they’ve got in the viewfinder is actuallyinteresting before hitting the shutter release.

Painters have a distinct advantage over photographers because theystart off with an empty canvas, then set about filling it, so they canmovethings around a little, add things that don’t exist, or omit elements that spoilthe composition anddetract from the overall impact. Our canvas is alreadyfull, sowehave to decidewhat part of a scene or subjectwewant tocapture. there are various aids and tricks available to help us do thiscorrectly: the rule-of-thirds is a classic and effective compositional tool;

natural orman-made lines canbe used to lead the eye around an image,while foreground interest adds depth and scale; colour has great power,helping to highlight specific elements so they dominate the composition orinfluence the overallmoodof the image.

Lens choice allows us to control exactlywhat appears in the frameandhowperspective is recorded,while viewpoint changes the relationshipbetween the elements in a scene. Ultimately, though, themost powerfultools at your disposal are your eyes, and it’s only by using themandthinking aboutwhat you’re doing that your compositional skills willimprove. Once you’ve established an eye for composition, you’ll find thatyour images take onmore balance andoffer stronger visual impact.

Thefundamentalsofcomposition

1)Rule-of-thirdsthe rule-of-thirds is themost commonphotographic ‘rule’ andwasfirst devised by artists to usewhenpainting landscapes. it’s based onthe idea of dividing the image area into thirds andplacing the desiredfocal points on the intersection of those thirds for amore balancedcomposition. A photographer cando this by simply dividing theviewfinder into an imaginary grid using twohorizontal and twovertical lines. Use the horizontal lines to aid positioning of the horizon,the bottom line to emphasise the foreground and the top line toemphasise the sky. Use vertical lines to position features such asbuildings, trees or a person. Finally, the four intersection pointsmakeideal places to position yourmain focal points.

3)ForegroundinterestByplacing subjectmatter in the foregroundof a composition, you cancreate depth and scale. this is easiest andmost effective if you use awide-angle lens, as you can include features literally at your feet.these lenses also appear to exaggerate perspective so that subjectscloser to the camera aremuch larger than the distant features. thisillusion conveys depth because your brain knows the distant featuresare normally bigger, and so assumes they’re further away. thelandscape is full of potential foreground interest, such as rocks,driftwood andflowers. Be sure to use a small aperture (f/16 or f/22)tomaximise depth-of-field, because unless everything in thecomposition is sharp from front-to-back, your effortswill be in vain.

4)ColourColour doesn’t justmake images look realistic, it can also influencethemoodof a photograph.warmcolours such as yellowandorangeare soothing and restful, while green is refreshing, andblue canbecold andhostile. if you include contrasting colours, such as blue andyellowor red and green, the compositionwill bemore eye-catching,whereas colours that complement each other, such as red and yellow,aremore gentle and atmospheric.warmcolours are said to advance,so theyworkwell in the foregroundon a shot, while cool colours(green andblue) recede and so theymakebetter backgrounds.Finally, red is themost potent of all colours andwill dominate acomposition, even if red areas are only small in the frame.

2)Lead-inlinesLead-in lines canmake a good scenic shot great, because theyprovide a natural entry point into the composition and carry theviewer’s eye into the scene. these could include rivers, streams,wallsand hedges in landscapes, or arms and legs in portraits: any line thattravels into and through the framewill workwell. if the lines traveldiagonally, ideally they should run from the bottom left of thecomposition to top right –where youwill have hopefully placed yourfocal point according to the rule-of-thirds. Converging lines are evenmore powerful as they not only lead the eye into and through thescene, but they also add a strong sense of distance anddepth so thecomposition looks three-dimensional.

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UsingLiveView&viewfindergridlinesLiveViewallows youcanuse it to check the compositionof a shot farmore effectively thanif you look through the viewfinder. Byusing the rear LCDmonitor, youdetach yourselffrom the sceneandcanmakeamoreobjective assessment. Someviewfinders allowgridlines tobe superimposedon the screen, allowing you todivideup the frameandpositionimportant features using the rule-of-thirds.

5)LensesThefirst decision you need tomakewhen composing aphotograph is deciding howmuch, or how little, of thescene or subject you actuallywant to include – this ismainly controlled bywhich lens you use.Wide-anglelenses obviously have a generous angle of viewandcan capturemore than our eyes can see,whereastelephotosmagnify the scene so you canbemoreselective aboutwhat you include in the composition.Zooms coveringwide-angle and telephoto settings areideal because you can control what you include orexcludewith great precision. But lenses domore thanthis – they also allow you tomake use of perspectiveand scale.Wide-angles seem to stretch perspective sothe features in a scene appear spaced apart, which isgreat for emphasising lines and foreground interest.Telephotos, on the other hand, appear to compressperspective so the features in a scene appearmorecrowded together than they really are, allowing you tocreate dramatic images. Finally, wide-angle lenses giveextensive depth-of-field, especially at small apertures,so you can achieve front-to-back sharpness.Whereastelephotos limit depth-of-field so you can throw thebackground and/or foregroundout of focus andmakespecific parts of the image stand out, such as a personset against a potentially distracting background.

Some cameras allow grid lines to besuperimposed on the viewfinder orLCDmonitor via a custom function,while LiveView is another aid youcan use for accurate composition.

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ThebasicsofexposureOur jargon-freeguideto the fundamentalsofexposureprovideseverythingyouneedtoknowtoget togripswithaperturesandshutterspeeds

EVERY EXPOSURE YOU take is made up of acombination of an aperture and shutterspeed that determines howmuch light willreach the sensor. The aperture is the iris inthe lens, much like the pupil of the eye, thatcan widen to allowmore light through orcontract to restrict the amount of light thatenters the lens. Use a wide aperture andmore light is able to pass through during aset timespan than if you had selected asmall aperture setting.The shutter is a barrier in front of the

sensor that moves out of the light’s pathwhen you press the shutter release, allowinglight to reach the sensor and create anexposed image. The exposure’s duration isdetermined by the shutter speed. There is anobvious relationship between the apertureand the shutter speed in determining the

correct exposure and this is selected by theexposuremode. While the full-auto AE (AutoExposure) mode provides point-and-shootsimplicity by automatically selecting acombination of aperture and shutter speed,and allows beginners to take great pictureswith theminimum of fuss, the beauty andenjoyment of digital photography is to takecontrol and directly determine how thepicture will look.The first major step to doing this is to take

your camera off full-auto and select one ofthe exposuremodes that allow for far morecreative photography. Follow our guide andexperiment with apertures and shutterspeeds – after all, it’s not like you’ll bewasting any film! Before you know it, you’llsoon be creating imaginative images ratherthan just shooting snaps.

UnderstandingshutterspeedsExposure settings aremade by changing either the aperture or theshutter speed. The increments at which you change these settingsare normally referred to as ‘stops’. When you change a setting by a‘stop’, you are either doubling or halving the exposure. So, forinstance, changing from 1/500sec to 1/250sec doubles the durationof the exposure. As well as full stops, you can also vary exposure in1/2 or 1/3 stops, depending on the cameramodel you use. Thediagram below shows shutter speeds from one second to 1/4000sec.

Full stops 1sec 1/2sec 1/4sec 1/8sec 1/16sec 1/30sec 1/60sec 1/125sec 1/250sec 1/500sec 1/1000sec 1/2000sec 1/4000sec

Half stops 0.7sec 1/3sec 1/6sec 1/10sec 1/20sec 1/45sec 1/90sec 1/180sec 1/350sec 1/750sec 1/1500sec 1/3000sec

Understanding aperturesettingsThe illustration below shows the iris at one-stop increments, ie eachstep from left to right halves the amount of light passing throughthe lens. The maximum aperture setting refers to the iris wideopen (in this instance f/2.8) and the minimum aperture is the irisat its smallest setting (f/22 in this case). An explanation of wherethe f/number derives from would require an extensive scientificexplanation. The key to understanding apertures is to learn howf/numbers correlate with the size of the aperture.

Full stops f/2.8 f/4 f/5.6 f/8 f/11 f/16 f/22 f/32

Half stops f/3.5 f/4.5 f/6.7 f/9.5 f/13 f/19 f/27

Take control of the exposure modeand determine how the final imagewill be captured. A small apertureand slow shutter speedmeans theentire scene is sharp and the water’smotion is beautifully blurred.

TheISOratingIt’s worth mentioning the ISOrating. Basically, this indicates thesensor’s sensitivity to light. A lowsetting, such as ISO 100, indicatesless sensitivity, while a higher ISOsetting, for instance 800, similarlyrepresents an increased sensitivity.We explain which ISO rating isbest for certain situations onpages 36-37, but it’s worthnoting that the ISOyou set determinesthe combinationof aperturesand shutterspeeds availableat particular lightlevels. If you’restarting out,setting a low ISOrating (ISO 100-200) is best inbright conditionsand a mid-setting(eg ISO 400) forgeneral use.

ExposurecontrolsMany beginners believe it’sdifficult to use aperture- orshutter-priority but, in fact, it’svery easy to do. Once you’veselected the exposuremode(1), it’s simply a case of rotatingthe input dial (2) until theaperture or shutter speed you’dlike to use appears on thetop-plate (or rear) LCD panel(3). Depress the shutter buttonhalfway and the camera worksout the rest. It’s as easy as that!

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Q&A:ExposureWhat’s amaximumandminimumaperture?These are thewidest andsmallest apertures that can beset on a lens.

Why are some zooms statedas having twomaximumaperture values?Twofigures are providedfor themajority of zooms toindicate that themaximumaperture changes as youzoom the lens. For instance,an 18-55mm f/3.5-4.5 zoomindicates that the lens hasamaximumaperture off/3.5when set to 18mm, andwhen it has zoomed into55mm, it becomes f/4.5.

What are reciprocalexposure settings?There are a variety ofcombinations of shutterspeeds and apertures thatgive the sameexposure.

UsefulaccessoriesMake the most of exposure modeswith the following accessories:

1) TRIPOD A basic tripod thatprovides a sturdy support willallow you to use longer shutterspeeds without fear of camerashake. Look to spend £40.

2) NEUTRALDENSITY (ND) FILTERAn ND filter reduces the amountof light reaching the lens. Useit when you want to set longexposures but the light level istoo high. Check out filters frombrands such as Hoya and Cokin.

3) REMOTERELEASE To avoidshake with long exposures, use aremote release to fire the shutterrather than the camera’s shutterbutton. Your camera’s instructionmanual will tell you which youneed. You can also help avoidshake by using the self-timer.

For instance, 1/250sec at f/4would give the sameexposureas 1/500sec at f/2.8 or 1/125at f/5.6. These combinationsare said to be reciprocal.

What are fast lenses?A fast lens is onewith awidermaximumaperture thanthe standard. For instance,

a 70-200mm f/2.8 lens isdescribed as fast becausemost lenses of this type have amaximumaperture of f/4.

What is exposurecompensation for?This facility allows you to alterthe set exposure, whichwewillcover in detail later on.

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56 PhotoTechnique

MastermeteringpatternsYourcameraisequippedwithdifferentmeteringpatterns.Learnwhichonetouseforparticularshootingsituationstogiveyouthebestcontroloverexposure

Spot&partialmeteringIdeal for situations when you wish totake a reading from a specific areaof the frame, the spot and partialmetering modes must be used withcare to avoid metering mishaps. Theseprecise modes operate by meteringfrom a small area, usually at thecentre of the frame. Most spot metershave a precise metering circle thatreads off 3% of the image frame, whilepartial metering isn’t so precise, takingreadings from an area of 9% or so.

To get a correct exposure whenusing these patterns, the meteringarea must be placed over a mid-tone or the scene may be over- orunderexposed. This mid-tone doesn’thave to be grey, it could be any othermid-tone colour, such as green grass,brown dirt or brickwork. Most camerasoffer spot metering, some have partialmetering, while a few have both.

AS WE’VE MENTIONED, the job of your camera’smetering system is to assess the scene you’d liketo capture and work out the aperture and shutterspeed settings that will result in a correct exposure.The camera assumes the average tone within thescene is a mid-tone of 18% grey and works out theexposure based on this assumption. All meteringpatterns use the mid-tone principle, but how eachmeasures the scene varies from pattern to pattern.For example, the multi-zone system divides theimage frame into zones, takes individual readingsfrom each and uses sophisticated algorithms todetermine the final exposure. Partial and spotmetering patterns, however, take an exposurereading from a small area (usually between 3-9%)at the centre of the frame.

Why have different metering patterns? Well, theoption of taking a reading from the whole frame orjust small elements of it gives the photographer atremendous amount of control for precise metering.

Of course, care must be taken when selectingyour metering pattern to make sure it’s suitablefor the subject you are attempting to capture. Forexample, if you are shooting a typical landscapescene with a bright blue sky, lush green grass anda dark shaded tree, you will want to use multi-zoneinstead of spot metering, because if you meterfor the dark shaded tree, the camera will think it’staking a reading from a mid-tone and overexposethe scene. But with multi-zone metering, thecamera takes into account the variation from everyzone – the sky, grass and dark tree etc – and usesthis to calculate an accurate exposure.

We’ve covered each metering pattern below,along with how to identify it on your camera and asuggestion of situations where using this meteringpattern may pay dividends, so that when you’renext taking pictures, you’ll know which mode willwork best for you and avoid taking pictures thatturn out to be poorly exposed.

Spot & partial metering: Perfect for...

Spot & partial icons

SNOWYCONDITIONSAim the spotmeter at an areawithmid-tones to prevent thesnowcausing underexposure.

BACKLITPORTRAITSThe intense backlight from thesky can foolmulti-zone systems,so spot-meter from the face.

SCENESWITHHIGHLIGHTSMeter fromamid-tonewhenscenes are dominated byhighlights like reflections.

EXPOSINGFROMAMID-TONE:When using spot or partialmetering, it’s important to remember that youmust place themetering area over amid-tone to achieve the correct exposure. In this typical scene, wetook spot readings fromdifferent areas of the frame to showyou how the exposure varies.

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Centre-weighted average: Perfect for....

GENERALPORTRAITSVariances between light anddark shades arewell handled toensure accurate results.

LANDSCAPESSceneswith sky and foregroundthat have a variation in exposureare easily handled.

LANDSCAPESWITHAE LIn sceneswith bright sky, pointthe camera at the ground, useAE-L then recompose and shoot.

GENERALSCENESUnless your scene has unusuallighting conditions, you’ll have noproblemswithmulti-zone.

Centre-weightedaverageFilm camera enthusiasts will recognise centre-weighted averagefrom the darkroom days. This mode has been used for years onSLR cameras, but has been superseded by multi-zone metering.Centre-weighted average works by taking an average readingfrom the entire frame, giving most emphasis to the central area.Those who are familiar with this pattern are more likely to use it,and it’s also the recommended choice when using AE-Lock. Thebias towards the centre of the frame varies between brands, butit is 60-80% towardsthe centre of the frame.The main problem withthis pattern is that, whenshooting landscapes, theexpanse of sky in brightconditions can lead it tounderexpose the scene,unless you’re experiencedenough to know what todo (see below).

Multi-zonemeteringMulti-zone metering systems are incredibly reliable and return acorrect exposure for the vast majority of scenes. The multi-zonepattern is the most sophisticated metering system available. Itworks by dividing the entire frame into zones, with individual meterreadings taken from each zone. The data from these readingsis then run through a series of algorithms, and often the data iscompared to a database of images, to calculate the final exposure.The various brands have names to describe their own multi-zonemode – Nikon has Matrix,Canon calls its systemEvaluative, while Pentaxhas multi-segment. Thenumber of zones varyfrom camera to camera,and while the generalrule is that the morezones a pattern has, thebetter its accuracy, it’snot always the case.

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Centre-weighted average iconsCANON PENTAXOLYMPUSNIKON SONY

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Multi-zone: Perfect for...

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Exposureoverrides:TakingmorecontrolAlthoughcamerashaveverysophisticatedmeteringsystems, they’renot infallibleandwill occasionallyproduce incorrectexposures.Lighterordarker thanaveragescenes,aswell as tricky lightingsituations, suchasbacklighting,are themostcommonsituations that lead topoor results.Therefore, it is important toknowhowtooverrideyourcamera’smeter reading toensureyoucan takecontrol andensureaperfectexposure

ExposurecompensationThemost commonand simplest override is exposurecompensation – a feature foundon everyDSLRandCSCthat allows the user to increase or decrease thecamera’s suggested exposure. Exposure compensation

is very easy to use as you adjust the exposure in set increments ofeither 1/3 or½ stops, depending on your camera. Applying a positive(+) value increases the amount of exposure, with the aim to lightenthe image,while dialling in a negative (–) valuewill darken it.Because the compensation is applied in incremental steps thatcorrespondwith adjusting apertures and shutter speeds, itshouldn’t take too long to get used to. The amount of exposurecompensation is usually displayed on a scale or as a figure on theLCDor in the viewfinder. It’s often stated as anEV (ExposureValue),so adding half a stopwill appear as +½EV.How the camera appliesexposure compensation depends onwhich exposuremode youuse.In aperture-prioritymode, it’s the shutter speed that is changed,while in shutter-prioritymode, the compensation is applied via theaperture setting. In programmode, the camera alters eithervariable, depending on light levels and the risk of camera shake. Thegeneral rule to remember is that if the subject or scene isdominated by a light subject, the cameramayunderexposure, so toavoid this, dial a positive (+) value.Whenphotographing a very darksubject or scene, the camera is likely to overexpose it, so set anegative value (–) compensation to obtain a correct exposure.

AutoExposureLock(AE-L)

AEAE-LLThis exposure override doesn’t actually lead to anincrease or decrease in the exposure, but rather allowsyou to specify the area fromwhich the camera takes areading from. It’s an override that is nowhere near as

popular as exposure compensation,mainly because it requiresusers to bemore experienced andhave a better understanding ofwhat lighting situations and scenes demand its use.

As its name suggests, theAE-Lock facility allows you to lock anexposure reading, which is retained evenwhen you recompose thescene.Normallywhen you take a picture, pressing the shutterbutton halfway engages theAF and exposure systems together,which is suitable formost scenes. However, this can lead toexposure errorwhere the subject or scene is very bright or dark, orwhere there is very high contrast or unusual lighting conditions. Inthese conditions, taking a reading fromamid-tone and locking thiswith theAE-L facility can ensure perfect results.

While you can usemulti-zonemeteringwithAE-L, you are betteroff switching to spot or partialmetering to ensure the exposurereading is taken off amid-tone. This is relevantwhether you aretaking a reading off an area of grass, brickwork or a grey card. Justremember that the lighting on the area you useAE-Lwith should bethe sameas that for yourmain subject. For example, usingAE-L tometer fromanarea bathed in bright sunshine, while your subject issat in shade,will only result in a very overexposed subject.

HOWTOUSE EXPOSURECOMPENSATION:1) Locate and press your DSLR or CSC’s exposure compensationbutton (usually indicated by a +/- icon).2) To dial in the desired amount of exposure compensation, turnthe input dial in either direction. A negative input results in lessexposure being applied, while a positive input increases exposure.Once you’ve taken a shot, check the LCD to review your results.

HOWTOUSEAUTOEXPOSURE LOCK (AE-L):1) Set your metering pattern to either spot or partial. Access thescene, find the area that you want to meter from and press theshutter halfway to activate the metering system.2) Now press the AE-L button to lock in the exposure settings.Recompose your scene and, when happy, press the shutter buttonto capture your image, which should be perfectly exposed.

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SNOWYLANDSCAPESAdding positive compensation(between+1 to +2EV) preventswinterwonderlands turning grey.

SILHOUETTESATSUNSETMetre off the sunset and hit AE-L.Other elements in the scenewillbecome silhouetted.

MANAGINGSKINTONESExposure compensation can helpbalance the skin tones of tannedor dark-skinned subjects.

SCENESWITHBRIGHTSKIESLarge expanses of bright sky canlead to underexposure. UseAE-Lto take a reading off grass.

Exposure compensation: Perfect for… Auto exposure lock: Perfect for…

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AutoExposureBracketing(AEB)

AEBAEBAuto ExposureBracketing (AEB)allows the photographer to capturea series of three images at differentexposureswithout you having to

adjust any settings between each frame.Mostcameras allow sequential shots at +/– threestops from the base exposure, althoughsomecameras offer up to five stops of AEB;and the function is available in program,shutter-priority, aperture-priority andmanualmode. The featurewas originally introduced toallow inexperiencedphotographers shootingin very difficult situations to take threeexposures in combinationwith exposurecompensation to ensure one good result.How?Well imagine you’re shooting a snowscene and you’re unsure if you need to apply+1 or +2EV. Set +1.5EV in exposurecompensation and inAEB set +/-0.5EV.Whenyou shoot your sequence, the result is a set ofthree images at +1, +1.5 and+2EV.

Today, AEB is predominantly used tocapture frames that are then used to produceHighDynamicRange (HDR) images, whichare normally processed usingPhotoshopor athird-party software likePhotomatix.WhenshootingHDR, the user needs to be verycareful not tomove the camera betweenframes, as thiswill render the rest of thesequence completely useless. It’s alsorecommended that focus is achievedprior totaking the first of theAEB sequence and thenswitch tomanual – the last thing youwant isyour lens hunting around for a focal point inbetween shotswhile someonewalks into yourframeand spoils the result. A remote releaseor the self-timer canbe usedwithAEB, so youonly have to press the shutter button once.

FlashexposurelockFlashExposureLock (FEL) isan oftenoverlooked

facility, availablewhenusing flash in difficultsituations. FEL isn’tavailable on all camerasandonlyworkswithcertain flashguns, so youneed to check yourinstructions to ensure youcan use it. Usually, it worksby pressing the partialmeter button (*) or AE-Lbutton to fire a pre-flash,which effectively takes aspot-meter readingwithflash. The information isstored for a short length oftime (anything fromsix to20 seconds, depending onyour camera), giving thephotographer time torecompose and take theshot. FEL is particularlyuseful in sceneswherethere are highly reflectivesurfaces, such asmirrorsor glass, or scenes thatinclude light sources likeneon lights. These can foolthe camera’smeteringsystemby reflecting backflash,which could lead topoorly exposedflashpictures. Using FELhelpsto avoid this problem.

HOWTOUSEAEB:1) Access the AEB function via the menu and use the inputdial to select how many stops you want to cover.2) Half-press the shutter button to exit the menu screen.3) Set up your shot and depress the shutter button threetimes (or use a remote release) to capture the bracket.

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HEDGINGYOURBETSUseAEBwith exposurecompensation to ensure oneout of three shots is perfect.

AEB: Perfect for…

CompensationcoverKnowing how to take control anduse exposure overrideswill helpyouwhen your camera strugglesto give the correct exposure.

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Exposureaids:Fine-tuneyourexposure!Aswe’veshown in thisguide, yourcamerahasavarietyofmodesandoverridesaimedathelpingyouobtaincorrectexposures.Here,wehighlightanumberofotherpopularways thatyoucanensureexposureerror isathingof thepast, ranging fromavarietyof inexpensiveexposureaids to the invaluablehistogramfacility.We’drecommendyouconsiderusingoneormoreof theseoptions,asallwill benefityourphotography

LightmetersIf you’re serious aboutphotography andhave somemoney to invest in your kit,youmay choose to splash outon a hand-held lightmeter.Although they’re not thecheapest of accessories(decentmodels start ataround£100), lightmetersgive themost accurateexposure readings.They canbe used to take anincident light reading, whichiswhen an exposure readingis taken of the light falling onto the subject. This is farmore accurate than theexposure reading takenbyyour camera, whichmeasures the light reflectedoff your subject. The reasonfor this is simple: incidentlight readings, as opposed toreflected readings, aren’taffected by the colour or toneof a subject. Place a blackhorse next to awhite horse inthe same lighting conditionsand the incident light readingwill be exactly the sameas itmeasures the light falling onthe subjects. Your camera’sreflected light reading,however, will give verydifferent readings for eachhorse, resulting in thewhitehorse being underexposedand the black horse beingoverexposed. So,whilethey involve a littlemore effort, usedcorrectly, a lightmeter providesperfect exposuresevery time.We’drecommend youcheck outmodelsfromSekonic andGossen.

BEachscEnEsReflections off the sea and sandcan play havocwithmetering. Agrey card can easily correct this.

spotlitsuBjEctIf your subject is lit by a small poolof light, place the grey card near toit for an accurate reading.

mixEdlightingUse a grey card to not onlyworkout the exposure, but to also set acustomWhiteBalance.

BacklitportraitsPlace the lightmeter close tothe face so its reading isn’taffected by the backlight.

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GreycardsAswe’ve alreadymentioned earlier in thisguide, your camera’s exposure systemassumesthat the average tone it ismetering is amid-toneof 18%grey. Therefore, failure tometer off amid-tone can cause havocwith howyour camerareads the scene, resulting in an over- orunderexposed image.

To help get around this problem, a lot ofphotographers choose to use a grey card: a piece ofcard that is printedwith a shade of 18%grey. Placeit in the scene youwant to capture, under the samelighting as your subject, then lock an exposurereading usingAE-Lock.

This should provide youwith a perfect exposure.However, there are a fewprecautions to take. Firstly,make sure the card is evenly lit and not tipped toofar forward or back, as this could lead to a falsereading. Secondly, bemindful tomake sure noshadows, including your own, are falling onto thecard, as this could also affect your exposure. If yourcamera can’t focus, switch tomanual focus andlock a reading from the card. If the card is at adistance fromyou (because you’re standing in verydifferent lighting to your subject), use the spotmeter to take a reading. Finally, remember yourgrey card is ideal forWhiteBalance, too.

1 2USINGAGREYCARD:1) Our before image, taken usingmulti-zone, is poorly exposed.2) With the image frame filledby the grey card, an exposurereading is taken and lockedusing the AE-Lock facility.3) Metering from the grey cardhas resulted in a perfect exposure.

3

60 PhotoTechnique GettinGStartedindiGitalPhotoGraPhy

Page 61: Getting Started in Digital Photography

SPUDZFrom£5If space andweight is importantto you, try a Spudzmicrofibrecloth. Not only will it clean yourlens, but the cloth is 18%grey,so you canmeter from it.www.robertwhite.co.uk

HistogramMost of us check our photo simply by reviewing theimage on the LCDmonitor. However, have you everquestioned howaccurate the tones andbrightnessreally are?A simplemethod to improve the accuracyof your review is to use the camera’s histogramfunction to assess the exposure. A histogram is agraphwith anXandY axis that shows thedistributions of tones across your image. Shadowsare on the left,mid-tones are found in the centralarea, while highlights are on the right side. You canwork outwheremost of the tones are foundbylooking at the distribution of the peaks and troughs.The higher the peak, themore tones in this area.Understanding how to read histogramsprovides youwith a fast and easyway to judge the scene’sexposure. However, it’s important that you learn howhistograms vary fromscene to scene.

Inmost average situations, like this landscapeimage, you should expect to see a peak towards thecentre. A peak to the left indicates underexposurewhile an overexposed imagewill peak to the right.That said, the distribution of tones and the positionof the peak is very different for overly dark or lightscenes. As you can see in our examples, a dark scenethat has been correctly exposed has peaks to the left,while a bright or snowy scenewill have peaks to theright. Take time to review images and learn thecharacteristics of histograms for different scenes.

DARKSCENE:Apredominantly dark scenewill generallyhavemore information to the left of the histogram.

SNOW:The snowdominating this scene and the lack ofshadows result in a histogramwith a peak to the right.

IMAGES

:LEE

FROST

Correct

Correct Correct

Under

Over

Other useful aids

EXPODISCFrom£55The Expodisc screws straighton to your lensmuch like a filter,and represents a fast and easyway to correctly expose for yourscene, whatever the lighting.www.flaghead.co.uk

LASTOLITE30CMEZYBALANCE£15A handy double-sided pop-up18%grey/white card that canbe used for both exposure andcolour correction. Its focusingtarget enables the camerato focus on the card to takenecessary readings.www.lastolite.com

DIGITALSLRPHOTOGRAPHYWHITE&GREYCARD£7.99Turn to the back of this guideand you’ll discover a free whiteand grey card to help ensureaccurate exposures.

PhotoTechnique 61GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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62 PhotoTechnique

GraduatedNDfiltersGraduated neutral density filters (ND) areavailable in two types of transition: hard andsoft. The soft type has a feathered edge,providing a more gentle transition suited toscenes with a broken horizon (the filter won’tsignificantly darken objects breaking thehorizon, such as a building or tree). A hardND has a more sudden transition, ideal if thehorizon is straight. This allows you to reducethe brightness of the sky with greater accuracy.

INCLUDING LOTS OF sky can adddrama and impact to your landscapes,particularly in stormy conditionsor when there is an amazing cloud

formation. Placing the emphasis on the skyrather than the foreground can prove veryeffective. However, achieving a correct exposurecan be tricky as, typically, the sky is brighterthan the land. The difference can be negligible,or it can amount to several stops, which willcause exposure problems. If your multi-zonemetering system biases its reading for the sky,the exposure will be shorter, underexposing theforeground, but if you correctly meter for theland, the longer exposure will blow out the sky.

When shooting a scene with more sky thanforeground, multi-zone metering (such asEvaluative or Matrix) can struggle. Meteringsystems try to record subjects as a mid-tone,so will assess the scene and typically producean image in which nothing is quite exposedcorrectly; the sky is slightly overexposed, andthe land slightly underexposed. Even if youswitch metering modes, problems will arise.For example, ‘spot’ – the most accurate formof metering – calculates exposure from acircle covering just two to three percent of theframe. By pointing the spot-metering sensorat the part of the scene you wish to baseyour exposure from, you’ll get a very precisereading. However, in situations like this – whenthe scene’s range of brightness exceeds thesensor’s dynamic range – you will encounter

problems with exposure, regardless of whatyou do. Spot-meter from the sky and theforeground will be underexposed. In contrast,if you take a spot-meter reading from a mid-tone in the foreground (like grass), the land willnow be correctly exposed, but the sky washedout. It’s a no-win situation. Different meteringpatterns, or using exposure compensation, willnot solve the problem of shooting unevenly litlandscapes. Don’t panic, though: the problemis relatively easy to correct. Firstly, you can taketwo identical images – one exposed for theforeground and one for the brighter sky – andmerge them on your computer. However, mostlandscape photographers prefer to correct theproblem in-camera using neutral density (ND)graduated filters. These filters are half-clear andhalf-coated with a transitional zone where theymeet. The neutral density coating is designedto absorb light, so by positioning it in the filterholder so that the coated area covers the sky,you can balance the exposure and achieve acorrect exposure throughout the scene with oneframe and without the hassle of having to blendimages. Graduated NDs are available in differentdensities to suit different lighting conditions –a 0.3ND equals a one-stop exposure reduction,0.6ND a two-stop and 0.9ND equates to threestops. To show you how to solve the problemof shooting an unevenly lit scene, boasting alarge sky, I headed out to the rugged beauty ofRoughtor on Bodmin Moor with my Lee Filters’100mm ND graduate set.

ShootingascenewithlotsofskyRossHoddinottexplainshowtouseNDgradfilters toachieveaperfectexposure inascene inwhichthesky is farbrighter thanthe foreground

Step1 It was a stormy eveningwhen I visitedRoughtor, so I decided toincludemore sky than foreground. I settled on a simple composition, usingthe granite outcrops as foreground interest. I setmyNikonD300 toaperture-priority, selecting an aperture of f/16 for a deep depth-of-fieldand the camera set to a shutter speed of 1/40sec. However, the result is poor.The foreground is underexposed and the highlights in the skywashed out.

Step2 In order to prevent highlights in the sky fromburning out, I decided totake a spot-meter reading from the sky. I switchedmyDSLR to spotmeteringand took a reading fromabright region of the sky. This gaveme a shutterspeed of 1/80sec. I locked this setting by pressing theAE-L button, and tookanother shot. The bright regions of skywere now correctly exposed, but as aresult of using a shorter exposure, the rest of the scene is noweven darker.

SpotmeterfromskyMatrixmetering

Page 63: Getting Started in Digital Photography

FinalimageWeare used to seeing a sky that is brighter than the land,so smoothing out any difference between themgives anunnatural result. Thismeans it’s best to use anNDgrad

with a density of around a stop less than the actualdifference in brightness. For example, if the difference

between sky and land is four stops, use a three-stop grad(0.9ND), if it’s three stops, use a two-stop grad (0.6ND),

and so on. In this case, I replacedmy three-stop filterwitha two-stop filter, and the result looksmuchmore natural.

Step3 Thescene’s rangeofbrightnesswas toogreat formyDSLR’sdynamicrange.Toshowthis, I tookanothershot, this timecorrectlymetering for theforeground. I spot-metered fromthegranite,givingmeanexposure timeof1/10sec–againat f/16.Thedetail in therockwasgood,but, asanticipated, thelongerexposureblewout thesky, ruining the image. I couldhavemergedthese twoexposures inPhotoshop,but Iwanted togeta ‘perfect’ exposure in-camera.

Step4 If the sky is brighter than the land, you can balance the exposure bypositioning the graduated zone of anNDgrad filter over the lighter sky. In thisinstance, the difference in exposure between the land (1/10sec) and sky(1/80sec) amounted to three stops. So, I positioned a three-stop graduatedNDfilter inmy camera’s filter system, carefully aligning the transitional zonewiththe horizon. However, the result looks a little too even and unnatural.

Spotmeterfromground

Page 64: Getting Started in Digital Photography

ThebasicprinciplesofaperturesWhat is anaperture?Howdoyoucontrol it?Whatdoes it actuallydo?All thesequestionsandmoreareanswered inaneasy-to-follow, jargon-free style

ADSLR’sdepth-of-fieldpreviewbuttonTo ensure the viewfinder is at its brightest – to assist viewing andfocusing – DSLRs are designed to view the image at the lens’sfastest (maximum) aperture. As a result, what you see through theviewfinder isn’t normally a true representation of the depth-of-fieldthat will actually be achieved. The depth-of-field preview buttonworks by stopping the lens down to the selected aperture (f/stop).When you do this, the scenewill darken in the viewfinder. Thesmaller the aperture, the darker the preview, but youwill be able toassess whether the selected f/number provides sufficientdepth-of-field. If not, adjust the aperture accordingly.While thisfunction can take awhile to get used to, it can prove highly useful.However, it may be helpful to reduce apertures gradually, stop bystop, so that changes in depth-of-field aremore obvious. It is worthnoting that not all cameras have this facility. If yours doesn’t,assess the depth-of-field by shooting a test shot and reviewing theimage on your camera’s LCDmonitor instead.

WHAT IS ANAPERTURE?Aperture is defined by the iris within a lens that controls the amount oflight allowed to pass from the front to the rear of the lens. A wideaperture allows lots of light through, while a narrow aperture restrictsthe amount of light. The various aperture settings appear as f/numbers,which you’ll see on your LCDmonitor and in the viewfinder. There’s along-winded and boring scientific explanation for f/numbers, but let’skeep it simple and stick to the fact that they indicate the size of theaperture. A low f/number, such as f/4, indicates a wide aperture, while ahigh f/number like f/22 indicates a small aperture.

WHATDOES THEAPERTUREDOANDHOWDO I CONTROL IT?You can compare the function of an aperture to the pupil of your eye. Inlow light, your pupil widens to allowmore light to reach the retina, whilein bright light, it constricts to limit the amount of light passing through.When left to function automatically, a DSLR or CSCworks in the sameway, selecting the aperture size (and corresponding shutter speed) thatis required to give the correct exposure. If you’re completely new todigital photography, it’s understandable that youmay have left thecamera set to programor Full-Automode, leaving the camera to controlthe aperture selection. But if you have a little faith in what you’rereading here, believe us whenwe say thatmoving the dial fromP to A(or Av) and trying out aperture-prioritymodewill allow you to take a bigstep forward in your photography, and themajor improvements you’llmakewill be far easier to achieve than you think.

Setting aperture-priority AE (AorAV)moves the camera into asemi-automaticmode. You’ll decide the aperture and the camerawillautomatically select the shutter speed that is required. So you’ve nocomplicated calculations tomake as the camerawill still take care ofworking out the correct exposure. However, you’ll have themajor benefitof being able to influence how the image looks depending on your choiceof the aperture. How?You’ll find out soon enough! So,we can see thatthe principal job of an aperture is to determine howmuch light you allowthrough at any given time. Andhowwechange the aperture is extremelyeasy – select A orAv on your camera and you’re in control.

The important thing we now have to grasp is how the aperture wechoose affects two very important aspects of the image: the exposureand the amount of depth-of-field within a scene.We’ll see how shortly.

SettingaperturesonyourDSLRorCSCAsyou’ll discover, changingapertures onyour digital SLRorCSC issimply amatter of selecting aperture-priority andmaking your choice!

Very fewCSCs sport theexposuremode dial found onthemajority of digital SLRs.However, it’s still very easy toselect the exposuremode.Withmostmodels all you needto do is press theMenu buttonor the four-way control dial todisplay a choice of exposuremodes and rotate thewheel toA to select aperture-prioritymode.With touchscreenmodels, simply press theAicon on the screen.

MOSTCOMPACTSYSTEMCAMERAS

64 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

(1) Set the exposuremode dialon the top-plate to AV to selectaperture-prioritymode(2) Turning the input dial justbehind the shutter buttonallows you to select theaperture value(3) You can see the aperturesetting by looking at theinformation display on the rearLCDor the information panelin the viewfinder display

CANONEOSDSLRS

1

2

3

(1) Set the exposuremode dialon the top-plate toA to selectaperture-prioritymode(2) Turning the input dialon the front of the handgripallows you to select theaperture value(3) You can see the aperturesetting by looking at thetop-plate or review LCDor theinformation panel in theviewfinder display

NIKONDSLRS

1

23

(1) Set the exposuremode dialon the top-plate to AV to selectaperture-prioritymode(2) Turning the input dial onthe rear of the camerawithyour right thumb allows youto select the aperture value(3) You can see the aperturesetting by looking at thetop-plate or rear LCDor theinformation panel in theviewfinder display

PENTAXK-SERIESDSLRS

1

2

3

(1) Set the exposuremode dialon the top-plate to A to selectaperture-prioritymode(2) Turning the input dial onthe top of the handgrip just infront of the shutter buttonallows you to select theaperture value(3) You can see the aperturesetting by looking at the rearLCDmonitor or informationpanel in the viewfinder display

SONYALPHADSLRS

1

2

3

Page 65: Getting Started in Digital Photography

By controlling the aperture, you candetermine the amount of depth-of-field inan image. Here, choosing a small apertureallows the entire scene to be sharp, fromthe gate through to the tree and beyond.

Exposure: Two seconds at f/22 (ISO 100).

GARYMcPA

RLA

ND

Many people are confused by f/numbers.

A large (wide) aperture has a low number,

eg f/4, while a small aperture has a high

number, like f/22. It’s confusing at first,

but you’ll get the hang of it!

Confusingf/numbers!onfusingf/numbers!

Page 66: Getting Started in Digital Photography

Aperturesandlow-lightconditionsWhenyou’re shooting indoors or in low light, youwill beworkingwith alimitedamount of available light andneed to take the appropriateaction. Assuming you’re not usingflash, the key thing todo is to haveanexposure that doesn’t suffer fromcamera shake.The twobestways todo this are as follows:

1)SETAWIDEAPERTUREANDINCREASETHEISORATINGSelect thewidest aperture to givethe fastest possible shutter speed. If it’s still tooslow, increase the ISO rating until you have a fastenough shutter speed. This is the best approachif hand-holding the camera, but using themethodbelowwill give better quality results.This portraitwas taken in verydark conditions,requiringanapertureof f/1.2 at ISO800 togiveasharp result.Notehowminimal thedepth-of-fieldis and thedrop-off of sharpness.

2)USEATRIPOD!Place yourDSLRorCSCona tripod (or other support) and you’ll get far better results than thefirstmethod, because you can shoot at a lower ISO rating for optimumcolour andminimumnoise. Also, you’re not limited to using awideaperture, so can choose amid-aperture setting for the best sharpness.

LOW-LIGHTLEVELWARNING!Youmaysometimes see the shutter speedflashingin the viewfinder or on the LCDwhenshooting in low light. This indicates that thecamera has selected the slowest shutterspeed in its range but still can’t give thecorrect exposure, because an even longer exposure than it’s capableof setting is required. The twoways around this are to select awideraperture and/or increase the ISOuntil the flashing stops.

AperturesandbrightconditionsBright lighting conditions aremuch easier towork in than low light, asyou havemanymore options for the aperture setting you can use.Choose an aperture that gives the results youwant, butmake sure theshutter speed remains fast enough to avoid camera shake.

TOOBRIGHTWARNING! It’s uncommonyou’ll ever have this happen, but youmaysee the shutter speedflashingwhenshooting in bright light. This indicates thatthe camera has selected the top shutterspeed, but it’s still not fast enough to give acorrect exposure for the aperture you’ve chosen. This is often becauseyou’ve left the ISO rating at a very high settingwhile shooting indoors,so lower this and/or use a smaller aperture.

Apertures&exposureKnowing howaperture settings affect the exposure isoneof thefirst things youneed toget to gripswith

EVERYEXPOSUREYOUmake is determinedby three key variables:aperture, shutter speed and ISO rating.When you take a picture inaperture-prioritymode, the ISO rating remains ‘fixed’ unless you change ityourself; in otherwords, the ISO is not influencedby the aperture settingyou select. However, that’s not true of the shutter speed,whichautomatically increases or decreases to provide the correct exposure forthe aperture that you select. You can see for yourself by settingAV (or A) onyour camera and rotating the input dial to change the aperture.

As you openup the aperture to awide setting, you allowmore lightthrough, so the camera reacts by giving a faster shutter speed,whileclosing the aperture, so that it restricts the light andprompts the camera toset a slower shutter speed. It’s important to experiment andunderstandthis balance as it is a fundamental principle of exposure. Knowing how itworkswill help you shootmore creatively.

In average lighting conditions, you’ll find that you can choosemostapertures and take pictureswithout any problems. But in lowor brightlight, the camera’s choice of shutter speed canpresent youwith someproblems.Understanding how the aperture setting controls theamount of light passing through the lenswill help you overcome them.

Aperture terminology• ‘Close down’ the aperture is anotherway of saying select a smaller aperture

• ‘Open up’ the aperture is anotherway of saying use awider aperture

• The ‘maximum aperture’ is thewidest aperture setting on a lens

• The ‘minimum aperture’ is thesmallest aperture setting on a lens

•A ‘fast’ lens is one that has a widerthan normalmaximumaperture for thelens type. It usually refers to those withan f/2.8 or fastermaximumaperture

exposure that doesn’t suffer fromcamera shake.

THEINCREASEANDAPERTUREWIDEASET1)

the fastest possible shutter speed. If it’s still tooslow, increase the ISO rating until you have a fastenough shutter speed. This is the best approach

thethanresultsbetterfargetyou’llandsupport)other(ortripodaon

Learningwhen to select a particular

aperture is at the heart of creative

photography. Use awide aperture to

accentuate focus on a certain point and

use the shallow depth-of-field for effect

Whentogowide!Whentogowide!

66 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

ISTO

CKPHOTO

Page 67: Getting Started in Digital Photography

This imagewas takenwith a16-35mmat thewidest end ofthe zoom. It’s sharp throughoutthe scene, despite awideaperture of f/4.5 being used,because ultra-wide-anglesoffer enormous depth-of-field.Exposure: 1/15sec atf/4.5 (ISO400).

ALL

IMAGES

:DANIEL

LEZANO

Most zooms have a variablemaximum

aperture, eg f/3.5-5.6. Thismeans that

themaximumaperture changes as you

zoom the lens, with the fastestmaximum

aperture at thewide end of the zoom

VariableaperturesVariableapertures

Page 68: Getting Started in Digital Photography

68 PhotoTechnique

Apertures&depth-of-fieldForrealcreativecontrol,practiseusingdifferentaperturesettingsandseehowsharpnesschangeswithinthescene

Depth-of-fieldFor this comparison set, the lens(28-70mmset to 70mm)wasfocused on the girl’s face. The onlything that was changedwas theaperture setting, in full stops fromf/2.8 to f/22. Note how the railingsbehind the subject becomeprogressively sharper as theaperture is closed down.

TherelaTioNshipbeTweeNaperture anddepth-of-field is quite possibly themost important thing for you to get to gripswith in photography. Thankfully, it’svery easy to understand. here’s a quick explanation: depth-of-field relates to thearea in front of andbehind the point of focus that appears sharp. Thedepth-of-field in a scene is determinedby a number of factors, including thefocal length of the lens you use and the distance between the subject and lensbut,most importantly, by your choice of aperture. if you set the lens to themaximumaperture (ie itswidest setting) youminimise the amount ofdepth-of-field. setting the lens to progressively smaller apertures increasesdepth-of-field and adds focal sharpness throughout the frame,with theminimum(smallest) aperture giving the greatest depth-of-field.

with some images, everything from the nearest blade of grass to the distantmountainswill be in focus. The lensmaybe set to focus on a certain point, but toprovide depth-of-field and sharpness throughout a scene, you’ll need to haveselected a small aperture.

You can see the effect of using awide aperture in images that have a shallowdepth-of-field, where there is only a single point in the scene that’s sharp and therest of it is thrownout of focus. The choice of aperture you’ll usewill reallydependonwhat you’re trying to show in your images and there are no hard andfast rules, although there are somegeneralisations that can bemade. Forinstance, landscapephotographers oftenwant the entire scene to appear sharp,sowill usually opt for a small aperture, while portrait photographerswant toisolate the subject from the background, so opt for awide aperture, so that thesubject’s sharp against a blurred background.

as you can see, knowing how to use apertures can have amajor effect on theway a scene is recorded, so trying out different aperture settings for differentscenarios can really help to improve your creative skills. as you’ll see from theimages in this guide, simply by practisingwith different apertures, you’ll increaseyour understanding of how someapertures suit certain subjects.

Whataffectsdepth-of-field?For any given aperture, you’llfind that both of the followingfactorswill affect the amountof depth-of-field that appearsin a scene.

Lenschoicewide-angles givemore perceived depth-of-fieldthan a telephoto at the sameaperture setting. so f/4with a28mm lens givesmoredepth-of-field than f/4at200mm!

subject-to-camera distanceThe closer the subject is to thecamera, the less depth-of-fieldthe image will have.

helen

dixon

f/2.8

f/4

f/8

f/16

f/5.6

f/11

f/22

Page 69: Getting Started in Digital Photography

Aperturesand‘sharpness’We’ve already assessed howchoosing a smallaperture increases depth-of-field, whichboosts sharpness throughout the scene. It’salsoworth noting howapertures can affectsharpness in twootherways:

OPTIMUMLENSSHARPNESSEvery lens has an optimumsetting to givethe very sharpest results and, in themajorityof instances, this is between f/8 and f/13.

DIFFRACTIONWhile a small aperture givesmore depth-of-field, at the extremes it canalso betray inferior optical quality, so thebenefit of one is cancelled out by the other.This usually happenswhen f/16 or smaller isused. The effect varies from lens to lens andis only really noticeable in very large prints.

BJO

RNTHOMASSEN

CHRIS

HER

RING

Apertures: Quick reference guideThere’s a lot to take in about apertures, butwith a littlepractice it should allmakemore sense in no time at all.However, below is a very succinct summary guide forwhenyouneed aquick reference

USEAWIDEAPERTUREWHEN…You’re shooting in low light andhandholding thecameraYouwant tominimise the depth-of-fieldYouwant to keep shutter speeds as fast as possibleYouwant to keep the ISO rating low to optimise quality

USEAMID-APERTUREWHEN…Youwant to optimise quality and are not concerned so

much about the amount of depth-of-field in the scene

USEASMALLAPERTUREWHEN…Youwant themaximumamount of depth-of-field

The excellent depth-of-field capabilitiesof a 12-24mmzoomallowed the

doorway and brickwork to be recordedusing amid-aperture setting of f/8.Exposure: 1/30sec at f/8 (ISO 100).

Page 70: Getting Started in Digital Photography

OneOfthefundamentalsof successful landscapephotography is being able to control and assess depth-of-field,to ensure that the image is sharp from front-to-back.

aperture-prioritymodehelps you to achieve this, not onlyby forcing you to think aboutwhich aperture to set, but also bymaking sure that once it is set, that aperturewon’t change iflight levels fluctuate or you attach filters to the lens. If theexposure has to be adjustedwhen shooting in aperture-prioritymode, the camera does it by changing the shutter speed, sothe aperture remains constant. this is vitally importantbecause achieving extensive depth-of-field is not just aboutaperture selection, but also focusing distance, and a carefulbalancing act between the two is required to ensure the bestpossible results. You could take every picture at f/22,with thelens set to infinity, andmostwide-angle shotswould endupwith front-to-back sharpness. unfortunately, this simpleapproachdoesn’t alwayswork, so you’re not going to get thebest results.Wide-angles and zooms tend to give their worstoptical performancewhen atminimumaperture and their bestmid-range around f/8 to f/13, so ideally you should shoot asclose to these settings as you can to achieve optimumopticalquality, and focus the lens at a distance thatmaximisesdepth-of-field at that aperture.

my favourite technique is based around something knownas hyperfocal focusing, which involves focusing on apointknownas the hyperfocal distance,where youmaximise thedepth-of-field available for the aperture in use. lenses oncefeatured a hyperfocal distance scale on the barrel, but virtuallynone do today. there is an equation for calculating hyperfocaldistance for any lens and aperture, so in trueBluePeterfashion, I did just that and created a hyperfocal distance chart,which you can copy and refer towhen you’re on location.

the distances inmetres (m) represent the hyperfocaldistances for each focal length and aperture. If you focus yourlens on that distance and set the corresponding aperture,depth-of-fieldwill extend fromhalf the hyperfocal distance toinfinity. so, if you’re shooting at 24mmand f/11, focus on apoint 1.5maway anddepth-of-fieldwill extend from0.75m(half the hyperfocal distance) to infinity –which ismore thanenoughdepth-of-field inmost situations.

Aperture-priority&landscapes

Hyperfocaldistancechart for focal lengths from16mmto200mm

16mm 20mm 24mm 28mm 35mm 50mm 70mm 100mm 200mm

f/8 1.0m 1.4m 2.0m 2.8m 4.2m 8.5m 17m 35m 140m

f/11 0.75m 1.0m 1.5m 2.0m 3.0m 6.3m 12.3m 25m 100m

f/16 0.5m 0.7m 1.0m 1.4m 2.1m 4.3m 8.5m 17.5m 70m

f/22 0.35m 0.5m 0.7m 1.0m 1.5m 3.1m 6.2m 12.5m 50m

f/32 0.25m 0.35m 0.5m 0.7m 1.0m 2.2m 4.2m 8.5m 35m

landscapespecialistleefrostshowswhyaperture-priority is themostpracticalexposuremodetousewhenshootingscenics

70 PhotoTechnique GettinGStartedindiGitalPhotoGraPhy

Aperture-priority&multi-zonemeteringBefore finally ‘going digital’ back in the spring of 2008,I’d spent 20 years shooting with film cameras that hadno internal metering, so I used a hand-held spot meterto determine correct exposure, which then had to bemanually set on the camera. thankfully, those days arelong gone. digital slRs and CsCs have fantastic integralmetering systems, capable of producing perfectly exposedimages in all but the most demanding situations, so I can’tsee the point in making my life more complicated than itneeds to be. these days, my digital slR is set to aperture-priority mode andmulti-zone metering and generallystays that way. Combined with the feedback provided bythe camera’s preview image and the image histogram,I’ve got all I need to ensure I get perfect exposures in anyshooting situation. the same applies to you.

f/2.8 f/4 f/8

f/16f/11 f/22

Page 71: Getting Started in Digital Photography

If you’re an absolute beginner,start off by shooting at f/11

if you can, to optimise imagequality, and only use a smaller

aperture if you need to getmoredepth-of-field. Easy peasy!

Finalimage

If youwant to shoot great landscapes in

good light, without compromising image

quality, mount your camera on a tripod

so you don’t have to worry about slow

shutter speeds causing camera shake

AlwaysuseatripodAlwaysuseatripod

Page 72: Getting Started in Digital Photography

DifferentialfocusingAnother popular techniquewhenusingshallowdepth-of-field is differentialfocusing. It’s simple tomaster, but thesecret is to knowwhen to use it. Theprinciple of the technique is to use a verywide aperture to emphasise a particularsubjectwithin the frame, by having itpin-sharpwhile the rest of the scene isthrownout of focus. It’s particularlyeffectivewhen there is a lot of depth in thescene and an aperture is used that blursunwanted elements in the frame,whileremaining sharp enough to berecognisable. Use it to pick out a particularperson in a crowdor to produce a creativeportrait with a story to tell.

THEREAREFEW, if any,more rewardingfeelings in photography thancapturingaportrait that not only pleases you, buthas the subject over themoonwithhowthey look in the shot.Most people havehad their picture taken, but fewget thechance tohave their portrait shot.There is a subtle differencebetweenthe two: one is aquick snap,with littleattentiongiven to the technicalaspects of the image, except somebasic composition; theother hasmore considerationgiven tohow thefinal result should look.

It’s often said that a goodportrait captures a little bit of thepersonality of a subject, and that’strue.Butwhat it alsodoes is recordthe sitter in away that’s differentfromother pictures that theyhavehad takenof themselves. Byusing acouple of simple techniquesbasedarounddepth-of-field and focusing, you candeliver really distinctive portraits, aswe’lldiscover shortly.

Thegeneral rule for portraits is that you focuson the eyes and set awideaperture (usuallyaround f/5.6) to throw thebackgroundout offocus,while keeping the face sharp. This ‘f/5.6rule’ is one that is used successfully bymanylifestyle photographerswho like towork fast,preferring to concentrate on interactingwith thesubject andminimisehaving to change settings.

If youwant to includemoreof the environment inthe scene, a smaller aperture (usually coupledwithawider lens) is required to keep thebackground, aswell as the subject, in focus.

While ambient light is often ideal, you should alsoconsider using a studioflash kit. Aswell as allowingyou to control lightingdirection, you canalso adjustits intensity toprovide the correct lighting levels tosuitwhichever aperture you select.

A technique thatworks reallywell is to shoot aportraitwhere thezoneof sharpness is extremelyshallow.Theeasiestway todo this is to followall the‘tricks’ that are required togivean image theshallowestdepth-of-fieldpossible, usinga telezoomset to itsmaximumapertureandat a relatively shortsubjectdistance.The result of this is a tight cropof thefacewhere, bar a small focusedarea,muchof the

frame is thrownoutof focus. The result is a very ‘soft’image that,with some thoughtgiven to lighting, canlook romantic if lit bydiffused light, ormoreartyandstriking if strongdirectional light is used.Whenusingthis technique, besure to focuson theappropriatepartof the face, usually aneye, but also try themouth, too.It’s certainlyworthgiving it agowitha friendor familymemberandseeinghowyougeton.

Usingdepth-of-fieldinyourportraitsByalteringyourshootingdistance,beingcreativewithhowyoufocusandthinkingaboutyourchoiceofaperture,youcan learn toreallymakeyourportraitsstandout

rewardingmoreany,ifcapturingthanphotographyinfeelings

butyou,pleasesonlynotthatportraitahas the subject over themoonwithhow

havepeopleMostshot.theinlooktheythegetfewbuttaken,picturetheirhad

betweendifferencesubtleaisTherelittlewithsnap,quickaisonetwo:the

more considerationgiven tohow the

canyoufocusing,andelddepth-of-fiaround

aboutyourchoiceofaperture,youcan learn toreallymakeyourportraitsstandout

LenschoiceYou canusemost lenses forportraits, from the tele-end of an18-55mmkit lens to telezoomslike a 55-200mm.Using a longerfocal length provides amoreflattering perspective than usingawide-angle and also produces ashallower depth-of-field,makingit ideal for eye-catching portraits.

Portraitschecklist1)SHOOTHAND-HELD It willmean you canmove around andframequickly or, better still, use amonopod.Using themaximumaperture provides the fastestpossible shutter speed, but if it’sstill low, use the image stabiliser ifyour camera or lens has it and/orraise the ISO rating.2)CHECKYOURDISTANCEAt verywide apertures, you haveto be careful not tomove forwardor backward after focusing, asthis can lead to unsharp results.3)EYECONTACTEnsure that thesubject’s eyes are clean and thatmake-up has been carefullyapplied. Try someshotswith thesubject looking into the lens andotherswith them looking away.4)USETHESHADOWSPayattention to lighting andhowshadows fall across the face – usethem to addmood to the image.5)CONSIDERMONO It’s alwaysworth converting portraits toblack&white and seeing howthey compare to colour images.

inenvironmenttheofmoreincludetowantyouIfwithcoupled(usuallyaperturesmallerascene,the

asbackground,thekeeptorequiredislens)widera

SHOOTINGDISTANCEBoth shots were taken using the same lens and

aperture, but depth-of-fieldwas altered by changingthe shooting distance. The shorter distance gives less

depth-of-field, which blurs thewindow blinds.

HIDE&SEEK:These images illustrate howdifferential focus can have amajor effect onthe result. The same exposurewas used inboth shots, but the focuswas changed toreveal different elements in the scene.

Focusonnearestperson Focusonfurthestperson

f/5.6@200mm

f/5.6@200mm

DANIEL

LEZANO

BJO

RNTHOMASSEN

72 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Shallowdepth-of-fieldBy shooting this portrait at f/2.8,

depth-of-field is limited to the subject’sface, with her body and the backdrop

falling beautifully out of focus.

daniel

lezano

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SelectivefocusingIn close-up photography, thedepth-of-field is so shallow thatany slight adjustment to the focushas a huge effect on the result.This is furthered by the fact that,unlike other areas of photography,depth-of-field falls evenly both infront of andbehind the focalplane.Manymacro enthusiastsprefer to usemanual focus; theprecision of having full control ofthe point of focus. This can bequicker thanhaving the lens ‘hunt’duringAF, so don’t be afraid ofswitching your lens tomanualfocus andhaving a go.

DEPTH-OF-FIELD is oneof themost important creativeelements of close-upphotography. The lackof distancebetween the subject and the camera’s sensormeans thearea that appears sharpwill be very limited.Dependingonhowyouset your shot up, it couldbe justmeremillimetres,evenwhenusing a small aperture! For this reason,macrophotography requires very accurate focusing; evenbeingfractionally offwith your focus could result in anunusableresult. A goodknowledgeof apertures is the singlemostimportant factor, as the f/number youchoosewill have thegreatest influenceon theamount of depth-of-field in yourimage.Butmacrophotographybringswith it its ownunique challenges and rules.

One notable difference betweenmacro and othertypes of photography is howdepth-of-field is evenlydistributed in front of and behind the point of focus. Inother words, the amount of the scene that appears to besharpwill be equal both in front of and behind the point offocus. In other areas of photography, the distribution is 1/3in front and 2/3 behind the point of focus.

It is important to have an idea of howmuchdepth-of-field best suits your subject. For arty, abstractclose-ups, or shots inwhich you onlywant one specificpoint to appear in focus, such as petals on a flower, shallowdepth-of-field is best, keeping only a small part of a petal orstamen in focus. For this, youwould use thewidest apertureavailable on your lens. If, however, youwere shooting aninsect, such as a dragonfly, andwanted to keep thewholesubject sharp, youwould use a small aperture, such as f/22.

The aperture is not the onlyway that you can influencedepth-of-field: the position of your DSLR or CSC’s sensor is also crucial. The focal planeruns parallel to the sensor, so if youwant to keep your subject sharp, your subjectmustbe square-on to the camera. By rotating or tilting the camera (and sensor plane) youcan reduce depth-of-field further, as the subject willmove out of the focused areaquicker. (To line up, use the back of your camera or the symbol on the top-plate asa guide, as it is parallel with the sensor!) Finally, the other way to have amajor effecton depth-of-field is by using selective focus, as described below.

Controldepth-of-fieldinclose-upsBy reducing thedistancebetweensubject andcamera, you increase the impactcreatedby limiteddepth-of-field.Here,wegiveyoua fewkey tips tobetter control

FOCALPOINTThese shots illustratethe dramatic difference that a slightadjustment in focus canmake to aclose-up shot. The closer you are toyour subject, themore impact theseadjustmentswillmake.

stamen in focus. For this, youwould use thewidest aperture

subject sharp, youwould use a small aperture, such as f/22.

ABOVE: Theseshots show howthe depth-of-fieldcan be verylimitedwhenshooting at closerangewith amacro lens.

LenschoiceMacro lenses are ideal for close-upwork, as they allowyou togetreally close to your subject, givingyouahugeamount of creativecontrol over depth-of-field. Ifyoudon’twant to splashout onamacro lens, you canpick upextension tubesor close-upfiltersto convert your standard zoomfor close-upphotography.

UsingLiveViewCanon’s LiveViewsystemallowsyou to adjust the aperture settingandobserve in ‘real time’ thechanges that this hasondepth-of-field, allowing you tochoose your favourite setting!

Close-upchecklist1)USEASTURDYTRIPOD It willeliminate camera shakewhenusing small apertures and aidfocus, aswhenhand-holding thecamera, you’ll find any slightbodymovementswill throwyoursubject out of focus.2)FOCUSACCURATELY! It isessential thatyougetthefocusright.Whendepth-of-field is thislimited,anythingthat isnotonthepointof focusmayappearunsharp.Manual focus isquiteoftenthequickestandbestoptiontouse.3)USEMIRRORLOCK-UP(DSLRS)Toprevent blur causedby themirrormovingas theshutter is triggered, try locking themirror andusing the self-timer. Aremote release is useful, too.4)CHECKYOURFOCUSThedepth-of-fieldpreviewbutton isuseful, butwith short exposures, itcanoftenbeeasier to simply takea test shot and review it on yourLCD.And let’s not forget thebenefit of usingLiveView, too.5)CHANGEYOURDISTANCEThedepth-of-fielddependsgreatly on yourdistance from thesubject. Try shooting from furtheraway to increasedepth-of-fieldandcloser up to reduce it.

adjustmentswillmake.

74 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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ALL

IMAGES

:ROSSHODDINOTT

f/22

Averywide aperture isideal for creative close-upsas the effect is farmoreattractive than using asmall aperture (see inset).

Page 76: Getting Started in Digital Photography

The basic principlesofshutterspeedsSo,whatareshutterspeeds?Howaretheycontrolledandwhatdotheydo?Readonfor theanswers totheseandothershutterspeed-relatedqueries

WHATARESHUTTERSPEEDS?The shutter speed is the precisely-calibrated length of time that a camera’sshutter remains open to enable the correct amount of light to pass throughthe lens to expose the sensor. Themajority of images taken require speedsof just a fraction of a second, although shutter times canpotentially run toseconds,minutes or, in the case of some specialised formsof photography,even hours. The shutter speeddictates howmotion is recorded. A fastshutter speedwill freeze subjectmovement – perfectly suspending actionand recording finedetail. Setting a slow shutterwill blurmovement –helping to create a visual feeling ofmotion and energy.

Digital SLRs andCSCshave awide range of shutter speeds, typicallyfrom30 seconds to speeds of, or exceeding, a staggeringly fast 1/4000sec.MostDSLRs andCSCs also have a ‘Bulb’ setting, which allows the shutterto be opened for as long as youdepress the shutter release button.

HOWARETHEYCONTROLLEDANDWHATDOTHEYDO?Combinedwith any given lens aperture, the shutter speed is designed toallow sufficient light to reach the image sensor to produce a correctlyexposed image. If the shutter speed is too fast, insufficient lightwill reachthe sensor, so the resulting shotwill be too dark, ie underexposed. Incontrast, if the shutter speed is too slow, toomuch lightwill strike thesensor, resulting in an image that is too bright, ie overexposed.

If you are using your camera in one of its automated exposuremodes,the shutter speed– alongwith the corresponding aperture –will be setautomatically.While this is the easiest option, it doesn’t give you anycontrol over theway your subject is recorded. After all, while your cameramaybe highly sophisticated, it is not able to predict the effect youwant toachieve. Therefore, if you haven’t already, it is time to grasp control of yourcamera by selecting shutter-priority (S or TV)mode.

Shutter-priority is a semi-automaticmode that allows you tomanuallyselect the shutter speed,while the camera sets a corresponding f/stop toachieve the correct exposure. Therefore, it really isn’t as complex ordaunting as youmight imagine and there are no tricky calculations tomake. Instead, thismode allows you to concentrate on selecting a shutterspeed thatwill suit the subject you are about to photograph. This choicewill greatly dictate the look of your final shot, influencing the appearance ofthe subject’smotion…aswewill discover over the following pages.

MARKBAUER

Settingshutterspeeds on your DSLR or CSCControlling shutter speedsonyour camera couldn’t be easier; it issimply amatter of selecting shutter-prioritymodeand rotating adial!

ChoosingfiltersIf shooting longexposures in low light,therewill often be quitea difference inbrightness between theforegroundwhich, afterthe sun sets, will havenodirect light on it, andthe sky, whichwill be litfrombelow. AGraduatedNeutralDensity filterwill ensurethat this contrast stayswithin the dynamicrange of your camera’ssensor. If shooting alongthe coast, with cliffs toone side, angle the gradso that it doesn’t cutinto the cliffs toomuch.Another useful filter isthe polariser. Not onlywill it reduce the glareoff anywet foregroundrocks, but it will cut out up to two stops of light(exactly howmuchdepends onhowmuchpolarisation you use), enabling you to extendexposure times.

76 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

(1) Set themain control dial on theright-hand side of the top-plate to TVto select shutter-prioritymode(2) Turning the input dial justbehind the shutter button allows youto select the shutter speed value(3)Youcansee theshutter speedsettingby lookingat the informationdisplayon the rearLCDmonitororthe informationpanel in theviewfinderdisplay

CANONEOSDSLRS

12

3

(1) Set themain control dialon the left-hand side of the top-plateto S to select shutter-prioritymode(2) Turning the input dial on thefront of the handgrip allows you toselect the shutter speed value(3) You can see the shutter speedsetting by looking at the top-plateLCDpanel or the information panelin the viewfinder display

NIKONDSLRS

1

2

3

(1) Set themain control dial on theright-hand side of the top-plate to Sto select shutter-prioritymode(2) Turning the input dial on the topof the handgrip just in front of theshutter button allows you to selectthe shutter speed value(3) You can see the shutter speedby looking at the rearLCDmonitoror the informationpanel in theviewfinderdisplay

SONYALPHADSLRS

12

3

(1) Set themain control dial on theleft-hand side of the top-plate to TV toselect shutter-prioritymode(2) Turning the input dial on the rearof the camerawith your right thumballows you to select the shutter speed(3) You can see the shutter speedsetting by looking at the top-plateLCDpanel or the information panel inthe viewfinder display

PENTAXK-SERIESDSLRS

1

2

3

Very fewCSCs sport the exposuremode dial found on themajority ofdigital SLRs. However, it’s still veryeasy to select the exposuremode.Withmostmodels all you need to do ispress theMenu button or the four-waycontrol dial to display a choice ofexposuremodes and rotate thewheelto S to select shutter-prioritymode.With touchscreenmodels, simplypress the S icon on the screen.

MOSTCOMPACTSYSTEMCAMERAS

Page 77: Getting Started in Digital Photography

By controlling the shutter speed, you areable to determine howmoving subjects –in this case, the sea – appear in an image.

A fast shutter speedwould have frozen thewater, but by using a fairly slow shutter

speed, thewater takes on an attractive blur.Exposure: 0.6sec at f/22 (ISO 100).

CHRIS

HER

RING

Generally speaking, a slow shutter

speed is 1/30sec or slower;medium

speeds are 1/60-1/250sec; while fast

speeds are 1/250sec upwards. However,

in practice, it is all relative to the subject

Slow,mediumorfast?

Page 78: Getting Started in Digital Photography

NotenoughlightWhether youare shooting indoors or out, low light levels canpresentproblems for photographers. Shutter speedsgrow longer in response tothedull conditions and, if youare shootinghand-held, the risk ofcamera shake is greatly increased–particularly at speedsof 1/60secand longer. Sowhat is the solution?Youmight presume that thebest thing todo is select the fastest

shutter speed that the light levelswill allow, but this is not always thebest option.Bydoing so, youare also effectively setting the largestaperture (smallest f/number) – remember theyhavea reciprocalrelationship. Thiswill result in a very shallowdepth-of-field thatmaynot be sufficient to record enoughof your subject in acceptable focus.Therefore, it is oftenbetter to use a tripod to support your set-upinstead, as thiswill allowyou to employ longer shutter speeds to createagreater depth-of-field,while also eliminating the risk of shake.However, if the subject isn’t static andyouwish to freeze its

movement –or youhave to shoot hand-held – youwill indeedneed toprioritise a fast shutter. Therefore, opt for the fastest shutter speedavailable to you. If this still isn’t quick enough to freezemovement,select a higher ISOsensitivity of 400or above.Doing sowill generate afaster shutter speed–althoughnoisewill increase as a result.Alternatively, use aburst of flash (above) toprovidemore light.

AvoidingcamerashakeThere are several ways to prevent camera shake from ruining yourshotswhen a tripod isn’t available. Using a fast shutter speed is themost traditional –make sure that the shutter speedmatches thefocal length of your lens, so if you are using a 300mm lens,makesure the shutter speed is at least 1/300sec, and so on (imagestabilisation also helpswith this!). Increasing the ISO rating andusingwide apertures helpwith setting faster shutter speeds.

Shutterspeeds&exposureYou’vemade apositive step by selecting your camera’sshutter-priority exposuremode; but before you canbegin setting shutter speedswith confidence, youmustunderstand the effect it has on your exposure

EXPOSURE IS INFLUENCEDby three variables: shutter speed, lensaperture and ISO sensitivity. The camerawill not alter the ISO sensitivityin shutter-prioritymode (S or Tv) – only you can do this, by adjusting itmanually. However, the f/stopwill alter, depending on the shutter speedyou select. This is because shutter speeds and apertures have a reciprocalrelationship – if you increase one, theremust be an equal and oppositeadjustment in the other tomaintain the correct exposure.

To help you to understand this relationship, grab your camera, switch itto shutter-prioritymode, and adjust the shutter speed by rotating theinput or command dial. Youwill notice how the f/number changes inresponse to the shutter speed you select. This simple exercisewill helpyou to appreciate theway exposureworks. For example, if you set a fastshutter speed, the aperturewill be larger (a low f/number, such as f/4, willbe selected) to allowmore light to pass through; if you select a slowshutter speed, the aperturewill be smaller, so youwill have a higherf/stop, such as f/16, whichwill restrict the light reaching the sensor.

Themaximumandminimumshutter speeds you can select will bestrongly dependent on ambient light. Toomuch or too little can limit youroptions,meaning that youwill have to adapt or compromise. This guidewill serve you as a starting block and give you a basic understanding ofshutter speeds, how the exposure of your shotswill be affected by themand how to overcome any difficulties youmight encounter. It is not asdaunting as it sounds, so be brave and give it a go! Here, we’ve includedsome advice about copingwhen facedwith extreme lighting conditions.

ISTO

CKPHOTO

S

ISTO

CKPHOTO

S

ToomuchlightIn bright light, shutter timeswill be fast.Manyentry-levelDSLRsandCSCshaveamaximumshutter speedof 1/4000sec;whilemoreadvancedmodels are up to 1/8000sec. Tobehonest, it is very unlikelyyouwill ever need touse this speedand–unless youareusing yourcamera at ahigh ISO ratingof 800or aboveona very sunnyday– it israre to reach these speeds in everydayphotography.

In bright conditions, photographers havemore options. You canselect a fast shutter speedwhile also enjoying awide depth-of-field,due to the corresponding aperture being smaller than if therewereless light. This is extremely useful when youwish to shoot rapidaction, such as in sports andwildlife, which require a fast shutter tofreezemovement. However, believe it or not, it is possible to have toomuch light, such aswhen youwish to blur a subject’smovement tocreate a sense ofmotion. This isn’t possible using a fast shutter speed,so youwill want to reduce shutter time. In shutter-prioritymode, it isquick and easy to select the slowest shutter speed available byrotating the input dial. Also, ensure the lowest ISO rating is selected –typically 100or 200. If shutter time is still too fast to create the effectyou desire, youwill need to reduce the light entering the lens. The bestway to do this is by using something called aNeutral Density filter,which restricts the light passing through it.

WithshakeNoshake

78 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Selecting the fastest shutter speed

available sets thewidest possible

aperture, and vice-versa; so using

shutter-prioritymode is a quick way to

choose thewidest or smallest aperture

Shutter-priorityShutter-priority

Having a basic understanding ofshutter speeds is all you need to beable to take creative images likethis. An exposure of severalsecondswas used to capture thislong andwinding traffic trail.

ISTO

CKPHOTO

S

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80 PhotoTechnique

UsingfastshutterspeedsAswehavealreadyseen,shutter timesplayacrucial roleinthemakingofan image.Varyingtheshutterspeed/apertureequationcangreatlyaffect thewaythesubject isrecorded–particularlymovingsubjects

WHENSHOOTINGPOPULARsubjects such as sports, action, birds andmammals, photographerswill oftenwant to suspendmovementmid-action, freezing it in sharp detail. To capture this sort of imagesuccessfully, your exposurewill require a fast shutter speed.

You’ll find that the speed requiredwill be relative to the subject’smovement (speed anddirectionwill each have an effect), and also thefocal length of the lens being used. For example, aman running parallelwith the viewfinderwill bemovingmore slowly across the frame than, say,a travelling car. Therefore, the slowest shutter speedneeded to ‘freeze’ therunnerwill be slower than that for the vehicle, but faster than if themanwere simplywalking. If the runner is jogging directly toward you, theywillbe crossing less of the sensor plane and thereforewill require a slowerminimumshutter speed to be rendered sharper than if theywere runningparallel across the frame. In otherwords, you need a faster shutter speed ifthe subjectmoves across the frame than ifmoving towards/away fromyou.

Using a longer focal length or a telephoto lensmeans that the subjectfillsmore of the image space, and thereforemoves fasterwithin the framethan it would if youwere using a shorter focal length orwide-angle lens.

Theminimumshutterspeedrequiredto freezesubjectmovementwillbegreatlydictatedbythe factorsmentionedabove,so there isnohardandfastrule regarding thespeedyoumustselect.Adegreeof trialanderror isoftenrequiredtoachieve thecorrectspeed.However, inpractice,agoodstartingpoint is tosetashutterspeedof 1/500-1/1000sec.Aspeed in this regionnormallyprovessufficient tosuspendthemotionofmostmovingsubjects.

ISTO

CKPHOTO

To capture amoment, such as those above and right, it is important to set afast shutter speed to keep the subjects sharp. Using continuous shootingmodewill also increase your chances of getting the best possible result.

ShutterspeedsformovingsubjectsThis quick-reference table provides a starting point for which shutterspeeds to try when shooting a number of different types ofmovingsubjects. Try these to begin with, then experiment with other speeds,and study how different the subject appears when it has beencapturedwith slower or faster settings.

Subject Recommended shutter speeds

Subject moving Subject movingtowards camera across frame

Jogger 1/125-1/200sec 1/250-1/500sec

Sprinter 1/250-1/500sec 1/250-1/500sec

Car (30mph) 1/250-1/500sec 1/250-1/500sec

Car (70mph) 1/250-1/500sec 1/500-1/1000sec

Cyclist 1/200-1/250sec 1/250-1/500sec

Galloping horse 1/250-1/500sec 1/500-1/1000sec

Fast motorsports 1/500-1/750sec 1/1000-1/2000sec

Howtogofaster!Here are two easyways to set up yourcamera to give you the fast shutterspeeds that freezemoving subjects.

HIGHISO Increase the ISO ratingto enable you to set faster shutterspeeds: it’s the equivalent of using afaster filmon a 35mmSLR. In the early days, anyISO over 400would have been too noisy formostuses, but on today’s cameras, ISO800 or even 1000 is okay to try.

FASTLENSESThe term ‘fastlens’ is used to refer to lenseswith awider than averageaperture. Because these allowmore light through, you’re ableto select a faster shutter speed.Unfortunately, they’re relatively largeand heavy, and very expensive!

yourupsettowayseasytwoareHere

lm on a 35mmSLR. In the early days, anyfaster fimostfornoisytoobeenhavewould400overISO

ableyou’rethrough,lightmorespeed.shutterfasteraselectto

Unfortunately, they’re relatively largeand heavy, and very expensive!

Page 81: Getting Started in Digital Photography

ShutterspeedsinlandscapesWhen shooting landscapes, youwillsometimes have to decide between along or short exposure. A fast shutterspeed can freezemotion, while a longerexposuremight be used to includeplants in the foreground, blowing in thebreeze, or to create a ‘silky’ effect inrunningwater.With fast-movingsubjects, a ‘long’ exposuremight beanything slower than 1/250sec, so youshould shoot a series of exposures atvarious shutter speeds anduse the LCDmonitor to review the results.

ISTOCKPHOTO

MARKBAUER

The shots on the right illustrate the effectthat shutter speeds can have on alandscape shot.Withmoving subjects,shutter speeds canmake a big difference.

Summary:FastshutterspeedsUSEAFASTSHUTTERSPEEDWHEN…Youwant to freeze the

subject’smovementWhen youwant to

keep the correspondingaperture large tominimise depth-of-field

You are shootinghand-held andwant toeliminate the risk ofcamera shakeYou are shooting in

very bright conditions,to avoid any risk ofoverexposure

1/4sec 1/250sec

Using fast shutter speedswill result in

wide apertures. Therefore, depth-of-

field will be shallow. This will help your

subject stand out from its background,

but your focusing needs to be precise

Depth-of-fieldDepth-of-field

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UsingmovementinlandscapesDOYOUEVER feel that your landscape images sometimes appear static and lifeless? It is a commoncomplaint, but one that is easily remedied by taking creative control over exposure.While landscapephotographers are often taught to prioritise front-to-back image sharpness, aswehavementionedbefore, adegree of subject blurwithin the scene canprove a powerful visual tool. It can create a genuine sense ofmotion that, when combinedwith a suitable scene, can be very attractive. Landscapes are probably one ofthe best subjects to use if youwant to experimentwith, and explore, the potential of slow shutter speeds.The range ofmaterial to shoot is endless and thewind can enhance anymovement you try to capture.So, instead of attempting to freeze themovement of a crop of golden barley, swaying buttercups orwind-blown trees, why not go to the opposite extremeand shoot to capture theirmovement? The results canbe stunning. However, creating just the right effect can be tricky. Toomuchmotion, anddetail can growindistinguishable; too little, and it will not look intentional. It is a fine balancing act. There are no set rulesregarding the shutter speed you should select; it will vary depending on the landscape, the strength of thewind and the effect youwish to achieve. Experimentation is important. Bracket exposures by one-stopincrements and check images on your LCDmonitor to help discover the best effect.

RossHoddinotthasacloser lookathowtoget thebest fromslowshutterspeeds

ABOVE&OPPOSITE:This field of oilseed rapemade a bright and colourful landscape. I composedmy shot and then took a sequence of imagesemploying progressively longer shutter speeds. The first image, shot at 1/250sec, has perfectly frozen themovement of the flowers in the summerbreeze. Subsequent images, at 1/125sec and 1/60sec, look very similar. However, once exposure time lengthens beyond 1/30sec, subjectmovementgrows increasingly noticeable and at shutter speeds of one second andmore, the flowers are rendered as a yellow haze.While the effect isn’tunpleasant, in this instance, I prefer the result achieved using a shutter speed of½ second.

Noise – randomly-spaced,coloured pixels – ismoreobvious in images capturedusing a long exposure. It is forthis reason that themajorityof cameras are designedwitha long exposureNoiseReduction (NR) facility. Thiscan normally be accessed viaone of the camera’s set-upmenus and is designed forwhen shutter speeds exceedfour seconds.When switchedon, imageswill be processedin-camera to reduce theimage-degrading effects ofnoise. Although continuousburst speed, and the numberof images that can be storedin the camera’s buffer, will bereduced as a result, NR is ahandy feature to usewith verylong exposures.

NoiseReduction(NR)

UseapolariserIf you don’t own aNeutral Densityfilter, then use a polariser instead.While not all polarising filters aretotally neutral, they have a ‘filterfactor’ of two stops – equivalent to a0.6ND. Therefore, they canbe usedas amakeshift NDwith the addedbenefit that reflective glarewill alsobe reduced. Thiswill saturate colourand give your shotmore impact.

1/125sec 1/60sec 1/30sec 1/8sec

1/4sec 1/2second Onesecond Twoseconds

WithpolariserNopolariser

82 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Most tripods aremade to be lightweight,

so they canmove slightly during long

exposures. Try hanging your gadget bag

off your tripod for extra stability and use

a remote to trigger the shutter release

It’snotheavy!t’snotheavy!

Using a shutter speed that’stoo slowwill render an imagecompletely blurry, which canresult in a loss of detail.

Fourseconds

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Oneof themost stunning techniques onwhichto practise your low-light photography skills isthe capturing of traffic trails. Not only are therean abundance of vehicles on the road, but ondark evenings from late autumn through tospringtime, you can venture out just afterEastEnders to give this technique a go, ratherthanwaiting until the dead of night.

Images of traffic trailswork by combining along shutter speedwith the fast-moving lightscausedby cars passing through the frame.Because of the low light and long exposure, thecars are invisible, leaving only the streaks oftheir headlights in the shot. The techniquerequires the smallest amount of kit, whichmakes it evenmore appealing. All you need is aDSLRorCSCand a tripod, although a remotereleasewillmake the process a lot easier.

Ready to give this technique a go, I grabbedmygear andheadedout into the dark, taking a

position on an overpass of a busyBirminghamroad. I recommendalways arriving at yourlocation at least tenminutes before the sungoes down so you can take your time andfindthe best angle to shoot from, and also to takeadvantage of the sky’s blue tint that’s visibledirectly after the sun goes down.

Because you’re shooting at night, it’s worthremembering a few important safetyprecautions. Always have permission tophotograph if you are snapping fromprivatelyowned land. Remember to be as discreet aspossible – youdon’t want to advertise thatexpensive camera body to thieves. Finally,because youwill be shooting in the vicinity ofmoving traffic – itmaybe an obvious one toconsider – be aware of the cars around you. Itmaybe awise decision towear a fluorescentbib, which canbebought fromcycling shopssuch asHalfords.

Step1 I set upmy tripod to take a fewquick test shots at a high ISO, to seehow the angles and lights look, before returning the ISO to 100 and placingthe camera on the tripod. I choose to shoot the image in portrait format toemphasise the longwinding streaks caused by the headlights, and also toinclude the tall buildings bordering the road.

Step3 I attempt to take another shotwith a longer shutter speed. However,as I trigger the shutter button,my hand causes some vibration to the camera,blurring the image. To get around this problem, I attachmy remote release,although if you don’t have one, you can simply set your camera’s self-timer.Remember not to knock the tripod during the exposure.

Step2 I set the cameramode tomanual. You can use aperture-prioritymode, but the streetlights can trick the camera’smetering system.Myexposure of 1/10sec at f/2.8 (ISO 100) isn’t long enough to create anytraffic trails. Also, thewide aperturemakes the streetlights look bland –using a smaller aperturewill give the lights a pleasant starburst effect.

Step4 I play aroundwith somedifferent shutter speeds to see how theyaffect the image. At ten seconds the image is too dark, losing detail in theroad. However, at 16 seconds the image is too light, with the light trailsburning out. A shutter speed between these two points should giveme thecorrect exposure. You should experimentwith your shutter speeds, too.

TraffictrailsinlowlightProfessionalphotographerPaulWardexplainshowtoavoidgettingyourself ina jamwhileshooting traffic trails inanurbanscene

Ten secondsatf/18

1/10secatf/2.8

30secondsatf/18

WhiteBalanceIf you shoot in Raw, you can alter theWhiteBalancewhen you upload your images on toyour computer. However, if youwant to trydifferentWhiteBalanceswhile taking yourshot, there are a couple ofways this can beachieved. Either take a test shot, changingtheWB in themenu as you go, or switch toLiveViewanduse the LCDmonitor to judgehow theWhiteBalance presets affect yourimage.We coverWB inmore detail on p46.

Tungstensetting

Flashsetting

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FinalimageWithexposure settings correct,everything falls intoplace toproduceadynamic image.Whynot give this techniquea shot?

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86 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

ShootdaylightportraitsThecreativescopeforcompositionandtheuseofdaylight isvast.Butwhile therearenorules,weoffersomeguidelines thataresure to improveyourportraits

PORTRAITURE ISONE of themost popular subjects forphotographers but also one that newcomers to digital photographystruggle with. That’s understandable, as not only do you have to takecontrol of all your camera’s settings, you also need to be able to workwith your subject and know how tomanipulate the lighting. In thissection of the guide, Daniel Lezano covers all the basics you need toknow to help you develop your portrait photography skills, usingnothingmore than ambient daylight as your source of illumination.We’ll also be showing you the best camera settings to use andrecommending essential gear to ensure that, nomatter what theconditions, you’ll be able to create stunning portraits with ease.

Landscapeoruprightformat?It’s natural to tilt the camera on its edgewhen you’re shooting a portraitas it allows you to fill the framewith the subject’s head and shoulders orentire body. It’s also a good format to adoptwhen you’re trying to excludeasmuchof the background as possible to concentrate attention on thesubject. Because this orientation is used so oftenwhen shooting people,the upright format is often termed the portrait format. Shooting portraitswith the camera held horizontal to produce a landscape-format shotoften allows formore creative compositions. For one, it allows you toplace the subject off-centre to include someof the backdrop in the frame.It also allows you to crop tightly into the face, which can adddramaandimpact to the scene. Both options areworth tryingwhile looking throughthe viewfinder to seewhichworks best. If in doubt, shoot bothways!

Wecropped the same image into a landscape and portrait format.Which doyou prefer? Choosing the orientation of your picture is a key decision youneed tomake each time you compose, as it canmake or break your shot.

ViewpointIt’s natural when taking a picture tostand and shoot from your normaleye-level height. However, whilethere is nothing wrongwith this,shooting from a normal viewpointis a little unimaginative. It’s not themost flattering angle either. You’llfind that by shooting from slightlyabove your subject’s eye level,you’ll create amore dynamicimage. Experiment by shootingfrom amuch higher or lowerviewpoint to your subject and seehow the results turn out.

Shooting a subject fromhalfway up some steps provides a veryhigh viewpoint and an unusual and quirky result. Give it a go!

Breakingtherules:NewanglestotryUSEAWIDE-ANGLESet your standard zoom towide-angle (or use an ultrawide-angle zoom) and shootportraitswith a difference.Because they completelydistort perspective, it’spossible to shoot veryunusual portrait images,where the part of thesubject closest to the lensappearsmuch larger thanthe parts of the body thatare further away.

EYECONTACTWeharp on about youmaking sure both eyes arein focuswith the subjectlooking at the camera, yetthere aremany stunningexampleswhere thesubject’s looking away ortheir eyes are obscured.A lack of eye contact canadd intrigue to yourportrait or give it acandid feel, so don’t beafraid of having yoursubject look away fromthe camera.

tozoomstandardyourSetwide-angle (or use an ultra

shootandzoom)wide-angledifference.awithportraits

completelytheyBecause

subject closest to the lensappearsmuch larger than

thatbodytheofpartsthe

areeyesbothsuremaking

yetcamera,theatlooking

orawaylookingsubject’s

Awide-angle lens distorts proportions.Try having a subject lean in towards the camerafor amore interesting, fun take on a portrait shot.

Portrait

Landscape

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PhotoTechnique 87GETTINGSTARTEDINDIGITALPHOTOGRAPHY

ACOMMONMISCONCEPTION formany newcomers tophotography is that bright sunshine is the best light to takeportraits in. The truth is that it’s actually one of theworst. It’spotentially a very unflattering light toworkwith, unless you knowhow to control it. If your subject’s facing into the sun, it’s likelythat they are heavily squinting, whichwon’t look great in thephotos! Also, the directional lightwon’t bemaking themost oftheir features, with strong highlights anddeep shadows.However, if you knowhow tomanipulate and control sunlight, itopens up the options for you to shoot in virtually any outdoorlocation in the knowledge that you’ll capture great results.

UseadiffuserStick a diffuser between the sun and your subject and you’llinstantly cut off the direct light and get better results. Diffusersplay their partwhen shooting in strong, directional light, such asbright sunshine. They’re basically a large sheet of diffusingmaterial fitted to a frame (normally lightweight aluminiumtubing). Placing the diffuser between the light source and thesubject cuts down the light’s intensity, while also diffusing it togive a softer,more pleasing effect. They’re usually quite large andcome in various diffusion strengths, with Lastolite andCaliforniaSunbounce being twoof themore popular brands. The diffusingmaterial can be replaced and comes in different thicknesses,which determines the extent of the diffusion.

If you’redevelopingyour skills asaportrait photographer, thenyou’ll needagoodunderstandingofhow tocontrol daylight.Over thenext fewpages,we’ll showyousomebasic techniques that canmakemajorimprovements toyourdaylightportraits,whether shooting in sunlight, shadeorovercast conditions

FaceawayfromthesunIf you haven’t got a diffuser, then tryfacing the subject away from the sun.This way, their face will be in shade,and often the sun captures attractivehighlights in the hair. If your subjecthas long hair, use it to provide a lightshield to prevent sunlight hittingtheir face, as we’ve done here.

Direct sunlight is a very harsh type of light and extremely unflatteringfor portraits. As our set of examples show, the simple use of a diffuserreduces the harsh contrast,making an immediate improvement.

If a diffuser is unavailable, then have your subject face away fromthe sun. Adopting a higher viewpoint and having the subject tilt herhead down slightly helpsmake themost of the sunlight on her hair.

Controllingdaylightsituations

EssentialaccessoriesREFLECTORS: One of the bestaccessories that you can invest in forshooting portraits is a reflector.Withgood, collapsible hand-heldreflectors starting at around £20,these inexpensive itemswillmake amajor difference to yourphotographs. Reflectors can beused in virtually any situation tobounce light on to your subject to help shape the light on theirface, fill in shadows etc. Reflectors come in various shapes, sizesand colour finishes which affect the intensity and colour of thelight being reflected back on to your subject. White producesmedium-intensity and quite soft light, while silver and gold arefarmore efficient, delivering a stronger result. Most reflectorscomewith a different colour surface on each side –we’drecommend silver/white as a good first choice.

sun.thefromawaysubjectthefacing

LENSES:A short telephoto provides themost flattering focal length. Lenses thatcover focal lengths of around 50-130mm(35mmequivalent: 75-200mm) are idealfor portraits as they flatten perspective.So you can happily use the tele-end ofyour standard zoom (18-55mm) or, evenbetter, a telezoom like a 55-200mm.Unless you’re looking to purposelyexaggerate perspective and producewacky effects, we’d suggest you steerclear of using wide-angles to begin with.

Set-up

Nodiffuser Withdiffuser

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1This is Ruby photographed without anyform of lighting control used. The shot’s

okay, but shadows under the eyes and on thelower parts of her cheeks and chin aren’tparticularly attractive. Tilting her head upwould removemany of them but then thepose would be quite awkward. We’ll aim toget around the problem by using reflectors.We try a white reflector but the dull lightmeans it hasminimal effect.

2Instead we opt for the use of a silverreflector. The Lastolite Triflector is a

versatile accessory that uses three separatepanels so that you can control the angle ofreflection. It’s placed on the ground, quiteclose to Ruby and belowmy eye level, so thatI’m shooting over the top of it. As you cansee, its effect is obvious – shadows areremoved and the effect is more flatteringthan before.

IF YOUWERE planning to shoot landscapesand looked out of the window to find the skyfilled with grey cloud cover, you’d not behappy. However, for the portraitphotographer, a grey blanket of cloud isviewed asMother Nature’s own diffuser.Overcast conditions take awaymuch of thepain of shooting outdoors, as there is no needto worry about strong sunlight. However,that’s not to say that, because there’s nodirect light, there is noway for you tomanipulate light. Even on the dullest of days,using awhite ormetallic reflector can bouncelight back on to the subject. And because youhave no directional light to contendwith, youhave almost total freedom to position yoursubject where you like, as there’s no sun todeal with. Bear inmind that, because thelight source is diffused light from above,you’ll find it better to keep the reflector belowthe subject and angled to point upwards.Move the reflector towards and away fromthe subject to achieve the intensity ofreflectance that you require. Also, change itsposition and angle to help ‘shape’ the lightthat bathes your subject’s face.

The following step-by-step was taken on adaywhen the sky was totally covered by ablanket of grey cloud.We photographed Rubyin her garden, sitting in front of a brownplayhousewhich provided a dark, neutralbackdrop forminimal distractions. Sheworea light pink top that added colour into thescenewithout being overpowering.

EnvironmentalreflectorsKeep your eye out for objects in thelocation that can act as a reflector.Whitewalls are ideal not only as a backdrop,but also to provide reflected light. You’llalso find the light that bounces fromstandard house bricks works well, too.Bear inmind that colouredwalls willreflect coloured light, so avoid strongcolouredwalls like red, blue or green.colouredwalls like red, blue or green.

Cloudyconditions

Noreflector Silverreflector

Silverreflector

Goldreflector

Dull dayscansometimesbe thebest forportrait photography.Weshowyouhow tomake themostofminimal light usingareflector andadashof creativity

88 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Have your whole family participate in

a shoot. You’ll find having family

members hold reflectors or diffusers

while you photograph each of them in

turn can be great fun for everyone

Familyphotofunamilyphotofun

3Although pleasedwith the result,I feel we need to add somewarmth to

Ruby’s skin by swapping the silver forgold. A collapsible gold reflector is placedon top of the Triflector, bouncing lightupwards into Ruby’s face, which results inmuchwarmer skin tones. As you can see,it doesn’tmatter how grim the lightmightseem, the simple use of reflectors canmake theworld of difference.

Goldreflector

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While shadyconditions are associatedwith flat, cool light,the opposite is often true and taking portraits in shade offersgreat opportunities for portrait photography. the lack of directlightmeans that you’ve not got any harsh highlights or deepshadows to contendwith. instead, the subject is usually bathedin a very soft light that flatters their features – inmanywaysmuch like in overcast conditions.

one thing youmay not realise is that you canmanipulate thelight to quite an extent in shade. the key thing to remember isthat the light reaching your subject is determined by thereflective surfaces in the scene around him or her. so have alook at different locations and see how your subject looks whenclose to white surfaces, brick walls, metal shutters etc. Bear inmind that dark or black surfaces can also be used – you’ll findthat rather than bounce light onto your subject’s skin, theyabsorb light, and that can help reveal the shape and contours ofyour subject’s face. you’ll find that all surfaces produce theirown type of effect and thatmoving the subject closer or furtheraway varies its intensity.

on days when the sun is shining, in particular, you’ll not onlyhave the advantage ofmaking themost of shade’snon-directional and flattering light, you’ll also have the optionof bouncing light from sunlit areas into the scene. so look forlocations where you can position the subject in shade but closeto areas in direct sunlight. you can then think about usingreflectors to bounce light in to add extra illumination.

you should also consider how your subject is positionedagainst the backdrop. on a sunny day, if you place your subjectwith their back to the sunlight, because you’re exposing for theshaded subject, the brighter backgroundwill be grosslyoverexposed, resulting in a clean, bright backdrop. the othermajor advantage of shooting in shade on a sunny day is that,compared to overcast conditions, light levels are higher, whichallow formore control andmanipulation.We headed for afavourite portrait location that offers excellent potential forshooting in shade on a sunny day. an old priory offered theperfect setting for our shoot, providing an interesting andattractive backdrop.We asked hayley to wear a bright,summery outfit in keeping with the bright, warm conditionsand placed her in the shade of the priory’s side.

Bouncingsunlightintoshadean advantage of taking pictures in shade on a sunny day is that you canbounce sunlight back into the frame. this allows you to add strongerside-lighting or to lift the brightness level of your subject tomake themstand out against the background.What you have to take care with isthat you don’t bounce toomuch sunlight into the scene and create tooharsh a side-light, as is often the case when usingmetallic reflectors.

Weaskedhayley to stand quite close tothe edge of the shaded area and used thegold reflector to bounce light towards her.as you can see, she receives a very strongside-light that is harsh and unflattering.We swap the gold reflector for a white oneand there is an instant improvement. thelight from this reflector is softer andmorediffuse, so gives a far better result.

Set-up

GoldSet-up White

Shootinginshadelikeclouds,shadyplacesareanaturaldiffuserandwillmakeshootingportraitsawhole loteasier

Noreflector Goldreflector Silverreflector

1our first shot was taken without any formof lighting control. as you can see, she

receives quite a strong side-light fromsunlight being bounced into the area bynatural reflectors in the scene (in particular,a brick wall around 30 feet away). itproduces a pleasant enough result thatmany people would be happy with.

2We place a gold reflector to hayley’s leftand the effect is instantly apparent. her

face receives warmth from the reflected goldlight, which fills in shadows on the left side ofher face. But the reflector is too close to her(the building’s wall prevents usmoving itfurther away), so its effect doesn’t extend toher shoulders and arms.

3We swap the gold reflector for a silverone and the result is better – the

shadows are filled in and hayley’s skin toneslook better without the gold effect. however,the tones on hayley’s face remain quiteeven, which doesn’t reveal the shape of herface asmuch as we’d like to. it’s time to swapthe silver for the white…

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Whitereflector

4This yields the best result so far. The white reflectorlacks the efficiency of the silver and gold; in other

words, it reflects less light. While this isn’t alwayspreferable, in this situation, with the reflector literally justout of frame, it’s perfect. While the shadows have beenfilled in on the left side of Hayley’s face, the brightnessdifference compared to the right side helps accentuateher contours and reveal her natural beauty.

June2007 121June2007 121

Set-up

If your subject faces thewind, it canoften add life to their hair. However, itcan be a real nightmare using reflectorsin windy conditions, so having someonehold it for youwill prove a real bonus

Watchforwind!

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DiffuseddaylightFor flattering portraits, the light should be as diffusedas possible to avoid yourmodel squinting in directsunlight or having the light on their face too harsh. Inthis instance, try to reposition themso they’re in theshade or use a diffuser to shade the scene (insetright). If neither of thesework, youmayneed towaituntil the sun’s position changes or shootwhen the skyismore overcast. A silver reflector is handy, evenwhenshooting in non-directional light, to fill in shadows.

ShootataslantOne compositional trick thatmost lifestyle photographersapply to their images is to slantthe camera so that the imagesare capturedwith an unevenhorizon. This simple techniqueadds a little energy into theimage and is very effective –just take care not to tilt thecamera too far.

Step1 Myfirst shot is just a tester for composition and exposure. I’ve apretty clear idea inmy head of the type of shot I’m looking for, with Bethanylying downwith her lower legs and feet bent back towards her head. Thisshot isn’t bad, but the side-lighting causes her right side to be too dark.

Step2 I place a silver reflector to Bethany's right, just out of frame, and itmakes a noticeable difference, bouncing back enough light to even out thelighting on the face. The lighting’s better, but thewall behind, while plain,causes thewhole scene to appear a little too cramped formy liking.

Mydining room is quite small, so I’ve had toclear it completely of furniture. Asmy subjectwill be lying on thefloor, I vacuum it to ensureit’s as clean as possible. Due to the crampedspace, I open the patio doors in caseI need to shoot from thepatio. However, I’llstart by shooting fromwithin the roomandusethewhitewalls as a neutral backdrop.Using awide aperture to give a shallowdepth-of-field isideal for this type of shot and I’ll be trying outmy50mm’smaximumaperture of f/1.8,although I’ll takemost of the images atf/2.5-3.5 as itwill improve sharpness.

You need to ensure your focusing isprecise, as using awide aperture –whichgives limited depth-of-field – leaves littlemargin for error. Select single-point AF,lock the focus on the eye and recompose

Takecarewithfocus!

Many leading lifestyle portrait photographers use nothingmore than ambient daylightfor the vastmajority of their portrait shoots. So,whenwehave the benefits of bright,sunny days at our disposal, we should use it to capture some simple yet effectiveportraits of family and friends. The best thing about shooting lifestyle portraits is that

you cando it with theminimumamount of equipment – yourDSLRorCSCwith a kit lens isenough– although I’musingmy favourite optic, the humble (and cheap!) 50mm f/1.8 lens. Dueto the unpredictable nature of daylight, lighting aids such as a reflector and adiffuser can comein handy, too, but aren’t essential. The key thing to remember is that youwant to capture a ‘clean’image: in otherwords, try to keep the subject and the setting as simple as possible. I’ve opted forthe classic combination of havingmy subject, Bethany,wear awhite top and jeans, and shot herlying onmydining room's laminate flooring.

92 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

StaysimplewithdaylightDanielLezanoshowshow–witha few little tricks tomakethemostof thedaylight–youcancreate fantastic lifestyleshots inyourownhome…

Page 93: Getting Started in Digital Photography

FinalimageMynext shot is perfect and

all I need to do is applyminimalpost-production. I’ve boosted

the contrast in Curves andcropped the image slightly to give

me the result I set out to shoot.Give it a try – you’ll be surprised

just howeasy it is to shoot a greatlifestyle portrait at home.

Step3 I shift Bethany andmyposition so that I’m now shooting into theroom from the patio rather than from the side. I close the blinds in thebackdrop to darken the background. The empty space created behind her isan improvement over the original set-up, butmy viewpoint is too high.

Step4 I crouch down and the lower viewpoint is far better. However, themulti-zonemeter has bleached out Bethany’s face due to the darkbackground causing it to overexpose the scene. This is easily taken care ofby dialling in somenegative exposure compensation. I find -2/3EV is ideal.

PhotoTechnique 93GettinGStartedindiGitalPhotoGraPhy

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94 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

NOTHINGDIVIDESOPINION like lens flare.Somephotographers love it, while others abhorit, going to great lengths to avoid it. Lens flare iscausedby direct light travelling through a lensandbouncing off its glass elements, usuallyhaving one of two effects: bleaching colourswith awhite haze, reducing contrast, andcreating rings of colour (knownas artefacts)that dart across the frame from the sun. Usinga lens hoodor shootingwith your back to thesun helps avoid it, but lensmanufacturers havedeveloped such effective lensmulti-coatingsthat it’s difficult to create flarewith somelenses. If you struggle, try an older uncoatedlens: goodquality secondhandmanual focuslenses canbepicked up for just a fewquid.Artefacts vary depending on the type of lens,too: flare froma zoomwill look very differentfrom that of a prime lens, so experiment a little.

Whenusing aperture-prioritymode, you’llfind that every time you changeposition, yourexposurewill change. You can avoid this byworking inmanualmode, but for the timebeing, pro photographer PaulWardwill showyouhow to achieve the stylised lookwith yourcamera set to aperture-prioritymode. Take atest shotwith the aperture set betweenf/3.5-f/5.6 to give a shallowdepth-of-field. Thetrick is to position themodel in front of the sun.Depending onhowhigh the sun is, youmightneed to kneel and shoot froma lower thannormal perspective.Winter, or earlymorningand evening are perfect, as the sun is neverthat high in the sky. Nearly every lens producesflare if it’s aimed in the general direction of thesun, but it takes the right kind of lens to giveartefacts, which gives fashion andportraitphotographers that stylised finish they like.

AddflaretooutdoorportraitsProphotographerPaulWardshowshowdeliberatelylettingthesunencroachintheframetoaddatouchofflarecanworkwithportraits

Step 3 If the shots look too bright, dial in a couple of stops of negativeexposure compensation or don’t let asmuch sun encroach into the frame. Ifthe shots are too dark, but the sun is asmuch in the frame as youwant it tobe, dial in a couple of stops of positive exposure compensation. For thisimage, as the sun is just peeping past her head, I used two stops of positiveexposure compensation to overexpose, but it’s slightly toomuch. For thenext shots, I try to replicate the position of the sun and use one stop ofpositive exposure compensation.

Step 1 As the subject is backlit, you can expect themulti-zonemetering ofof your camera to produce an underexposed result. You could add positiveexposure compensation, but there is another option. Using a reflector is areally easy and effectiveway to bounce the sun’s rays back on to thesubject’s face. A gold reflector gives awarmer light than a silver orwhitereflector, which suits this technique. If themodel squints, have themclosetheir eyes and then open themmoments before you take the shot.

Step 4 TheCanonEF 24-70mm f/2.8LUSM lens I’ve been using is soefficient at blocking flare that I’m struggling to get any artefacts in thepicture, and amonly getting the haze. Themore I overexpose the shot, themore streaks ofwhite flare expand across the subject’s face, which is not theeffect I want. I switch tomy new, 20-year-old 28mmVivitar lens (notanti-flare coated) to see if it does a better job.With themodel in the sameposition, I take another shot that produces some excellent artefacts runningacross the picture, givingme the stylised effect I’m looking for.

Step 2 It can be tricky to autofocus on a subjectwhen the sun is in theframe, as it causes a lack of contrast. To get around this, use the subject toblock the sun and focus, keep the shutter button half-depressed to lockfocus, and thenmove slightly to the side so the sun enters the frame. Thiscanmess aroundwith your exposure, so it takes a little trial and error.Depending onwhere you put the sun in the frame, itmay cause toomuchflare, leading to blown-out highlights, so be patient and keep trying.

Noflare

24-70mm 28mm

Toomuch

OldlensescancreateflareOften older lenses create better flarebecause they lack anti-flaremulti-coatings.If you’re lucky enough to have only new kitthat’s not proving very effective, have a lookon eBay for a lens adapter so you can buyan old lens to fit to your camera. PaulWardbought an ‘M42 for Canon’ adaptor and a28mmVivitar lens for £15 each. Car bootsales and secondhand stores are also goodplaces to pick up a bargain lens.

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For flare to work, you need to shoot into the sun

and have the orb visible in the frame or at least

just outside it to get thewhitewashed look.While

cloudy dayswill produce softer light, shooting into

the sunwhen it’s blocked by cloudwon’t produce

flare, but insteadwill only bleach the background

Positionofthesun

FinalimageThere’s a beautiful balanceto the flare in this image, it’sgot the lens artefacts and asubtlewhitewash that gives

it a stylised spring finish.

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Thebeach isa fantastic location forshootingstrikingsilhouettes–RossHoddinottshowsyouhowtocapture themwithease…

ExposurecompensationTTLmetering systems arehighly sophisticated andreliable. However, that doesn’tmean that they don’tmakemistakes. In awkward lightingconditions – for example,backlighting – they can easilybe deceived. By regularlyviewing the histogram, any exposure error is easy tospot, as there will be a spike of data at one end ofthe graph. Correcting under- or overexposure iseasy using your camera’s exposure compensationbutton. If your images are too light, dial in negative(–) compensation; this will make the image darker.If your images are too dark, dial in positive (+)compensation to lighten results. You do this bypressing the +/– (exposure compensation) buttonand rotating the command dial until you have setthe desired level of compensation. However, the wayyou select compensationwill vary from camera tocamera.Most cameras allow you to setcompensation at up to three or five stops in 1/3 or½-stop increments. Note: it doesn’t automaticallyreset itself to 0when you switch the camera off.Therefore, remember to reset compensation afteryou have finished shooting. Fail to do so and youwillapply the compensation to future images, too.

96 PhotoTechnique GETTINGSTARTEDINDIGITALPHOTOGRAPHY

1If you are visiting the beach to shoot silhouetted portraits, then plancarefully. Check the time of sunset, and its position, by visitingwww.

photoephemeris.com (or download the appThePhotographer's Ephemeris).For safety, also check the time of high tide. Arrive an hour before sunset togive yourself time to set up before the best light and colour appears.

2Use a standard zoomas it's very versatile. I use aNikon 24-70mmas itsfastmaximumaperture of f/2.8 provides a bright viewfinder image,

aiding focusing and composition – perfect for low-light photography. Usingaperture-priority, I set f/8 and opt for a low ISOof 200.With this image,shooting hand-held allows youmore creative freedom than using a tripod.

4When shooting backlit subjects, the sun’sintensity can foolmulti-zonemetering

patterns into believing the scene is brighter thanit is. As a result, the camera selects a fastershutter speed than required, resulting inunderexposure. To compensate, I dialled in a stopof positive (+) exposure compensation. I alsoaskedTom to jump to addmotion to the image.

3By adopting a low angle and carefully aligningyourmodelwith the sun, youwill be able to

use your subject to obscure the sun’s intensityand create an inky black silhouette. However,with Tomstanding on thewet, reflective sandand looking out to sea, the result looks too staticand posed. Overall, the shot is too dark, being atleast a stop underexposed.

5Use trial and error or your camera's histogramto fine-tune the amount of exposure

compensation needed. Once you're happy, turnyour attention to composition. Propsworkwellwhen photographing kids and help them to relaxin front of the camera. I askedTom to play catchwith a ball, tilting the camera at a slight angle toadd energy to the composition.

Haveaballatthebeach

THERE’SNOBETTERplace to spend awarm, summer’s evening than the seaside.Maybe you like to surf, paddle or play – orsimply relax, by reading a book or toppingup your tan. However, if you are heading tothe beachwith the family thismonth,whatever youdo, don’t forget your cameraas there are endless photo opportunities atthe beach. Colourful skies are highlyseductive and you'll find that sunsets areparticularly photogenic by the sea.With thesun so low in the sky, anything between youand the sunwill be cast in silhouette.Personally, I love the simplicity ofsilhouetted subjects. They are themostextreme formof backlighting, where thesubject is renderedwithout colour or detail.Therefore, bold, easily recognisable shapesandoutlineswork best.

People are particularly photogenicsilhouetted at sunset. Thewarm, eveninglight can create a romanticmood, so think

about photographing a couple kissingwith the sun setting behind. Children alsomake great subjects – holding handswitha parent, or just playing and having fun.You could try shooting candids on thebeach, but ask permission first –particularly if photographingminors.However, you can apply farmore controlover the look of your results byphotographing a familymember orsomeone you know. Using awilling ‘model’gives you the opportunity to experimentmore, perfect your exposure and try againif your first attempts are unsuccessful.

With this inmind, I askedmy sister if Icould borrowmyeight-year-old nephew forthe evening. She enthusiastically agreedandwhile she poured herself a glass ofwineand relaxed for an hour or two, Tomand Iheaded to the local beachwith the promiseof a large ice cream if hewould happily letmephotographhimhaving fun…

Page 97: Getting Started in Digital Photography

FinalimageThe combination of abeautiful sunset and aninteresting posemakesfor this great image.

When photographing kids playing,set your camera to continuousshootingmode and be preparedto fire large sequences of images

ShootawayShootaway

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essentialcamerakitExpert advice on choosing and using the best kit for your DSLR or CSC

Choosing&usingthebestdigitalphotokit 99GEttinGStaRtEDinDiGitaLPhotoGRaPhy

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ThekeywiThchoosing lenses is to puttogether a system that serves all your needs.what those needs arewill dependon thesubjects you tend to shoot – specialistsubjects, such as sport, nature and close-ups, have specific optical requirements.however,most of us like to try a bit ofeverything, so amore general selectionwillbe required. in termsof focal lengths, if youhave lenses covering 17-300mmonafull-frameDSLR (12-200mmfor cameraswithAPS-C sensors), you’ll be equipped forjust about any situation. Thewider focallengths are ideal for scenic photography –landscapes, architecture, street scenes,travel – themid-range focal lengths are greatfor portraiture, details and general use, whiletelephotos suit sport, candids andnature.Saying that, you can take brilliant landscapeswith a telephoto and amazing nature shotswith an ultra-wide, so use your imaginationandmake themost of all your lenses.in this digital age, lens quality ismore

important than ever. high-resolution sensorsare so good that they can easily out-resolve

inferior lenses, so any flaws in optical designwill be highlighted. These problemsare attheir worst in ultrawide-angle zooms,wherechromatic aberration, diffraction, vignetting,distortion and loss of sharpness at the imagecorners are all commonproblems– and theless youpay for the lens, themore it’s likelyto suffer; thoughnot in all cases. Telezoomstend to suffer less fromall of the abovebecause their optical design isn’t as extreme,but they don’t escape completely and themore pixels your camera has, themore yourimageswill highlight any problems.Optical flaws canbe corrected, to an

extent, during post-production, but it’spreferable if they don’t exist in the first place,or are at leastminimised. The bestway toensure that is by buying the best lenses youcan afford. Don’t necessarily take the price ofa lens as the only indicator of quality, ascertain lenses fromcertainmanufacturershave reputations, both good andbad.instead, read reviews and ask the opinion ofother photographers.whether youbuyprime (fixed focal length) or zoom lenses is

down to you and your budget. Primes tend tohave the edge in termsof imagequality, butzoomsaremore versatile and you’d behard-pressed to tell the difference between ashot taken using a £500 zoomandanothershotwith a £1,000prime lens. Lenses fromindependentmanufacturers, such asSigmaandTamron, should be consideredalongside the likes of Canon andNikon– optically, they’re often as good, but atmoreattractive prices.whichever lenses youbuy,to get the best optical performance fromthem, always use amid-range aperture of f/8or f/11whenever you can. imagequality is atits lowest at thewidest and smallestapertures, especiallywithwide-anglezooms, and at its sharpest atmid-apertures.

FundamentalsoflensesFollowouressentialadvice tochoosing theright lens foryourneeds

1) Wide-anglewith awider field-of-viewthan the human eye cansee, wide-angle lensesallow you to includemoreof the scene in the imageframe,making it the idealchoice when shootingscenics, taking picturesindoors or when space istight. There’s an extensivechoice of primes andzooms available, so you’renot short of options.wide-angles allow you toexaggerate perspective,which can lead to creativeresults. however, you doneed to be aware of itstendency to distort, whichcan be used to youradvantage, but can alsoruin images if you go toofar. See page 104 formoredetails onwide-angles.

2) TelephotoA telephoto zoom is oftenthe first lens a DSLR orCSC photographer willadd to their outfit. Theextra pulling power atelephoto gives is ideal forfilling the framewithrelatively small or distantsubjects. it’s also idealwhen you’re trying to takepictures of a subjectwithout it being aware,such as wildlife or whenshooting candids. itsflattering perspective alsomakes it perfect forportraits. The 50-200mmand 70-300mm telezoomsare popular choices, butneed to be used with careto avoid the problem ofcamera shake. See page106 formore details ontelephoto lenses.

3) MacroPhysically,macro lenseslook just like a normal lens,but themajor difference isthat they can focusmuchcloser, allowing you to fillthe framewith tinysubjects, such as insectsand butterflies. They’realso specially designed foruse at close focusingdistances, so opticalquality is superb. The focallength tends to be either50/55mmor 90/105mm.Both are useful and thevastmajority offer 1:1(life-size) reproduction,but the longer focallengths aremore suited tonature photographybecause they have alonger working distance,making them less likely tofrighten away subjects.

4) StandardOnce upon a time, SLRswere sold with a 50mm‘standard’ lens, so everykeen photographer hadone. Today you get astandard zoom instead.however, it’s worthinvesting in a 50mmprime, because for littleoutlay you get a compactand lightweight lens that’spin-sharp, focuses down tojust a few inches, has asuper-fastmaximumaperture of f/1.8 and isperfect for hand-held,low-light photography. Usewith an APS-C sensor andyou have a brilliant75-80mmportrait lenswhich, used at its widestaperture, will giveminimaldepth-of-field and producesuperb images.

5) TiltandshiftThese expensive lensesserve two purposes. First,they prevent convergingverticals when shootingarchitecture – instead ofleaning back to includethe top of a building, youshift the front of the lensup but keep the cameraback parallel to thesubject building. Second,the ‘tilt’ facility lets you tiltthe front section of thelens down so the plane offocus is more in line withthe plane of the camera’ssensor. Doing thisincreases depth-of-fieldwithout having to set asmaller aperture. Bytilting the other way, itreduces depth-of-field toalmost nothing, achievingunusual effects.

Maintypesoflensesfordigitalphotography

Lenschoice:PrimevZoomAprime lens has a fixed focal lengthwhilea zoom’s is variable. Both have advantagesand disadvantages. in general, primes offerhigher image quality, fastermaximumapertures and aremore compact andlightweight, but buying several provescostly. A zoom ismore versatile and savesmoney as it covers a range of focal lengths.Quality isn’t as high (but comes close) andthemaximumaperture is slower, but itsconveniencemakes itmore popular.

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Page 101: Getting Started in Digital Photography

Understandingeffectivefocallength

Most lenses available for use on your digitalcamerawere designed for 35mmfilmSLRs orfull-frame digital SLRs that have a sensor thesame size as a 35mmfilm frame (24x36mm).However, only a handful of digital SLRs atpresent actually have a full-frame sensor, whilethe vastmajority use anAPS-C sized sensorthat’s smaller than full frame 35mm. Thismeans that the focal length of ‘normal’ lensesis increased, towhat is usually termed theeffective focal length. The amount of increasecan be calculated using amagnification factor(MF) and this is governed by the size of thesensor in the camera.Most cameras have an

MF of 1.5x, although for Canon it is 1.6x and forFour Thirds cameras, 2x.

For landscape and other subjects wherewide-angle lenses aremainly used, this focallength increase is a disadvantage. For example,an ultra-wide 17-40mmzoomwill effectivelywork like a 25-60mmstandard zoomon adigital camerawith aMF of 1.5x. To get thesame effect as a 17-40mmzoom, youwouldtherefore need something like a 10-20mmor12-24mmzoom. For sport, nature and othersubjects requiring telephoto lenses, the focallength increase ismore beneficial because itmakesmodest lensesmore powerful.

A 70-300mmzoomeffectively becomes a105-450mmzoomon a camerawith aMF of1.5x, for example, so you can fill the framewithmore distant or smaller subjects.

Another factor to consider is that lenses areat their sharpest in the centre and at theirsoftest towards the edges. Cameraswith anAPS-C sensor therefore get the best fromfull-frame lenses as they use the sharpercentral area of the lens’s image circle andexclude the outer limits of the image circlewhere image quality is lower. Understandingfocal length can be confusing, but our tablesbelow should help you understand it better.

Sensorsize

Fullframe APS-H APS-C APS-C(Canon) FourThirds&

Focallengthlength MicroFourThirdsMicr F Thirds

onlens 1x 1.3x 1.5x 1.6x 2x

14mm 14mm 18mm 21mm 22mm 28mm

15mm 15mm 19mm 22mm 23mm 30mm

20mm 20mm 26mm 30mm 32mm 40mm

24mm 24mm 31mm 36mm 38mm 48mm

28mm 28mm 36mm 42mm 45mm 56mm

50mm 50mm 65mm 75mm 80mm 100mm

85mm 85mm 110mm 127mm 136mm 170mm

100mm 100mm 135mm 150mm 160mm 200mm

10-17mm 10-17mm 13-22mm 15-25mm 16-27mm 20-34mm

10-20mm 10-20mm 13-26mm 15-30mm 16-32mm 20-40mm

10-22mm 10-22mm 13-29mm 15-33mm 16-35mm 20-44mm

11-18mm 11-18mm 14-23mm 16-27mm 18-29mm 22-36mm

12-24mm 12-24mm 16-31mm 18-36mm 19-38mm 24-48mm

16-35mm 16-35mm 21-45mm 24-53mm 26-56mm 32-70mm

17-35mm 17-35mm 22-45mm 25-53mm 27-56mm 34-70mm

17-40mm 17-40mm 22-52mm 25-60mm 27-56mm 34-80mm

18-55mm 18-55mm 23-71mm 27-82mm 29-88mm 36-110mm

18-200mm 18-200mm 23-260mm 27-300mm 29-320mm 36-400mm

18-270mm 18-270mm 23-351mm 27-405mm 29-432mm 36-540mm

24-105mm 24-105mm 31-136mm 36-157mm 38-168mm 48-210mm

28-70mm 28-70mm 36-91mm 42-105mm 45-112mm 56-140mm

28-300mm 28-300mm 36-390mm 42-450mm 45-480mm 56-600mm

55-200mm 55-200mm 71-260mm 82-300mm 88-320mm 110-400mm

70-300mm 70-300mm 91-390mm 105-450mm 112-480mm 140-600mm

100-400mm 100-400mm 130-520mm 150-600mm 160-600mm 200-800mm

Camerabrand/models Multiplicationfactorfact

Canon

AllEOSmodels(exceptthosebelow) 1.6x

EOS-1DMkItoMkIV 1.3x

EOS5D&EOS-1DSseries 1x

Fujifilm

AllS-seriesmodels 1.5x

Nikon

AllD-series(exceptthosebelow) 1.5x

D700andD3series 1x

Olympus&Panasonic

AlldigitalSLRsandCSCs 2x

Pentax

All*istandK-seriesmodels 1.5x

Samsung

AllGXandNXseriesmodels 1.5x

Sigma

AllSDmodels 1.7x

Sony

AllAlpha&NEX(exceptthosebelow) 1.5x

Alpha850and900 1x

EFFECTIVEFOCALLENGTHThe table aboveshows the effective focal length increase on themajority of popular brands ofDSLRandCSCcameras.Use thismagnification factorwith thetable on the right towork out the effective focallength of popular primeand zoom lenses.

SENSORSIZESThese imageswere all takenwith a35mm lens from the samespot and showthe effect of themagnification factor.

ADAM

BURTO

N

Choosing&usingthebestdigitalphotokit 101GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Full-frame APS-C FourThirds

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HowdifferentlensesrecordasceneYour choice of lens determines how the scene is captured, so you need to be clearwhich is best to use forevery shooting situation. Our comparison sets showhow lenses affect field-of-viewandperspective

Theangle-of-viewThis term,measured in degrees, refers to howmuch a lens actually ‘sees’ and is generallyrelated to focal length. A 50mmstandard lens(33mm inAPS-C) is generally regarded ashaving the closest field-of-view to the humaneye.Wide-angle lenses have a greaterangle-of-view than the 50mm ‘standard’ andtherefore includemuchmore in a picture thanyou can seewith your own eyes. The shorterthe focal length (smaller the number), thewider the lens and the greater theangle-of-view. Normal wide-angle lenses havea focal length of 24mmor less (on a full-frameDSLR). Anywider than that – such as 20mmor 17mm– is classed as ‘ultra wide’.

Telephoto lenses have a tighterangle-of-view than a standard lens andmagnify the subject so it appears biggerin the frame. The longer the focal length(bigger the number), the narrower theangle-of-view and therefore the less you caninclude in a picture.

images

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102 Choosing&usingthebestdigitalphotokit GettinGStartedindiGitalPhotoGraPhy

17mm

24mm

50mm

135mm

250mm

500mm

35mm

100mm

200mm

400mm

20mm

28mm

70mm

170mm

300mm

600mm

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PerspectiveWhatmany photographers don’t realise isyour choice of lens can have a drastic effecton perspective.When shooting a subject,how you relate it to the background can beradically altered by the type of lens youuse. Take an imagewith a wide-angle andyou increase the depth of the scene andstrengthen perspective. Use a telephotoand perspective is reduced; the scene iscompressed so that it has far less depth.

To show changes in perspective, we shota series of images at focal lengths from10mm to 400mm, ensuring that themainsubject appeared at a constant size in eachimage. This was achieved by adjusting thecamera-to-subject distance – shootingfrom close-upwith a wide-angle andmoving further away as the telephotosetting increased. As you can see, thedifference in perspective is enormous –bear this inmindwhen placing subjectsagainst a backdrop.

Depth-of-fieldWhen you focus on a subject, an area in front and behind the focused point also appearssharp and this area is termed depth-of-field. The choice of aperture has amajor effect ondepth-of-field, with large apertures providing a shallow depth-of-field and small aperturesallowing farmore of the scene to be recorded in sharp focus. However, two other factorsaffect depth-of-field – the camera-to-subject distance and the focal length of the lens inuse. As you’ll discover when you use a variety of lenses, you get farmore depth-of-fieldwith wide-angles thanwith telephotos. Sowith an 18-200mmzoom set to f/8, thedepth-of-field at 18mm far exceeds that at 200mm. Therefore, as well as considering howfocal length affects perspective, you should also consider how you can use it to limit orincrease depth-of-field. The shots belowwere all taken at f/8 from the same spot. Notehow depth-of-field appears to reduce as you zoom in.

100mm 200mm

28mm

18mm

90mm

35mm

200mm

10mm

400mm

55mm

14mm

FLARE Stray lightfrom the sun, or anybright light source,can result in flare,which can reduceimage contrast andresult in hotspots inthe image. It’seasily avoided byusing a lens hoodor shading the lenswith your hand ora bit of card.

DISTORTION This is the phenomenonwhere straight lines appear curved in animage. Barrel distortionmakes the centre of aline bow towards the frame edge, whilewithpincushion distortion, the opposite happens.Barrel distortion ismost prominent inwide-angle shots, while pincushion distortioncan appear at telephoto settings. Thisparticularly affects cheaper lenses andzoomswith awide range. Lenses boastingaspherical lens elementsminimise problemswith distortion. It can also be rectified to alesser or greater extent using Photoshop.

CHROMATICABERRATIONThis technicalterm refers to howdifferent wavelengths oflight passing through a lens focus at variouspoints. The result is usually a colour fringing;a thin butmarked colour band that runs alongthe edge of contrasty image subjects. It is alens problem that is controlled by the use ofapochromatic lens elements.

LensproblemsThere are anumberof problems towatchout forwith lenses:

Stray lightfrom the sun, or any

result in hotspots in

There are anumberof problems towatch Flare

Choosing&usingthebestdigitalphotokit 103GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Typesofwide-anglesThere are threemain types ofwide-angle lensesavailable, each offering its ownpros andcons.Here,weexplain the virtuesof each…

Ultrawide-anglezoomsThis group of lenses has become increasingly popular. That’s no surpriseas the range they cover offers incredible versatility in such a small andinexpensive lens. In fact, the ultrawide-angle zoom is arguably one of thebest value lenses you could own. There are a variety of focal lengthsavailable, with those around 11-22mmbeing themost suitable forcameraswith anAPS-C sized sensor. In truth, all cover a very similarrange, although there are one or two exceptions to note. ThePentax10-17mmfisheye offers a 180º angle of viewat itswidest end, so, in asense, you’re getting a fisheye andultra-wide zoom rolled into one. It’s alsoworth noting that, unlikemost ultra-wide zooms, theSigma 12-24mmcanbeused on full-frameandAPS-C cameras. Finally, while the 16-35mm lensis popularwith filmand full-frame camera users, the 24-53mmrange itcoverswithAPS-C sensors is quite limited, sowe’d suggest you avoid it.

Anatomyofawide-anglezoom1) Petal hoodUltrawide-anglescomesuppliedwith a dedicatedhood to avoid vignetting and flare.2) Large, concave front elementThe front element normally has aprominent curve, leaving it exposedto dust and scratches, so take careto keep it covered in transit.3)Manual focus ringNormallytowards the front of the lens andreasonablywide. You’ll rarely needto use it, aswide-angle lenses haveexcellent autofocus.4) Zoom ringThis is normally foundtowards the back of the barrel.Mostarewidewith a grooved surface toallow you to grip it easily.5) Focus distanceMany lenses havethe focus distance scalemarked onthe barrel, while someof themoreupmarketmodels have a focusdistancewindow.6)Hyperfocal scale (see inset)Thisscale allows you to estimate howmuchof the scenewill appear sharpat your choice of aperture.7) Internal focusing system If you’replanning to use filters, lenseswith aninternal focusing systemoffer thebenefit that the front of the lensdoesn’t rotatewhen focusing, so youdon’t have to keep readjusting them.

Fisheye lensesThefisheye offers themostextremefield-of-view. Thereare two types – the circularand the full-framefisheye,both producing verydifferent results. Circularfisheye lenses, whenused ona full-frame camera, provide round imageswith a180º angle of view. They distort perspective,especiallywhen the subject is close and,withclose-focusing capabilities, are perfect for comicalportraits. The full-framefisheye (also knownas adiagonal fisheye) offers a 180º field of viewandcan capture incrediblywide vistas. They’re veryspecialist, very expensive andhave limited use, sohire one fromapro dealer before youbuy.

Fixedwide-anglesSmall, lightweight andcompact,with highqualityoptics, these are verydesirablelenses that are available invarious focal lengths andhavebeendesigned tooffer theultimate inwide-angles for digitalphotographers. They startwith theultrawide-angle 14mm,which is particularly suitedto architectural photography,when trying tofill theframewith abuilding fromashort distance.Wide-angles from20mmto28mmare ideal forlandscapephotographyandare alsousedby travelphotographers.However, their usewith camerassporting anAPS-Csensor is limited, especially as astandard kit lens covers this range.

Digital-onlylensesWhen you’re choosing a lens,check if it’s for use film/full-framedigital SLRs, or forDSLRswithAPS-C/FourThirds sensors only.Thosemade for filmanddigital areusuallymore expensive; thosedesigned for digital-only areoptimised only for sensors. Ifyou’re using aDSLRwith anAPS-Cor smaller sensor andnever plan tobuy a full-frameDSLR, go for adigital-only lens, such as theCanonEF-S range orNikon’sDX.

Whyuseawide-angle?Everwanted to photograph a subject or a scene and found that you can’t fit it all in the frame?Then youneed awide-angle lens.With a field-of-view that extends farwider than the humaneye, it’s the perfectoptic for capturingwide vistas or cramming large objects in the frame.Using such a lens comes at theprice of characteristics like exaggerated perspective anddistortion, but knowingwhat to expect andhowto use it creatively allows you to take shots that aren’t possiblewith any other type of lens.

Understandingfocallengths:Wide-anglesThe focal length stated on a lens is usally related to cameras using 35mmfilmor full-frame sensors. Ifyour camera has anAPS-C-sized sensor, then you’re effectively cropping the image and so giving theeffect of a longer focal length lens on a full-frame sensor. The chart below showspopularwide-anglesandhow the effective focal length changeswhenusedwith digital cameras.

Focal length Camerason lens Full-frame APS-H APS-C APS-C(Canon) Four-Thirds

1x 1.3x 1.5x 1.6x 2x8mm 8mm 10mm 12mm 13mm 16mm14mm 14mm 18mm 21mm 22mm 28mm15mm 15mm 19mm 22mm 23mm 30mm20mm 20mm 26mm 30mm 32mm 40mm24mm 24mm 31mm 36mm 38mm 48mm28mm 28mm 36mm 42mm 45mm 56mm10-17mm 10-17mm 13-22mm 15-25mm 16-27mm 20-34mm10-20mm 10-20mm 13-26mm 15-30mm 16-32mm 20-40mm10-22mm 10-22mm 13-29mm 15-33mm 16-35mm 20-44mm11-18mm 11-18mm 14-23mm 16-27mm 18-29mm 22-36mm12-24mm 12-24mm 16-31mm 18-36mm 19-38mm 24-48mm16-35mm 16-35mm 21-45mm 24-53mm 26-56mm 32-70mm17-35mm 17-35mm 22-45mm 25-53mm 27-56mm 34-70mm17-40mm 17-40mm 22-52mm 25-60mm 27-56mm 34-80mm

104 Choosing&usingthebestdigitalphotokit GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Page 106: Getting Started in Digital Photography

TypesoftelephotolensesA telephoto lens is awise investment and a good addition to your gadget bag.However, there are a numberof different types of ‘tele’ available, eachwith their ownadvantages, drawbacks and, of course, price tags!

Whichsupertelezoom?The£200Sigma70-300mmf/4-5.6APOmacroDG is a good lens, with a good close-focusing facility. The £350Tamron 70-300mmf/4-5.6Di VCUSDoffers image stabilisation too.

Super-telezoomsFor an even greatermagnification, try asuper-telezoom; 70-300mmand80-400mmare themostpopular super-telezoom focalranges, but they are availablewith an evenmore powerfulrange. For example, Sigmaoffers both a 170-500mmand300-800mmtelezoom.However, thisdegree ofmagnification is only required by a very small percentage ofphotographers – often thosewho shootwildlife or sports. For themajority, a 70-300mmzoomwill bemore than adequate as, on a camerawith anAPS-C size sensor, this is equal to a full-frame 105-450mm lens.

Super-telezoomsare ideally suited to shooting birds andmammalsand for taking frame-filling sports shots fromadistance. Dobear inmindthatmany super-telezoomshave a relatively slowmaximumaperture off/5.6 at their longest end,which canbe restrictivewhen shooting in lowlight. Also, be aware that autofocus canprove a little slowandnoisy onbudgetmodels. However, when you consider that you canbuy a70-300mmfor as little as £130, a super-telezoom is a great investment ifyouwant to try your hand at action photography.

Why use a telephoto/telezoom?Have you ever found yourself too faraway from a subject to take a good frame-filling picture? It is oftenfrustrating, but the solutionmay be as simple as using a lens with alonger focal length. Telephoto lenses are designed tomagnify distantsubjects, bringing themwithin photographic rangewithout the need foryou to get physically closer to the subject. This is ideal in situations

Whichshorttelezoom?There is a huge number of lenses tochoose from in this zoomcategory. However, if you are on a limitedbudget, consider theSigma55-200mmf/4-5.6DCor Tamron55-200mmf/4-5.6Di II, as both offer excellent value at around£130.

Short telezoomAfixed lens simply can’tmatch the versatility of a zoom.Short telezoomshave focal lengths of around50-200mm.Theyare available in a variety ofdifferent ranges: for example, 50-150mm,55-200mmand70-200mm.Theyallowyou to choose fromawide variety of focal lengths at a fractionof the cost of buying individual ‘primes’ covering the same range. Theyallow for precise framingwithout theneed to alter shootingposition.However, a zoom’s imagequality isn’t generally as highas that of a fixedlens andbudget telezooms tend tobe slow.Manyhavea variablemaximumaperture (eg f/4-5.6), the lensbeinga stop (ormore) slower atthe longendof the zoom’s range.Althoughbudgetmodels tend to sufferfromsome lens aberrations,modern zoomsoffer increasingly good imagequality and thebest short telezoomsaregoodenough for usebypros. Ashort telezoom iswell suited to awide variety of subjects, includingcandids, nature, scenics, action and still-lifes. In fact, it is oneof themostuseful focal ranges available.

where it is impractical to get nearer to the subject – for example, timidor dangerous wildlife or sporting events. However, while the effect canbe considered similar tomoving closer to the subject, it is not thesame. Perspective and depth-of-field are altered through the use oflong focal lengths, but providing you know how this will affect the sceneor subject you are shooting, this can be used to your advantage.

FixedtelephotoPrime telephoto lenses have afixed focal length.While somemight consider this a drawback,they are often favoured byprofessional photographers asthey are optically superior to azoom.A lens under 200mm is considered as a‘short’ telephoto and is normally light andcompact, so canbe usedhand-held. Also,most boast a small filterthread size,making it cheaper to buy lens attachments for them.Short telephotos in the region of 85mmto 135mmare ideal forportraiture, allowing photographers towork fromadistance that isn’tuncomfortably close to the sitter. This focal length is also suited toisolating details in scenics. Focal lengths upwards of 200mmaredeemed ‘long’ telephoto and these lenses are generally big andheavy,making the use of a tripod almost essential. Long telephotos other thanpromodels also have a slowermaximumaperture.While thosewith fastmaximumapertures of f/2.8 or f/4 are best, they can cost thousands; soonly pros and thosewith deeppockets can justify the price. Fast primetelephotos are bulky andheavy, but forwildlife and action photographers,their quality can’t be surpassed.

Whichprimelens?For general day-to-day photography, a 200mm isa good, versatile focal length. Consider theCanonEF200mmf/2.8LUSMorNikon 180mmf/2.8D IF ED, both priced at around£650.

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Anatomyofatelephoto1) FRONTELEMENTFast telephotoswill have a largediameter front element andfilter thread size. To preventscratches anddirt, consider using aUVor Skylight filterfor addedprotection.2)MANUALFOCUSRINGThese are normally towardsthe front of the lens and are quitewide and grooved forgrip. It iswell worth focusingmanuallywhen youwantaddedprecision.3) FOCUSDISTANCEMany lenses have the focusingdistance scalemarked on the lens’s barrel, whilesomeof the higher-specmodels have a focusingdistancewindow.4) TRIPODCOLLARMany ‘long’ telephotos are designedwith amount that features a tripodbush at its base, knownas a tripod collar.This allows the lens to be attached to the tripoddirectly, providing betterbalance and stability.Many are rotatable, allowing users to switch easily andquickly betweenhorizontal and vertical shooting formats.5) FOCUSLIMITERSome telephoto lenses have a focus limiter switch toprevent the lens from focus ‘hunting’ across its entire focus range. If a lensis struggling to focus, it will ‘hunt’ – going back and forth from infinity totheminimum focus. To prevent this, the limiter switch restricts the focalrange that the autofocus systemwill use.6) IMAGESTABILISATION (not shown) Camera shake is amajor problemwithtelezooms, somanyboast an integral stabilisation system to reduce the risk of blur.7) INTERNALFOCUSING(IF)SYSTEM (not shown) If you’re planning to use filters – particularly apolariser – a telephoto boasting an internal focusing system is beneficial so the lens doesn’t rotate.

TeleconvertersA teleconverter is an optical component that fits between camera andlens and increases the focal lengthwithout altering theminimumfocusing distance. They aremost commonlymade in 1.4x and2xversions – although 1.7x and3x versions are also produced. Therefore, a200mmtelephoto combinedwith a 1.4x converterwould be equivalentto 280mm,while the same lens coupledwith a 2xmultiplierwould betransformed into a 400mm lens. Converters are relatively inexpensive,light and compact, so are a convenient and economicalway to expandthe overall flexibility of your kit. However, there are disadvantages to usingconverters. Firstly, they reduce the amount of light entering the camera by onestop (1.4x) or two stops (2x) respectively. This can prove a problem in low light, when the risk ofcamera shake is increased, andwhenphotographing fast action, when subject blur ismore likelydue to the resulting slower shutter speed. The other drawback of attaching one is that imagequalityis slightly degraded,with zoom lenses being affectedmore than fixed focal lengths. Generallyspeaking, though, the benefits of using one outweigh the disadvantages. For best quality, opt foronewithmore elements in the construction. Nikon, Canon andSigmaare among the cameramanufacturerswhich boast converterswithin their range, but don’t overlook independent brandseither, like Tokina, Tamron andKenko. Due to their design, someoptics are incompatiblewithteleconverters, so check your lens instructionmanual or ask before buying.

Understandingfocallengths:TelephotosThe focal length of a lens – referred to inmm– relates to a 35mmfilmSLRor digital camera employinga full-frame image sensor. Therefore, if your camera has anAPS-C sized sensor, then you are effectivelycropping the image and increasing the focal length of the lens. Our table lists below themost populartelephotos andhow the effective focal lengths changewith different sensor sizes.

Focal length Camerason lens Full-frame APS-H APS-C APS-C(Canon) Four-Thirds

1x 1.3x 1.5x 1.6x 2x50mm 50mm 65mm 75mm 13mm 16mm100mm 100mm 130mm 150mm 160mm 200mm200mm 200mm 260mm 300mm 320mm 400mm300mm 300mm 390mm 450mm 480mm 600mm400mm 400mm 520mm 600mm 640mm 800mm500mm 500mm 650mm 750mm 800mm 1000mm55-200mm 55-200mm 72-260mm 83-300mm 88-320mm 110-400mm70-300mm 70-300mm 91-390mm 105-450mm 112-480mm 140-600mm100-300mm 100-300mm 130-390mm 150-450mm 160-320mm 200-600mm80-400mm 80-400mm 104-520mm 120-600mm 128-640mm 160-800mm

Primeortelezoomlens?It is the age-old question –whybuy a fixed lens, with only onefocal length, when a zoom ismuchmore versatile?Herewehave listed the ‘pros and cons’to both lens types to help youdecidewhich suits yourphotography best.

PRIMETELEPHOTOLENS:Simpler optical designmeans

sharper resultswith bettercontrastMore robust, compact

constructionThe fastermaximumaperture

provides a brighter viewfinderandbetter low-light capabilitiesWill often boast a closer

focusing distance than a zoomRestricted to just the one

focal lengthCost – prime lenses are

typicallymore expensive thanzoom lenses

TELEZOOMLENSCovers a range of focal

lengths, so provides greaterversatilityReplaces the need to carry

several different fixed lenses,meaning that there is less foryou to lug aboutLots of flexibility at a very

goodpriceNot as good optically as a

fixed lens, particularly towardsthe edges of the frameMaximumaperture slower

than a fixed lensParadoxically, zooms can

offer toomuch choice –complicating framing andcomposition

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Theperfect‘generaluse’lensThe standard kit zoomsuppliedwith your camera is a good general purposelens that is capable of decent results, butwe’d recommend you considerbuying an inexpensive standard lens for better optical quality

In the days of 35mmfilmSLRs, you’d invariablyfind a 50mm f/1.8 prime lens attached to thefront of virtually every SLR. It was the first lensthat virtually everyonewith anSLRused andremained popular until the late eighties. It wasaround this time that standard zooms started toappear.With variable focal lengths ranging fromwide-angle to short-telephoto, the 28-70mm(and similar) lens represented a step forward interms of flexibility and sadly it led to the demiseof the 50mmas the standard lens of choice.However, its popularity has recently seen aresurgence for a number of reasons.The first is that it’s a very inexpensive lens to

get hold of.With 50mm lenses from the likes ofCanon, Nikon andSony costing just over £100new, and used versions available for a little overhalf that, they’re an affordable choice formost ofus. To add further credence to the value-for-money argument, consider this fact. The lens ofchoice formany portrait pros has long been the85mmtelephoto, which for an f/1.8 versionwillset you back around £300. If your DSLRuses anAPS-C sensor, asmost do, a 50mmthat costsyou £100 equates to a 75mm f/1.8 (or 80mmf/1.8 if you useCanon) – butwith an effectivesaving of around £200!Also, if you don’tmind buying a usedmanual

focus lens, you can pick one up for around £25.So for the price of a decentmemory card, youcan get a high-quality piece of glass thatmay bea fewdecades old and lackAF, butwon’t leaveyouwanting in the optical department. So,there’s no denying a 50mm lens is affordable,

butwhat else does it offer?Well, the biggestselling pointmust surely be itsmaximumaperture of f/1.8. Having a lenswith such a fastmaximumaperture offers stacks of potential.With your average 18-55mmhaving amaximumaperture of f/3.5-5.6, the 50mm is two to threestops faster, giving a brighter viewfinder imageand allowing you to shoot handheld in low light,while using lower ISO ratings than youwouldnormally get awaywith.Themain benefit of thewidemaximum

aperture is the extremely shallowdepth-of-fieldwhen you shootwide open, which helps isolatethemain subject from its surroundings. Thissingle feature provides significant creativeopportunities, especially in the field ofportraiture. The 50mmalso scores better thanvirtually any lens in the size andweightdepartment.Weighing around 150 grams andmeasuring about 5cm in length, it’s the perfectoptic to keepwith you, especially when you’retravelling and storage is at a premium.The final benefit is possibly themost

important – image quality. Aswith themajorityof prime lenses, the optical quality from thehumble 50mm lens is arguably better than allbut the high-end zooms and in terms ofsharpness, is far superior to a standard zoom.In terms of sharpness, distortion, light fall-offand contrast and evenwhen usedwide open,you’ll have little to complain about. So, there youhave it, a small, lightweight and highly affordablelenswith a super-fast aperture and razor-sharpoptics. Is it not time you bought one?

Current AF 50mm f/1.8 lensesYou’ll find that brands with full-frameDSLRsin their range have retained 50mm lenses intheir line-up. If you’re on a budget, avoid thefaster f/1.4 and f/1.2 variants aimed at pros,as they’re larger and cost farmore. The CanonandNikon lenses have been around for years,so look formint-condition used lenses!

Canon EF 50mm f/1.8IIGuide Price: £130Street Price: £100Size (WxL): 68.2x41mmWeight: 130gTheMkII lens is virtuallyidentical to the original –both arewell worth buying.

Nikon 50mm f/1.8DGuide Price: £135Street Price: £110Size (WxL): 63x39mmWeight: 160gSmall, light and very sharp.Look for the ‘D’ tag to avoidbuying an older series lens.

Sony DT 50mm f/1.8SAMGuide Price: £160Street Price: £150Size (WxL): 70x45mmWeight: 170gAgreat lens but not so easyto find. Remember,MinoltaDynax lenses fit too!

What’s the big deal aboutthe 50mm’s f/1.8 aperture?You have to experience a lens as fast as the50mm to really understand and appreciate itsbenefits but, trust us, once you’ve tried you’ll behooked. The 50mm’s f/1.8 aperture enables youto throw the background completely out of focusand isolate themain subject from its setting. Thisset of images shows the changes in depth-of-fieldat various apertures from f/1.8 to f/22.

108 Choosing&usingthebestdigitalphotokit GETTINGSTARTEDINDIGITALPHOTOGRAPHY

A ‘standard’ lens is available formostCSC brands.Micro Four-Thirds havethe Panasonic G 20mm f/1.7 lens,Samsung the 30mm f/2 lens and SonyNEX the 50mm f/1.8 lens

CSC‘standard’lenses

The‘standard’50mmf/1.8

f/1.8

f/8

f/18

f/5.6

f/14

f/3.2

f/11

f/22

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OurselectionofgreatvaluelensesWe’ve testedmany lenses over the years, sowehave selected a fewwe think areworth considering.We’vefocused on a selection of six lenses from independent brands that offer great value andhigh-quality optics

Normally sharpness falls off as you zoom through the focal lengths,but this lens retains good sharpness throughout. Its wide zoom ringis very easy to use. The autofocus turns in a good performance –it’s not the quickest or quietest, but is accurate and performswell inlow light. It’s light and compact and is a great budget telezoom.

Guideprice:£160Streetprice:£130MainSpecificationS-Lens construction: 13 elements in nine groups-Aperture range: f/4-5.6 to f/32-Filter thread:52mm-Dimensions:71.6x83mm-Weight: 300g-Fittings:CanonandNikon

TamronAF55-200mmf/4-5.6LDDiII

The Tamron 18-270mmboasts an incredible 15x zoom range, givingan effective focal length of 28-419mm,making this suitable foralmost every type of subject. The addition of image stabilisationgives it a four-stop benefit, so it can be used hand-held in low-lightconditions, while the PiezoUltrasonicMotor provides fast, quiet AF.

Guideprice:£650Streetprice:£500MainSpecificationS-Lens construction: 16 elements in 13 groups-Aperture range: f/3.5-6.3 to f/22-Filter thread:62mm-Dimensions:74.4x88mm-Weight: 450g-Fittings:Canon,Nikon andSony

Tamron18-270mmf/3.5-6.3DiIIVCPZDwww.intro2020.co.uk www.intro2020.co.uk

Designed for exclusive usewith cameraswith APS-C sensors,this lightweight lens holds an ace card in the formof itsmaximumaperture of f/2, which gives a couple of big advantages over itsrivals. Aswell as a brighter viewfinder image, it creates a veryshallow depth-of-field – highly desired bymacro photographers.

Guideprice:£450Streetprice:£380MainSpecificationS-Lens construction: 14 elements in ten groups-Aperture range: f/2 to f/22-Filter thread:55mm-Dimensions:73X80mm-Weight: 400g-Fittings:Canon,Nikon andSony

TamronSPAF60mmf/2DiIILDMacro

Despite its focal length, this high-ratio zoom is relatively compactand includes anOptical Stabiliser (OS), a rear focusing systemandHyperSonicMotor (HSM) for quiet, high-speed focusing. Itsminimum focusing distance is 150cmwith amagnification of 1:4.2– something that is sure to appeal to nature photographers.

Guideprice:£900Streetprice:£760MainSpecificationS-Lens construction:21 elements in 15 groups

-Aperture range: f/4.5-5.6 to f/32-Filter thread:77mm-Dimensions:92x203mm•Weight: 1,640g-Fittings:Canon,Nikon, Pentax, SigmaandSony

Sigma120-400mmf/4.5-5.6DGOSHSMwww.intro2020.co.uk www.sigma-imaging-uk.com

Choosing&usingthebestdigitalphotokit 109GeTTINGSTArTeDINDIGITAlPHOTOGrAPHy

This ultra-wide zoom is a real favourite with landscape snappers,thanks to its compact design and sharp optics. like all Sigma eXlenses, it’s well constructed and it feels solid. The barrel sports amanual focus ring and the optics deliver high sharpnessthroughout the range, with slight evidence of chromatic aberration.

Guideprice:£550Streetprice:£430MainSpecificationS-Lens construction: 14 elements in ten groups-Aperture range: f/4-5.6 to f/22-Filter thread:77mm-Dimensions:83.5 x81mm-Weight: 470g-Fittings:Canon,Nikon, Pentax, SigmaandSony

Sigma10-20mmf/4-5.6EXDCHSM

Tamron’s 11-18mmhas proved popular for years, but this addition,with its very wide focal length range, is evenmore versatile. It’scompact and lightweight with good handling and an internalfocusing system that will please filter users. Optical quality is good,thanks to the inclusion of aspherical and low-dispersion elements.

Guideprice:£500Streetprice:£380MainSpecificationS-Lens construction: 12 elements in nine groups-Aperture range: f/3.5-4.5 to f/22-Filter thread:77mm-Dimensions:83.2 x86.5mm-Weight: 406g-Fittings:Canon,Nikon, Pentax andSony

Tamron10-24mmf/3.5-4.5DiIILDwww.sigma-imaging-uk.com www.intro2020.co.uk

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Equipmentforclose-upsMany standard zoomsboast a useful reproduction ratio of around1:4 – quarter life-size. This is ideal to get you started, but if youwant toget even nearer to your subjects, youmayneed to invest in a close-upattachment or dedicatedmacro lens. Here, we look at themostpopular andwidely used options and cover themerits of each…

Close-upfiltersClose-up filters screw to the filter thread ofyour lens andwork like amagnifying glass.Depending on the brand and size, they cancost as little as £10. They are normally of asingle element construction and availablein progressive strengths, stated indioptres. +1, +2, +3 and +4 are themostpopular, although a two-element +10dioptre is also available. The higher thenumber, the nearer the lens can focus andthe higher themagnification. Althoughthey can be used in combination, imagequality will degrade if you attachmorethan two at one time. Close-up filters donot affect normal camera functions, so areeasy to use andwell suited to givingbeginners a taste of close-up photography.Despite theirmodest price, they canproduce excellent results and, being sosmall and lightweight, can easily be usedhand-held without affecting stability.

ExtensiontubesExtension tubes arehollow rings that fitbetween the cameraand lens. Theyworkbyincreasing thedistancebetween the sensorand lens, allowing the camera to focuscloser thannormal and increasemagnification. They lack anyoptics and sodonot affect the imagequality of the lensthey’re coupledwith,making the imagequality superior to close-upfilters. They canbepurchased individually or in a set of threelengths: 12mm,25mmand36mm.Theirlevel ofmagnification is calculatedbydividing the amount of extensionby the focallengthof the lensbeingused. For example,25mmof extensionusedwith a50mmstandard lens results in a 1:2 reproduction–or half life-size. To achieve 1:1 life-size, theextensionwouldneed to equal the focallengthof the lens attached. Therefore, theyaremost effectivewhencombinedwithrelatively short focal lengths.

MacrolensAmacro lens is optimised for closefocusing.While they are highly corrected togive their best results at close range, theycan also be for general use and are popularamongportrait photographers. At itsminimum focusing distance, a dedicatedmacro lenswill normally produce 1:1reproduction. They are available in a rangeof focal lengths: shortmacro lenses, in theregion of 50mmto 70mm, are lightweightand compact,making themeasy to usehand-held. However, at theirmaximummagnification, they don’t have a generousworking distance. Therefore, this focallength is not the best if youwish tophotograph subjectswhich are easilydisturbed, such as butterflies. Generallyspeaking, focal lengths upwards of 90mmare a better choice. They provide a greatersubject-to-camera distance andmake iteasier to isolate your subject.

Usefulclose-upaccessoriesTripodAthighmagnification, the effectof cameramovement is exaggerated. Atripod is thebest formof support. Aflexible design is best suited to shootingclose-ups, as it lets youget low.

ring-flashA ring-flash is designedspecifically for close-upwork. It attachesdirectly to the front of the lens, so theburst can illuminate close-up subjects.Twin flash unitswork in a similarway.

remoTereleaseDepressing theshutter release buttonwhile using at highmagnification, and a slow shutter speed,can cause slight camera vibration. Aremote release allows you to trigger theshutterwithout any fear of camera shake.

reflecTorSmall, collapsible reflectorscanbe angled to bounce light accuratelyonto your subject. The intensity of thelight can be adjusted bymoving thereflector closer or further away.

plampThePlamp is an articulated armwith a clampfixed at either end.One endcanbe attached to a tripod leg, while theother can be used to hold a reflector.

macro photography opens upthe possibility for you to capturestunning images of small subjects.

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WE’VEALLBEENdisappointed,whenusing a flash, thatwehave failed tocapture the ambience of a scene. This usually happenswhenwe shoot in automodewith no real thought as towhatwe are doing orwhy.Whatwehopeyou’ll discover in this section of the guide is that the secret to goodflashphotography lies in using the full range of your camera’s exposuremodes, andthinking carefully about how light from the flash – and fromother sources –affects the final result.

The result of a flash-lit picturewill dependonwhether you are usingaperture-priority or programexposuremode, orwhether you have auto orslow-sync flash set, for example. This is because, by changingmodes, you arealtering settings such as shutter speed,which in turn affects the amount ofambient light that reaches the sensor. Additionally, flashmodes can commandthe flash to fire at the beginning or end of the exposure. Either option changeshowmoving objectswill appear in the final photograph.

While all thismay seemcomplicated, it isn’t. The beauty of digital SLRphotography is that you are free to experiment (and learn fromyourmistakes),andwe recommend youdo thiswhile following our advice.Take inspiration, try it out yourself, and adapt it with your own ideas.Before long you’ll be using flash as an everyday part of your photography –rather than being afraid of it – nomatterwhat your subjectmatter.

IntroductiontoflashUsingflash isn’tasdifficultasyoumight think. It’s justamatterofknowingwhat todo,whentodo it,andhow

How toset flash modes on your cameraChoosingwhichflashmode touseis easy.Most camerashaveaflashmodebuttonon the four-way controlthat allows you to access andchangetheflashmode. If your camera lacksaflashbutton, press theMenubuttonto access theflashmode.Withmostcameras, the selection youmakewill affect the integral flashor anyflashgunmountedon thehotshoe.

JargonbusterGUIDENUMBERAnumericalmeasureof a flashgun’s power. Thehigher thenumber, the greater thepower. Inmanual flashmode, divide theGuideNumberby the camera-to-subject distance inmeters to calculate therequiredaperture for a goodexposure.

HIGH-SPEEDFLASHTheability to use your flashat faster shutter speeds thanthe camera’s standard sync speed. Very usefulwhen trying toworkwith fill-inflashoutdoors in sunny, high-contrast conditions.

PAINTINGWITHFLASHThepractice of lockingopenyour camera’s shutter ona longexposure, in darkness, and thenfiring anoff-cameraflashat your subjectmultiple times fromdifferent angles.

TTLThrough the lensmetering, knownasTTL, is theway inwhichaflashgunandcamerawork together toproperly exposea scene. The camerameasuresflashgunoutput coming through the lens and tells itwhen to stop.

WIRELESSFLASHFiring anexternal flashgunwithout cables, using an infraredtransmitter or integral flash instead. This canbe very usefulwhenyou’re skilledenough tousemultiple-flash set-ups.

FLASHCOVERAGEThis refers to the area covered by the flashgun’s output.You’ll normally find focal lengths up to 18mmprovide an even flash coverage.Wider than this and the edges start to darken off. It’s worth checkingwhat yourflash coverage is if you often shoot groupportraits indoors. Somehotshoe-mounted flashguns boast a built-in diffuser panel thatwidens coverage.

Auto:When light levels fall, yourDSLRwill activate the built-in flash. Itcalculates aperture via TTLmetering, but sets a high shutter speed toavoid camera shake. Convenient, but not very creative.

Slow-sync:It uses a slower shutter speed to record ambient lightproperly. Good for night-timeportraitswhere themoodneeds to berecorded too, butwatch for camera shake.

Rear/second-curtainsync:Works the sameas slow-syncmode,except that the flash is fired at the endof the exposure, rather than atthe start. Great for leaving a trail of light behindmoving subjects.

Antired-eye:Aims to prevent or reduce so-called red-eye in flashportraits by using a series of pre-flashes tomake a subject’s pupilcontract before the exposure is taken.

Flash-off:Stops a camera fromautomatically engaging the built-inflash.More useful than you’d think, especiallywhen trying to shootlow-light scenes on a tripod.

Flashexposurecompensation:YourDSLRautomatically calculatesthe amount of flash needed for an exposure. Use this feature to increaseordecrease the amount of flash output to your liking.

Common flash modes you’ll find on DSLRsTheway yourDSLRandflashwork together is governed by the flashmodethat you use. Here are themost commonflashmodes that you’ll find onyour digital SLR anddedicated hotshoe-mounted flashguns.

112 Choosing&usingthebestdigitalphotokit GETTINGSTARTEDINDIGITALPHOTOGRAPHY

v

Slow-syncflash:This mode involves using flash with ashutter speed/aperture combination that correctly exposes thegeneral scene. The flash takes care of themain subject and thelonger exposure time allows ambient light to reveal backgrounddetail. How you set slow-syncmode depends on the camera youuse. With Canon, use aperture-priority (Av), with Pentax selectshutter-priority (Tv); with Nikon and Olympus, press the flashmodebutton, select slow-sync and use it with aperture-priority (A) orshutter-priority (S). You’ll findmany cameras employ slow-syncwhen you set Night-Portrait mode. The slow shutter speedmeans atripod (or other support) is recommended.

Rear-curtainsync:Rear-curtain sync is also known assecond-curtain synchronisation and it’s well worth notingwhat itdoes. Normally, when you take a shot using flash, the flashgun firesright at the start of the exposure (known as first-curtain sync) and thisis fine formost uses. However, if you’re shooting amoving subject,especially with a slow shutter speed, you’ll find that first-curtain syncisn’t always the best choice. That is because the flash freezes thesubject at the start of the exposure and theirmovement after the flashhas firedmay be recorded by ambient light as an unusual streakahead of their starting position. However, by using rear-curtain sync,this streak is behind the subject, which appears farmore natural.

Trythesecreativeflashtechniques...The best way to use flash is often to balance the flash exposurewithambient light. Thatway, the flash ensures the subject is well lit, whilethe background is exposed by ambient light. Theway to do this issimple – expose for the scene as normal, but pop up the integral flash(or attach a flashgun) and let the camera handle the flash exposure.Thismethod is often termed slow-sync flash.

As this comparison set shows, Programflash exposes the subjectwell but the background is dark. Slow-syncmode balances the flashwith ambient light for amuch nicer effect.

Programmode Slow-syncmode

Second-curtainsync First-curtainsync

The difference between first- and second-curtain synchronisation ismost obvious looking at the light trails of the candles.

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Light the subjectwith one flash,while using anotherwith a colour gelto illuminate thebackground.

1)FLASHHEADCanbe rotated or flipped to bounce light off wallsand ceilings.Most zoom tomatch light coverage to the focal length.2)AFASSISTProjects an infrared beam to help focus in dim light.3)HOTSHOEThe connection between camera andflash. Used totrigger the flash and communicate data for TTL lightmetering.4) LCDSCREENShows the status of the flashgun. In this case themeteringmode, range, zoomsetting and f/stop are all visible. Here,we can see that the unit is set to TTL exposuremode for an apertureof f/10 and a24mm lens, giving a range of between0.6 to 3.1m.5)BUTTONSANDCONTROLWHEELUsed to set advancedfeatures, like flash exposure control,meteringmode etc.6)FOLD-AWAYREFLECTORANDDIFFUSERThe reflector can beusedwith the gun in bouncemode to direct a small amount of lighttowards the subject. The diffuser is used to disperse light over awider areawhen shootingwith ultrawide-angle lenses.7)POWERANDMODESWITCHTurns onpower to the flashgunand, in this case, dictates how the unit behaveswhenusedoff-camera inwireless TTLmode.

Anatomyofaflashgun

Exposure modes and flashHowexposuremodesandoverridesaffectflashfordifferentbrandsofDSLRs*

PROGRAMMODE

APERTURE-PRIORITY

SHUTTER-PRIORITY

EXPOSURECOMPENSATION

FLASHEXPOSURECOMPENSATION

CANONCamera sets shutter speedandaperture, but raisesshutter speed to avoidcamera shake.Backgroundmaybedark.

User picks aperture; cameracalculates flash exposureaccordingly. Shutter speed ispicked to render ambientlight correctly. Be aware ofcamera shake.

User picks shutter speed andcamerapicks correspondingaperture for ambient light,then calculates flash outputaccording to this aperture.

Affects ambient lightexposure only.

Affects flash exposure only.

SONYCamera sets exposure, butraises shutter speed to avoidcamera shake, unlessslow-syncmode is set.Backgroundmaybedark.

User picks aperture andcamera selects flash exposureaccordingly. Shutter speedlimited to prevent camerashake, unless slow-syncmodeis also selected.

User picks shutter speed andcamerapicks correspondingaperture to expose ambientlight correctly, thencalculates flash outputaccording to this aperture.

Affects both ambient andflash exposure.

Affects flash exposure only.

OLYMPUSCamera sets exposure, butraises shutter speed to avoidcamera shake, unlessslow-syncmode is set.Backgroundmaybedark.

User picks aperture andcamera selects flash exposureaccordingly. Shutter speedlimited to prevent camerashake, unless slow-syncmodeis also selected.

User picks shutter speed andcamerapicks correspondingaperture to expose ambientlight correctly, thencalculates flash outputaccording to this aperture.

Affects ambient lightexposure only.

Affects flash exposure only.

NIKONCamera sets exposure, butraises shutter speed to avoidcamera shake, unlessslow-syncmode is set.Backgroundmaybedark.

User picks the aperture andthe camera selects flashexposure accordingly. Shutterspeed is limited to preventcamera shake, unlessslow-syncmode is selected.

User picks shutter speed andcamerapicks correspondingaperture to expose ambientlight correctly, thencalculates flash outputaccording to this aperture.

Affects both ambient andflash exposure.

Affects flash exposure only.

PENTAXCamera sets exposure, butraises shutter speed to avoidcamera shake, unlessslow-syncmode is set.Backgroundmaybedark.

User sets aperture andcamera sets shutter speed tocorrectly exposebackground, up to themaximumsync speed. Riskof camera shake in low light.

User picks shutter speed andcamerapicks correspondingaperture to expose ambientlight properly, thencalculates flash outputaccording to this aperture.

Affects both ambient andflash exposure.

Affects flash exposure only.

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Getting to use just one flashgunproves a dauntingprospect formany, so howdoes the thought ofusing twograb you?This technique dealswithshowing youhow to light a subjectwith oneflashgun,while a secondflash is used to illuminatethe background. This technique is useful when youwant to highlight detail in the scene or, as shownhere, youwant to use flash gels to light it in acompletely different colour.

While the techniquemay sound incrediblydifficult, it’s actually quite easy to achieve. You needto use your camera’s integral flash (or ahotshoe-mounted flashgun) to illuminate yoursubject, which is pretty straightforward as theexposure is taken care of automatically by thecamera thanks to thewonders of TTLflash. Asecondflashgun is triggered automatically by themain flash to illuminate the background, so you’velittle to do other than ensure that the remote flash isset up correctly, which, as the panel on the rightreveals, is pretty easy to do. And, if you think thissounds expensive, it’s not, all you need is a remote

trigger or, if you’re using non-dedicated flashguns, aslave cell, to trigger your off-camera flash.

Flash gels are essentially small sheets ofcoloured plastic that are placed over the flash headto colour the flash output. The flash gel is held inplace over the head via Velcro or an elastic bandandwith a number of kits availablewith a choice ofcolours, it’s an inexpensive and easyway to addcreative flash effects to your images. Incidentally,larger flash gel kits are available that can be usedwith studioflash heads, too, and, in fact, thetechniquewe’ve used here can easily be applied tostudioflash set-ups aswell as flashguns.

Using flash gels to illuminate a background isequally suited to both indoor and outdoor locations.Plain backdrops aswell as textured surfaces aresuitable, although the latter does provide additionalvisual interest. It’s alsoworth bearing inmind thatyou can usemore than one flashgun for thebackground, so feel free tomix colour gels. The keyis to experiment asmuch as possible, as this iswhen creative photos present themselves.

AddcolourwithflashgelsTryoutour inexpensiveandsimplewirelessflashtechnique

1Here’s our subject photographed using only ourhotshoe-mounted flashgun. She’swell exposedbut the background is drab and dark.

3We’ve fitted a Lumiquest red gel and the colouradds interest, but, with the remote flash set toTTL, its output isn’t as strong aswe’d like.

2We’ve set up a remote flashgun behind her,which fires to light thewall in the background,but the effect isn’t particularly attractive.

4Setting the remote flash tomanual powerprovides a far stronger output, although thefull-power 1/1 setting is far too strong. 5We try variousmanual power settings to see

which provides the best result and find that, forthis set-up, half-powerworks best.

Remoteflashgunset-up

WAYSTOTRIGGERAREMOTEFLASHGUN:Depending on the types of flashgun andaccessories you are using, there are a numberof ways of triggering your remote ‘gelled’ flash.If you have a dedicated flashgunwith a slavefunction, you can use theMaster/Slave facilityto trigger it when you release the shutter.You’ll need to refer to your camera/flashguninstructions, as this varies according to thecamera/flash brand andmode. Alternatively,you can fit a slave cell to the bottomof anyflashgun, which is then triggered by theoutput from the camera’s built-in or hotshoe-mounted flashgun (depending onwhich youare using).

SETTINGUPTHEEXPOSUREONTHEREMOTEFLASHGUN: If you’re using adedicatedMaster/Slaveflash system to trigger the off-cameraflashgun, then you caneither set up itsoutput to bebasedonaTTLexposure ormanualpower setting.While selectingTTL is normallythebest choice,we’d actually recommendyouset theflash tomanual for this technique, asthe resultswill bemore consistent. If you areusing a slaveflash, you should set theflashguntomanual to allowyou to set a specificpowersetting.With theflash inmanual, you can set theremoteflash tofire at fixedpower settings suchas full power (1/1), half power (1/2), quarterpower (1/4) and soon. Take some test shotsandadjust thepower settings to suit the scene.Adjust power if youwant a stronger orweakereffect or if you switch colour gels, as someabsorbmore light thanothers.

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Choosing&usingthebestdigitalphotokit 115GettinGStartedindiGitalPhotoGraPhy

FinalimageWhile the red gel is attractive,

it proves overpowering, sowe try various colours andfind greenworks the best.

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SimulateeveningsunwithflashLearnhowtouseoff-cameraflashtocreateattractivehairlight

1(Above) To start with, we position Emma in adoorway sowe can use natural light to fill in the

shadows on her face. During thewintermonths,however, when light levels are low, youmay need touse a reflector or a second flash to light her face, heldapproximately three or four feet away so as not tooverpower the backlight.With the camera and flashset tomanual, I dial in f/5.6 and ISO500, because ofthe relatively low light, and place the flashgun onthe step behind Emma.

2(Right) I take a test shot of Emmaat f/5.6with theflash behind her set to 1/8 power and no reflector. As

you can see, the flash isn’t strong enough to have anyeffect and her face is underexposed. So I set the flash to¼power and askmy assistant to hold a reflector a fewfeet away fromEmma’s face to fill in the shadows.

3(Left) As I can see the stairs in the backgroundof the pictures, I add a blanket over the steps to

get rid of thewhite line and darken the backgroundto enhance the backlight.

4(Above) Youmay alsowant to tryplayingwith your camera’sWhite Balance

settings to seewhat effect it has on the picture.Normally, if you’reworkingwith flash, youwouldset Flash or CustomWB, butwhy not tryDaylightor Tungsten to alter the tone of the image?Alternatively, you could shoot in Rawand playwith theWB in post-production.

Withoutreflector Withreflector

WhenusingfLash to light a portrait, the firstthingmost photographers do is point it at thesubject’s face, but by placing it behind themodel’s head, you can create attractive hairlight– adding a different dimension to the image. it’sa great creative technique to try in thewintermonths, too, when youdon’t fancy goingoutdoors, butwant to simulate the look of a lowevening sun from thewarmth of your home.

To get the best results, the subject shouldideally have curly orwavy hair andbeplaced infront of a dark background to accentuate thelight. You’ll also need to experimentwith yourflash’s power to find abalance betweenoverpowering the ambient light and getting theright spread through the hair. for instance, if

you’re doing a full-body portrait, a burst of flashat½powerwouldwork best, while a head shotmight require only¼power. it’sworth playingwith the distance of your flash to your subject’shead aswell, butmake sure the flash iscompletely hidden so it diffuses through thehair. also consider your aperture:minimaldepth-of-fieldwill soften the spread of light,while a narrowaperturewill produce a star-likeeffect from the flash.

Professional lifestyle photographerBrettharkness frequently uses his off-camera flashbehind his subjects, whether to create adramatic burst of light behind a full-bodyportrait or to add a subtle, attractive hairlight toa head shot. he showsus how…

ReflectorsYou can use your camera’sintegral flash unit to illuminatethe face, or you could use areflector instead to bouncesome light on to thesubject’s face. You cancontrol the tone of thelight by the choice ofyour reflector, too. ifyouwant a cool tone,opt for a silver reflector,or, for awarmcast, try a goldreflector. alternatively, why not try Lastolite’sTrigrip sunfire or sunlite reflector, likewe’veused in this step-by-step, as it has strips ofsilver and gold for amore natural cast. if youonly have a silver or gold reflector, you couldalways experiment with your image’sWhiteBalance in-camera or adobeCamera Raw towarm it up or cool the tone down.

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FinalimageWith slight tweaks to

the contrast inPhotoshop and a

little skin softening,we’re left with a

beautiful portrait.

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PaintingwithFLaSh is the practice of locking a camera’s shutter open for a long exposurewhilesomeone selectively illuminates parts of the scene by repeatedly firing a hand-held (hotshoe)flashgunusing the test button. it’s a technique that ideally suits shooting buildings at night.

Paintingwith flash is a very flexible and creative technique. You canfire the flash asmany timesas you like, fromany angle. Coloured gels or filters can also be attached to the flashgun, to changethe colour of the projected light to addmore interest. night scenes of church graveyards are popularsubjects for this technique,with the photographer lighting the church andheadstoneswithdifferent-coloured gels over a long exposure, resulting in an unusual,multi-coloured image.

it’sworth arriving at the scene at dusk and getting set upwhile there is still enough light to allowyou to pre-focus on your subject and seewhat you’re doing. You’ll need tomount your camera on asturdy tripod andfire each exposure using a remote release or your camera’s self-timer. the formerhas the advantage of reducing the risk of camera shake,while also giving you time to get intopositionwith your flashgun. Use aperture-priority ormanualmode and choose an exposure of atleast ten seconds to beginwith. Depending on your initial results, youmaywant to increase theexposure time. if you can, take a friend along, too, to help fire the shutter or to run aroundduringthe exposure, firing the flashgun! the key thing to remember is that youmust not point the flashhead towards the camera. if you do, a hotspotwill be recorded on the image, potentially ruiningit. it’s also important to keepmovingwhen in front of the lens, or you’ll be recorded as a ghostlyfigure. Ensure you take plenty of spare batteries, too, as the powerwill soon start to deplete due tothe high number of flash bursts you’ll fire.

there is lots of trial and error involvedwith this technique, but it’sworth setting the flash tomanual at½,¼ or 1/8 power, to allow you to fire offmore bursts in different positions around thescene. Leave it at full power and you’ll get fewer flash bursts, due to longer recycling times. the onething about paintingwith flash is that it is very hit andmiss, and no two exposureswill ever be thesame.with practice, you’ll be able towork out the exposure time you should set and theapproximate number of flashes to fire for each frame.Daniel Lezano headeddown toRutlandwaterto paintwith flash using aCanonEOS40DandCanonSpeedlite 430EX ii.

Paintingwithflash

Step1 I’m using aperture-prioritymode and setting the aperture to f/16,which gives an exposure time of 15 seconds. I set a delay of 20 seconds viaa remote release to giveme time to get in positionwithmyflashgun.

Step2 I’ve already set the flashgun tomanual and selected¼power. Thisreduces the recycling time, allowingme tomove around andfiremore flashbursts than I could if the flashgunwas set to full power.

Step3 Here, you can seemefiring the flash.If you don’tmove around during the exposure,you can expect to see yourself appear as aghostly blurwithin the scene.

Step4 Bymoving around during the exposure,I’m no longer visible. I focusmost ofmyflashbursts toward the ceiling of the semi-circulararea at the front of the building.

Buildingatdusk

Step5 A longer exposure of 20 secondsmeansmore time andmore flash bursts to illuminate awider area of the building. But I’m carelesswithmy aim, resulting in flash hotspots.

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Xxxxxx 0003rdEdition GettingStarted inDigitalSLRPhotography

Wandering around the front of thebuilding, I’m able to illuminatemuchof it withmyflash over a 30-secondexposure. Seeing as it’s the firsttime I’ve tried this technique, I’mhappywith the result.

Finalimage

By having a friend and an additional

flashgun, you’re able to double up on

the number of flash bursts per exposure,

allowing you to bemore creative with

how you illuminate your subject

Takealongafriendakealongafriend

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2)BounceflashAmuchbetter result.With the light beingbouncedoff theceiling, theflash ismorediffused. Theresult is a softereffect that is farbetter than theharshresult producedbydirect flash.

3) BounceflashwithreflectorTheflashgun’s built-inreflector sends someof the light directlytowards the subject,while letting themajority of theflashbounceoff the ceiling.The techniquegivesthebest of bothworlds.

4)BounceflashoffacoloursurfaceAlways try touseawhite (or cream)surfacewhenbouncingflash, asthe light picksupthe toneof acolouredwall andwill result in pictureswith ahorrible cast.

1)DirectflashThecamera’sTTLflashmeteringhasdoneagood jobwith theflashexposure, but thequality of the lightfrom thedirect flashis tooharsh,whichis not aflatteringlook for our subject.

HowtousebounceflashTheMAINprobleMwith using your camera’s built-in flash (apart from itsrelatively lowpower) is that it fires its output directly at the subject, so youare always going to get a portrait illuminated by relatively harsh light, whichis not flattering at all! There areways around this, though, such as using aflash diffuser, but the best solution is to use a hotshoe-mounted flashgunand to bounce the flash off awall or ceiling.Most flashguns offer this option,with some rotating side to side, aswell as flipping up anddown. exposurecontrol is automatic, too,making thewhole process very easy.Nevertheless,there are a few tips to ensure you use this techniquewell.

It’s best to pick a surface to bounce off that is neutral in colour –white isthemost reflective surface (and also themost commonceiling colour), butyou’ll find a creamwall or ceiling can illuminate your subjectwith awarmercast. Also, remember that youdon’t always have to bounce light upwardsonto the ceiling. If you are shooting portraits, a sideways bouncemeans thatyour subjectwill be lit from the side, which canproduce flattering results bycasting soft shadows across the face.

Shadows aren’t always a good thing, though. portraits takenwithceiling-bouncedflash can often exhibit shadowsunder the eyes –which is

Bounceflashwithbuilt-inreflector

not a good look! To get around this, check if your flashgunhas a built-inreflector that bounces someof the light towards the subjectwhileallowing themajority of it to bounce off the ceiling. If it hasn’t, you cantake theDIY approach andbuild amakeshift reflector. To do this, stick asmall piece ofwhite card in place to do the same job.

Many flashguns nowhave a built-inreflector, which directs a small amount oflight towards the subject, while lettingthemajority bounce off the ceiling. Inturn, this helps reduce red-eye andoffers asofter,more even light comparedwith directflash. be aware that a bounce flash fromabovecanproduce shadowsunder the eyes, so it’sworth pointing the head to bounce off awall asthis can create softer,more flattering shadows.

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Toppicks: Flashgunsandstudioflash kitsPhotographyissimplythemanipulationof light.But,sometimes,natural light justdoesn’tprovidetheeffectyouwant,sowe’veselectedourtwotopflashgunsandstudiokitstohelpshedsomelightonproductswhichoffergreatvalue

TheNissin Di622 has excellent build quality for a flash unit costingunder £150; it’s as good asmodels costing twice its price. Thisflashgun also has some rewarding features that set it apart frommany other flashguns at this price range. These include second-curtain sync, slave flash and a standbymode that kicks in after twominutes of non-use to save your battery power. It also includes aflash stand, a diffuser for coverage aswide as 16mmand a fill-inreflector. There is no LCDpanel on the rear; instead, a series ofLEDs indicate power and a single button handles themodes. TheNissin Di622MkII flashgun is available for Canon, Nikon and SonyDSLRs and considering the quality of features and the reasonableprice, offers a decent cut-price alternative to brandedmodels.

Guideprice:£150Streetprice:£130MAINSPECIFICATIONS-GuideNumber:44-62 (ISO 100,m)-Flash coverage: 16-70mm(24-105mm)-Recycling time: four to six seconds-Bounce facility:Yes (0 to90º)-Swivel facility:Yes (0 to 270º)-TTL:Yes-AFassist beam:Yes-Strobeflash:No-Wireless flash:Yes

www.kenro.co.uk; 01793 615836

Nissin Speedlite Di622 II

Sigma not onlymakes great value lenses, it also boasts a couple ofexcellent flashguns, with this being its topmodel. The EF-530 isavailable in Canon, Nikon, Pentax, Sigma and Sony versions, and ispackedwith stacks of features. In fact, it will take you quite awhileto read the EF-530’s instructionmanual to get to grips with themall! One interesting feature is theHigh Speed Sync, which allowsyou to fire the unit at shutter speeds above your camera’s usualflash sync speed. The unit can also be used as amaster or a slaveunit, and offers awide-angle flash diffuser panel. The unit is alsoeasy to usewith the buttons spaced out, and a bright and clearLCDmonitor. The battery compartment slider, however, could be apotential weak spot after sustained use. An excellent flashgun.

Guideprice:£250Streetprice:£150MAINSPECIFICATIONS-GuideNumber:28-53 (ISO 100,m)-Flash coverage: 16-70mm(24-105mm)-Recycling time: four to six seconds-Bounce facility:Yes (0-90º)-Swivel facility:Yes (0-270º)-TTL:Yes-AFassist beam:Yes-Strobeflash:Yes-Wireless flash:Yes

www.sigma-imaging-uk.com; 01707 329999

SigmaEF-530DGSuper

This update of the original D-Lite is one of the best kits forbeginners. The heads are compact but sturdy, and feature anintegral Skyport wireless trigger. The heads are available in 200 and400-Watt versions (D-Lite 2 IT&D-Lite 4 IT respectively) and ifpossible, we recommend you buy the 400-Watt heads as the extrapower is very useful. The control panel couldn’t be easier to use. AnLED shows the current power settingwith two large buttonsbeneath allowing it to be changed. Other controls allow you to setthemodelling light to be on atminimumor full power, off, orproportional to the power setting, which is set in 1/10th increments.There is also a button to switch the audible ready ‘beep’ on or off.TheD-Lite kit has everything you need to get started.

Guideprice:£730Streetprice:£550

www.flashcentre.com;02078375649

ElinchromD-Lite4IToutfit

MAINSPECIFICATIONS-No. of heads:2x400Ws-Power:25-400Ws-Modelling lamp:Full (100W)/proportional/Low/Off

-Fitting:EX type-Trigger Voltage:5vSTUDIO2GOOUTFIT INCLUDES2x flashheads, 2x stands, 2x power leads, 2x softbox(onemedium, one small), 1x light bag, 1x standbag

BESTBUY

Replacing the successful EX150 kit, theMark II version has someimpressive new features. The heads are a decent size, with astrong polycarbonate build, and are compatible with the fullInterfit range of accessories. Though there is no storage bagwiththis kit, the box it comes in is sturdy and adequate for holding it.Themodelling lamps give a useful amount of light and the flashpower (1/8 to full-power) is very respectable and, when channelledby the spill kills, can add 50% to theGuideNumber. Lighttemperature is a little on the cool side, so using RAWor amanualWB setting is advised. This is a great kit for themoney and a goodchoice for the amateur. Itmay not be as extensive as some, butthe build quality of the equipmentmore thanmakes up for it.

Guideprice:£250Streetprice:£220

www.interfitphotographic.com

InterfitEX150MKIIoutfit

MAINSPECIFICATIONS-No. of heads:2x 150Ws-Power: 19-150Ws-Guide number (ISO 100,m):22-Modelling lamp:Full (100W)/Off-Fitting:EX type-Trigger Voltage:5vKIT INCLUDES2x flashheads, 2x stands, 2x sync leads, 2x power leads,1xwhite brolly, 2x spill kills, 1x softbox, 1xDVD

Choosing&usingthebestdigitalphotokit 123GETTINGSTARTEDINDIGITALPHOTOGRAPHY

HIGHLYRATED

HIGHLYRATED

BESTBUY

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ALTHOUGHTHEREARE various studioflash kits available, ranging inprice fromunder £200 to thousands,most of themhave very similarfeatures and all followbasic principles of operation. A studioflash head isdesigned to fire a burst of flash at a given power setting – the extrafunctions and accessories are all geared to allow the photographermorecontrol of the flash output. Trulymastering a studioflash systemcan takeyears but, thankfully, getting to gripswith the essentials is relatively easy.Much like using ambient light, the key factor behind success is learninghow to control the flash output so your subject is lit theway you’d like itto be. The big difference between studio and ambient light is the level ofcontrol you have – you are able to fine-tune the lighting’s intensity anddirection, aswell as the nature of the light falling on the subject, farmoreaccurately than you could ever achievewith natural light. Thismakes itan incredibly versatile formof lighting but, obviously, one that does taketime to learn to use accurately. Here, we cover the basicworkings of astudioflash systemandhow the various attachments, such as softboxesandbrollies, can be used to control howyour subject is lit.

StudioflashoutfitsWhilenewcomersmayfindstudioflashintimidating,thetruthis,usingit isn’tasdifficultasyoumaythink

RearoflightYou’ll normally find controls on therear of the head, but somemodelshave themon the side, too.1)SYNCSOCKETMost studioflashoutfits are suppliedwith a sync lead,which connects your camera to yourflash head, to allow the flash to firewhen you press the shutter button.2)SLAVECELLThis sensor detectsany flash output, so if your camera isconnected to one light in amultipleset-up, its outputwill trigger theslave cell on other lights,makingthemfire together.3)POWERSETTINGSAkeyfunction of studioflash heads isbeing able to adjust the poweroutput. Basic heads have fixedsettings, eg¼power,½power andso on, whilemost advanced headshave stepless variable settings.4)STATUSLIGHTS/BEEPSManyheads have lights that indicatewhenthe head has sufficient charge tofire.

FrontoflightRemoving the lighting attachmentwill usually reveal two bulbs, eachwith different uses.5)MODELLINGLAMPThistungsten bulb remains switched on,to allow you to compose the image,focus on the subject and predict theflash effect.6)FLASHBULBThese provide thepowerful flash output.Most brandshave specialised bulbs to fit certainheads or studioflash series. They’revery fragile, so handle themwithutmost care.

Setting up your camera for usingstudioflashSet the camera tomanual and set the correct flash sync speed. Thenfit aPCadaptor to your hotshoe to connect to theflash sync lead

AnatomyofastudioflashheadThis illustration is of the rear of an Interfit head, butmost brandswillhave a similar layout, with easy-to-use andwell labelled controls.

Flash heads heat up quickly, sotake care not to burn yourselfwhen swapping attachments. Themetalmount, as well as the bulb,can get hot, especially when themodelling lamp is turned on

Toohottohandle!

124 Choosing&usingthebestdigitalphotokit GETTINGSTARTEDINDIGITALPHOTOGRAPHY

1

4

3 2

65

(1) Set themain control dialtoM to selectmanualmode(2) Turn the input dial behindthe shutter button and set theflash sync speed(3) Once you’ve taken aflashmeter reading, press andhold down the +/- button, thenturn the input dial to set theaperture you require

CANONEOSDSLRS

1

2

3

(1) Set themain control dialtoM to selectmanualmode(2) Turn the input dial behindthe shutter button and set theflash sync speed(3) Once you’ve taken aflashmeter reading, turn theinput dial on the front of thehandgrip to set the aperture

MOSTNIKONDSLRS1

2

3

(1) Set themain control dialon the top-plate toM to selectmanualmode(2) Turn the input dial behindthe shutter button and set theflash sync speed(3) Once you’ve taken aflashmeter reading, press andhold down the +/- button, thenturn the input dial to set theaperture you require

PENTAXK-SERIESDSLRS

1

2

3

(1) Set themain control dialon the top-plate to Tv to selectshutter-prioritymode(2) Turn the input dial in frontof the shutter button and setthe flash sync speed(3) Once you’ve taken aflashmeter reading, pressand hold down the +/- button,then turn the input dial to setthe aperture you require

SONYALPHADSLRS

1

2

3

Very fewCSCs sport theexposuremode dial found onthemajority of digital SLRs,but it’s still very easy to selectthe exposuremode.Withmostmodels all you need to do ispress theMenu button or thefour-way control dial to displaythe exposuremodes and rotatethewheel toM to selectManualmode.Withtouchscreenmodels, simplypress theM icon on the screen.

COMPACTSYSTEMCAMERAS

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FLASHHEADSAREdesigned to produce a high-power burst of light, butit’s the lighting attachment that you have fitted to it that dictates theeffect of the light reaching the subject. If you’ve ever looked into buyinga studioflash system, you’ll no doubt have seen various types ofattachments available, each having their ownway of affecting theintensity and nature of light.Whilemost basic kits are often suppliedwith a brolly or two and ‘spills’, there are a huge number of optionalaccessories available and getting to knowwhich are best suited to yourneeds is important. In our comprehensive comparison set below, wehave used themost typical types of attachments available formoststudio kits to give you an idea of how each affects the light.

Aswell as lighting attachments, other accessories can play a big part

LightingaccessoriesYourstudioflashsystemisonlyasgoodasthe lightingattachmentsandaccessories

in the quality of your final results,or justmake the process a loteasier. For instance, a flashmeteris useful to identify the correct apertureyou need to set your camera to for a perfect exposure,and a remote trigger is also handy.Which background you use alsoaffects the final image: there are a variety available, fromplain tocoloured patterns, to paper rolls that fit on frames and collapsiblebackdrops. A reflector should not be overlooked either; it bounces lightback onto the subject or background as an alternative to using anadditional light. Silver is themost efficient, white provides a softer andmore natural effect, while a black reflector can accentuate cheekbones!

Umbrella(brolly)Available inwhite, silver andtranslucent, abrolly is one ofthe cheapestaccessoriesavailable. Silveris very efficientat bouncinglight, whitegives a soft,natural effect,whiletranslucentbrollies providethemostdiffused light.

SoftboxA realfavourite, as itprovides a verydiffused effectthat’s ideal forflatteringportraits. Thelarger thesoftbox, thesofter the lightit produces.Themajorityare square, butsome arerectangularand thin (alsocalled striplights).

SnootThis conicalattachmentprovides ahard-edge anda directionalbeamof lightthat’s bettersuited forbacklighting oras a hairlightthan providingthe key lightingfor portraits.

HoneycombgridThese providea soft-edgedcircle of lightand are apopularalternative to asnoot. They actin a similarwayto a spotlight,but provide awider anglespot effect.Honeycombsare availablewith varioussizes of grids.

BeautydishBeauty dishesare often used,as youmayexpect, forclose-up‘beauty’ andmake-up shots.They give off avery harsh lightin the centre,which enhancesmake-up, butalso highlightsflaws on asubject’s skin.

Spill(spillkill)Often suppliedwith the flashhead, they helpdirect light in aconcentratedbeam.Withportraits,they’re usefulfor lightingbackgrounds,but quiteharshwhenaimed at asubject’s face.

aperturecorrecttheidentifytousefulisexposure,perfectafortocamerayoursettoneedyou

alsouseyoubackgroundWhichhandy.alsoistriggerremoteaand

When using studioflash,make sure the

white dome (invercone) on your

flashmeter is set over the sensor, so that

it takes incident light readings, which

will prove to be themost accurate

FlashmeterreadingsFlashmeterreadings

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If youwant to learn how to control your lighting, you’re best off startingwith just one light. One light ismore than sufficient to produce somestunning results andmany great photographers still use a single headfor their work. After all, outdoorswe only have a single light source – thesun. This set-up is very easy to control and the smallest adjustment tothe light on your subject has a clear effect. This forces you to fine-tunethe light’s angle and diffusionmethod. Andwhile you’ll only have onesource of illumination, you can also use reflectors in your set-up tobounce light and fill in any shadows.

The set of images below showswhat happenswhen you position yoursingle light at different heights and angles – as you can see, it’s crucialthat you learn the dos and don’ts of how to set up your single studioflashhead to avoid some of the unflattering results shown below.

Asmentioned earlier, you need to set your camera tomanualmodeand set it to its flash sync speed (if you don’t know it, use 1/125sec as asafe bet or refer to the user’smanual). The aperture is determined bythemeter reading you take, which is easy to dowith a one-light set-up.With the sync lead from the light attached, hold themeter in front of thesubject’s face and press the button to fire the flash and take a reading.By adjusting the power setting on the flash head, you can effectivelychange the aperture youworkwith, too. Add power to set a smalleraperture and reduce power to use awider aperture.

Studioset-up:onelightToget togripswithstudio lighting, tryasimpleset-upwithone light;herearefivetechniquestogetyoustarted

1)Litfromabove With thelight positioned high abovethemodel’s head, you get anatural-looking light,although shadows canbecomeharsh under thenose and chin. For the bestresults, get themodel tolook towards the light. Youcould also ask her to hold areflector to fill the shadows.

onelightAll youneed togetstarted isyourcameraandasingleflashhead.Withabitofpractice, youwill soonfindyourself gettinggreat results!

3)Litfromtheside Placethe light to either the left orright side of yourmodel’sface for a strong, directionallight, whichwill keep half ofthe face in shadow. toincrease your chances ofcapturing the catchlights inyour subject’s eyes, it isimportant tomake sure thelight is far enough forward.

4)Onelight&reflectorBy holding a reflector closein to the face, on theopposite side from the light,youwill be able to even upany harsh shadows,muchlike using a second head.the closer you place it to themodel, the stronger thereflectionwill be (though ithelps to have an assistant!)

2)Litfrombelow Placingthe light lower than themodel’s head, pointingupwardswill eradicate anyunsightly shadows under thenose and chin. For bestresults, get themodel tolook down towards the light,which, as you can see, alsomakes catchlights appear inthe subject’s eyes.

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5)Classicone-lightset-upThis technique involvesplacing the light slightlyabove and to one side of themodel – pointing at a 45ºangle to one side and down at45º. The resulting lightinggives a nice natural look tothe face and awell placedcatchlight aswell, for a reallypleasing, flattering result.

Howmuch should I spend on astudioflash system?We’d recommend you start with atwo-head system,with a softboxand umbrella. Tests byDigital SLRPhotography found several to beexcellent, including the InterfitEX150MkII and the ElinchromD-Lite 4 IT Studio 2Gooutfit.

What advantages domoreexpensive outfits offer?General build quality (andreliability) will be better, but thekey benefits are power, featuresand performance.More poweris useful as you can set thelights up further away fromyoursubject, while relative light lossfromattachments like softboxesis reduced. You’ll find thatmoreexpensive heads allowmorecontrol over flash output andfaster flash recycling times.

Are attachments fromdifferentsystems compatible?In general, different brandshave their own fittings so aren’tcompatible. However, Chimeramakes speedrings for itssoftboxeswhich are compatiblewith just about any system. Visit:www.chimeralighting.com

How should I set upmy camerato use studioflash?Youwill need to set it tomanualmode, as themetering systemwill notworkwith studioflash.Set the shutter speed to the flashsync speed and aperture to theflashmeter reading.

Howdo I take an exposurereadingwith studioflash?Use a flashmeter connected to alight via a sync lead. Once you’veset up the lights, hold themeterin front of the subject’s face, takea reading and set themeter’srecommended aperture on thecamera. Don’t forget that theflashmeter and camera both needto be set to the same ISO rating!

Howdo I connectmy camera tomy studioflash system?The plug at the end of thestudioflash sync lead connects toyour camera’s PC socket. If yourcamera hasn’t got a socket, buyan adaptor (around£10) that slotson your camera’s hotshoe andconnect the lead to this. Amoreexpensive option is awirelesstrigger that sits on your hotshoeand triggers a receiver on theflash head.

Q&A:StudioflashWhen shooting portraits, e

specially of

females, try asking them to tilt their

head slightly. This adds an

air of

friendliness to the shot, m

aking the

image look farmore relaxe

d

Tiltthehead

Choosing&usingthebestdigitalphotokit 127GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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GeneralcameraaccessoriesAsyoudevelopyourphotographyskills,you’llneedtoaddtoyourbasiccameraoutfit.Hereweprovideourrecommendedchoicesinthefourmaintypesofaccessories:bags,tripods,remotesandlightmeters

GiottosMTL9351B&MH5011headPrice:£115Length (closed):64cmNumber of leg sections: 3Height (legs extended): 159cmType of Head:Three-waypan and tiltWeight: 2.1kgWebsite:www.daymen.co.uk

TheGiottos has very solid aluminium legswith foam insulators, to keep’ hands fromfreezing to themoncold days. The nutsand locks are a combination of plasticanddie-cast aluminium, and are as solidas could be hoped for at this price. Thethree-way head is easily controllableand features three spirit levels inaddition to the one on the legs, sothere’s no excuse forwonky horizons!It has a lockable rotational centralcolumn,which canbe removed andre-inserted horizontally or invertedformacro or copywork. The tripodis very sturdy for the price, andcomeswith its own tool kit in caseyouneed tomake anyadjustments. There is also ahiddenbaghook underneath thecentral column. TheMTL9351Bhad absolutely no problemscopingwith our test camera(NikonD80) andwouldprovide a very suitableplatformonwhich theamateur landscaper couldmount hisDSLR.

Manfrotto190XPROB&460MGheadPrice:£170Length (closed): 57cmHeight (legs extended): 146cmNumber of leg sections: 3Maximum load: 5kgWeight: 2.25kgWebsite:www.manfrotto.com

This aluminium tripod fromManfrottois one of the lightest in this pricecategory. The legs are very sturdy andsupports the camera perfectly well in allpositions. The flip locks are easy to openand close and very secure, and thereare vari-position locks to keep the legssecure at different settings. Perhapsthemost interesting feature of thelegs, is that the central column can beswitched to horizontal position, formacro shots, without removing itfrom the legs. This is an excellentfeature, as itmakes the processvery easy and fast to carry out.The head is very versatile, as itcan pan, tilt and swivel in justabout any direction, and is veryeasy to operate. The lack ofpanning handlesmay not beto everyone’s taste, but thehead is so versatile that itmore thanmakes up for it.Spirit levels can be found onthe head and central columnbrace, and a bag hook islocated on the legs.

Most photographers are happy withthe performance of their camera’smetering system, so whywouldanyone consider splashing outmorethan a hundred pounds on ahandheldmeter when it could bespent on a lens, tripod or anotheruseful accessory?Well, in truth, theargument for owning a handheldmeter isn’t anywhere near as strongas in the days of film, but there arestill some valid reasons. For starters,it can be used tomeasure flashreadings (cordless or via a flash synclead) as well as ambient light, so it’sas useful in the studio as it isoutdoors. Another benefit is that, bysliding the white dome over thesensor, it can take incident lightreadings (light falling on thesubject), which aremore accuratethan reflected readings (lightbouncing off the subject) – thesystem used by all cameras. You canset it tometer in 1/3, 1/2 or full-stop

increments, tomatch how yourDSLRworks and taking a readingcouldn’t be easier. Choose themode(ambient or flash), set the ISO tomatch your DSLR and then placethemeter in front of your subject,facing the camera and press themeasuring button. If measuringambient light, you specify theshutter speed and themeter selectsthe corresponding aperture. Thisisn’t ideal if you’re working inaperture-priority as you need to usethe up and down buttons to get tothe aperture you want to use andthen read off what is the correctshutter speed. The wide LCD on thefront has large digitsmaking it easierto read, although there’s no backlitfunction to illuminate it in low light.Out in the field, and in the studio,Sekonic to be extremely accurateand consistent. But with DSLRsoffering instant review andhistograms, it’s no surprise that itsappeal is limited. However, if youregularlymix ambient and flashlight, you’ll find it extremely useful.

Whether you really need one or

not depends on how happy you arewith the exposures delivered by yourcamera and if you plan to regularlyshoot flash as well as ambientexposures. If you are considering alightmeter, this one is worth a look.

SekonicFlashmateL-308SPrice:£150www.johnsons-photopia.co.ukAmbient and flash handheldmeter

Compact, light andaveryversatilemeter that is the ideal low-costoption for studioandoutdoorwork.

OVERALL

BuildFeaturesPerformanceValueforMoney

Verdict

SpecificationsMeasuringmethods:Incident and reflectedMeasuringmodes: Ambientand flash (corded & cordless)ISO: 3-8000Shutter speeds (ambient): 60seconds to 1/8000secShutter speeds (flash):One second to 1/500secApertures: f/0.5 to f/90.9EV range: 0 to EV19.9Power Source: 1x AA batterySize (WHD): 63x110x22mmWeight: 95g (including battery)Supplied accessories: Softcase, strap and Lumidisc

HIGHLYRATED

128 Choosing&usingthebestdigitalphotokit GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Areliable, low-cost option.

Verdict

OVERALL

BuildqualityPerformanceValueforMoney

Similar in specification toNikon’sMC-30, theHama is half the price.It’s small, the plastic shell is light at34g, while its 80cmcord is a goodlength. The pimpled button has atwo-stage action and by sliding itforward it locks into place, with a redstrip acting as a visual indicator. It’s ano-frills remote that does its jobwell.It’s very affordable compared tomarque brands, but faces stiffcompetition from theHähnel andSeculine remotes.

If youwant to carry a laptopwithyou, then this is a good budgetchoice, as it has awell-padded,laptop compartment at the rear.There is lots of internal space andcomfortably holds a largeDSLR, likeaNikonD700with 24-70mm lensattached, a 70-200mm f/2.8 zoomlens and flashgun. There are four dividersto change the layout, so you could easilykeep a smaller body, extra lenses, andother accessories in there too. It’s notshort on features either, with a paddednon-slip strap, a carry handle and slots toadd on components from the TamracStrapAccessory System. A large pocket at the front hassections for pens, stationery or note pads, a pocketin the lid for smaller items and a dedicatedmobilephone pocket. If you have amediumor largeDSLR,extra lenses and a laptop, this is a great buy.

Available in black, blue or red trim, theFastpack 250 features twocompartments and is ideal for travellinglight. The camera compartment is wellpadded, holds a large DSLRwith zoomattached, alongwith one or two smalllenses and flash. There’s no room for asecond body or larger lenses though,but the rear padded pocket does holda 15in laptop. The side entrycompartment helps you get at yourgear quickly, but you do need to takeit off to get gear out safely. The topcompartment isn’t as well padded, so isnot designed for camera gear, but it doesinclude two pockets formemory cards and pens.Thanks to the generous padding on the shoulderstraps and back, the Fastpack 250 is comfortableto carry, the sternumand back support straps holdit nicely in place and there’s a carry handle to boot.

A discreet camera bagwith roomfor lots of camera gear aswell asa laptop. The interior of the bag isvery deep, so you can double-upon storage by stacking items ontop of each other. The bag’s depthalsomakes it very suitable forcameraswith long lenses. A paddedsection provides storage for a 15inlaptop. Leather is used to good effectthroughout the bag and the grab handlesand shoulder strap are very well designed.Entry into themain section of the bag isthrough a clever roof zip that is easy to accesson themove and is protected by the handlebuckling over it. You’ll be able to fit at least twoDSLRswith an additional two or three lenses in thespaciousmain section. A luggage sleevemeansthat you can attach this bag to the handles of awheelie case. The bag is hand-luggage friendly too.

This large backpack has twocompartments, both of which featuregenerous space. The lower compartmentfits a large DSLRwith 24-70mm f/2.8attached, a long zoom, flashgun, twosmall primes and even a second body.The flexible dividersmake it versatiletoo, as thewhole padded section canalso be removed, and there’s a large17in laptop compartment. Theconstruction is robust with UltraDobbyNylon, protected zips, toughbelts, strongmetal hooks and a rubberbase that covers the bottom, so no problemsleaving it onwet ground. The shoulder straps areadjustable, but not very well padded, and there’s awaist belt, lumber support and padding on the rearfor improved comfort. Features are good too, witha detachablemicrofibre cloth,memory cardwallet, rain cover and several pockets.

Price:£34www.hama.co.uk

Price:£50Dimensions: 37x30x22cmWeight: 1.07kgWarranty: Five yearsContact:01628674411Website:www.intro2020.co.uk

Price:£60Dimensions: 31.5x24x46cmWeight: 1.6kgWarranty: LifetimeContact:01902864646Website:www.daymen.co.uk

Price:£120Dimensions (outer): 46.5x28x35.5cmWeight: 1.9kgWarranty: LifetimeContact:01902864646Website:www.daymen.co.uk

Price:£100Dimensions:40x26x45cmWeight: 2.8kgWarranty: 30yearsContact:08452304262Website:www.hama.co.uk

HamaRemoteControl5348

TamracAdventureMessenger5 LoweproFastpack250

LoweproClassified250AW HamaDefender170Pro

Perfect choiceasafirst remote.

Verdict

OVERALL

BuildqualityPerformanceValueforMoney

TheHähnel is larger than theHama,but thismakes it easier to handle,andwhile its nearly double theweight at around 60g, it’s stillincredibly lightweight. The two-stagebutton has a farmore positive actionand the sliding lock facility is better.The 80cmcord is a useful length butthe inclusion of the extension lead isa real bonus. Best of all are the pairof interchangeable connections thatallow it to be usedwith a variety ofcameras. A brilliant budget buy.

Price:£20www.hahnel.ie

HähnelRemoteShutterReleaseHähnelRemoteShutterRelease

BESTBUY

add on components from the TamracStrap

BESTBUY

ash. There’s no room for alenses and fl

issopadded,wellasisn’tcompartmentnot designed for camera gear, but it does

BESTBUY

belts, strongmetal hooks and a rubber

BESTBUY

and shoulder strap are very well designed.

BESTBUY

Choosing&usingthebestdigitalphotokit 129GETTINGSTARTEDINDIGITALPHOTOGRAPHY

Areliable, low-cost option.

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Howtouseyourfreemetering&WhiteBalancecards

DIGITAL SLRS AND CSCS USE sophisticated exposure systems with achoice of metering patterns to suit different lighting situations. The systemswork on the assumption that the area of the scene being metered is amid-tone, or 18% grey to be precise; the average if all dark, light and mid-tones were mixed together. It’s the basis of all metering patterns and workssurprisingly well, but can render incorrect exposures when the overall sceneor subject is considerably lighter or darker than 18% grey. For example, verydark areas or subjects can fool the metering system into overexposing theimage, while very light areas can fool the camera into underexposure, as thelightmeter will take a reading that renders it as a mid-tone.As a camera is trying to render an image ‘grey’, it’s your job to ensure

you compensate to keep the tones true to life. You can do this by eitherusing one of your camera’s exposure override facilities, such as exposurecompensation, the AE-Lock button or by metering from an area of the

scene that has a mid-tone. And that’s where our grey card comes in.Using it is very simple, as our step-by-step guide below illustrates.

The key thing to remember is that you need to place the grey card insimilar lighting to your subject: for instance, don’t place it in a shaded areaif your subject is bathed in sunlight. Also, make sure that the card fills themetering area – we would recommend you use spot or partial metering asthe card won’t need to fill the entire image area, but any is suitable.You can either lock the exposure using your camera’s AE-Lock facility ornote the aperture and shutter speed, then switch to manual mode and dialin these settings. This latter method isn’t suitable on days where lighting isvariable. The card has AF reference lines to help your camera’s autofocuslock on to it. However, you don’t necessarily need it to be in focus to workcorrectly. The grey card (as well as the white card) can also be used to takea customWhite Balance reading from, too.

The 18%greycardcanbeused toensureperfect exposureswhenshooting in tricky lightingconditions.BothreferencecardscanalsobeusedtosetacustomWhiteBalance,buthowyoutakeareadingoff thecardsdependsonyour camera (refer to your camera’smanual). In themeantime,here is abrief explanation toget youstarted

1GETTINGSTARTED If you’re shootingportraits in difficult lighting conditions, such as

backlighting, give your subject the grey card andask them to hold it angled towards you.

2TAKEAMETERREADINGEnsure that theentiremetering area is filled by the grey card

(in this instance, we’re using spotmetering) andlock the exposurewith theAE-Lock button.

3COMPOSE&SHOOTWith this exposurelocked, you can compose your scene and take

your shots.When you check it on your LCDmonitor, the exposure should be perfect.

BJO

RNTH

OMASS

EN

Meteredtoperfection!Sceneswith strongbacklighting

can lead toexposureerror.Useagrey cardandyoushould

havenoproblems.

Whether you use the grey card or not, in

tricky lighting conditions, bracket yourexposure by +/-1 stops using yourcamera’s exposure compensation or AEB

functions to ensure you get the shot

Besuretobracket!

130 Ensureperfectexposures GETTINGSTARTEDINDIGITALPHOTOGRAPHY

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Grey card

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wB referencecard