The Beginner's Photography Guide

THE
BEGINNER’S
GUIDE
PHOTOGRAPHY
THE
BEGINNER’S
GUIDE
PHOTOGRAPHY
Senior Editor Nicky Munro
Project Art Editor Joanne Clark
Editor Hannah Bowen
Designer Simon Murrell
Jacket Designer Natasha Rees

Jacket Editor Manisha Majithia
Jacket Design Development Manager Sophia MTT
Producer, Pre-production Rebekah Parsons-King

Production Controller Mandy Inness
Managing Editor Stephanie Farrow

Senior Managing Art Editor Lee Griffiths
Written by Chris Gatcum
This edition published in 2016

First published in Great Britain in 2013
by Dorling Kindersley Limited
80 Strand, London WC2R 0RL
Penguin Group (UK)
2 4 6 8 10 9 7 5 3 1
001–289243–May/16
Copyright © 2013, 2016 Dorling Kindersley Limited

A Penguin Random House Company
All rights reserved.
All rights reserved. No part of this

publication may be reproduced, stored
in a retrieval system, or transmitted in any
form or by any means, electronic, mechanical,
photocopying, recording, or otherwise,
without prior written permission of
the copyright owners.
A CIP catalogue record for this book

is available from the British Library.
ISBN 978–0–2412–4127–1
Printed and bound in China.
A WORLD OF IDEAS:
SEE ALL THERE IS TO KNOW
www.dk.com
CONTENTS
Introduction 8 Explaining Shutter Priority Mode
About this Book 10 Why use Shutter Priority Mode? 62
Applying Shutter Priority Mode
EQUIPMENT 12 Freezing Movement 64
Freezing Extreme Movement 66
Introducing Equipment 14
Creating Moderate Movement Blur 68
Explaining Cameras
Creating Extreme Movement Blur 70
Anatomy of a dSLR 16
Panning for Sharpness and Blur 72
Through the Viewfinder 22
Applying Manual Mode
On the LCD Screen 23
Taking Full Manual Control 74
Other Camera Types 24
Explaining Metering Patterns
Holding your Camera 28
What are Metering Patterns? 76
Explaining Accessories
Explaining Histograms
Lenses 32
What is a Histogram? 78
Camera Support 34
Applying Exposure Compensation
Lighting 36
Fine-tuning Exposure 80
Other Accessories 38
Using Automatic Exposure Bracketing 82
Explaining Image Formats
Explaining High Dynamic Range
JPEG or Raw? 40
What is HDR Imaging? 84
EXPOSURE 42
FOCUSING 86
Introducing Exposure 44
Explaining Shooting Modes Introducing Focusing 88
What are Scene Modes? 48 Applying Essential Autofocus
What are Auto and Advanced Modes? 50 Using Multi-area and Single-point Autofocus 90
Applying Program Mode Applying Focus Lock
Taking Creative Control 52 Focusing and Reframing 92
Explaining Aperture Priority Mode Applying Manual Focus
Why use Aperture Priority Mode? 54 Controlling your Point of Focus 94
Applying Aperture Priority Mode Applying Continuous Autofocus
Keeping Everything in Focus 56 Tracking a Moving Subject 96
Using a Shallow Depth of Field for Portraits 58 Applying Prefocus
Isolating a Subject From the Background 60 Focusing on High-speed Subjects 98
LENSES 100 FLASH 148
Introducing Lenses 102 Introducing Flash 150
Explaining Focal Length Explaining Flash Essentials
What is Focal Length? 104 What are Sync Speeds and Guide Numbers? 152
Applying Wide-Angle Focal Length Applying Built-in Flash
Using a Wide-angle Lens Outdoors 108 Using Fill-flash 154
Using a Wide-angle Lens Indoors 110 Applying Hotshoe Flash
Applying Telephoto Focal Length Bouncing the Flash 156
Using a Telephoto Lens for Portraits 112 Using Flash at Night 158
Using a Telephoto Lens for Distant Subjects 114 Applying Off-Camera Flash
Applying Macro Focal Length Using a Simple Lighting Set-up 160
Using a Macro Lens for Mobile Subjects 116 Painting with Light 162
Using a Macro Lens for Static Subjects 118
IMAGE ENHANCEMENT 164
AVAILABLE LIGHT 120 Introducing Image Enhancement 166
Introducing Available Light 122 Applying Crop and Rotate
Explaining Colour Temperature Cropping for Impact 168
What is the Colour of Light? 124 Applying Levels
Applying White Balance Correcting Exposure 170
Selecting the Correct White Balance 126 Applying Curves
Setting a Custom White Balance 128 Adjusting Contrast 172
Applying Light Control Applying Hue and Saturation
Using Reflectors to Add Light 130 Boosting Colour 174
Using a Diffuser to Soften Light 132 Applying Monochrome Techniques
Applying Low-Light Techniques Converting to Black and White 176
Working in Low Light Outdoors 134 Toning the Image 178
Working in Dimly Lit Interiors 136 Applying Sharpening
Applying High-Contrast Techniques Achieving Crisp Details 180
Exploiting Light and Shadow 138
Exposing for the Highlights 140
Applying Against-the-Light Techniques
Creating a Halo of Light 142
Creating a Silhouette 144 Glossary 182
Explaining Lens Flare Index 186
How do you Work with Lens Flare? 146 Acknowledgments 192
9
INTRODUCTION
The aim of this book is simple: to provide you with a solid foundation in
digital photography. It cuts through the jargon and complicated technicalities
that can make the subject unnecessarily intimidating, and shows you how
to get the most out of your camera. It’s not surprising that so many
photographers feel daunted by all the buttons, dials, and menus found on
modern digital cameras – and it’s all too easy to switch to Auto and leave
everything to the camera. But once you learn how satisfying it is to make
the creative decisions yourself, and see how taking control can make such
a huge difference to your pictures, you’ll never look back. And it’s really not
as difficult as it might appear. Of course, it does take a little commitment,
and you won’t be able to master every technique without some practice,
but the results are more than worth the effort. Your camera is an amazing
piece of technology that’s capable of transforming your pictures from
average snapshots to something altogether more impressive. This book will
completely demystify the world of digital photography for you, and will set
you on the path to becoming not just a good photographer, but a great one.
10 ABOUT THIS BOOK
ABOUT WHAT’S ON THE PAGES?
THIS BOOK INTRODUCING |

At the start of every chapter you’ll find “Introducing” pages
that give you an overview of the particular subject covered.
Each chapter of the book is full of practical You won’t be overloaded with technical information, but
“hands-on” tutorials that will help you get the will learn all you need to gain the confidence and know-how
best from your camera. Canon and Nikon to get started.
dSLRs are used throughout, but even if your 44 IN TRO D UCIN G | E XPOSURE 45
camera make or model is different, you’ll find

What affects exposure?
EXPOSURE A “good” exposure involves balancing the aperture,
shutter speed, and ISO (see pp.46–47). In doing so,
SHUTTER SPEED
All cameras contain a shutter, which may be either
electronic, turning the sensor’s light-reading capability
you determine three things: how much light passes on or off, or a mechanical unit that physically opens
through the lens (aperture); the length of time that and closes in front of the camera’s sensor to allow in –
Exposure is one of the most fundamental aspects of photography, and you’ll often light passes through the lens (shutter speed); and or shut out – light.
that most dSLRs (and many CSCs) have very

Shutter speed is
how sensitive to light the sensor is (ISO). These
hear photographers talking about “making an exposure” or “getting the exposure settings can be balanced in numerous ways to
perhaps the easiest of
the exposure settings
right”. In essence, “exposure” is simply the process of letting light through the camera’s produce a “correct” exposure in terms of brightness, to understand.
but each individual setting will have a profound
lens to illuminate (“expose”) the digital sensor and produce an image. Getting the effect on the image. E R
U T T S P E
E D
optimum exposure for your photograph relies on balancing three distinct elements. S H
similar functions and controls.

1/6 0 1/ 3 0
2 5 1/1
1/ 1 5
2 50 1/
8
1/
Getting it right
WHAT IS EV?
00
1/
BLUR
4
The three elements that are key to exposure are the aperture
1/
LIGHT MO M
in the lens; the shutter in the camera; and the sensitivity to EV (Exposure Value) is a single number used SS SS RE O
f/32
10 0
LE
LE
RE
to describe the many permutations of aperture,
light of the sensor itself (ISO). Technically, there’s no such thing
shutter speed, and ISO that can be used to
E
as the “right” exposure, just the one that you think looks best,
LES
MOR
achieve a single overall exposure (or “brightness”).
f/22
20 0
S
but there’s a point at which most people would agree that a Each EV step is equal to a one-stop adjustment
LESS
LESS
picture is overly light or dark. In photographic terms, when of the shutter speed, aperture, or ISO, and it’s EXPOSURE
D
typically used when talking about exposure
f/16
40 0
the camera’s sensor doesn’t receive enough light and the
FIE L
compensation and bracketing (see pp.80–83): APERTURE
T
LIG
PT LIGH
resulting image is dark, it’s described as “underexposed”. If too
NO
ISO
OF
+1EV means increasing the exposure by 1 stop
HT
E
ISE
much light reaches the sensor and creates an overly bright The aperture is, literally,
T U /11
using either the aperture, shutter speed, or
R
I S
80 0
MO
RE
f
The ISO amplifies the DE a hole (or “iris”) in the
RE
ISO, for example. MO
CAMERA SETTINGS KEY

image, this is described as “overexposed”. The aim with
O
signal that the sensor MO R camera’s lens that allows
exposure is to simply find a happy medium. L E SS
16
E
f/8
R
receives, effectively making light to pass through to
00
E
it more sensitive to light. This is the sensor. All cameras today
P
32 .6
00 f/5
A
UNDEREXPOSED CORRECT EXPOSURE OVEREXPOSED a bit like turning up the volume – including compacts and many
on your radio. However, just as this 6 40 mobile phones – have a variable
0 f/4
1280 0 f/2.8
can increase background “hiss”, high aperture, so you can set the size of
ISO settings can result in “noisy” images as the hole precisely to match the prevailing
non-image-forming elements are amplified. light conditions.
The following icons are used throughout the book to

show you precisely what settings were used for each
of the final images.
SHOOTING MODES EXPOSURE

THINGS YOU’LL SEE
P Program mode ƒ/32 Aperture setting
110 A PPLY IN G | WIDE-ANGLE FOCAL LENGTH
A 1/100 USING A WIDE-ANGLE LENS

Aperture Priority mode Shutter speed INDOORS
SEC Although wide-angle lenses are a perfect match to remember. First, a wide-angle lens is likely to
for expansive landscapes, they’re also a great choice display barrel distortion (see p.109), so you need to
when you’re indoors and space is more restricted. take care when placing walls or other vertical (or
S
In this situation the wide angle of view will enable horizontal) planes close to the edges of the frame.
ISO you to record as much of your chosen interior as Second, when you aim a wide-angle lens upwards,
Shutter Priority mode 10 0 ISO setting possible. However, there are two important things any vertical elements in the image tend to converge.
M Manual mode WHITE BALANCE CHOOSE A LENS

Attach your chosen wide-angle
lens, whether it’s a fixed focal length or
a wide-angle zoom.
SELECT APERTURE PRIORITY
Aperture Priority will not only
allow you to determine the depth of
field in your shot, but also the shutter
speed: smaller apertures result in longer
exposure times.
SET UP YOUR TRIPOD
If you anticipate using a slow
shutter speed – to blur figures moving
through the scene, for example – use a
tripod, or activate your camera’s image
stabilization, if it has this feature.
SELECT A FOCUS POINT
With such a wide angle of view, it’s a
good idea to select a single focus point yourself
(see pp.90–91), so you know precisely where your
camera is focusing.
EXPLORE VIEWPOINTS
Unless you’re using a slow shutter ANGLES
METERING MODES AWB Auto

speed, don’t feel that you have to use
a tripod. Shooting hand-held allows
you to explore more unusual angles.
A wide-angle focal length can offer a dramatic
perspective, which is part of its appeal. Even
though distortion can be an issue, don’t be
afraid to experiment and “work the angles”.
THE RESULT
Shooting from low down and tilting the camera intentionally
gives this museum interior shot a dramatic edge. The inclusion
KEEP IT LEVEL of the figure provides a sense of the scale of the building.
Multi-area Daylight You can minimize the effects of

barrel distortion (see p.109), which
makes straight lines appear to bow
CAMERA SETTINGS
A 1/30
outwards, by keeping your camera ISO
ƒ/22 AW B
level and as square to the subject
as possible. SEC 10 0
Centre-weighted Cloudy
Spot Shade
CAMERA SETTINGS
A 1/30
Partial Tungsten ISO
ƒ/22 AW B
SEC 10 0
Fluorescent
Flash Camera settings Wherever you’re

shown how to apply a technique,
Custom
you’ll also see the final result,
along with the settings used to
get there (see also Key, left).
ABOUT THIS BOOK 11
E X PL A I N I N G | A PPLY IN G |
If you see “Explaining” at the top of a page, you’ll get a specific The “Applying” pages provide you with illustrated tutorials
look at one aspect of photography. It could be an explanation on how to put all the theory into practice. The step-by-step
of focal length, or the theory behind the colour of light (and instructions are so simple and straightforward that you really
why you might need to know about it). The concepts are can’t go wrong. You’ll also find suggestions on how to apply
presented clearly and simply throughout. the techniques to different subjects and situations.
104 E X PL A IN IN G | FOCAL LENGTH LENSES 1

105 142 A PPLY IN G | AGAINST-THE-LIGHT TECHNIQUES
WHAT IS ON CAMERA FISHEYE LENS

A fisheye lens is an extreme
CREATING A HALO OF LIGHT
FOCAL LENGTH? wide-angle lens, with a focal length
of 14mm or less and an angle of view
of around 180 degrees. There are
When Kodak launched its Box Brownie camera at
the beginning of the 20th century, the advice they
in front of you there’s a very strong chance that your
images will suffer from lens flare (see pp.146–47), and
gave to the new breed of enthusiast photographers whenever your subject is lit from behind there’s the
All lenses are described by a “focal length,” whether it’s a single two types of fisheye lens: circular
and full-frame. As its name suggests, was to always take pictures facing away from the risk that it will appear as a silhouette (see pp.144–45).
focal length for a prime lens (see p.103) or a range of focal a circular fisheye lens produces sun, never towards it. To some extent that advice If you’re careful, however, lighting your subject from
lengths covered by a zoom lens. Put simply, the focal length of round images on the sensor (right),
is still valid today: if you photograph with the sun behind can also produce stunning results.
a lens gives you an indication of its angle of view, as illustrated which can limit its appeal for general
photography, although the effect
below, so you have an idea of how “wide” it is, or how much can be striking. Full-frame lenses SELECT A MODE
are more popular, as they produce It’s likely that you’ll need to
of a telephoto effect it will have when it’s attached to your ▲ The focal length of a lens is printed
adjust the exposure from the camera’s
on the front of it, along with other a rectangular image that covers the
camera. The focal length(s) that you use most will generally details, such as maximum aperture. entire frame (far right). recommended reading, so choose ADJUST THE EXPOSURE
be dependent on the subjects you prefer to photograph. something other than Auto or a Scene To reduce the exposure, dial in negative (-)
mode. Aperture Priority (see pp.54–61) exposure compensation (see pp.80–81). For this shot,
is best for a close-up shot like this as it -1 stop of compensation was needed to prevent the
ANGLE OF VIEW 75º 63º 43º 18º 10º 7½º 5º allows you to maximize the depth of field. highlights from being blown out.
The angle of view refers to

the amount of a scene that
a lens can “see” and record BACKLIT PORTRAITS
on your camera’s sensor. It’s Backlit portraits can work fantastically well,
usually based on a diagonal with the light adding a beautiful halo to hair.
measurement. However, with the light coming from behind
your subject there’s always the risk that the
face will be in shadow. To counter this, consider
using a reflector (see pp.130–31) or fill-flash
(see pp.154–55). Here, a gold reflector was
used to add a warm glow to the skin tones.
THE RESULT
Shooting from a low angle and choosing a dark background
LENS LENGTH 28MM 35MM 50MM 135MM 250MM 350MM 500MM helps this dandelion seed head to stand out, but it’s the strong
backlighting that makes the image really glow.
The shorter the focal length,
the wider the angle of view TAKE AN EXPOSURE READING TEST SHOT CAMERA SETTINGS
that’s recorded, so a 28mm Use your camera’s spot meter In challenging lighting conditions it can be hard to get the exposure right
A
focal length records a much (see pp.76–77) to take an initial exposure first time, so it’s a good idea to take a shot and call up the histogram on playback 1/60 ISO
wider angle of view than, say, ƒ/32
a 500mm focal length.
reading from a midtone area of your (see pp.78–79). Here the exposure is a touch too bright and the highlights are clipped
SEC 40 0
subject. Alternatively you could take a slightly as a result. With a detailed subject like this, this isn’t ideal.
reading from a grey card (see pp.74–75).
116
6 A PPLY IN G | MACRO FOCAL LENGTH LENSES 117 180 A PPLY IN G | SHARPENING IMAGE ENHANCEMENT 181
USING A MACRO LENS ALSO WORKS FOR... ACHIEVING CRISP DETAILS ADJUST OPACITY
Fine-tune the effect of the High Pass filter
by adjusting the Opacity of your adjustment layer.
FOR MOBILE SUBJECTS Backlit subjects are easier to find

when you’re shooting close-ups
than when you are photographing
If you’ve spent a fair amount of money on a camera
and an accompanying lens (or lenses), you might
your pictures will be, but all digital photographs
can benefit from additional digital sharpening. This
Decreasing the opacity allows the master layer
below to show through. Although this effectively
reduces the sharpening effect slightly, you should be
Macro photography requires much greater precision commonly used with low ISO settings, which results something on a larger scale. Look
wonder why you’d ever need to sharpen your is essentially because of the way in which digital able to keep the edges nice and crisp, without any
for dew drops on leaves and halos appearing along them: this would be a sure
than other genres when it comes to focusing, and the in a slow shutter speed. None of these things are individual blades of grass, or for photographs with editing software: surely your camera sensors work – it’s unavoidable, and not
sign that the image is over-sharpened.
slightest shift can throw a subject entirely out of focus. particularly conducive to hand-held photography, but translucent petals with light striking camera will deliver a sharp image? Well, yes and no. a camera fault – but your editing software is more
The reduced depth of field that comes from close-up when you’re shooting mobile subjects, the flexibility them from behind. Shoot either
early or late in the day, when the
Your lenses have a significant impact on how sharp than capable of putting things right.
work (see p.119) also means that smaller apertures are of a hand-held camera is precisely what you need. sun is low in the sky and more THE RESULT ▼ BEFORE SHARPENING
elements in the landscape are lit
from behind. With a subject that contains a lot of fine detail, such as this scaly iguana,
sharpening is essential, especially if you plan to print your image. It also
boosts colour and contrast slightly, which further enhances the shot.
THE RESULT CAMERA SETTINGS CAMERA SETTINGS
M A
Getting close to this backlit butterfly was the only
way of filling the frame. In this respect, using the ƒ/4
1/500 ISO
ƒ/2.8
1/80 ISO
AW B
camera hand-held is preferable as you have greater SEC 40 0 SEC 40 0
freedom to move around your subject.
ATTACH YOUR LENS SELECT A MODE DETERMINE EXPOSURE DUPLICATE THE IMAGE LAYER SET THE BLENDING MODE
A dedicated macro lens is the Manual or Aperture Priority are For a backlit shot like this, use You’ll need software with Layers for this technique (see Using the drop-down menu in the Layers palette,
best choice for close-up photography, the ideal exposure modes for macro the camera’s centre-weighted metering p.166). First, duplicate your image so you have a copy of it on change the Blending mode for your duplicate layer from
although some zoom lenses have a photography, as you will often want pattern (see p.77) but set the exposure a second layer (the “adjustment layer”). This will be at the top Normal to Overlay. Don’t worry if the image looks overly
macro setting that will suffice. to control the depth of field. one stop brighter to avoid underexposure. of the Layers palette, with your “master” layer beneath. saturated and contrasty at this point.
SHARPENING FILTERS
Most editing software incorporates several sharpening
filters, ranging from simple Sharpen options that don’t give
you any control at all, through to advanced sharpening
tools such as Unsharp Mask (USM). USM is an incredibly
powerful (and complex) sharpening tool, but should be
used with caution: it’s easy to overdo it and end up with an
unattractive, over-sharpened result (see detail below, right).
SWITCH TO MANUAL FOCUS
Although Autofocus will work
with macro shots, it’s sometimes easier
to focus manually.
FOCUS
With a small, moving subject it’s APPLY THE HIGH PASS FILTER
better to focus on your subject initially Although you want to sharpen the image, you won’t be
and then move the camera closer to and using one of your editing software’s sharpening filters. This may
further away from it to keep it in focus, seem strange, but these filters tend to be either rather crude or
rather than constantly adjusting the overcomplicated in their approach (see box, left). Instead, apply
focus. This is only possible if you’re the High Pass filter to your duplicate layer. Adjust the filter
shooting hand-held. amount so that the details in the image appear crisp.
Boxes Handy tip boxes The result A brief

provide inspirational advice overview of the final
to expand your knowledge image explains how it
of the subject in question. was created and which
techniques were used.
Close-up camera details The tutorials Screenshots Image editing can turn
show you which buttons and dials you a good shot into a great one. Adobe’s
should be looking for on your camera. Photoshop Elements has been used
Most dSLRs (and many CSCs) have similar throughout, but most editing software
options, often in exactly the same place. has a comparable range of features.
EQUIPMENT
14 IN TRO D UCIN G |
EQUIPMENT
Your choice of camera is likely to come down to two things: the type of photography
you want to do, and your budget. The camera isn’t necessarily the end of your
purchases, however. There are a lot of accessories available that aim to enhance your
photography in some way, but lenses, tripods, and flashes are designed to expand
your camera’s capabilities and are often considered “must-have” items.
The essentials
Whether you want a camera that’s light, foolproof, and overview of the options available, and lists the pros
requires minimal input, or one that allows you to take and cons of each camera type. If you’re serious about
full creative control, this chapter will help you choose photography, then a camera with interchangeable
the ideal camera for you. The panel below gives a brief lenses is definitely the most versatile option.
CAMERAPHONE BASIC COMPACT ADVANCED COMPACT
Has a fixed lens and minimal control A modest zoom range and primarily Provides manual control, and in
over exposures, but with the advantage automatic controls makes this an ideal some cases Raw file capture, with
that you’ll have it to hand at all times. point-and-shoot camera. the convenience of a portable size.
FUNCTIONALITY FUNCTIONALITY FUNCTIONALITY

◾ Fixed lens ◾ Zoom lens covering wide to ◾ Zoom lens covering wide to
◾ Few manual controls telephoto focal lengths telephoto focal lengths
◾ Easy to share images, either via email ◾ Automatic/semi-automatic ◾ Automatic and manual
or text message, or by uploading to shooting modes shooting modes
social networking sites ◾ JPEG only ◾ Range of creative controls
◾ Small, discreet, and pocketable ◾ Small and pocketable ◾ Raw and JPEG capture
◾ Small and pocketable
EQUIPMENT 15
EXTRAS
If you choose to invest in a dSLR
or CSC, then there’s a wide range
of lenses, flash units, and other
accessories that can help you take
your photography to another level.
And regardless of which type of camera
you choose, a camera case and memory
card are essential extras. This chapter
will show you what’s available so you
can decide what you need.
PRIMARY CONSIDERATIONS:
◾ Lenses to expand your range of focal lengths
◾ An external flash for low-light shots and fill-flash
◾ A tripod
◾ A comfortable and accessible camera case or bag
◾ Spare battery and memory card(s)
BRIDGE/SUPERZOOM CSC DSLR
Combines dSLR styling and features A full range of automatic, manual, and A tried-and-tested design and the
(including manual control) with a creative controls, plus interchangeable favoured camera of countless enthusiast
wide-ranging zoom lens. lenses, all in a small camera body. and professional photographers.
FUNCTIONALITY FUNCTIONALITY FUNCTIONALITY

◾ All-encompassing zoom lens covering ◾ Interchangeable lenses ◾ Wide range of lenses and accessories
wide to super-telephoto focal lengths ◾ High quality dSLR-sized sensor ◾ Full-frame and sub-full-frame sensor
◾ Non-interchangeable lens ◾ Fully automatic to fully manual control sizes available
◾ Small, compact-camera sized sensor ◾ Full range of creative controls ◾ Full manual control over all aspects
◾ Automatic and manual of your photography
◾ Raw and JPEG capture
shooting modes ◾ Raw and JPEG image capture
◾ Electronic viewfinder
◾ Full range of creative controls ◾ Optical through-the-lens viewfinder
◾ Compact and dSLR-style camera
◾ dSLR-style handling ◾ Ergonomic design
bodies available
16 E X PL A IN IN G | CAMER AS
ANATOMY OF A DSLR
Single lens reflex (SLR) cameras have been so it can be viewed through an eye-level
the camera of choice for professional and viewfinder. This “through-the-lens” (or TTL)
enthusiast photographers since the 1970s, but viewing system means that the photographer
the actual SLR design dates back to the late gets an accurate view of what the camera is
1940s. The reason for their popularity (and seeing, and what it will be recording, making
name) is down to the viewing system, which it easy to frame a shot. Although initially
uses a pentaprism (a five-sided glass prism) designed for use with film, most SLRs are now
to rotate the image coming through the lens digital, hence “digital SLR”, or dSLR.
FRONT VIEW
The front of a dSLR is the “business end” of the camera. The professional-specification (pro-spec) models, such as the Canon
lens dominates, and, aside from the lens release button, which (opposite) have few controls. However, some models, such as
allows removal and replacement of the lens, the fronts of this hobbyist-level Nikon, have an autofocus button on the front.
1 2
3
10
7
5
EQUIPMENT 17
FRONT VIEW KEY

OTHER MANUFACTURERS
1 Shutter-release button
No matter which manufacturer’s cameras
you look at, most dSLRs share a very 2 Autofocus (AF) assist lamp
similar design. The size of the camera
body may vary slightly, and the controls 3 Pop-up flash
that are available will be slightly different 4 Mode dial
(and possibly in different locations), but
the vast majority of cameras will have 5 Lens (see p.32 for anatomy)
a mode dial on the top, an LCD screen
dominating the back, a viewfinder 6 Lens release button
“hump” above that, and, of course, an 7 Autofocus button
interchangeable lens on the front.
8 Microphone
9 On/Off switch
10 Hand grip
1 4
10
5
SCREEN OPTIONS
If your dSLR camera has the ability to shoot
video, then it will also offer Live View, which
allows you to view and frame your shots using
the rear LCD screen instead of the viewfinder.
This can be a very useful feature, especially if
your camera has a screen that folds out and
can be rotated, as it will help you shoot from
less conventional angles. In turn, this can help
you create more dramatic images.
BACK VIEW
If the front of a dSLR camera is relatively sparsely populated, all manufacturers carefully consider which controls to put on
the back is almost certain to be bristling with buttons, switches, the outside of the camera (and where), for instant access, and
and control wheels. Although this may seem daunting at first, which to keep hidden in the menu system.
5 18 1 2 10 9
13
6
16
20 15
12 19
7 23
EQUIPMENT 19
BACK VIEW KEY
1 Viewfinder 7 Info button 13 Playback button 19 Live View button
2 Hotshoe (for mounting a flash) 8 LCD screen 14 Quick Control 20 White balance
button button
3 Movie mode/record button 9 Control wheel
15 Set/OK button Creative Photo
Autofocus (AF) activation Exposure/focus-lock 21
4 10 button
button button 16 Control pad
22 Rating button
5 Mode dial 11 AF point selection button 17 Lock
Shooting info
6 Menu button 12 Playback zoom button 18 Delete button 23
button
On the lower-spec Nikon (opposite), the buttons on the back are The playback and menu buttons, plus playback zoom controls
split logically between those that relate to functions requiring the are on the left, for example, while the exposure and focus lock,
LCD screen, and those that will be used primarily during shooting. Shooting info, and Live View buttons are on the right.
1 2 3 4
10
6
11
7
21 16
22
8 14
12
13 15
16
18 9
17
TOP VIEW KEY
1 Lens (see p.32 for anatomy) 7 On/Off switch 13 LCD illumination button
2 Lens release button 8 Viewfinder 14 Movie mode/record button
3 ISO button 9 Hotshoe (for mounting a flash) 15 Pop-up flash
4 Shutter-release button 10 Autofocus (AF)/Drive mode button 16 Exposure compensation button
5 Control wheel 11 LCD screen
6 Mode dial 12 Metering pattern selection button
TOP VIEW
When you look at the top of a pro-spec camera next to a more different: lower-spec cameras will usually have a selection of
basic model, key differences tend to become more apparent. Scene Modes to choose from, in addition to the pro-spec
For example, pro-spec cameras don’t usually have a pop-up options. The top-mounted LCD displays relay the camera’s
flash, and the exposure mode dial tends to be significantly settings; this is useful if the camera is mounted on a tripod.
1 1
14 7 4
3 4 5
2
2
15 6 8 9 12 11 16 6 7 8 9 10 11 12 13
EQUIPMENT 21
SIDE VIEW KEY

CONNECTIVITY
1 Lens (see p.32 for anatomy) 7 Lens release
With the rise of HD video modes, an
2 Pop-up flash 8 Connection port covers increasing number of dSLR cameras now
feature a mini HDMI socket, so you can
3 Autofocus (AF) activiation button 9 Mode dial connect your camera to a television and
play movies (and images) directly from
4 Viewfinder 10 Shutter-release button
the memory card. Alternatively, you can
5 Flash activation/mode button 11 Memory card compartment download your images to a computer
using the USB connection.
6 Function button 12 Control wheel
SIDE VIEW
Compared to the back and top, the sides of a dSLR are relatively arranged with the memory card compartment on the
spartan. There are no buttons or dials, as it would be easy to right (hand grip) side of the camera body, and the various
knock them by accident, so the camera designers use the sides connection ports and accessory sockets on the left, often
to provide access points to the camera. These are typically behind a rubberized flap.
1 7 2
4 2
9
10
5 4
6
11
8
1 3
9 12
4 10
4
7 11
8
THROUGH THE VIEWFINDER

On dSLRs, as well as most bridge cameras and to see which focus points are being used. Most
some CSCs, the viewfinder is your “window on cameras show additional information here too.
the world”. It’s where you look at the scene you The illustrations below use Canon and Nikon
want to photograph and frame your shots. It’s dSLRs as representative examples, so you may
also where you view information about the find they differ from your own camera. Either
camera settings. Aperture, shutter speed, and way, you should look at these two pages in
ISO will all be displayed, and you’ll also be able conjunction with your camera manual.
VIEWFINDERS
Through a typical viewfinder, the image area will be relatively from framing your shot. Instead, all the shooting information
clear: apart from the Autofocus points (see p.89), which are you might need will appear beneath the image, so you can
usually overlaid, there will be few other elements to distract you quickly check your settings before you shoot.
CANON 1 2 3 4 13 NIKON 1 2
7
19
6
16
5 8 9 10 11 12 14 16 5 9 10 11 8 12 6
15 17 18 20
VIEWFINDER KEY
1 Focus screen 6 Flash ready indicator 11 Exposure level indicator 16 Focus confirmation
2 Autofocus (AF) point 7 Flash mode 12 ISO settings 17 Program shift (see pp.52–53)
3 Spot meter area 8 Flash compensation 13 White Balance adjustment 18 Exposure compensation
4 AF point activation indicator 9 Shutter speed 14 Black-and-white mode 19 Battery level
5 Exposure lock active 10 Aperture 15 Maximum burst 20 Warning indicator
EQUIPMENT 23
ON THE LCD SCREEN

In the past, a camera’s rear LCD screen was Some cameras even allow you to make the
used for little more than reviewing images and rear LCD screen “Live” so you can see a variety
accessing and viewing the various menu options. of settings, but also control them and make
Today’s screens are far more sophisticated, not changes via the LCD screen. Again, Canon and
only in terms of their specification (large sizes Nikon cameras are shown as examples below,
and high resolutions are now standard), but so refer to your own camera’s LCD screen to
also in terms of the information they relay. get to know where things are.
LCD SCREENS
The amount of data that’s displayed on the rear LCD screen on your needs, ranging from simple displays that show the
varies between camera make and model. Certain camera essentials (exposure, white balance, and so on), through to
models allow you to set the level of information depending displays packed with information.
CANON NIKON 2 20 3 15
2 3 4 9 4 21 14 12
P
NORM
P
DATE ISO-A HDR
1
1/500 F2.8 400 1
2
QUAL
WB
L
AUTO 7
16
ISO 100
5
-2⁄3 9 3 S
4
8
6 10 5 AF-A 23
7
A 11 AUTO
AE-
BKT 24
17
8 ONE SHOT 12 22 ADL-BKT OFF AUTO ADL A 11
0.0 0.0 BKT OFF 25
[ 206] Set [101]K
13 14 15 16 17 18 19 27 10 9 26 6 19
11
LCD SCREEN KEY
1 Exposure mode 8 Drive mode 15 Eye-Fi transmission status 22 Autofocus (AF) point indicator
2 Shutter speed 9 Flash compensation 16 GPS connection 23 Focus mode
3 Aperture 10 Flash active/flash mode 17 Metering pattern 24 AF area mode
Auto Lighting Optimizer/
4 ISO setting 11 18 Multi-shot noise reduction 25 Exposure bracketing indicator
Active D-Lighting setting
5 Exposure level indicator 12 Image quality 19 Shots remaining 26 Exposure compensation
6 Picture style (see pp.48–49) 13 Quick Control 20 Multiple exposure indicator 27 Help icon
7 White Balance setting 14 Battery level 21 HDR indicator
OTHER CAMERA TYPES

Compact system cameras, or CSCs, are a dSLR, yet it features interchangeable lenses
the most recent development in camera and a sensor size commonly associated with
technology and, at the time of writing, the dSLR cameras. However, it’s not the only
fastest-growing in terms of popularity and alternative, and for some photographers
sales. The reason for this is easy to understand: a high-end compact or a bridge camera
a CSC is typically far smaller and lighter than (see pp.26–27) is a perfect all-in-one solution.
COMPACT SYSTEM CAMERA (CSC)
There are generally two styles of CSC currently on the market: lenses and eye-level viewfinders (below). Which type is best for
those that are similar to compact cameras (top), and those that you depends on your style of photography: compact designs
take their styling lead from dSLRs, complete with detachable tend to favour go-anywhere spontanaeity.
1 2 17 3 4 4 6 17 2 10 8
9 15 12 11 7
1 2 21 17 18 19 6 18 15 20 4 22 17 21 16
3 5 9 8 15 11 26
EQUIPMENT 25
COMPACT SYSTEM CAMERA KEY

VIEWFINDER DIFFERENCES
1 Finger grip
One of the key differences between a CSC and
dSLR camera is the viewfinder: a CSC uses an 2 Shutter-release button
electronic viewfinder (EVF) rather than an optical
viewfinder. Some CSCs have an EVF built in (in a 3 Lens
dSLR style), while others have EVFs as an optional
4 Accessory shoe/hotshoe
extra that slides into the accessory shoe. Some do
away with an eye-level viewfinder altogether and 5 Lens release button
simply use the LCD screen for framing.
6 Playback button
7 Delete button
8 Movie mode/record button
9 LCD screen
10 Exposure lock button
Control pad and camera

11 function buttons
14 2
12 Menu button
13 Microphone
13
14 On/Off switch
15 Fn (Function) buttons
16 Speaker
17 Mode dial
4 17 25
18 Drive mode selector
19 Flash PC sync socket
20 Electronic viewfinder (EVF)
2 21 24 21 Control wheel
Focus lock (AF-L)/Focus
22
mode selector
23 23 Image stabilization switch
Exposure compensation, white balance,

24 and ISO buttons
25 Exposure compensation dial

18
26 Display selector button
4
20 17 14 15
BRIDGE/SUPERZOOM
“Bridge”, or “superzoom”, cameras tend to have a pseudo-dSLR- focal lengths, from wide-angle to super telephoto. This
style body shape and control layout, coupled with a fixed lens. makes them incredibly versatile, but the small sensor inside
The lens is usually an all-encompassing zoom covering a range of is often the same size as those found in compact cameras.
2 3 4 6 7 8 9 13
1 5 10 11 12
HIGH-END COMPACT
A high-end compact camera will typically allow you to shoot Shutter Priority, and Manual shooting modes. The zoom lens is
Raw and JPEG images, just like a dSLR camera or CSC, and it fixed, but it tends to put image quality ahead of the focal length
will also offer similar levels of control, including Aperture Priority, range, allowing stunning images to be made.
19 2 20 21 22 21 22 13 20 2 8 23
1 5 6 24 10 25 11 26
EQUIPMENT 27
BRIDGE/SUPERZOOM AND
HIGH-END COMPACT KEY
1 Finger grip
5
2 Zoom control
3 Autofocus (AF) illuminator

14 15 2
4 Pop-up flash
5 Lens
6 LCD screen
7 Flash ready indicator
8 Movie mode/record button
9 Scene mode selection
Control pad and camera

10
function buttons
11 Menu button
12 Delete button
13 Playback button
16 4 17 18
14 Side-mounted zoom control
15 Shutter-release button
16 Microphone
17 Speaker
18 On/Off switch
5
19 Control wheel
20 Mode dial
20 15 2 19
21 Viewfinder
22 Hotshoe
23 Shortcut/Direct print button
24 ISO button
25 Metering pattern selection button
26 Exposure/focus lock button
27 Exposure compensation dial
21 22 27 18
HOLDING YOUR CAMERA

Imagine this scenario: you’ve spent hundreds blurred. It’s extremely disappointing and
(perhaps even thousands) of pounds on frustrating, but camera shake – movement
equipment; you’ve made sure that you’ve of the camera at the point of capture – is the
got everything just right in terms of exposure number one culprit behind blurred images.
setting, white balance, focus, and framing; However, you don’t necessarily need any
and you’ve triggered the shutter at the precise specialist equipment to remedy the problem:
once-in-a-lifetime moment you want to in most cases, you just need to ensure that
record; and after all that, your image is you’re holding your camera correctly.
CAMERA GRIP
To keep your camera as steady as

possible (without using a tripod),
hold it in your right hand, with
your index finger close to the
shutter-release button and your
fingers around the camera’s grip.
Your left hand should support the
lens, while also allowing you to
control the zoom and focus rings.
Keep your elbows tucked into your
sides for added stability. The
images on the far right show some
of the most common mistakes.
REMEMBER…
◾ Hold your camera
and lens with both hands CORRECT GRIP
◾ Keep your elbows tucked in
◾ Press the shutter-release
button gently
◾ Take your shot as
you finish exhaling
(on your “out breath”)
CORRECT GRIP CORRECT GRIP

EQUIPMENT 29
VARIATIONS
The standard camera grip
(see below) works well in most
situations, which is why it’s seen
as the “correct” way to hold your
camera. Sometimes, however,
alternative or modified grips, as
shown here, may be preferable.
These may be particularly useful
when you’re using a longer, or
heavier, lens.
▲ CROSS-BRACING ▲ LONG LENS SUPPORT
VERTICAL SHOOTING
The same rules for holding your camera
apply when you switch from shooting in
the horizontal (“landscape”) format to vertical
(“portrait”) format: keep your elbows tucked in;
use your right hand to hold the camera, so you
can trigger the shutter and use the control
wheel to change settings; and support the lens
from below.
HOLDING THE CAMERA STICKING YOUR ELBOWS OUT,

WITH ONLY ONE HAND REDUCING STABILITY
LEAVING THE LENS GRIPPING THE LENS

UNSUPPORTED TOO LOOSELY
STAYING STEADY
As well as making sure that you’re holding your camera of the camera, but your stance will have a significant impact
correctly (see pp.28–29), it’s equally important to adopt the on your stability. The following are some of the most common
most appropriate stance for your shooting position. In all shooting positions, showing the best stance, with the inset
instances the same basic grip is used for control and stability images showing the most common mistakes.
STANDING CROUCHING
It’s likely that most of the time Shooting from a crouching
you’ll be shooting from an position will enable you to
upright standing position. explore different angles, allowing
While this may be the most you to include more of the
comfortable, natural position, foreground in a shot, for
you still need to ensure that example. However, unless you
you’re standing firm. balance yourself properly, you’ll
find it hard to stay steady.
REMEMBER…
◾ Stand with your REMEMBER…
feet approximately ◾ Distribute your weight evenly
shoulder-width apart and avoid leaning forwards
◾ Stand square-on to your ◾ Rest your elbows on your knees
ELBOW
subject, rather than twisting
your body sideways UNSUPPORTED
TENSE, UNSTEADY
STANCE CORRECT STANCE CORRECT STANCE
EQUIPMENT 31
SITTING
You probably won’t take
photographs from a seated
position all that often, but
when you do, use your legs,
knees, and feet to create a
solid grounding.
REMEMBER…
◾ Keep your feet apart
to create a stable base BOTH ELBOWS UNSUPPORTED
◾ Rest your elbows on your
knees to brace yourself
CORRECT POSITION FEET NOT FIRMLY

PLANTED
LAYING DOWN
Shooting from a prone
position allows you to capture
an intriguing “worm’s eye”
view of the world. But while
you’re trying to find the right
position it’s easy to forget to
hold your camera properly.
REMEMBER… AWKWARD GRIP

◾ Support yourself on your
elbows comfortably
◾ Use your right hand to hold
and operate the camera...
◾ ...and your left hand to
support and control the lens
CORRECT POSITION
32 E X PL A IN IN G | ACCESSORIES
ADDITIONAL EQUIPMENT
A dSLR camera or CSC is an interchangeable likely to make in your pursuit of great
lens camera, so it perhaps goes without saying photographs. As well as your camera and
that you have the ability to change lenses – lenses, there’s a whole host of additional
you may even have bought the camera with accessories that will help improve your
more than one lens to start with. Lenses will pictures, ranging from a tripod to hold your
be covered in much greater detail later in the camera steady, through to flashes and filters
book, but this isn’t the only purchase you’re to expand your creative repertoire.
LENSES
Although most lenses have certain things in common (a focus is designed to stop the zoom from extending by itself because
ring and bayonet mount, for example), they don’t all share of the weight of the glass used in its construction. Some lenses
exactly the same features. A zoom lock, for example, is also feature image stabilization technology, to help prevent
generally found only on heavy, wide-ranging zooms, and camera shake (see p.107).
LENS ANATOMY
It’s easy to assume that one lens is very
much like another, but nothing could be 1
further from the truth. Physical differences,
such as the size of the focus and zoom 2
rings, can make a huge difference to the
handling of a lens, as can the range of
focal lengths it covers (see pp.104–05).
3
LENS ANATOMY KEY 4
1 Filter thread
2 Front lens element
3 Manual focus ring

5
4 Focus distance scale
5 Zoom ring
6 Focal length setting

6
7 Focus mode (Auto/Manual) 8
7
8 Zoom lock
9 Lens mount
9
10 Electronic contacts 10
EQUIPMENT 33
TERM DESCRIPTION
LENS TERMINOLOGY
Aspherical Most lenses are curved in a “c” shape, but the surface
There’s quite a lot of jargon used in (AS/ASP/ASPH) of an aspherical lens doesn’t conform to the shape of
photography, and this is particularly a sphere, so light is able to pass through it more evenly.
true when you start to talk about
lenses. If you’re intending to buy a Image stabilization A system that uses sensors to detect camera
new lens, you’ll encounter a world (IS/VR/OS/VC/ movement. A “floating” lens element inside the
of acronyms and abbreviations PowerOIS) lens moves to counteract this movement.
that can be truly bewildering. The
table to the right shows a few of Low dispersion glass A type of glass used in the construction of a lens to
the most commonly used terms (ED/UD/APO/LD/SD/ reduce the appearance of coloured edges (known as
that you’re likely to come across, HLD) “chromatic aberrations”) in images.
along with the different “codes”
used by lens manufacturers to Silent focus Some of the more advanced Autofocus systems in
describe them. (USM/SWM/SWD/SDM/ a lens use a “silent” motor that minimizes any noise
HSM/SSM/USD) associated with focusing the lens.
ATTACHING A LENS
SLIDE IN STRAIGHT TWIST AND LOCK

...and slide the lens into the lens Once the lens is slid into the
mount. The lens should fit smoothly into camera body, turn it to lock it in place.
the camera body, but if it doesn’t, don’t The direction in which you turn it will
force it – remove the lens and realign. depend on your camera model, so
check the manual.
LENS REMOVAL
To remove a lens, you reverse the
process used to fit it. Press the lens
release button (usually located next to
the lens mount on the camera body)
and turn the lens in the opposite
ALIGN MARKS direction to the way in which you
There will be alignment marks on attached it. Once the lens is detached,
both the lens and the lens mount (either fit another lens or a cap to prevent
on the mount itself, or to the side) to dust getting into the sensor.
ensure that you fit your lens correctly.
Align the two marks...
CAMERA SUPPORT
Image stabilization (sensor- or lens-based) does a great job of However, a solid tripod will hold your camera for as long as
helping you to avoid blurred shots caused by camera shake, but necessary, and providing it’s set up correctly, will guarantee shake-
these systems have their limits. They certainly won’t help if you free results. It also enables you to frame your shots very precisely,
want to make very long exposures lasting half a second or longer. which is why every serious photographer should own one.
TRIPOD ANATOMY
Aside from their three-legged design, all tripods vary slightly.
One of the main differences is in their construction: while 1
most tripods are made of aluminium, some of the more costly
models are made of lightweight carbon fibre, which is a bonus
if you intend to carry one for long periods of time. 2
4
TRIPOD IN ACTION 3
There’s no getting away from

the fact that a tripod makes it
much slower to take a shot than
using your camera hand-held.
However, this also gives you
time to assess your scene and 5
your camera settings, and really
think about how you’re going to
get the best shot possible.
7
TRIPOD ANATOMY KEY
1 Tripod head mounting plate 5 Tripod leg
2 Centre column 6 Leg extension locking lever
3 Leg angle lock/release 7 Foot
4 Centre column lock

EQUIPMENT 35
TRIPOD HEADS ANATOMY

A pan-and-tilt tripod head (right)
enables you to move your camera 1
in any one of three directions: tilt 2
backwards and forwards; tilt side 3
to side; and pan (rotate). Each of
these movements is controlled 4
independently, usually using large
locking handles, so you have very
precise control over the positioning
of your camera. The downside is that
it’s big and bulky compared to a 6
ball-and-socket head (below), and
it takes longer to set up. A ball-and-
socket head has just one lock: release
it and you’re free to turn, tilt, and twist 5
your camera as you choose. This
makes it much quicker to use than
a pan-and-tilt head, but it doesn’t
offer the same level of accuracy.
7
▲ PAN-AND-TILT HEAD
1 2 3 TRIPOD HEADS ANATOMY KEY
1 Quick-release lever 6 Forward/back tilt locking lever
2 Mount thread (typically 1 ⁄4in) 7 Panning locking lever
3 Camera/quick-release plate 8 Ball and socket
4 Spirit level 9 Ball lock/release
5 Sideways tilt locking lever 10 Ball friction control
QUICK-RELEASE PLATES
Attaching and removing
8 your camera from the tripod
head is made much easier if
10 the head has a “quick-release”
system. This comprises a
plate that’s screwed into
your camera’s tripod socket,
which simply clips on to the
tripod head. A lever can be
used to release the camera
in an instant.
▲ BALL-AND-SOCKET HEAD
LIGHTING
All dSLR cameras and most CSCs have a hotshoe on top, it’s more powerful, has greater versatility, and, most importantly,
which allows you to attach a flash. If your camera has a built-in can also be used away from the camera. Flash will be explored
pop-up flash, you might wonder why you’d want to attach a in greater detail in chapter 6 (see pp.150–63), but here you’ll
hotshoe flash, but in fact it opens up a lot of creative options: find a quick tour of the options that you’re likely to encounter.
FLASH ANATOMY
When choosing a flash, a model that’s fully dedicated to your “bounce flash” (see pp.156–57), while more powerful flash units
camera is highly recommended, as it will automate the exposure will generally provide the greatest versatility when it comes to
process. A tilting head is also useful, as it will enable you to use lighting a single figure or a group of people.
11
6
3 12
7 13
8 14
9 15
4
16
10
5
FLASH ANATOMY KEY
1 Slide out wide-angle diffuser 7 Mode selection button 13 Zoom control
2 Flash tube/diffuser 8 Test button 14 Power switch
3 Flash body 9 Flash ready light 15 Control panel navigation pad
4 Autofocus illuminator 10 Locking wheel 16 Slave mode activation switch
5 Foot 11 Tilt angle indicator
6 LCD panel 12 Custom function settings

EQUIPMENT 37
OTHER FLASH TYPES

A hotshoe-mounted flash is
ideal for shooting subjects
situated some distance from
the camera, but it’s not so
useful for close-ups, as the
light will often pass straight
over the top of the subject.
Dedicated macro flash units
get round this issue by
positioning the flash much
closer to the lens: a ring flash
circles the lens entirely, while
a twin flash uses two flash
lights, which are controlled
independently, to illuminate
your subject.
▲ MACRO RING FLASH SET-UP ▲ TWIN FLASH SET-UP
OTHER LIGHTING ACCESSORIES

If you start to use flash on a regular basis
you may wish to explore the wide range
of different effects or “looks” that you can
achieve with the help of additional flash
accessories. Reflectors and diffusers, for
example – both hand-held and flash
mounted – can be used to soften the
light and fill in shadows (see pp.130–33).
▲ REFLECTORS AND DIFFUSERS
▲ FLASH REFLECTOR ▲ FLASH SOFTBOX DIFFUSER ▲ ON-CAMERA FLASH DIFFUSER

OTHER ACCESSORIES
The camera, along with lens, flash, and tripod, forms the and about taking pictures. These range from bags or cases
backbone of most “general purpose” photography kits. in which to store and carry your kit, to memory cards (most
However, beyond those four key items are other accessories dSLRs and CSCs don’t come with a memory card to begin with),
that may well help in one way or another when you’re out and spare batteries.
BAGS AND CASES

Soft or hard, over-the-shoulder
or backpack style – camera
bags and cases come in a wide
range of shapes, sizes, and
materials, so there’s sure to
be one that suits your needs.
▲ TOP-LOADING CASE ▲ SHOULDER BAG ▲ RUCKSACK ▲ HARD CASE
LENS FILTERS
Although digital editing can replicate
the effects of some of the traditional
lens filters, there are at least two filters
that are still invaluable, and whose
effects can’t be easily replicated.
Neutral density (ND) filters block
out light and allow you to extend
exposure times (see pp.62–63), while
polarizing filters intensify skies and
cut through reflections.
▲ WITH ND FILTER ▲ WITHOUT ND FILTER
▲ NEUTRAL DENSITY FILTER
▲ POLARIZING FILTER ▲ WITH POLARIZER ▲ WITHOUT POLARIZER

EQUIPMENT 39
MEMORY CARDS
There are several types of memory card
currently in use, but your camera will only
take one of them, so be sure to buy the
right one. The capacity of all memory
cards is measured in “gigabytes” (GB): if
you intend to shoot video as well as still
photographs, then a high-capacity card
(16GB+) is recommended.
▲ COMPACT FLASH ▲ SD CARD ▲ SONY MEMORY STICK
OPEN MEMORY CARD SLOT CHECK THE DIRECTION INSERT THE CARD
Turn your camera off, then find the The card will fit only one way, Press the memory card all the
memory card slot (it’s usually on the side so check it’s the right way round before way into the slot (it will “click” into place),
of the camera) and slide it open. sliding it into the camera. then close the slot.
BATTERIES
Today’s camera batteries are long-lasting and reliable. However,
like any batteries, they will eventually run out and need
recharging. Batteries don’t last for ever either, so at some point
you’ll need a replacement. To ensure that you’re never caught
out, it’s a good idea to buy an additional battery to begin with. ▲ NIKON BATTERY ▲ CANON BATTERY
OPEN BATTERY COMPARTMENT INSERT BATTERY LOCK BATTERY

Find the battery compartment, Slide the battery into the slot. The Push the battery all the way in
which is usually situated on the bottom battery will only fit one way and should until it clicks into place. Close and lock
of the camera. Press it to unlock it. never be forced. the compartment.
40 E X PL A IN IN G | IMAGE FORMATS
JPEG OR RAW?
With digital photography there are a couple of – JPEG and Raw – which require slightly
fundamental decisions that need to be made different approaches. As a general guide, Raw
before you take a picture. The first question is files require more work (sometimes a lot more)
what file format will you use? All dSLRs and after they’ve been downloaded to your
CSCs (as well as some bridge and compact computer, but they’re also capable of
camera models) offer a choice of two formats delivering slightly better quality images.
SHOOTING JPEGS
When your camera records a JPEG file,

it processes the images so that all of RAW FORMAT
the settings you’ve made are “burned”
into the file. This means that the colour, The appeal of shooting Raw is simple:
contrast, sharpening, and everything unlike a JPEG file, the camera doesn’t
else you can tweak or change on your process your image. Instead, you do
camera is applied to the image before this on your computer using Raw
the information is saved to your conversion or your image-editing
memory card. However, a JPEG file software. This means you can
is compressed using a “lossy” system, change the appearance of a shot
which means that information can be quite radically, without affecting the
permanently lost when it’s saved: you image quality. For example, you’re
need to take care to avoid this. free to change the white balance,
Your camera will offer a number of contrast, and saturation, or even
JPEG quality options, typically ranging make changes to the exposure.
from Basic to Fine (see below). The These adjustments are only set when
higher the JPEG quality, the higher you resave the Raw file.
the quality of your images.
BASIC NORMAL FINE
▲ A Basic JPEG quality setting means a ▲ If your image will only ever be viewed ▲ A Fine JPEG setting applies the
high level of compression is applied to on screen, then a Normal JPEG quality least amount of compression to your
reduce the file size as much as possible. setting may suffice. However, it’s much images, so you get the highest quality
This will also reduce the image quality, better to use a Fine setting and reduce result. This is the best option for all your
so this setting is best avoided. the file size on your computer. digital photographs.
EQUIPMENT 41
SETTING IMAGE QUALITY

The image quality option is usually found within the camera’s is used. As a very simple rule, set the JPEG image quality to
shooting menu, although it will only be available when you set its highest setting and don’t touch it again. You can reduce
your camera to record JPEGs: when it’s set to Raw the image is the quality/file size later if you need to, but it’s impossible
either not compressed, or high-quality “lossless” compression to recover detail lost by high compression levels.
SHOOTING MENU SHOOTING MENU Image quality

Scene mode Scene mode NEF (RAW) + JPEG fine
Set picture control Set picture control NEF (RAW) + JPEG normal
Manage picture control Manage picture control NEF (RAW) + JPEG basic
Image quality Image quality NEF (RAW)
Image size Image size JPEG fine
White balance White balance JPEG normal
ISO sensitivity settings ISO sensitivity settings JPEG basic
Active D-Lighting Active D-Lighting
CALL UP THE MENU OPEN IMAGE QUALITY SET IMAGE QUALITY

Press the Menu button on the Navigate to Image Quality (or Select the quality setting you want
back of your camera and locate the similar) using the control pad on the to use and press OK/SET. Use the Menu
correct shooting menu (you may need back of your camera and press OK/SET button to close the camera menu and
to consult your manual). to display the quality options. return to shooting mode.
IMAGE SIZE Poor quality

As well as quality options, your camera is also likely to allow you to Fair quality
change the image size – measured in pixels or megapixels (MP). Unless Good quality
you have very good reason to use a small size setting, it’s best to shoot
Very good quality
at the maximum image size available: you can always reduce the size
of your images on your computer later if you want or need to, but Excellent quality
enlarging “small” shots is certain to degrade the picture quality. Press quality
RESOLUTION IMAGE ON PRINT SIZE (INCHES)

(PIXELS) SIZE SCREEN 4x6 5x7 8x10 16x20 20x30
640x480 0.3 MP
1280x980 1 MP
1600x1200 2 MP
2240x1680 4 MP
3032x2008 6 MP
3264x2448 8 MP
4000x3000+ 12 MP+
EXPOSURE
EXPOSURE
Exposure is one of the most fundamental aspects of photography, and you’ll often
hear photographers talking about “making an exposure” or “getting the exposure
right”. In essence, “exposure” is simply the process of letting light through the camera’s
lens to illuminate (“expose”) the digital sensor and produce an image. Getting the
optimum exposure for your photograph relies on balancing three distinct elements.
Getting it right
The three elements that are key to exposure are the aperture WHAT IS EV?
in the lens; the shutter in the camera; and the sensitivity to EV (Exposure Value) is a single number used
to describe the many permutations of aperture,
light of the sensor itself (ISO). Technically, there’s no such thing
shutter speed, and ISO that can be used to
as the “right” exposure, just the one that you think looks best, achieve a single overall exposure (or “brightness”).
but there’s a point at which most people would agree that a Each EV step is equal to a one-stop adjustment
picture is overly light or dark. In photographic terms, when of the shutter speed, aperture, or ISO, and it’s
typically used when talking about exposure
the camera’s sensor doesn’t receive enough light and the
compensation and bracketing (see pp.80–83):
resulting image is dark, it’s described as “underexposed”. If too +1EV means increasing the exposure by 1 stop
much light reaches the sensor and creates an overly bright using either the aperture, shutter speed, or
image, this is described as “overexposed”. The aim with ISO, for example.
exposure is to simply find a happy medium.
UNDEREXPOSED CORRECT EXPOSURE OVEREXPOSED

E XPOSURE 45
What affects exposure?

SHUTTER SPEED
A “good” exposure involves balancing the aperture,
All cameras contain a shutter, which may be either
shutter speed, and ISO (see pp.46–47). In doing so, electronic, turning the sensor’s light-reading capability
you determine three things: how much light passes on or off, or a mechanical unit that physically opens
through the lens (aperture); the length of time that and closes in front of the camera’s sensor to allow in –
light passes through the lens (shutter speed); and or shut out – light.
Shutter speed is
how sensitive to light the sensor is (ISO). These
perhaps the easiest of
settings can be balanced in numerous ways to the exposure settings
produce a “correct” exposure in terms of brightness, to understand.
but each individual setting will have a profound
effect on the image. E R S P
U T T E E D
S H 1/6 0 1/ 3 0
25 1/1
1/ 1 5
2 50 1/
8
1/
00
1/
BLUR
5
4
1/
LIGHT MO M
SS SS RE O
f/32
10 0
LE
LE
RE
E
LES
MOR
f/22
20 0
LESS
LESS
EXPOSURE D
f/16
40 0
FIE L
APERTURE
T
LIG
PT LIGH
NO
ISO
OF
HT
R E
ISE
The aperture is, literally,

H
T U /11
I S
80 0
MO
RE
f
The ISO amplifies the DE a hole (or “iris”) in the

RE
MO
O
signal that the sensor MO R camera’s lens that allows

L ESS
16
E
f/8
receives, effectively making light to pass through to

00
it more sensitive to light. This is the sensor. All cameras today

P
32 .6
00 f/5
A
a bit like turning up the volume – including compacts and many

on your radio. However, just as this 640 mobile phones – have a variable
0 f/4
1280 0 f/2.8
can increase background “hiss”, high aperture, so you can set the size of
ISO settings can result in “noisy” images as the hole precisely to match the prevailing
non-image-forming elements are amplified. light conditions.
46 I N T RO D U C I N G | E XPOSURE
Shutter speed and movement

PRESSING THE SHUTTER
The shutter speed in your camera determines how
The shutter inside most cameras uses a pair of blades
long your sensor is exposed to light, which explains known as “curtains”. The first curtain opens to start the
why it’s also referred to as the “exposure time”. The exposure, then the second follows to end it. The length
effect it will have on your image depends on whether of time it takes for this to happen is the shutter speed, or
there’s any movement in the scene: slow shutter exposure time, and determines the amount of movement
blur that’ll appear in your image.
speeds will result in moving subjects appearing
blurred (see pp.68–71), while fast shutter speeds
can effectively “freeze” movement (see pp.64–67).
If there is no movement at all in your subject
CLOSED 1ST FULLY OPEN 2ND CLOSED
(a building or a still life, for example), then all shutter CURTAIN CURTAIN
speeds will produce an equally static result. TRAVELLING TRAVELLING
Aperture and depth of field CHANGING THE APERTURE SIZE

As it’s not intuitive, aperture is the most difficult of
When you increase the size of the aperture, or “open up”
the three exposure settings to grasp. It’ll be explained the lens, you allow more light to reach the sensor. This
in more detail later in the chapter (see pp.54–55), reduces depth of field, so less of the scene appears in
but the key thing to note is that the aperture affects focus, but it allows a faster shutter speed and/or a lower
ISO to be used.
what is known as “depth of field”. Put simply, this
is the amount of the scene that will appear sharp
in your image: the greater the depth of field, the
more elements will appear to be “in focus”. This is
an incredibly effective creative tool as it can be used
blur parts of an image to isolate a subject or direct
attention, or to make everything equally sharp. ƒ/2.8 ƒ/5.6 ƒ/16
ISO and noise

ISO SETTINGS
At its most basic, the ISO setting controls how
Noise Reduction (NR),
sensitive your sensor is to light: low ISO settings
whether in-camera or
indicate low sensitivity, while high ISO settings as a tool in your editing
equate to high sensitivity. On most cameras the software, can help reduce
ISO range starts at 100 (although some start at 200), the appearance of noise in
your images. However,
and increases to ISO 3200, or higher (see right).
when you use NR you risk
However, as the sensitivity increases, so too does the losing detail or reducing
“noise” in the image. This is effectively “interference”, sharpness. As a general
which is seen in an image as either coloured rule, it’s always best to
speckles (known as “chroma” noise) or an underlying use the lowest ISO setting
that you can.
granular texture (known as “luminosity” noise).
E XPOSURE 47
1/100 SEC 1/30 SEC 1/15 SEC 1 SEC
ƒ/5.6 ƒ/16
DETAIL 1
DETAIL 2
100 200 400 800 1600 3200

48 E X PL A IN IN G | SHOOTING MODES
WHAT ARE SCENE MODES?

Your camera’s Scene modes are designed then the camera will do the rest, setting
to get you up and running with your camera aperture and shutter speed, along with other
in double-quick time, without you having to parameters such as colour, contrast, and even
worry about technicalities such as exposure, the level of in-camera sharpening. All you
white balance, and flash. As long as you need to do is frame the shot and press the
know what it is that you’re photographing, shutter release.
SCENE MODE TYPICAL SUBJECTS
PORTRAIT
LANDSCAPE
CHILD
SPORTS
MACRO/CLOSE-UP
E XPOSURE 49
OTHER SCENE MODES COMPACT CAMERA CHEATS

The modes outlined in the table below are the quintet If you think your compact camera doesn’t offer control over
typically found on a dSLR or CSC mode dial, but they’re aperture and shutter speed, think again. The various Scene
not the only ones available. If you check your camera modes available on most compacts do give you a modicum
manual you may find that your particular model offers of control over your camera. If you want a wide aperture,
some or all of the following modes: Night portrait, for example, try using Portrait mode (regardless of what it
Night landscape, Party/Indoor, Beach/Snow, Dusk/ is you’re photographing), or if you want a fast shutter speed,
Dawn, Autumn foliage, Pet portrait, Candlelight, Food, try Sports mode. You may not have control over all aspects
Hi key, Low key, Fireworks, and Document. of your shot, but it’s better than having none at all.
WHAT IT DOES KEY SETTINGS
In Portrait mode your camera will set a wide aperture to throw potentially ◾ Wide aperture (see pp.54–55; pp.58–59)
distracting background elements out of focus, although most cameras ◾ Automatic flash
tend not to select the very widest lens setting. The colour and contrast
are both set to produce natural-looking skin tones (through neutral ◾ Neutral (not overly saturated) colour
colour and low–medium contrast), and in low-light situations the built-in
flash will fire automatically.
When you switch to Landscape mode, your camera assumes that you ◾ Small aperture (see pp.54–57)
want as much of the scene as possible to be recorded sharply, so it will ◾ Vibrant colour
set a small aperture for a large depth of field (see pp.56–57). Colours are
intensified slightly to add vibrance to your outdoor shots – especially ◾ Flash off
greens (for trees and foliage) and blues (for sky and sea) – and the flash
will be switched off, regardless of the ambient light levels.
With most cameras the difference between Child mode and Portrait ◾ Wide aperture (see pp.54–55; pp.58–59)
mode is very small, but it is significant. Child mode uses the same wide ◾ Fast shutter speed (see pp.62–63)
aperture approach as Portrait mode (to blur backgrounds), but aims
to use a slightly faster shutter speed to keep up with active youngsters. ◾ Vibrant colour
The colour is typically set to be a little more vibrant for brighter,
fun-packed shots.
Sports mode is all about freezing action, so your camera will select a fast ◾ Fast shutter speed (see pp.62–67)
shutter speed for split-second exposure times (usually accompanied by a ◾ Continuous Autofocus (see pp.96–97)
wide aperture setting). If it needs to increase the ISO to achieve this, it will
do so, even if that increases the level of noise in the image. Sports mode ◾ Flash off
also sets the focus to Continuous mode so it can follow fast-moving
subjects around the frame.
In Close-up mode, your camera will set a small aperture in an attempt to ◾ Small aperture (see pp.54–55; pp.60–61)
overcome the issues with focusing that are particular to this type of work. ◾ Neutral colours
It will also keep the colours neutral, as it assumes a “natural” subject.
However, unless you’re using a dedicated macro lens, it can’t help you to ◾ Automatic flash
focus any closer. Flash is usually set to Auto as default in Close-up mode,
but you can switch it off if you prefer.
50 E X PL A IN IN G | SHOOTING MODES
WHAT ARE AUTO AND

ADVANCED MODES?
If your camera has Scene modes then it will (S or Tv), and Manual (M) modes available too.
undoubtedly have an Auto mode, and it’s It’s these four more advanced settings that will
highly likely that you will have Program (P), enable you to take control of your camera –
Aperture Priority (A or Av), Shutter Priority and your photography.
MODE TYPICAL SUBJECTS
AUTO
PROGRAM
SHUTTER
PRIORITY
APERTURE
PRIORITY
MANUAL
E XPOSURE 51
MOVIE MODE ALTERNATIVE MODES

The option to shoot High Definition (HD) Not all cameras have the same modes, or indeed the same
movies on a dSLR or CSC is a relatively way of showing them on the mode dial. Canon uses Tv for
recent development, but one that’s now Time Value (Shutter Priority) and Av for Aperture Value
taken for granted. Using your camera to (Aperture Priority), for example. Some of their models also
record video footage allows you to get have A-DEP (Automatic Depth) mode, which uses the active
even more out of it, and the quality is so high that dSLRs autofocus points to set an aperture that will keep everything
and CSCs are being used to film professional music videos, sharp. In a similar vein, some Pentax cameras feature an Sv
advertisements, and even some low-budget movies. (Sensitivity Value) mode, or “ISO Priority”.
WHAT IT DOES KEY SETTINGS
As the name suggests, Auto mode leaves all decision-making to the ◾ Camera sets aperture, shutter speed, and ISO
camera, so regardless of the subject you simply have to frame the shot ◾ Camera sets white balance
and press the shutter-release. You don’t have to worry about exposure,
white balance, or any other technicalities, and, unlike Scene modes (see ◾ Flash is automatic
pp.48–49), you don’t even need to tell the camera what your subject is: ◾ You have little control over other functions
you just point and shoot.
When you switch to Program mode (see pp.52–53), you start to take a ◾ Camera sets aperture and shutter speed
certain amount of control away from your camera and begin to have ◾ You set ISO
more input into how your photographs turn out. Although the camera
sets the aperture and shutter speed automatically, this pairing can usually ◾ You can shift aperture/shutter pairing
be adjusted, and you will also have control over the ISO, white balance, ◾ You have control over all other functions
and certain other options, depending on your camera model.
In Shutter Priority mode (see pp.62–73), you choose your preferred ◾ You set shutter speed
shutter speed and the camera selects the aperture setting that will ◾ Camera sets aperture
provide you with the best overall exposure. Shutter Priority is best suited
to subjects that need a specific shutter speed – to freeze fast-moving ◾ You have control over all other functions
sports or wildlife subjects, for example, or to extend the exposure time
and introduce motion blur.
Aperture Priority mode (see pp.54–61) is the longest-standing ◾ You set aperture
“semi-automatic” shooting mode, with only Manual mode having been ◾ Camera sets shutter speed
around for longer. Aperture Priority works in much the same way as
Shutter Priority, although you choose the aperture setting and the ◾ You have control over all other functions
camera selects a shutter speed that it calculates will give the “correct”
exposure. You have full control over all other camera functions.
In Manual mode (see pp.74–75) you only have yourself to blame if things ◾ You set shutter speed
go wrong. The camera will guide you towards the exposure that its ◾ You set aperture
programming deems most suitable, but ultimately it’s down to you
whether or not you choose to go with the camera’s suggestion: you have ◾ You have control over all other functions
full control over the aperture, shutter speed, ISO, and all other settings,
and the camera won’t override anything.
52 A PPLY IN G | PROGR AM MODE
TAKING CREATIVE CONTROL

While your camera’s Auto and Scene modes will of your camera – far from it, in fact. To begin with, all
enable you to “point and shoot” and get a decent you need to do is switch to Program mode, and take
enough image most of the time, the fact that they advantage of the added level of control it gives you.
leave the majority of decisions up to the camera With this simple adjustment you’ll start to make the
does limit your creativity. However, you don’t need most of your camera’s tools, helping you to fully
to jump right in and start taking full manual control realize your photographic potential.
SELECT PROGRAM
The first step is the most
significant: switch your camera’s
mode dial to Program.
PLAN YOUR SHOT

Where and what you photograph
will have an impact on the settings you
choose, so decide first what it is you’re
hoping to achieve with your picture.
SET ISO AND WHITE BALANCE CHECK EXPOSURE

Call up the menu and set your camera’s White In the viewfinder, your camera will
Balance and ISO (this is not always possible in Auto or indicate its recommended shutter speed
Scene modes). There are various White Balance modes to and aperture combination (the “exposure
choose from (see pp.126–29), but for an interior shot like pairing”), but, unlike Auto and Scene
this, Incandescent/Tungsten is a good starting point. modes, Program gives you options.
ADJUST EXPOSURE
Changing the exposure pairing is usually
done with the camera’s main control wheel. Note
that the exposure shifts in a way that maintains the
same overall brightness, so it won’t make your
picture any lighter or darker.
APERTURE
SHUTTER SPEED
THE RESULT
It took several test shots to get this result, using Program mode
and shifting the exposure to increase the shutter speed until the
spinning top was blurred without becoming unrecognizable.
SHIFT FOR APERTURE OR SHUTTER SPEED CAMERA SETTINGS

The key difference between Auto/Scene and
P 1/30
Program is the ability to “shift” the paired exposure ISO
ƒ/11
setting. This will allow you to use a wider aperture
SEC 40 0
to blur a background, for example, or set a slower
shutter speed to blur any subject movement.
54 E X PL A IN IN G | APERTURE PRIORIT Y MODE
WHY USE APERTURE IN-CAMERA
PRIORITY MODE?
When you switch your camera to Aperture Priority you’re telling
it that you’re going to decide on the aperture that’s used to take
your photograph: the camera will then set the shutter speed
automatically, so you achieve the correct exposure overall.
More than this, when you choose the aperture, you’re deciding
what depth of field you want in your shot, which is one of ▲ You’ll find Aperture Priority mode
on your camera’s mode dial, indicated
the most important creative decisions you can make when by an A, or Av.
taking a photograph.
IRIS F/STOP FOREGROUND FOCUS
WIDE APERTURE ƒ/2.8

Setting a wide aperture opens up the iris to ƒ/2.8
allow more light through the lens. However,
it also reduces the depth of field so that only
the point you focus on appears sharp: almost
LESS
everything behind and in front of this point

MORE
will be blurred. This is great when you want ƒ/4

to conceal a distracting background.
MEDIUM APERTURE ƒ/8

DEPTH OF FIELD
A medium aperture setting offers the best ƒ/5.6

compromise between the amount of light
LIGHT
passing through the lens and the depth of

field. In addition, the lens usually delivers
its best performance in terms of image
sharpness at medium aperture settings.
ƒ/8
SMALL APERTURE ƒ/16

LESS
MORE
Setting a small aperture (sometimes referred

ƒ/11
to as “stopping down”) restricts the amount
of light passing through the lens. It also
increases the depth of field, so much more
of the scene appears in focus: if you use a
very small aperture setting it’s possible to
get everything looking sharp.
ƒ/16
E XPOSURE 55
What effects can I achieve?

DEPTH OF FIELD PREVIEW
The main reason for controlling the aperture is
When you look through your viewfinder, the lens will be
because it allows you to determine depth of field.
set at its widest aperture so you see a bright image, but this
This is the amount of the scene in front of and won’t show you the depth of field. Some (but not all) cameras
behind the actual focus point that appears sharp feature a depth of field preview button, which is usually
in your final image. Using a small aperture increases located beside the lens mount. The images below show
the shot without preview (left) and with preview (right).
the depth of field, so more of your scene appears
sharp, but it often results in longer shutter speeds
(or higher ISO settings), which may mean that you’ll
need to use a tripod. Wider aperture settings reduce
the depth of field and help ensure fast shutter
speeds, but you need to bear in mind that choosing
where to focus becomes even more important
than usual.
APPROXIMATE DEPTH OF FIELD BACKGROUND FOCUS
ƒ/2.8
ƒ/8
ƒ/16
AREA OF SHARPNESS FOREGROUND MID-GROUND BACKGROUND

56 A PPLY IN G | APERTURE PRIORIT Y MODE
KEEPING EVERYTHING
IN FOCUS
When you’re presented with a stunning view, it’s depth of field. For this type of shot – where you
only natural to want everything in your photograph want the entire view to be as sharp as possible –
to be as sharp as it appears to the naked eye. The you’ll need to set a small aperture. It’s also a good
aperture in your lens is the primary means of idea to start with the lowest ISO setting on your
controlling what is and isn’t “in focus” (see pp.54–55) camera (see pp.44–47), as this will keep noise to a
or, to use the correct terminology, determining the minimum and help maximize detail.
SELECT APERTURE PRIORITY SET APERTURE CHECK SHUTTER SPEED

Aperture Priority should be your With distant subjects, where A small aperture will lengthen the
go-to mode whenever you want to everything in the shot is relatively far shutter speed, so be sure to check the
control the depth of field, which is away, use the control wheel to set a camera’s recommended exposure setting
precisely what’s required here. medium-to-small aperture of f/8–f/16. if you plan to shoot hand-held.
REVIEW THE IMAGE
Take a test shot at your chosen
aperture and review the image. Use your
camera’s playback zoom controls to
zoom in and check the depth of field. You
should be able to scroll around the image,
so look at both the closest and furthest
areas of your shot.
HAZE
Whenever you’re photographing
distant subjects haze can be an
issue, reducing contrast and clarity
in your images. Fitting a UV or
Skylight filter will help.
E XPOSURE 57
ALSO WORKS FOR...

Setting a small aperture so that you
get a large depth of field is great for
any situation where you want to
show everything that’s going on,
rather than concentrating attention
on a single person, area, or object.
You can think of it as a general
“establishing shot” that will give
anyone looking at it a good idea of
what it was you saw when you
triggered the shutter.
THE RESULT CAMERA SETTINGS
P
An aperture of f/13 guaranteed that the boats at the
bottom of the frame and the distant buildings would ƒ/13 1/50 ISO
appear equally sharp. The resulting 1/50 sec shutter SEC 10 0
speed was fast enough to avoid movement blur.
USING A SHALLOW DEPTH

OF FIELD FOR PORTRAITS
Using a wide aperture is a classic portrait technique technique can work particularly well with a telephoto
that’s guaranteed to give your image maximum focal length lens, not only because this provides you
impact. The reason it works so well is because it with a comfortable working distance (see pp.112–13),
can be used to focus the viewer’s attention onto but also because by zooming in you’ll reduce the
your subject (and away from any distractions). The depth of field further still.
POSITION YOUR
SUBJECT
For a close-up portrait shot,
position your subject away
from the background and
zoom in to fill the frame.
This is usually more practical
than reducing depth of field
by trying to get very close to
your subject.
SELECT APERTURE PRIORITY SET A WIDE APERTURE SELECT A FOCUS POINT

For full control over the depth of Dial in a wide aperture setting When you’re using a wide aperture
field, set the exposure mode to Aperture (small f-number). Note that prime lenses setting, focusing is critical because of the
Priority and let the camera choose the (see p.103) tend to have wider maximum shallow depth of field. The best method
shutter speed. apertures than zoom lenses. is to pick the autofocus point yourself
(see pp.90–91).
E XPOSURE 59
ALSO WORKS FOR...

A shallow depth of field is great for
unconventional portraits, in which the
face isn’t necessarily the sole focus of
the image. In fact, it’s a truly versatile
creative technique that can be used
whenever you want to make a
specific part of a scene the centre of
attention, regardless of your subject.
THE RESULT
Zooming in and setting a wide aperture has reduced the depth of
field, with the nearest and furthest elements thrown out of focus.
The light catching the puppy’s eye draws further attention to her face.
CAMERA SETTINGS
A 1/160 ISO
ƒ/3.5
SEC 40 0
ISOLATING A SUBJECT
FROM THE BACKGROUND
When you photograph subjects that are close to the However, setting a wide aperture is still useful,
camera the depth of field decreases at all aperture as it determines how much (or how little) of the
settings, so even if you’re using a small aperture of subject appears sharp in your final photograph.
f/16 or f/22 it’s possible for the depth of field to Here, using a wide aperture of f/2.8 ensures that
cover little more than an inch or two with close-up the subject really stands out against a potentially
subjects (or even less with extreme close-ups). distracting background.
CHOOSE YOUR LENS SET UP YOUR TRIPOD SELECT APERTURE PRIORITY

For close-up photographs you can It’s a good idea to use a tripod, Switch your camera to Aperture
use a dedicated macro lens, but you may as it will enable you not only to hold the Priority and select a wide aperture setting
find that you can get close to your camera steady, but also focus precisely (f/2.8–f/4 is good). This will throw the
subject with a long focal length setting on your subject. background out of focus.
on a zoom lens, as here.
CHOOSE AN AUTOFOCUS POINT TRIGGER WITH SELF-TIMER

Manually select the Autofocus (AF) point sitting To reduce the risk of jogging the camera or
over your subject, or over the part of the subject you changing the point of focus accidentally, trigger your
want to appear sharp. This may be the central AF camera’s shutter with a remote release. If you don’t
point (as here) or an off-centre point (see pp.94–95). have one, you can use the self-timer function instead.
E XPOSURE 61
ƒ/22 ƒ/11 ƒ/5.6 ƒ/2.8
NARROW APERTURE SETTING WIDE

EXPERIMENT WITH APERTURE
You don’t always have to shoot with the lens “wide open” aperture setting of f/22 is used, so the choice of aperture is more
(at its widest aperture setting) to blur a background. In this shot about the degree of background blur that you want – and, as you
the background is thrown out of focus even when a small can see, that can make a big difference to the final result.
A
A wide aperture setting of f/2.8 has transformed
the leaves in the background into a creamy green ƒ/2.8 1/500 ISO
AW B
blur, which allows the vivid red flower to take SEC 10 0
centre stage.
62 E X PL A IN IN G | SHUT TER PRIORIT Y MODE
WHY USE SHUTTER IN-CAMERA
PRIORITY MODE?
The shutter speed you use can have a profound effect on the
resulting image – action may be captured in pin-sharp detail,
blurred to convey a sense of motion, or even reduced to an
abstract smear of colours. The precise effect you choose is going
to be a technical and/or creative decision, but the mode of
choice is Shutter Priority: you select the shutter speed and the ▲ You’ll find Shutter Priority mode
on your camera’s mode dial, indicated
camera will set a suitable aperture. The table below gives a very by an S, or Tv.
rough guide to some of the dramatic effects you can create.
SUBJECT SUGGESTED SPEED RESULT
SPORTS
Sports photography is usually associated with high-impact, TO FREEZE
freeze-frame images of sports men and women captured at
the peak moment of action, but blur can also be used to
convey a sense of speed and movement. MINIMUM
1/500 SEC
NIGHT LIGHTS
If you want to achieve a fast shutter speed at night you’ll TO FREEZE
usually have to use a wide aperture setting and a high ISO,
which can lead to noisy images (see pp.46-47). This is why
night shots tend to be taken with slower shutter speeds, MINIMUM
which capture moving lights as a blurred trail. 1/500 SEC
WILDLIFE
As with sports photography, wildlife shots are usually crisp TO FREEZE
and clear, highlighting textures and markings, or focusing
attention on the way in which the animals move. Extending
the exposure time, however, is a great way of creating more MINIMUM
abstract images of the natural world. 1/2000 SEC
WATER
Whether you depict moving water as “frozen”, using a short TO FREEZE
shutter speed, or as a silky blur with a long exposure depends
entirely on the mood you’re trying to create. Images of pin-
sharp droplets or crashing waves tend to be more dramatic, MINIMUM
while misty water has a more atmospheric, ethereal feel. 1/1000 SEC
E XPOSURE 63
ULTRA-LONG EXPOSURES
In Shutter Priority mode there’s usually a
shutter-speed limit of 30 seconds. You can
extend this, however, by switching to Manual
mode (see pp.74–75) and selecting Bulb (B) mode,
if available, by scrolling the control wheel to
the end of the shutter speeds. In B mode the
shutter will be held open for as long as you
hold the shutter-release button (or remote
release), allowing you to make an exposure
lasting minutes, or even hours. Recording star
trails like these requires very long exposure
times: ideally upwards of an hour. B mode is
the only option here, and a tripod and remote
release is essential.
SUGGESTED SPEED RESULT TIPS
◾ Very rapid movement will blur at shorter shutter speeds

TO BLUR than more moderate movement.
◾ Panning (see pp.72–73) allows you to use slow shutter
speeds while still retaining some sharpness in your subject.
1/60 SEC +
◾ Very slow shutter speeds (5 seconds +) can be used to

TO BLUR make vehicles “disappear”, leaving only their light trails.
◾ A tripod is essential to avoid camera shake.
◾ You should NEVER use flash to photograph moving traffic.
1/2 SEC +
◾ Telephoto lenses exaggerate movement, so use faster

TO BLUR shutter speeds with long lenses.
◾ When you’re shooting hand-held, activate image
stabilization, if available, to reduce camera shake.
1/125 SEC +
◾ 1/8 sec is usually slow enough to blur fast-moving water,

TO BLUR but 1/2 sec or longer may be needed for a slower flow.
◾ Use a neutral density filter so you can extend the exposure
time and create a misty, milky effect (see pp.70–71).
1/8 SEC +
64 A PPLY IN G | SHUT TER PRIORIT Y MODE
FREEZING MOVEMENT
As you’ve already seen, the shutter speed you the difference between a sharply recorded subject
choose will have a profound effect on the way in and one that’s slightly blurred. However, it’s not only
which movement is recorded in your image, making extremely high-speed subjects that you need to
Shutter Priority the go-to mode for moving subjects. think about: the branches of trees blowing in the
This is especially true of fast-moving subjects, as the wind, flowing water, or even people walking in the
smallest difference in exposure time (and we’re street are all examples of more modest movement
talking about thousandths of a second) can make that could appear blurred unless care is taken.
FRAME YOUR
SUBJECT
No matter what you’re
photographing, always
walk around your subject to
determine the best viewpoint.
For a shot like this, you’d need
to pay careful attention to the
background to ensure that
the water droplets stand out.
Drive mode
Continuous shooting
SELECT SHUTTER PRIORITY ADJUST SHUTTER SPEED ACTIVATE CONTINUOUS DRIVE

Set your camera to Shutter Priority Select the shutter speed by turning Activating your camera’s
so that you have full control over the the main control wheel on your camera. Continuous Drive mode allows you to
shutter speed: the camera will select To freeze movement, aim for a shutter make a number of exposures in rapid
the aperture. speed of at least 1/500 sec. succession, so you can pick the best later.
SLOWER
1/125 sec
SHUTTER SPEED
1/400 sec
FASTER
1/1000 sec
EXPERIMENT WITH SHUTTER SPEEDS
It’s worth taking several shots using a variety
of shutter speeds, so that you have a choice of
exposures: sometimes a small amount of motion
blur may be preferred to absolute sharpness. THE RESULT
Ensuring that every tiny droplet was as sharp as possible meant
using a fast shutter speed of 1/1600 sec. To achieve this we
SPEED OF MOVEMENT increased the ISO to 400.
The shutter speed you need to set to freeze
your subject depends entirely on the speed at
CAMERA SETTINGS
S
which it is moving: the faster the subject, the
faster the shutter speed required to stop it in its
ƒ/4
1/1600 ISO
tracks. If in doubt, use the fastest shutter speed SEC 40 0
possible and hope that it’s quick enough.
FREEZING EXTREME MOVEMENT

When you aim your camera at something that’s aperture setting and ISO, because you need to
moving very quickly, you need split-second exposure make sure that enough light reaches the sensor in
times if you want to avoid motion blur. Shutter this briefest of moments. In turn, this may have an
Priority is the obvious mode for this, but it’s not impact on depth of field, so accurate focusing is
as easy as just setting the fastest shutter speed also critical: in extreme situations you may need
available. You must also pay close attention to the to prefocus (see pp.98–99).
CHOOSE YOUR LENS SET SHUTTER SPEED INCREASE ISO

To get close to the action you’ll Switch your camera to Shutter Unless it’s really bright, you will
need a long focal length lens, so fit a Priority mode and dial in a short shutter probably have to increase the ISO so
prime telephoto lens or a long-reaching speed. How short will depend on the your camera can set an aperture. Treat
zoom that extends to at least 200mm. speed of your subject, but for this shot ISO 1600 as the upper limit, however, to
1/4000 sec was needed. avoid excessive noise.
PREFOCUS RELEASE THE SHUTTER

Because your camera’s Autofocus (AF) system may not To stand the best chance of capturing the image you
react quickly enough to a high-speed subject, it’s a good idea want, you should fire the shutter a split-second before your
to prefocus (see pp.98–99). Manual focus can be useful here, or subject hits the zone of focus. This will compensate for the
you can use an off-centre AF point (see pp.94–95). brief delay between pressing the button and the exposure
being made.
E XPOSURE 67
ALSO WORKS FOR...

Ultra-short shutter speeds are useful
for freezing subjects that you might
not normally consider “high-speed”,
but that require surprisingly brief
exposure times if you want to record
all of their detail sharply. The beating
wings of a bird can quickly become a
blur, for example, and the time it
takes for a tennis player to hit their
serve or a golfer to play their stroke
can be equally fleeting.
S
Timing is everything with this type of shot. Practice
is the only way of knowing what shutter speeds work ƒ/5.6
1/4000 ISO
AW B
best for you, and when precisely you need to trigger SEC 40 0
the shutter.
CREATING MODERATE
MOVEMENT BLUR
While fast shutter speeds can be used to “freeze” shutter speed you want to use (giving you full control
a moving subject (see pp.64–67), the opposite is over the level of blur), while the camera sets an
also true – slower shutter speeds can be employed aperture to match. This typically means that you’ll be
intentionally to allow something to appear blurred in shooting with medium to small aperture settings (to
your picture. Again, Shutter Priority is the ideal mode restrict the amount of light passing through the lens).
for this, because it allows you to decide on the precise A low ISO setting is also a good starting point.
SET UP YOUR TRIPOD FRAME YOUR SHOT

A tripod is essential for avoiding With your camera on a tripod you can frame
camera shake when you’re using a slow your shot precisely, choosing to crop it so that the
shutter speed. Make sure it’s set up entire subject is seen or, as here, to zoom in for a
somewhere stable and the legs are locked. slightly more abstract result.
SELECT SHUTTER PRIORITY ADJUST THE SHUTTER SPEED CHECK THE EXPOSURE
Turn your camera’s mode dial On most cameras you set the Your camera will try to select a
to Shutter Priority so you can adjust shutter speed using a control wheel next suitable aperture, but this isn’t always
the shutter speed. to the shutter-release button. possible. Review your image to make sure
it’s not overexposed.
E XPOSURE 69
1/30 SEC 1/15 SEC 1/8 SEC 1/4 SEC
FASTER SHUTTER SPEED SLOWER

EXPERIMENT WITH SHUTTER SPEEDS
There are varying degrees of “slow” shutter speed, and different shutter speeds, increasing the amount of
each one will affect the way in which your subject is recorded. movement blur as you go, so you have a number
There’s no reason why you shouldn’t take several shots using of options to choose from.
S
Careful selection of the shutter speed has allowed the
water cascading over these rocks to appear blurred, ƒ/22 1/6 ISO
while the camera has set an aperture that provides a SEC 10 0
good overall exposure.
CREATING EXTREME
MOVEMENT BLUR
When you start using super-slow shutter speeds, the rather than fractions of a second. A neutral density
world can look very different. Ordinary streets take (ND) filter (see p.38) is essential for this technique
on a futuristic appearance thanks to trails of light left if you’re shooting in daylight, and may also prove
by otherwise invisible traffic; people walking will beneficial in extending the exposure in low-light
simply disappear; and water can be transformed conditions. Don’t forget that the stronger the filter,
to mist as exposure times are measured in seconds, the longer your shutter speeds can be.
USE A TRIPOD FIT A NEUTRAL DENSITY FILTER SELECT SHUTTER PRIORITY

It goes without saying that you’ll An ND filter reduces the amount Set your camera to Shutter Priority
need to make sure your camera is locked of light that comes through the lens, and dial in a slow shutter speed: most
down on a solid tripod so it can’t move which enables you to extend exposure dSLRs and CSCs will allow you to set an
during your super-long exposure. times. As it’s “neutral”, the colour in your exposure time of up to 30 seconds.
image is unaffected by the filter.
CHOOSE AN AUTOFOCUS POINT TRIGGER WITH SELF-TIMER

In low-light situations it’s a good idea to select Rather than press the shutter-release button
the central Autofocus point (see pp.88–91), then lock yourself (which risks knocking the camera and
focus and recompose your shot (see pp.92–93). causing camera shake), use your camera’s self-timer
Alternatively, you could focus manually. or a remote release, if you have one.
E XPOSURE 71
1/2 SEC 1 SEC 4 SEC 10 SEC
FASTER SHUTTER SPEED SLOWER

CONTROL THE BLUR
The level of blur in your image depends on two things: subject’s speed, but you can still vary the way in which the
how quickly (or slowly) the subject is moving and the shutter movement is recorded. With water, the longer the exposure,
speed you use. You probably won’t have much control over the the more “silky” it will appear.
S
Using an ND filter on the lens allowed us to increase
ISO
the exposure time to 20 seconds, even though there
was still light in the sky when this shot was taken. As a
ƒ/22 20 SEC 10 0
result, the sea looks more like mist than water.
PANNING FOR
SHARPNESS AND BLUR
Freezing and blurring movement are both ways in with your camera while you make your exposure.
which you can control the appearance of motion Although it’s unlikely that the subject will be as
in an image, but what if you want a sharp subject tack-sharp as it would be if you used a motion-freezing
and a sense of motion too? The good news is that shutter speed, it won’t be blurred beyond recognition
this is easily achievable. The solution is to “pan” with either; what blur there is will serve to enhance the
your subject, which basically means following them idea that it’s moving.
Focus mode
SELECT SHUTTER PRIORITY ACTIVATE IMAGE SELECT CONTINUOUS

Turn the mode dial to Shutter STABILIZATION (IS) AUTOFOCUS
Priority and choose your shutter speed: For hand-held panning shots, switch Unless your subject is moving really fast,
something in the region of 1/60 sec is a your IS on. Some lenses offer an IS Continuous Autofocus (AF) mode is the
good starting point. option specifically for panning, so best option as it will keep adjusting focus
activate this useful feature if you have it. to keep your subject as sharp as possible.
PAN THE
CAMERA
Just before your
subject reaches the
point where you want
to take your shot,
gently press the
shutter-release
button. Continue to
track your subject
with your camera as
you do so, turning at
the waist so that you
pan smoothly.
TRACK YOUR SUBJECT

Look through the camera’s
viewfinder and follow your subject
as it approaches you.
E XPOSURE 73
HIGH-SPEED PANNING
When you’re photographing
very fast-moving subjects,
your AF system may not
lock on accurately in time
to capture the moment. In
this situation, focus manually
at a predetermined point and
wait for your subject to arrive:
don’t forget to pan quickly as
you take your shot though.
S
Panning has created a more dynamic result than
a “frozen” shot would have done: the blurred ƒ/11 1/60 ISO
pedestrians and city backdrop contrast strongly SEC 10 0
with the sharper cyclist.
74 A PPLY IN G | MANUAL MODE
TAKING FULL
MANUAL CONTROL
For some people, switching the camera to Manual and shutter speed yourself (as well as the ISO),
mode is aspirational, as if it’s somehow the sign of and no matter where you point the camera it
a great photographer. The truth is, Manual won’t won’t change the settings. In challenging lighting
enable you shoot any better than you can in conditions this can be a good reason to take manual
Aperture Priority or Shutter Priority modes. What it control of your camera, especially if you use it with a
does do, however, is allow you to set the aperture grey card too.
USING A HAND-HELD
Metering Mode
LIGHT METER
Partial metering
An alternative to a grey card is to
use a hand-held light meter. This
type of exposure meter reads the
light falling onto your subject
(known as an “incident” reading)
rather than the light being reflected
off it (a “reflected” reading). The
SET TO MANUAL SET METERING PATTERN advantage of this is that the meter
Whenever you want to set the For the greatest accuracy, set your isn’t “fooled” by how light or dark
aperture, shutter speed, and ISO yourself camera to take an exposure reading using the subject appears.
there’s only one mode to choose, and its spot or partial metering pattern (see
that’s Manual. pp.76–77).
USE A GREY CARD
Place a photographer’s grey card
in the scene, under the same light as your
subject. Aim your camera at the grey
card, so the card is under the central
autofocus point (this is also the spot
meter area on most cameras).
E XPOSURE 75
USE THE EXPOSURE SCALE MAKE ADJUSTMENTS

Use the exposure scale in the viewfinder Set aperture and shutter speed until the scale shows the “correct”
to assess exposure. A shift towards “+” indicates exposure, indicated by a “0” or a triangle. Once your exposure’s dialled in
overexposure, towards “-” indicates underexposure. you can remove the grey card and take the shot.
M
Despite the heavy backlighting and deep shadows in
the background, the exposure for this challenging ƒ/2.8 1/80 ISO
shot is perfect thanks to the use of a grey card and SEC 10 0
manual exposure mode.
76 E X PL A IN IN G | ME TERING PAT TERNS
WHAT ARE METERING IN-CAMERA
PATTERNS?
Getting the exposure “right” is largely about choosing the most
suitable combination of aperture, shutter speed, and ISO (see
pp.44–47). However, in order to make that choice, you and/or
your camera need to know precisely what’s going on in terms of
the light levels: unless you know how much (or how little) light
there is in a scene, it’s impossible to know precisely what settings ▲ The metering pattern options are
usually accessed using a button on
are needed. Thankfully, all modern cameras have an array of the back of your camera.
exposure metering “patterns” to point you in the right direction.
Exposure meter
The exposure metering system in your camera is midtone, which isn’t always the case. Therefore,
an incredibly complex device, which is designed to to help you get the most accurate light readings,
measure the light in a scene to create an accurate different metering patterns are employed, allowing
exposure. However, these meters are not infallible, you to assess the light levels from the entire frame
because they work on the basis that the subject or, if you want to exclude any overly bright or dark
you want to photograph would average out as a subject areas, just a small part of it.
PARTIAL METERING
Partial metering is found mainly on Canon
cameras and can be thought of as a “large
spot” area: it doesn’t read as much of the scene
as centre-weighted metering, but it’s not as
small as a true spot meter (see opposite).
▲ Which metering pattern you select depends on the subject

you’re photographing: for a shot like this, with tricky, contrasty
lighting, spot metering would be a good choice.
E XPOSURE 77
METERING PATTERN
MULTI-AREA
Depending on the make of camera, multi-
area metering goes under many different
names: Evaluative, Matrix, Honeycomb, and
Multi-segment are just a few of the names used. However,
they all refer to a similar principle: the camera takes its
exposure reading from the entire frame. In most instances
the scene is broken down into distinct areas, or segments,
which are measured independently. The camera then
averages out all of these measurements to give an exposure
reading. Because the whole scene is taken into account,
this type of metering pattern tends to be very accurate in
a wide range of situations.
CENTRE-WEIGHTED
Of all the metering patterns, centre-weighted
metering is the most long-standing; some
might argue that it’s no longer as relevant
as it used to be, especially when you consider how
sophisticated multi-area metering patterns have become.
However, it still features on almost all cameras, and does
have its uses. Centre-weighted metering is most useful
when your subject occupies the centre of the frame and is
surrounded by a predominantly light or dark background
– portraits are a prime example. Because the metering
pattern is biased towards the centre of the frame, it’s
less likely to be influenced by any extreme tones towards
the edges.
SPOT
When you switch your camera to its spot
metering mode, it will take an exposure
reading from a very small and precise area,
usually at the centre of the frame, although sometimes
it can be linked to the active focus point (see pp.90–91).
The benefit of using a spot metering pattern is that it won’t
be affected by the surrounding area, so if your subject is
very small in the frame and surrounded by a large expanse
of dark or light (a figure in snow, for example), the extreme
tones won’t affect the exposure reading. With some high-
end cameras, multiple spot readings can be taken and
averaged out, and/or the size of the area used for the
meter reading can be changed to make it slightly larger
or smaller for even greater precision.
78 E X PL A IN IN G | HISTOGR AMS
WHAT IS A IN-CAMERA
HISTOGRAM?
The histograms that pop up in your camera and editing software
when you review your image can initially seem rather daunting.
With a little experience, however, reading a histogram becomes
second nature, allowing you to see just how the tones (from
▲ All dSLRs and CSCs allow you to call
light to dark) are distributed across your image. Because it relies up a histogram when you review your
on a graphic display, a histogram isn’t affected by the light you images on the LCD screen. This is far
more accurate than simply assessing
view it under (as an LCD screen can be), so it’s an incredibly the brightness of the image on screen.
effective way of checking whether your exposure is “good”.
UNDEREXPOSED CORRECT EXPOSURE OVEREXPOSED
When the bulk of the histogram is The “ideal” histogram will have the If your histogram crashes into the
towards the left of the scale it means tonal spread fitting within the ends right end of the scale it means that
that there are a lot of dark tones in of the graph. This tells you that you’ve certain areas are pure white, and no
the image. If it isn’t a particularly dark recorded all of the detail in the scene, amount of processing will enable you
scene, then the shot is almost certainly from the very darkest areas through to bring out any detail: it’s lost for good.
underexposed. In extreme cases the to the brightest. Because a full tonal When the histogram suggests that this
graph will “hit” the left end of the scale, range has been recorded, this type of might be the case, adjust the exposure
indicating that some of the darkest image responds well to further editing. and shoot again.
tones are lost.
E XPOSURE 79
How to read a histogram VERY DARK DARK MEDIUM LIGHT VERY LIGHT
Essentially, the dark tones/shadows in

your image are represented at the left
edge of the histogram, while the right
end represents bright tones/highlights.
The height of the graph shows how many
pixels have a particular tone, but this can
be largely ignored. What’s more important
is that the graph fits within the scale: if it
appears to go off the scale to the right, then
certain highlight areas have become pure
white; if it appears to go off the scale to the
left, then shadow detail has been lost. This
loss is known as “clipping”. ▲ SCALE OF TONES
LOW KEY HIGH KEY SILHOUETTE
Here the histogram is shifted to the left, This high-key image is made up When an image is made up of a
which would suggest that this particular primarily of bright, light tones, with combination of very dark and very bright
image has been underexposed. However, little in the way of shadow. Because areas, as is the case with this silhouette,
this example shows why you can’t rely of this, the histogram is shifted to the the histogram tends to appear split
purely on the histogram: the shot is of right. That’s not a problem in itself, but between the two ends of the scale. In this
a “dark” subject, so you’d expect to see it’s a good idea to keep an eye on the particular instance it doesn’t really matter
more dark tones present. end of the histogram to avoid clipping if the highlights or shadows are clipped.
too many light areas.
80 A PPLY IN G | E XPOSURE COMPENSATION
FINE-TUNING EXPOSURE
Although your camera’s metering system does a In this situation your camera will try to expose it
great job of getting the exposure right, it’s not as if it’s a midtone (see pp.124–25), so a bright scene
infallible. There will be times when a picture comes will appear dark and vice versa. When this happens,
out lighter or darker than anticipated, and the most exposure compensation can be used: dialling in
common reason will be because the scene you’re positive (+) compensation will brighten an image,
photographing is primarily very dark or very bright. and negative (-) compensation will darken it.
SELECT A MODE TAKE A TEST SHOT

Exposure compensation can be applied There’s no surefire way of determining the correct amount of
in Program, Aperture Priority, or Shutter Priority exposure compensation to apply – and it depends on the look you’re
modes. It’s not usually available in Auto, Scene, after – but taking a test shot at the camera’s recommended exposure
or Manual modes. setting will give you a good starting point.
ASSESS YOUR IMAGE APPLY EXPOSURE COMPENSATION

Your test shot’s histogram will tell To apply exposure compensation, press and hold the exposure
you whether your image is under- or compensation button (left), and turn the main control wheel (right). If you’re
overexposed (see pp.78–79) and give an working in Aperture Priority mode, exposure compensation will adjust the
indication of how far out the exposure is. shutter speed; in Shutter Priority mode, it will adjust the aperture.
E XPOSURE 81
-1EV 0 +1EV +2EV
LESS LIGHT EXPOSURE MORE LIGHT

TAKE A SET OF EXPOSURES
The precise level of exposure compensation needed compensation applied. Alternatively, you could start by dialling
will vary from shot to shot, even with the same subject, so it’s in a small amount of exposure compensation and using your
a good idea to take a series of shots with different levels of camera’s exposure bracketing feature (see pp.82–83).
P
If you let the camera determine the exposure,
the dominant bright tones in this scene would ƒ/13 1/50 ISO
lead to underexposure. With a touch of exposure SEC 10 0
compensation, however, the shot sparkles.
82 A PPLY IN G | E XPOSURE COMPENSATION
USING AUTOMATIC
EXPOSURE BRACKETING
Although you can apply exposure compensation (see your changes and are ready to shoot again. That
pp.80–81) to tweak the camera’s suggested exposure, doesn’t just apply to fast-moving subjects – a fleeting
it means taking a shot and assessing its histogram, break in the clouds that produces a patch of light can
which takes time. With moving subjects this has be just as time-sensitive. In these instances, activating
obvious implications, because the moment you want your camera’s Automatic Exposure Bracketing (AEB)
to record may have passed by the time you’ve made feature is the answer.
FRAME YOUR SHOT LEVEL YOUR TRIPOD

It’s always a good idea to set your camera up on a tripod Whenever you’re shooting a landscape (and by
if you’ve got time (and a suitable subject). When you’re using extension, a seascape), it’s important to keep the horizon level,
AEB it’s especially useful because it will allow you to fire off your but special care should be taken when you’re setting up on an
exposure sequence without any movement between frames. uneven or soft surface such as pebbles or sand. Use your
tripod’s built-in spirit level to guide you.
Drive mode
Continuous shooting
AEB
SELECT A MODE ACTIVATE AEB ACTIVATE CONTINUOUS DRIVE

On most cameras it isn’t possible AEB is found as a menu option or When using AEB you need to take
to use AEB in Auto, Manual, or Scene accessed via a button on your camera. In your bracketed sequence as a “burst” of
mode, so choose Program, Aperture both cases you need to set the number shots, so set your camera’s Continuous
Priority, or Shutter Priority instead. of frames and an exposure gap. Drive mode.
E XPOSURE 83
-1EV 0 +1EV

TAKE A SET OF EXPOSURES
Hold down the shutter-release button to take your we ended up with one shot that’s 1 stop darker than the
bracketed exposure sequence. For this image we set AEB to camera’s suggested exposure setting (-1EV), another at the
make three exposures at 1-stop increments. This meant that suggested exposure (0), and a third that’s 1 stop brighter (+1EV).
A
When we opened the images on the computer we
decided that the exposure that’s 1 stop brighter than ƒ/5.6 1/500 ISO
the suggested reading works best: the extra exposure SEC 40 0
really makes the water shimmer.
84 E X PL A IN IN G | HIGH DYNAMIC R ANGE
WHAT IS HDR SOFTWARE

Once you’ve made your exposure
HDR IMAGING? sequence you need to use editing

software to merge them using a
process known as “tone-mapping”.
The “dynamic range” of a scene refers to the brightness range This takes the “best bits” (in terms
of exposure) from each image and
between the darkest shadow and the lightest highlight, or, in combines them into a single picture.
layman’s terms, the contrast. This is important for photographers Your current software package may
because a camera’s sensor can only record a limited dynamic have some sort of built-in HDR
feature, but stand-alone software,
range: if the range of a scene exceeds the capability of the dedicated to to HDR imaging,
camera, the highlights, shadows, or both will be “clipped” tends to produce much more
sophisticated results.
(see pp.78–79). However, there’s a practical – and creative –
solution: High Dynamic Range (HDR) imaging.
Shooting for HDR EXPOSURES

The idea behind HDR imaging is to make a number of exposures
HIGHLIGHTS
of the same scene, adjusting the exposure between shots so you have
one shot that records detail in the brightest highlights; another that
records all the shadow detail; and additional exposures in between.
These images are then combined using HDR tools or software.
The easiest way of capturing your initial sequence is to use your
camera’s Automatic Exposure Bracketing feature (see pp.82–83).
Setting the number of frames to 3 or 5, and the spacing between
them to at least ±2EV, will be sufficient in most instances.
MIDTONES
Gradation Range
RANGE OF BRIGHTNESS THE EYE CAN SEE
Pure Pure
black Dynamic Range white
SHADOWS
DYNAMIC RANGE OF A DIGITAL CAMERA
▲ Because our brain constantly adjusts for different brightness levels, we can see
a wide range of tones. However, a digital camera’s sensor has a fixed “dynamic range”
– anything outside that range will appear as pure black or pure white.
E XPOSURE 85
IN-CAMERA DYNAMIC
RANGE OPTIMIZATION
An increasing number of camera manufacturers have
developed in-camera tools to help deal with scenes
of high dynamic range. These include Auto Lighting
Optimizer from Canon, Active D-Lighting from Nikon,
and D-Range Optimizer from Sony. Each works in a
slightly different way, but the general approach is
the same: the exposure is set to preserve as much
detail as possible in the highlight areas, and then the
shadow areas are lightened in-camera to prevent
them from appearing too dark. This image shows
the same scene both without (left) and with (right)
in-camera dynamic range optimization.
MERGED HDR IMAGE

FOCUSING
FOCUSING
After exposure, focusing is perhaps one of the most important areas in
photography. Most people will tolerate colours that are a little “off”, or a slightly
awkward composition – and these can often be corrected using editing software –
but an out of focus shot will almost always look “wrong” (unless it’s a deliberate
creative effect). Moreover, there’s very little you can do to salvage a blurred
photograph, so getting the focus right is an essential skill. In this chapter you’ll
discover the tools your camera has to help you, and how best to use them.
Manual focus
Before Automatic Focusing (AF) systems were
developed, the only way to get a sharp picture was
to focus the lens by hand, manually adjusting it until
the image in the viewfinder appeared to be “in focus”.
Although this is a much slower process than using a
modern AF system, the advantage is that you can
choose precisely where you want to focus.
This can be useful for a number of reasons. For
example, you may wish to focus on a particular point
in a scene for creative effect, or you may need to
take over from the camera when low light and/or
low contrast make it difficult for the AF system to
lock onto your subject.
Manual focus is also the best option when you’re
photographing close-up subjects, or are working
with a very shallow depth of field – in any situation,
in fact, where you want to have absolute control
over the point at which your lens is focused.
◀ Low light and low contrast are two common situations

in which modern AF systems can struggle, but this is another:
photographing someone (or something) through glass. The
various reflections can easily throw the AF system off track,
making manual focus a more reliable alternative.
FOCUSING 89
Autofocus points
All cameras now have AF, and all AF systems rely advanced models tending to have more AF points
on one or more focus “points”, which are sensors than entry-level cameras. However, the number of
that the camera uses to set the focus. The precise AF points isn’t the only factor affecting accuracy: the
number of focus points depends almost entirely spread of the points and the sophistication of the
on the level of the camera you’re using, with focusing system behind them is equally important.
ENTRY LEVEL ADVANCED
Autofocus modes
There are three AF modes that you need to rule, One-shot AF is usually used for static subjects;
familiarize yourself with if you want to get the Continuous AF is the better choice when your
best from your camera: One-shot (or Single-shot), subject is moving; and Auto is the one to go for
Continuous, and an Automatic option. As a simple if you anticipate that your subject might move.
ONE-SHOT CONTINUOUS AUTO
One-shot AF is perhaps the most If you’re shooting a moving subject, Called AF-A by some manufacturers,
commonly used mode for general Continuous AF (see pp.96–97) may be many cameras have a focusing option
subjects. In One-shot AF mode you the mode to go for. In this mode the that will switch between One-shot and
activate the focusing system and the camera will adjust the focus if it Continuous AF automatically. If the
camera uses one or more focus points detects that your subject is moving subject is static, then One-shot AF is
to try to set the focus. Once it’s locked towards or away from the camera. It used, but if the subject is moving (or
on, it will maintain focus at that distance will continue doing this until you press starts to move), the camera will switch
until you take a shot or release the AF. the shutter-release button fully. to Continuous AF.
90 A PPLY IN G | ESSENTIAL AUTOFOCUS
USING MULTI-AREA AND

SINGLE-POINT AUTOFOCUS
Most people, when they first start taking photographs, always positioning the main subject in the centre
will naturally begin by placing their subject “front of the frame can feel a little predictable very quickly.
and centre” in the frame. The benefit of this approach To introduce more dynamism into your images,
is that the main point of interest will appear in sharp consider placing your subject off-centre and then
focus. However, while perfectly acceptable, in selecting the Autofocus (AF) point that you want
photography – as with many other art forms – your camera to use.
ACTIVATE AUTOFOCUS SELECT ALL AF POINTS FRAME YOUR SHOT

Make sure that your camera is set To be sure your camera is set to With the camera deciding which
to AF. Depending on your equipment, Multi-area AF, press the AF point button AF point it will use, all you need to do
you may need to set this on both the and turn the control wheel until all of the now is frame your shot and make your
camera and lens, or just the camera body. AF points show as “active”. exposure. But you may decide that you
need more control.
FOCUS
Pressing the shutter-release button half way will activate rear LCD screen if you’re using Live View. This will usually (but
the AF system, and your camera will decide which AF point (or not always) be the closest or most high-contrast area. If you’re
points) is appropriate. The focus point(s) that the camera has happy with the camera’s choice, press the shutter-release
chosen to use will be highlighted in the viewfinder, or on the button fully down to make your exposure.
FOCUSING 91
ZONE FOCUS
AF point selection In addition to Multi-area and
Single-point AF selection, some
Manual sel. cameras that utilize a high number
of focusing points offer “zone
focusing.” This allows you to choose
a group of AF points (typically top,
bottom, left, right, or centre), and
the camera then selects a single AF
ADJUST FOCUS CHANGE POINT OF FOCUS point from this area. In effect, the
If you’re not satisfied with the Here, the focus point was shifted camera is making the final decision,
camera’s choice, you can select an AF deliberately to the figure at the left of the but you are guiding it to a specific
point yourself by pressing the AF point frame, so there was no chance of the part of the frame.
button and turning the control wheel. camera picking an inappropriate AF point.
M
To inject some energy and movement into our
compostion we chose to contrast the stillness of the ƒ/22
1/2 ISO
AW B
girl with the busy shoppers by using a slow shutter SEC 10 0
speed (see pp.62–63).
92 A PPLY IN G | FOCUS LOCK
FOCUSING AND REFRAMING

Selecting a single Autofocus (AF) point (see pp.90–91) spontaneous hand-held shooting. There’s also a
is often all that’s needed to focus on off-centre chance that your camera may not actually have a
subjects, but it’s not always the most convenient way suitably positioned AF point to start with. In both
to do it. Selecting the relevant AF point takes time, cases, the answer is to use just one AF point and
especially if you have to scroll through a lot of focus “lock” the focus before reframing the scene and
point options, so it’s not particularly conducive to taking your shot.
AF point selection
Manual sel.
ACTIVATE AUTOFOCUS SELECT THE CENTRAL FOCUS

Make sure that your lens is set AUTOFOCUS POINT Aim your camera at your subject
to AF (with some camera models you’ll Press your camera’s focus point selection so the area you want to focus on is under
need to set the camera to AF too), and button and turn the control wheel to the central AF point. Half press the
that the focusing is in Single-shot mode, select the central AF point. shutter-release button to focus.
rather than Continuous Autofocus.
REFRAME YOUR SHOT

Keep the shutter-release button half depressed, as shutter release, the camera will maintain focus at that point
this will “lock” the focus (and exposure, see box opposite). (shown here by the small red square). Once you’ve reframed
You’re now free to move the camera: as long as you’re in your shot (as indicated by the white dotted line), press the
Single-shot AF mode and you keep your finger on the shutter-release button fully to make your exposure.
FOCUSING 93
AUTOMATIC FOCUS LOCK

As well as locking the focus, half depressing the
shutter-release button will also lock the exposure. In f2 Assign AE-L/AF-L button
some situations you won’t want this to happen, because
moving your camera to reframe your shot may mean that
the exposure needs to change too (if the reframed scene AE/AF lock
is any lighter or darker). In this case, instead of using the AE lock only
shutter-release to lock focus, use your camera’s Automatic AF lock only
Focus Lock (AF-L ) button. AF-L usually doubles as the AE lock (Hold)
Exposure Lock, but you can customize it via your camera AF-ON
menu so that it locks only focus. This means that you
can lock focus and recompose, and the exposure will
change if necessary.
A
The success of this slightly esoteric shot required
three things: a low (ground level) vantage point; ƒ/8
1/250 ISO
a very shallow depth of field (see pp.58–59); and SEC 10 0
precise control over the point of focus.
94 A PPLY IN G | MANUAL FOCUS
CONTROLLING YOUR
POINT OF FOCUS
Before the advent of Automatic Focusing (AF) Although today’s AF systems are incredibly fast and
systems, focusing a lens by hand was the only accurate compared to their predecessors, to some
option. In the early days of AF, many photographers extent the same thinking still applies: taking full
still preferred to choose the point of focus for control and setting the focus manually puts you in
themselves, rather than relying on the camera the driving seat, and guarantees that what you want
and its then slow and unwieldy automation. in focus in your shot is indeed in focus.
FOCUS SETTINGS
This won’t apply to all cameras, but it’s
important to set not only your lens to
Manual Focus but your camera too, to
deactivate its Autofocus motor. If you
don’t, you could damage the motor.
SELECT MANUAL FOCUS FRAME AND FOCUS

Set your lens to Manual Focus (MF) With your camera and lens set to Manual, you can
if it has this option. Some lenses have an frame your shot and choose your point of focus. Be sure to
option that allows you to focus manually turn the focus ring on your lens, and not the zoom ring –
at any time, without changing the setting. on some lenses the two are close together.
CHECK THE VIEWFINDER ADJUST FOCUS USING LIVE VIEW

The majority of dSLR cameras have a focus confirmation If you have Live View available, it’s likely that you’ll be
in the viewfinder display – usually a dot or asterisk that appears able to magnify a central section of the preview image to help
when focus is set (here it’s the green dot). In MF mode this will you to focus precisely. This option varies between cameras, so
still work, so you can use it as a guide to focusing if you wish to. check your manual.
FOCUSING 95
ALSO WORKS FOR...

Choosing to use Manual Focus is usually a
creative decision, but there are times when it
becomes a necessity. The most common of
these is when you’re working in low light. To
function efficiently, an AF system requires light
and contrast: the more there is of each of these,
then the quicker the AF will be. However, this
means that your camera will sometimes struggle
to lock onto your subject in low-light and
low-contrast conditions, which makes Manual
Focus the only reliable option.
A
For this shot we wanted to keep the farmer sharp
and his produce slightly blurred, rather than showing ƒ/2.8
1/125 ISO
it in graphic detail, so switching to Manual Focus SEC 40 0
was an obvious choice.
96 A PPLY IN G | CONTINUOUS AUTOFOCUS
TRACKING A MOVING SUBJECT

Your camera’s default single-shot Autofocus (AF) distance until you make your exposure. If your subject
mode is more than a match for static subjects, but moves towards you or away from you before this
you may find that your results aren’t quite as sharp happens, then it will start to become less focused. In
as you’d like when your subject starts to move. The these situations the answer is fairly straightforward:
reason for this is simple: Single-shot AF focuses at a switch to Continuous AF mode, which allows the
specific point and keeps the lens focused at that focus to adjust continuously until you shoot.
BE READY
Using your camera hand-held
gives you greater flexibility when it comes
to photographing a subject that could
move erratically around the frame.
FOCUS TRACKING
In addition to Continuous AF, some
cameras offer focus tracking (also
referred to as Dynamic AF). In this
mode, your camera will attempt to
predict how your subject will move
around the frame and use different
AF points to maintain focus. So, not
only will it adjust the focus as the
camera-to-subject distance alters, but
it will also actively follow your subject.
AF mode Drive mode

AI Servo AF Continuous shooting
SELECT CONTINUOUS AF SELECT CONTINUOUS DRIVE

Switch your camera to Continuous Press the Drive mode button and
AF mode, so the focus will be adjusted set the shooting mode to Continuous.
automatically as your subject moves Be aware that some cameras have more
around the frame. On most cameras this than one Continuous setting (typically
is done via a button on the camera body. Lo and Hi).
FOCUSING 97
ACTIVATE CONTINUOUS AF
Once you have tracked your subject – in this case attempt to focus on your subject, and maintain focus, as long
an excitable dog – sufficiently to get it under an AF point, as it remains under the AF point. When the subject is in the
half-depress the shutter-release button to activate your optimum position, press the shutter-release button fully
camera’s Continuous AF system. The camera will automatically and hold it down to make a series of exposures.
M
With both the camera’s AF and Drive mode set
1/640 ISO
to Continuous we increased our chances of getting ƒ/5.6
20 0 AW B
that one “decisive” shot. SEC
98 A PPLY IN G | PREFOCUS
FOCUSING ON HIGH-SPEED SUBJECTS

No matter how sophisticated your camera’s can be frustrating when you’re trying to focus on
Autofocus (AF) system is, or how many focus points something that’s moving really quickly. Continuous
are on offer, the physical process of focusing a lens AF will help up to a point, but it still needs a moment
takes time. Even if it appears instantaneous, there’s a to identify the subject – and if it’s moving at high
fraction of a second before the lens “locks on”. While speed, it could be gone before that’s happened.
this isn’t a problem with the majority of subjects, it In this situation, prefocusing is the answer.
Drive mode
Continuous shooting
SWITCH TO MANUAL FOCUS SELECT A MODE SELECT CONTINUOUS DRIVE

Although it might seem Set Aperture Priority (see pp.54–55) Switch to your camera’s
counterintuitive, when it comes to if you want to control the depth of field, or Continuous Drive mode (rather than
photographing fast-moving subjects you Shutter Priority (see pp.62–63) to control Single-shot) so you can hold down
should switch to manual focus rather the appearance of movement, then set the the shutter-release button and shoot
than relying on your camera’s AF system. aperture or shutter speed accordingly. a burst of frames.
PREFOCUS
Focus manually at the point
where you anticipate your subject
being: in this case, a particular point
on a race track. The key is to try to
predict where your subject will be
and focus on that point.
FOCUSING 99
ALSO WORKS FOR...

Prefocus can be used for any
subject that moves very quickly
– typically something faster than
the camera’s AF system can deal
with – as long as you know where
the action will take place. Use
your camera’s fastest continuous
shooting mode and record JPEGs
WATCH AND WAIT rather than Raw files, as this will
Just before your subject reaches enable your camera to record a
the predicted point of focus, trigger the greater number of frames in a
shutter, holding it down to capture a burst, at a faster rate.
series of images.
A
Prefocusing can be tricky to master, but when
everything comes together – focus, exposure, and ƒ/4
1/125 ISO
AW B
timing – the reward is a tack-sharp shot, regardless SEC 10 0
of the speed at which your subject is moving.
LENSES
LENSES
The lens is one of the most critical components in photography, and the quality
of the lens is arguably even more important than the quality of your camera:
a top-of-the-range camera will never achieve the results it’s capable of if it’s paired
with a lower grade lens, but a good lens can unlock the full potential of even the
most modest SLR camera or CSC. In this chapter, you’ll find out what lenses are
available, and how to get the best from them.
WIDE-ANGLE FOCAL LENGTH STANDARD FOCAL LENGTH
Wide-angle focal lengths have a wide An image from a standard lens is roughly
angle of view which enables them to “get the same as we see with our eyes. Strictly
it all in”, and for many photographers, that’s speaking, the standard focal length is equal
reason enough to own one. But they can to the diagonal measurement of the sensor,
do so much more: when used for close-up work they can which is 43mm for a full-frame 35mm sensor, but a 50mm
appear to exaggerate the distance between near and far focal length is more widely used. On cameras with APS-C sized
elements, while providing an extensive depth of field that sensors, a 35mm focal length is considered standard, while for
enables both to be kept in focus. FourThirds systems, 25mm is standard (see p.106).
BEST USED FOR BEST USED FOR
◾ Wide-angle lenses are great for landscape photography ◾ A standard lens is a good choice when an entirely
when you want to record a large-scale scene (see pp.108–09). natural-looking perspective is required.
◾ When used with care, wide-angle lenses can be very useful ◾ Prime standard lenses have wide maximum apertures,
for interior shots when space is limited (see pp.110–11). so are ideal when you want to focus selectively.
LENSES 103
PRIME LENSES
A “prime” lens is one with a fixed focal length, such as a 28mm lens, 35mm, 50mm, and so on.
Although not as versatile as a zoom lens that covers multiple focal lengths, prime lenses are
typically cheaper, have faster maximum apertures (which is great for low-light photography),
and, most importantly, can often deliver better results than a zoom lens. This is simply because
it’s easier to optimize the design of a lens for a single focal length,
rather than a range.
▲ 17MM ▲ 35MM ▲ 50MM ▲ 85MM ▲ 180MM
TELEPHOTO FOCAL LENGTH MACRO FOCAL LENGTH
A telephoto lens has a “telescopic” effect, A macro lens allows you to focus at a
with long focal lengths (75mm+) that much closer range than other lenses allow,
enable you to get closer to distant so you can really fill the frame. Technically,
subjects. This is useful when you’re trying “true” macro offers 1:1 reproduction, so a
to photograph something that you can’t get physically closer subject will appear “life-size” on the sensor. However, zoom
to, but you do need to take care: long focal lengths magnify lenses that have a macro setting don’t usually offer that level
movement, so use a tripod or image stabilization to avoid of magnification: a ratio of 1:2 (half life-size) or 1:4 (a quarter
camera shake. life-size) is more common.
BEST USED FOR BEST USED FOR
◾ Traditionally, a telephoto lens is used for sports or wildlife ◾ Small subjects such as flowers and insects (see pp.116–19).
photography (see pp.114–15). ◾ Although designed primarily for close-up photography,
◾ “Mild” telephoto lenses in the region of 75–150mm are macro lenses can also be used for other subjects: a
widely considered as ideal for portraits (see pp.112–13). 150mm macro makes a good telephoto lens, for example.
104 E X PL A IN IN G | FOCAL LENGTH
WHAT IS IN-CAMERA
FOCAL LENGTH?
All lenses are described by a “focal length,” whether it’s a single
focal length for a prime lens (see p.103) or a range of focal
lengths covered by a zoom lens. Put simply, the focal length of
a lens gives you an indication of its angle of view, as illustrated
below, so you have an idea of how “wide” it is, or how much
of a telephoto effect it will have when it’s attached to your ▲ The focal length of a lens is printed
on the front of it, along with other
camera. The focal length(s) that you use most will generally details, such as maximum aperture.
be dependent on the subjects you prefer to photograph.
ANGLE OF VIEW 75º 63º 43º
The angle of view refers to

the amount of a scene that
a lens can “see” and record
on your camera’s sensor. It’s
usually based on a diagonal
measurement.
LENS LENGTH 28MM 35MM 50MM

The shorter the focal length,
the wider the angle of view
that’s recorded, so a 28mm
focal length records a much
wider angle of view than, say,
a 500mm focal length.
LENSES 105
FISHEYE LENS
A fisheye lens is an extreme
wide-angle lens, with a focal length
of 14mm or less and an angle of view
of around 180 degrees. There are
two types of fisheye lens: circular
and full-frame. As its name suggests,
a circular fisheye lens produces
round images on the sensor (right),
which can limit its appeal for general
photography, although the effect
can be striking. Full-frame lenses
are more popular, as they produce
a rectangular image that covers the
entire frame (far right).
18º 10º 7½º 5º
135MM 250MM 350MM 500MM

106 E X PL A IN IN G | FOCAL LENGTH
Sensor size and crop factor

If you’ve recently bought, or are intending to buy, of using a camera with a smaller sensor: as the sensor
a new camera, then you’re probably aware that gets smaller, the angle of view narrows, making the
different cameras use different sized sensors. Some lens behave as if it were a longer focal length.
use a “full frame” (36 x 24mm) sensor, others use a To account for this, a “crop factor”, or “focal length
smaller, Advanced Photo System type-C (APS-C) magnifier”, is used to determine the effective focal
sensor (23.6 x 15.7mm or 22.2 x 14.8mm), and some length of a lens. For example, a Nikon with an APS-C
use a 17.3 x 13mm “FourThirds” sensor. Although this sized sensor has a crop factor of 1.5x, so a lens with
doesn’t change what you can photograph (or how), a 100mm focal length will actually behave like a
it does have an impact on focal length. 150mm lens. With a crop factor of 2x, the same lens
The example below demonstrates the effect of on a FourThirds camera would have an effective
taking the same picture with the same focal length, focal length of 200mm.
but using cameras with different sized sensors.
The dotted blue line shows the area that would be SENSOR SIZE KEY
recorded if you were using a camera with a full-frame FULL FRAME 36x24mm APS-C Canon 22.2x14.8mm
sensor, which is the sensor size used to measure
APS-C Nikon 23.6x15.7mm FourThirds System 17.3x13mm
focal lengths. The other colours shows the effect
LENSES 107
Image stabilization
SUPERZOOM LENS
Camera shake is one of the most common causes
A “superzoom” is a specific
of blurred images, and is guaranteed to ruin what type of zoom lens that covers
might otherwise be a great shot. It usually occurs a wide focal length range,
when you shoot hand-held, and is most often a typically in the region of
result of your own tiny, involuntary movements. 18–200mm or 18–300mm
(this example is 18–270mm).
Image stabilization is a technology built into
Although wide-ranging, this
some lenses to help prevent camera shake. It does type of lens increases the risk
this through the use of sensors in the lens, which of camera shake, since long
can detect any camera movement. When they do, focal lengths will amplify even
the tiniest movement, so
a special group of lens elements inside the lens
image stabilization is essential.
moves in the opposite direction to compensate,
which keeps the image in the same place on the
sensor while you take your shot. This means you get
a sharp result, even if you’re a little shaky yourself.
SUBJECT WITHOUT STABILIZATION WITH STABILIZATION
MOVING SUBJECTS
Image stabilization can’t prevent blur
that’s caused by a subject moving
during an exposure, but it can help you
to get a sharper result when you’re
shooting hand-held, without you
having to change the exposure settings.
WORKING IN MACRO
Macro and close-up photography is
all about magnifying small subjects so
that they fill the frame. However, the
slightest camera movement will be
magnified too, so image stabilization
is very important when it comes to this
type of shot.
USING A TELEPHOTO LENS

Telephoto lenses let you get up close
to distant subjects, but in doing so they
exaggerate any camera movement.
Ideally, you’d use a tripod when you’re
zooming in like this, but if you don’t
have one with you, image stabilization
will help keep things steady.
USING A WIDE-ANGLE LENS

OUTDOORS
Wide-angle lenses and outdoor photography are a of a scene, because distant elements appear very
near-perfect match for each other. The great outdoors small in the frame and you may end up with large
offers sweeping views and often dramatically swathes of featureless sky at the top of your shot.
changing weather conditions that are just begging So get as close as you can to your subject and think
to be captured in their entirety. However, using a about including foreground interest to compensate
wide-angle lens can sometimes reduce the impact if you have an empty sky.
SET UP YOUR TRIPOD FIT A LENS HOOD LEVEL YOUR CAMERA

For landscape scenes (or any other A lens hood is always useful in Level your tripod so the horizon
shot, if you have the time) it’s a good idea combating flare (see pp.146–47), even doesn’t slope to one side. Although you
to set your camera up on a tripod to on seemingly dull days. It’s even more could correct this with your editing
reduce the risk of camera shake. important with wide-angle lenses that software, getting it right in-camera is a
have a large front lens element. much better option.
SELECT APERTURE PRIORITY

Use Aperture Priority and set a
small aperture to achieve an extensive
depth of field.
TAKE A TEST SHOT

Make a test exposure and assess
the image on screen: if necessary,
adjust the aperture or exposure.
LENSES 109
BARREL DISTORTION
Because of their wide viewing angle,
wide-angle lenses are prone to
displaying “barrel distortion”. As the
name suggests, this distortion results
in images appearing as if they have
been projected onto a barrel, so the
centre of the frame appears inflated.
The severity of the distortion varies
REFRAME IF NECESSARY between lenses, but as a general
Take the time to look at the framing of your shot. Most wide-angle rule, the wider the focal length, the
photographs taken outdoors can benefit from having something in the foreground, more pronounced the barrelling.
so consider tilting your camera downwards slightly or lowering your tripod so it’s
closer to ground level.
A
The wide-angle focal length allowed us to record the
full span of the bridge, while the muted colours in ƒ/16 1/25 ISO
AW B
the original scene made it an ideal candidate for SEC 20 0
black-and-white conversion (see pp.176–77).
USING A WIDE-ANGLE LENS

INDOORS
Although wide-angle lenses are a perfect match to remember. First, a wide-angle lens is likely to
for expansive landscapes, they’re also a great choice display barrel distortion (see p.109), so you need to
when you’re indoors and space is more restricted. take care when placing walls or other vertical (or
In this situation the wide angle of view will enable horizontal) planes close to the edges of the frame.
you to record as much of your chosen interior as Second, when you aim a wide-angle lens upwards,
possible. However, there are two important things any vertical elements in the image tend to converge.
CHOOSE A LENS SELECT APERTURE PRIORITY SET UP YOUR TRIPOD

Attach your chosen wide-angle Aperture Priority will not only If you anticipate using a slow
lens, whether it’s a fixed focal length or allow you to determine the depth of shutter speed – to blur figures moving
a wide-angle zoom. field in your shot, but also the shutter through the scene, for example – use a
speed: smaller apertures result in longer tripod, or activate your camera’s image
exposure times. stabilization, if it has this feature.
EXPLORE VIEWPOINTS
Unless you’re using a slow shutter
speed, don’t feel that you have to use
a tripod. Shooting hand-held allows
you to explore more unusual angles.
KEEP IT LEVEL
You can minimize the effects of
barrel distortion (see p.109), which
makes straight lines appear to bow
outwards, by keeping your camera
level and as square to the subject
as possible.
SELECT A FOCUS POINT
With such a wide angle of view, it’s a
good idea to select a single focus point yourself
(see pp.90–91), so you know precisely where your
camera is focusing.
ANGLES
A wide-angle focal length can offer a dramatic
perspective, which is part of its appeal. Even
though distortion can be an issue, don’t be
afraid to experiment and “work the angles”.
THE RESULT
Shooting from low down and tilting the camera intentionally
gives this museum interior shot a dramatic edge. The inclusion
of the figure provides a sense of the scale of the building.
CAMERA SETTINGS
A 1/30 ISO
ƒ/22 AW B
SEC 10 0
112 A PPLY IN G | TELEPHOTO FOCAL LENGTH

FOR PORTRAITS
Although there’s really no such thing as a “portrait your subject’s face as a wide-angle lens would, and it
lens”, there’s a general (and longstanding) consensus allows a comfortable “working distance”. This is the
that using a mild telephoto focal length is usually the distance you would need to be from your subject to
best option when you want to take pictures of people take a head-and-shoulders portrait. A telephoto lens
without including vast expanses of background. There is also great for taking candid portraits, as the distance
are two main reasons for this choice: it won’t distort encourages your subject to “forget” you’re there.
ATTACH A LENS SET AUTOFOCUS SELECT CONTINUOUS

A focal length of around Make sure that your camera (and SHOOTING MODE
75–135mm is ideal for portraits, so fit lens) is set to Autofocus and that image Continuous Shooting mode will allow
an appropriate prime lens, or a zoom stabilization (if available) is switched on you to fire a burst of shots, which will
lens that covers this range. if you intend to shoot hand-held. help capture the most fleeting expression.
FRAME WITH LIVE VIEW
Using Live View (if your camera
has it) will enable you to frame your
shot using the camera’s rear LCD screen,
allowing you to communicate with your
subject, if necessary, without having a
camera in front of your face.
PRIME LENSES
A 50mm prime lens (see p.103) is
perfect if you’re using a camera with
an APS-C sized sensor, as it will give
you an angle of view equivalent to
a 75–80mm focal length when the
crop factor is taken into account (see
p.106). Most 50mm prime lenses also
have a wide maximum aperture
– great for blurring backgrounds.
LENSES 113
ALSO WORKS FOR...

A telephoto focal length is also
a good choice for close-up
photography, especially when
flying insects are involved. A
popular focal length for macro
lenses is 105mm, as the longer
focal length means you don’t
FOCUS have to get as close to your
As a general rule you should subject, so are less likely to
aim to focus on your subject’s eyes scare it away.
whenever you’re shooting a portrait,
simply because this is the first thing
that people tend to look at.
A
A mild telephoto focal length allowed a comfortable
distance between photographer and subject, so she ƒ/2.8 1/60 ISO
AW B
is less self-conscious than she might have been with a SEC 40 0
camera inches from her face.
114 A PPLY IN G | TELEPHOTO FOCAL LENGTH

FOR DISTANT SUBJECTS
A mild telephoto focal length is a popular choice for sidelines. In these situations shooting hand-held is
portraits because you don’t want to be inches away often preferable because it gives you the freedom
from the person’s face, but with some subjects you’ll to move the camera quickly to follow fast-moving
need a longer lens. Most wildlife, for example, isn’t subjects, but as the focal length increases so too
going to sit and wait while you get up close and does the risk of camera shake. It’s therefore even
personal with your camera, and for the majority of more important than usual to make sure that you
sporting events you’ll need to photograph from the use your camera correctly.
ATTACH YOUR LENS ACTIVATE IMAGE SELECT A MODE

Fit a long telephoto lens to your STABILIZATION When you’re using a long lens
camera. Something in the region of Any movement will be magnified by a hand-held, it’s a good idea to set the
200–400mm is ideal, whether it’s a fixed long lens, so switch on your camera’s shutter speed to counter camera shake.
focal length (prime) lens or a zoom lens. image stabilization, if available (see That means using either Program or
also Step 4). Shutter Priority modes.
BRACE YOURSELF
Image stabilization and a fast
shutter speed will help you to avoid
camera shake, but it’s still a good idea
to rest the camera on something solid
if possible.
SHUTTER SPEEDS
A simple rule with long lenses is to
use a shutter speed that’s at least 1/
focal length. So with a 200mm focal
length you should set your shutter
speed to 1/200 sec, 1/400 sec with
a 400mm focal length, and so on.
SELECT CENTRAL
AUTOFOCUS (AF) POINT
Select the central AF point manually (see
pp.94–95), choose your point of focus – in
this case, the lemur’s eye – then reframe
your shot if necessary (see pp.92–93).
ALSO WORKS FOR…

A long telephoto lens will also appear to
compress perspective, so can be used creatively
to “stack” distant subjects, such as buildings.
THE RESULT
Using a 300mm focal length ensured the lemur filled the frame,
but it’s important that the focus is precise: for wildlife shots like
this, focusing on the eyes almost always creates the most impact.
CAMERA SETTINGS
S ƒ/5.6 1/300
SEC
ISO
40 0 AW B
116 A PPLY IN G | MACRO FOCAL LENGTH
USING A MACRO LENS

FOR MOBILE SUBJECTS
Macro photography requires much greater precision commonly used with low ISO settings, which results
than other genres when it comes to focusing, and the in a slow shutter speed. None of these things are
slightest shift can throw a subject entirely out of focus. particularly conducive to hand-held photography, but
The reduced depth of field that comes from close-up when you’re shooting mobile subjects, the flexibility
work (see p.119) also means that smaller apertures are of a hand-held camera is precisely what you need.
ATTACH YOUR LENS SELECT A MODE DETERMINE EXPOSURE

A dedicated macro lens is the Manual or Aperture Priority are For a backlit shot like this, use
best choice for close-up photography, the ideal exposure modes for macro the camera’s centre-weighted metering
although some zoom lenses have a photography, as you will often want pattern (see p.77) but set the exposure
macro setting that will suffice. to control the depth of field. one stop brighter to avoid underexposure.
SWITCH TO MANUAL FOCUS

Although Autofocus will work
with macro shots, it’s sometimes easier
to focus manually.
FOCUS
With a small, moving subject it’s
better to focus on your subject initially
and then move the camera closer to and
further away from it to keep it in focus,
rather than constantly adjusting the
focus. This is only possible if you’re
shooting hand-held.
LENSES 117
ALSO WORKS FOR...

Backlit subjects are easier to find
when you’re shooting close-ups
than when you are photographing
something on a larger scale. Look
for dew drops on leaves and
individual blades of grass, or for
translucent petals with light striking
them from behind. Shoot either
early or late in the day, when the
sun is low in the sky and more
elements in the landscape are lit
from behind.
M 1/500
Getting close to this backlit butterfly was the only
ISO
way of filling the frame. In this respect, using the ƒ/4
camera hand-held is preferable as you have greater SEC 40 0
freedom to move around your subject.
118 A PPLY IN G | MACRO FOCAL LENGTH
USING A MACRO LENS

FOR STATIC SUBJECTS
A tripod is useful in most areas of photography, but to use small aperture settings to maximize the depth
it’s even more important for close-up and macro of field in your close-up shots, and a low ISO setting
work – at least if you’re photographing a static subject. for image quality. However, this combination can
The reason for this is simple: the closer you are to result in a slow shutter speed that increases the risk
your subject, the less depth of field there is at any of camera shake. The answer, of course, is to attach
given aperture setting. This means you’ll often want your camera to a tripod.
SET UP YOUR CAMERA SELECT APERTURE PRIORITY

Fit your macro lens (or set your lens to its macro Use Aperture Priority mode so you can control
setting) and attach the camera to a tripod so you have the depth of field, but be aware that this will be severely
precise control over the framing of your shot. reduced with close-up subjects (see box opposite).
WITHOUT DIFFUSER WITH DIFFUSER

USE A DIFFUSER
Contrast can appear heightened when you’re diffuser in one hand and tilt it this way and that to see what
photographing something that’s on a small scale, so it’s useful effect it’s having on your subject. It’s a good idea to take shots
to have a pop-up diffuser to hand (see p.37). Since you don’t with and without the diffuser so you have a choice.
need to worry about the camera moving, you can hold the
LENSES 119
DEPTH OF FIELD
The shorter the distance between
the lens and the subject, the
shallower the depth of field becomes
at any given aperture: so while an
aperture setting of f/16 might give
you a depth of field that can be
measured in yards or metres in a
landscape photograph, it can be
reduced to just a few inches – or
even less – when the subject is
much closer to the camera.
ƒ/2.8
ƒ/8
ƒ/16
THE RESULT
We took the final shot using a diffuser to soften the hard shadows.
Shooting square-on to the peeling paintwork meant depth of field
was less of an issue than it might otherwise have been.
CAMERA SETTINGS
A 1/60 ISO
ƒ/11
SEC 10 0
AVAILABLE
LIGHT
AVAILABLE LIGHT
When photographers talk about “available”, or “ambient”, light they’re simply referring
to any light that exists in a location before they set up a flash or other lights. The
available light could be artificial (tungsten, for example), natural, or a combination
of these. Appreciating how best to use this light, in terms of its colour, direction,
and strength, is often the difference between an average and an outstanding shot.
Quality of light
All light falls into one of two categories: “hard” or will be “soft” as the sunlight is scattered by clouds;
“soft”. This refers to how diffuse the light is: that is, this is perfect if you want to take portraits without
how it’s dispersed. When it comes to photography heavy shadows being cast across your subject’s face.
it’s important to appreciate the difference between However, in some situations you may prefer “hard”
the two, as they can create significantly different light, such as direct overhead sunlight, which will
results; one may be better suited to a particular create dark, hard-edged shadows that are great for
subject over the other. On an overcast day the light graphic architectural shots (see pp.138–39).
SOFT LIGHT HARD LIGHT

AVA IL A B L E L I G H T 123
Direction of light
As well as the quality of light, the direction from more limited than when you’re using a more controlled
which the light is coming will also play a key part in light source, such as off-camera flash (see pp.160–63).
the “look” of your photographs, via the effects you Sometimes, to obtain the result you want, you may
can achieve with shadows (see table, below). When need to move your subject (if possible), or change
you’re relying on available light, your options may be the position you’re shooting from.
POSITION OF LIGHT EXAMPLE
HIGH
When the light is coming from above,
the resulting shadows will be small and fall
directly below your subject. The intensity of
the shadows will depend on the quality of the
light: hard light will create dark, hard-edged
shadows, and soft light will give a more subtle,
amorphous effect.
LOW
When the light is coming from a low angle (as
it does at the beginning and end of the day),
shadows are elongated. This creates a strong
sense of space and mood in a photograph,
and it’s partly for these reasons that many
landscape photographers prefer to shoot
at dawn and dusk.
IN FRONT
When the light strikes your subject from
the front, the illumination will be even
and any shadows will be thrown behind
it. This is ideal when you want to shoot
shadow-free portraits, regardless of
whether the light is soft or hard.
BEHIND
When the light is behind your subject it will
naturally throw the side you’re photographing
into shadow, but this isn’t necessarily a bad
thing: backlighting is perfect for creating
silhouettes (see pp.144–45) or producing
a halo around your subject (see pp.142–43).
124 E X PL A IN IN G | COLOUR TEMPER ATURE
WHAT IS THE
COLOUR OF LIGHT?
All light sources have a colour temperature (see below). Our eyes and
brain adjust continually to these temperatures, so that the world around ▼ Colour temperature is
us stays fairly “neutral”. For example, if we enter a tungsten-lit room measured in degrees Kelvin
(K): the cooler (more blue)
from outdoors, we won’t perceive much change, even though tungsten the light, the higher its
light is orange and daylight is blue. Digital cameras compensate for temperature. Daylight has a
nominal colour temperature
these variations through the “White Balance” feature (see opposite). of 5,500K.
TONE TEMPERATURE TYPE OF LIGHT EXAMPLE

12,000K CLEAR SKYLIGHT IN
AND HIGHER OPEN SHADE/SNOW
10,000K HAZY SKY LIGHT IN

OPEN SHADE
COOLER
7,000K OVERCAST SKY
6,600K
ELECTRONIC FLASH
5,900–6,000K
5,500K MIDDAY
TONE
4,100K
3,750K
3,600K
3,500K PHOTOLAMP
WARMER
3,400K
3,200K SUNSET/SUNRISE
3,100K
3,000K
2,900K 100-WATT TUNGSTEN BULB
2,800K
1,900K CANDLELIGHT/FIRELIGHT
WHITE BALANCE SETTINGS White balance

All digital cameras offer White Balance adjustment.
AUTO This is the system that compensates for different
With Auto, the camera assesses the lighting conditions, adjusting the colour in your
scene and calculates the white balance: images so that they appear “neutral”. There are
you have no input.
several options available, including an Automatic
White Balance (AWB) setting that allows the camera
DAYLIGHT to set what it calculates is the most appropriate white
At around 5,500K, this is the ideal balance, plus a selection of preset values for specific
setting if you’re shooting at midday colour temperatures (see table, left). Some cameras
under a cloudless sky.
also have a custom setting that allows you to set
your own white balance (see pp.128–29). However,
CLOUDY as the images below demonstrate, there’s not always
Your camera’s Cloudy setting is slightly such a thing as the “right” white balance: each one
warmer than Daylight, making it useful of these pictures could be seen as acceptable,
for shooting outdoors on overcast days.
depending on your personal preference.
SHADE AUTO DAYLIGHT

The Shade setting is designed to
compensate for the cool shadows
created outdoors on a sunny day.
TUNGSTEN
Also known as Incandescent, this setting
is good for indoor shots under regular
domestic lighting conditions.
FLUORESCENT
Most cameras offer a variety of
Fluorescent settings to compensate
for different indoor artificial lights. SHADE FLUORESCENT
FLASH
This setting is balanced for electronic
flash, which at around 6,000K is often
slightly cooler than Daylight.
CUSTOM
The Custom setting allows you to set your
own white balance, often by using a white
or grey card (see pp.128–29).
126 A PPLY IN G | WHITE BAL ANCE
SELECTING THE CORRECT

WHITE BALANCE
The colour of the light around us changes throughout mixed lighting: a shot taken indoors by a window,
the day, and is also affected significantly by its source for example, or a subject lit by artificial lights with
– be it daylight or an artificial light. Your camera’s different colour temperatures. In this situation you
Automatic White Balance (AWB) will generally be a may need to take control and set the white balance
match for most straightforward lighting conditions, yourself, choosing the setting that’s most appropriate
but can start to struggle when it’s confronted with for the picture you are taking.
White balance
Tungsten light
(Approx. 3200K)
SELECT A MODE SET THE WHITE BALANCE TAKE A TEST SHOT

You can generally set the White Access your camera’s White Exit the White Balance menu and
Balance in any mode other than Auto or Balance settings and choose the one take a test shot so you can assess the
Scene modes: Program mode is a good that most closely matches the lighting accuracy (or otherwise) of your setting.
choice if you still want the camera to set conditions you are shooting under.
the exposure for you.
AUTO DAYLIGHT INCANDESCENT

ADJUST THE WHITE BALANCE
If your test shot reveals an unexpected or undesirable lights results in an image that is overly cool (blue). With the
colour cast, adjust the White Balance and shoot again. In this White Balance set to Auto the results are somewhere between
example the Daylight setting is too warm (orange), while setting the two presets in terms of colour, but it’s still a little cool.
the White Balance to Incandescent for the interior tungsten
CREATIVE EFFECTS
Although the usual aim is to get the
colours “right” in an image, there are
occasions when setting the incorrect
White Balance can actually result in
a more striking picture. The most
common effects are a Daylight setting
used under tungsten lighting (producing
deep orange tones) or an Incandescent
White Balance setting used outdoors
(creating strong blue tones). Of course,
you can explore the results of any other
“wrong” White Balance setting.
A
Our preferred choice of White Balance for this shot
was the Cloudy setting. This isn’t the most obvious ƒ/2.8 1/250 ISO
choice given the lighting conditions, which proves SEC 40 0
that it’s worth experimenting with your settings.
128 A PPLY IN G | WHITE BAL ANCE
SETTING A CUSTOM WHITE BALANCE

Leaving your camera’s White Balance set to Auto or, trying to take photographs under mixed lighting
better still, choosing one of its White Balance presets, conditions – tungsten and daylight, for example
is usually all you need to do to get consistently – where the two (or more) light sources have very
accurate results. However, there may be times when different colour temperatures (see pp.124–25). Short
you find yourself struggling to overcome a stubborn of removing one of the lights sources, there’s often
colour cast. This happens most often when you’re no other choice but to set a custom White Balance.
ASSESS THE PROBLEM

With tungsten lighting overhead
and a window nearby, finding a single
White Balance setting that produces a
neutral result is impossible.
SHOOT A NEUTRAL TARGET

The precise process varies
between cameras, but you’ll need to
shoot a neutral grey target (in this
instance, a grey card) to use as the
basis for your custom White Balance. DAYLIGHT TUNGSTEN
White balance
Auto
Incandescent
Fluorescent
Direct sunlight
Flash
Cloudy
Shade
Preset manual
White balance
Use photo
This image
Select image
SET YOUR TARGET

Go into the White Balance menu
and select the neutral target photograph
to set your custom White Balance.
WHITE BALANCE DISC

Smaller and more convenient to carry with you than a grey card,
a white balance disc fits over the front of your lens in a similar fashion
to a lens cap. You simply take a
shot of the light source
through the disc and
use that to set your
custom White Balance.
Some manufacturers
produce versions that
BEWARE OF LIGHTING CHANGES are designed to add a
A custom White Balance will only be accurate little warmth to skin tones
if the lighting remains exactly the same, so be alert to in portrait photographs.
even minor changes, as this could affect your results.
P
A custom White Balance has ensured that the
flowers in this still life are neutral. There’s still a hint ƒ/4 1/30 ISO
of cool daylight and warm tungsten in the rest of the SEC 40 0
shot, but this just adds to the atmosphere.
130 A PPLY IN G | LIGHT CONTROL
USING REFLECTORS TO ADD LIGHT

Although ambient natural light is ideal for modify ambient light is to use one or more reflectors
photography, it does have one quite significant to bounce it back onto your subject. As you’ll see, a
downside: you have very little control over it. single reflector is great for filling in shadows without
However, that’s not the same as having no control, having to worry about flash, and by varying the
and perhaps one of the simplest, cheapest, and direction, angle, and even the colour of your reflector,
arguably most effective ways in which you can you can make quite radical changes to your shot.
ASSESS THE PROBLEM POSITION A REFLECTOR

With the light coming from slightly Holding a reflector in front of your subject will bounce light
behind the subject, most of her face is in back onto her face: either ask your subject to hold the reflector (if it
deep shadow. won’t affect the shot), or get a friend to help.
ADJUST THE DISTANCE

You can effectively control the amount of light that’s distance, the stronger the fill. This is where it’s useful to have
reflected back onto your subject by varying the distance an assistant, as it will be easy for them to vary the distance
between your subject and the reflector: the shorter the and angle at which they hold the reflector.
GOLD
SILVER
TRY DIFFERENT REFLECTORS
A white reflector isn’t your only option: most
kits come with other colours too. Gold will give your
subject a warm glow, while a silver reflector can be
used for a “harder” fill.
DIFFUSERS
As well as reflecting light to fill in shadows, you
can soften it before it reaches your subject by
using a diffuser (see pp.132–33). A diffuser
positioned between your
subject and the light
source will scatter the light
and make it less harsh.
THE RESULT
Using a reflector has helped lift the dark shadows that were
originally affecting this portrait, so we can now see details of
the subject’s face. It’s a subtle difference, but an effective one.
CAMERA SETTINGS
S ƒ/5.6 1/160
SEC
ISO
10 0
132 A PPLY IN G | LIGHT CONTROL
USING A DIFFUSER
TO SOFTEN LIGHT
Although a reflector can be used to “fill in” shadows to be softer. In this situation the tool you require is a
in photographs taken in direct sunlight (see pp.130–31), diffuser, which uses a translucent material to scatter
it has one slight drawback – it effectively adds a the light passing through it. Commercial versions of
second light source to your shots. Sometimes this these are widely available and often have a “pop-up”
isn’t what you want, and rather than creating a design similar to reflectors, which allows them to be
second light source, you just want the overall light folded up when they’re not needed.
SELECT A MODE POSITION YOURSELF DEPLOY THE DIFFUSER

Because a diffuser affects the light Diffusers are most useful when Position your diffuser between
falling onto the subject it’s entirely up to the light is bright and behind you. the light source (in this case, the sun)
you which exposure mode you use: even Fortunately this will also mean that the and your subject.
Auto will work in this instance. subject is lit from the front, which is
usually desirable.
CHECK THE VIEWFINDER

You can see immediately what
effect the diffuser is having on your
subject, and it often helps if you look REPOSITION THE DIFFUSER
through the viewfinder or use your Move the diffuser around until it’s having the
camera’s Live View mode. desired effect. This is much easier to do when your
camera is mounted on a tripod or you have someone
with you who can hold the diffuser for you.
CLOUD COVER
If you don’t have a diffuser to hand, you may
be able to make use of nature’s own diffuser.
The image on the left shows the flower in full
direct sunlight, while the one on the right was
taken when the sun disappeared behind a cloud
for a moment.
THE RESULT ▼ SHOT WITHOUT DIFFUSER
With delicate subjects such as flowers, diffusing the light can have a
significant impact on the image. Here it has minimized the shadows,
which prevents the shot from appearing too “hard” and contrasty.
CAMERA SETTINGS
A ƒ/2.8
1/60
SEC
ISO
10 0
AW B
134 A PPLY IN G | LOW-LIGHT TECHNIQUES
WORKING IN LOW LIGHT

OUTDOORS
Photography is all about exposing your camera’s drop. At the same time, however, your subject can
sensor to light, so you might wonder why you would be transformed if you shoot in the early evening or
bother taking pictures when the light levels are low: at night, especially if you’re photographing outdoors:
surely that would just make things difficult? In a way floodlit buildings, light trails from cars, and even the
you’d be right, since exposure, focusing, and white colour of a twilight sky can produce stunning shots
balance all become a little trickier when light levels that are just not possible during daylight hours.
ISO sensitivity settings

ISO sensitivity
USE A TRIPOD SET ISO SELECT APERTURE PRIORITY

If you’re working outdoors with a With your camera on a tripod you To get a reasonable depth of field
static subject there’s no excuse not to use can use a relatively low ISO to minimize requires a relatively small aperture, so set
a tripod: your photographs will be much noise. Something in the region of ISO the camera to Aperture Priority and dial
better for it. 200–400 will work well. in an aperture setting of around f/8.
TRIGGER WITH SELF-TIMER

Unless you have a remote release,
use your camera’s self-timer to trigger
the shutter. This reduces the risk of
camera shake when you press the shutter.
ASSESS THE IMAGE
Play back the image and call up the histogram (see pp.78–79).
If the bulk of the histogram is shifted to the left (as it is here), the
image might be considered underexposed; a shift to the right
would suggest overexposure.
0 +1EV +2EV

SET EXPOSURE COMPENSATION
Depending on the look you’re after, dial in positive (+) pp.80–81). You might also want to consider bracketing your
exposure compensation to increase the exposure and brighten exposures (see pp.82–83) so you have a number of different
your image, or use negative (-) compensation to darken it (see options to start with.
A
The optimum exposure reveals plenty of detail in the
ISO
building, but the exposure isn’t so bright that the shot
appears to have been taken in broad daylight.
ƒ/11 6 SEC 20 0 AW B
136 A PPLY IN G | LOW-LIGHT TECHNIQUES
WORKING IN DIMLY LIT INTERIORS

Unless you’re taking pictures in a glasshouse, or to you. This not only raises issues regarding
somewhere with vast windows, photographing exposure, but also with colour balance, since you
indoors will almost inevitably involve low ambient may be dealing with incandescent and fluorescent
light levels. Of course, you can use flash if you want light sources, sometimes mixed with daylight.
to (and are permitted), but more often than not However, low light indoors doesn’t have to be a
you’ll simply have to rely on what light is available challenge: your camera has all the tools you need.
USE A TRIPOD IF YOU CAN IF YOU CAN’T USE A TRIPOD, BRACE

When the light levels are low, shutter speeds If setting up a tripod is impractical (or simply not permitted), then
naturally get longer, even if you use a wide aperture steady the camera by resting it on or against a solid surface. If there’s
and high ISO setting. Set up a tripod if it’s possible to nothing suitable, then using Live View and adding tension to your neck
do so where you are. strap will help.
AUTO DAYLIGHT TUNGSTEN

SELECT APERTURE PRIORITY SET WHITE BALANCE
Switch to Aperture Priority and set The White Balance setting you use will depend on the prevalent light
a relatively wide aperture. An aperture of source. In this aquarium there was a mix of fluorescent and tungsten lighting,
around f/5.6 will let in plenty of light but making the correct option hard to determine. However, by shooting a
still provide a modest depth of field. number of test shots it’s possible to get the look you’re after.
ISO 100 ISO 3200
SET ISO
Increase the ISO until the camera
suggests a shutter speed of 1/60 sec: this
will reduce the risk of camera shake with
focal lengths up to around 100mm.
A
The combination of a wide aperture and high ISO
1/60 ISO
allowed us to use a “safe”, shutter speed that works ƒ/2.8
when shooting hand-held. The image may be a little SEC 3200
noisy, but it’s also sharp, which is more important.
138 A PPLY IN G | HIGH-CONTR AST TECHNIQUES
EXPLOITING LIGHT AND SHADOW

Many experienced photographers – especially those or portraits. But that doesn’t mean you can’t take any
with a keen interest in landscape photography – photographs at all – you just need to pick the right
advise against taking pictures when the sun’s high in subjects. Architecture is a great place to start, since
the sky and the light’s particularly harsh. To a certain you can use shadows to your advantage, exploiting
extent they’re right, as the hard shadows cast by a them to define crisp edges and create striking
noon sun aren’t always flattering to either landscapes graphic images.
ASSESS THE LOCATION ATTACH A LONG LENS KEEP IT LEVEL

Although you can dive straight in Using a telephoto lens for You can adjust your images in
and start shooting, it’s worthwhile taking architectural shots is a great way of your editing software (see pp.168–69),
a bit of time simply to look at your subject isolating part of the building, but it will but it will save you a lot of time if you
and decide what it is you want in shot. magnify the slightest movement so it’s a get straight lines in-camera, so level
good idea to use a tripod. your tripod before you shoot.
ISO speed
CHOOSE YOUR SETTINGS

Set your camera to Aperture Priority so you can
control the depth of field, and choose a low ISO setting
(ISO 100–200). If there’s movement in the shot that you SET THE METERING MODE
want to control (people in front of a building, perhaps), Switch to your camera’s spot metering pattern (see p.77)
then you may want to choose Shutter Priority instead. and aim the camera at a sunlit area of the building to take your
exposure reading: grey concrete is perfect for this.
ALSO WORKS FOR...

The heavy shadows
created by harsh light
can be used creatively
for a wide range of
subjects. However, as the
shadows will generally
conceal detail, a bold,
graphic shot should be
your aim. Converting
REFRAME to black and white
Hold the Auto Exposure Lock (see pp.176–77) often
button or shutter-release button to lock enhances this effect.
the exposure while you reframe your shot.
A
A tight crop has reduced this modernist architecture
to simple grey shapes, but the dark, blocky shadows ƒ/8 1/100 ISO
add essential contrast. The clear blue sky is the SEC 10 0
perfect backdrop.
140 A PPLY IN G | HIGH-CONTR AST TECHNIQUES
EXPOSING FOR THE HIGHLIGHTS

In some ways, the sensor in a digital camera is very has recorded part of an image as “white”, it’s as bright
similar to transparency, or slide, film. Don’t worry as it can possibly be: it won’t have any detail, and
if you’re not familiar with this type of film – all you even your editing software can’t bring out what isn’t
need to know is that it’s much easier to reveal detail there. So, when you’re faced with a high-contrast
in the shadow areas of a digital image than it is to scene and are wondering how to expose it, the
extract detail in highlight areas that are overexposed. answer’s simple: expose for the highlights and sort
The technical reason for this is that once the camera out the shadows later (see pp.172–73).
FRAME YOUR SHOT SELECT A MODE TAKE A TEST SHOT

For this technique you’ll probably Set the exposure mode to Take a shot at the exposure
need to take several shots, so if the something other than Auto, Manual, suggested by the camera and review it
framing is critical you’ll have to set up or a Scene Mode as you’ll need to apply on screen. Call up the histogram so you
your camera on a tripod. exposure compensation (see pp.80–81). can see the tonal range (see pp.78–79).
0 +1 EV +2 EV +3 EV

DIAL IN EXPOSURE COMPENSATION
Assuming your test exposure doesn’t clip the highlights, close attention to the right (highlight) end of the graph. The aim is
dial in positive exposure compensation (see pp.80–81) and shoot to get the histogram to end as close to the right edge as possible,
again. Start at +1 stop and assess the image’s histogram, paying but without going off the scale. Here, +1 stop was sufficient.
ADJUST THE
SHADOWS LIVE VIEW
The final step happens
when you’ve got the image Some cameras allow you
on your computer. Use your to have a histogram “live”
editing software’s Levels tool on-screen when you use
(see pp.170–71) to adjust the camera’s Live View
the shadow areas without mode. If your camera
affecting the highlights. It’s allows this then there’s no
entirely up to you whether need to play back your
you make the shadows lighter image and assess its
or darker. histogram – use the Live
View histogram as a
guide instead.
A
Our final shot maximizes the detail recorded in
the brightest areas of this high-contrast scene, ƒ/5.6 1/30 ISO
but without sacrificing the shadows. SEC 10 0
142 A PPLY IN G | AGAINST-THE-LIGHT TECHNIQUES
CREATING A HALO OF LIGHT

When Kodak launched its Box Brownie camera at in front of you there’s a very strong chance that your
the beginning of the 20th century, the advice they images will suffer from lens flare (see pp.146–47), and
gave to the new breed of enthusiast photographers whenever your subject is lit from behind there’s the
was to always take pictures facing away from the risk that it will appear as a silhouette (see pp.144–45).
sun, never towards it. To some extent that advice If you’re careful, however, lighting your subject from
is still valid today: if you photograph with the sun behind can also produce stunning results.
SELECT A MODE
It’s likely that you’ll need to
adjust the exposure from the camera’s
recommended reading, so choose
something other than Auto or a Scene
mode. Aperture Priority (see pp.54–61)
is best for a close-up shot like this as it
allows you to maximize the depth of field.
TAKE AN EXPOSURE READING TAKE A TEST SHOT

Use your camera’s spot meter In challenging lighting conditions it can be hard to get the exposure right
(see pp.76–77) to take an initial exposure first time, so it’s a good idea to take a shot and call up the histogram on playback
reading from a midtone area of your (see pp.78–79). Here the exposure is a touch too bright and the highlights are clipped
subject. Alternatively, you could take a slightly as a result. With a detailed subject like this, this isn’t ideal.
reading from a grey card (see pp.74–75).
ADJUST THE EXPOSURE
To reduce the exposure, dial in negative (-)
exposure compensation (see pp.80–81). For this shot,
-1 stop of compensation was needed to prevent the
highlights from being blown out.
BACKLIT PORTRAITS
Backlit portraits can work fantastically well,
with the light adding a beautiful halo to hair.
However, with the light coming from behind
your subject there’s always the risk that the
face will be in shadow. To counter this, consider
using a reflector (see pp.130–31) or fill-flash
(see pp.154–55). Here, a gold reflector was
used to add a warm glow to the skin tones.
THE RESULT
Shooting from a low angle and choosing a dark background
helps this dandelion seed head to stand out, but it’s the strong
backlighting that makes the image really glow.
CAMERA SETTINGS
A 1/60 ISO
ƒ/32
SEC 40 0
144 A PPLY IN G | AGAINST-THE-LIGHT TECHNIQUES
CREATING A SILHOUETTE
Although many people think that specific lighting without relying on every last detail: plants, people,
conditions are needed to create a silhouette, this and architecture can all work well. Strong graphic
isn’t necessarily true – any subject that can be shapes become the most important element in the
photographed against a bright background has the shot, but colour should be a consideration too – do
potential to be transformed into a silhouette. The key you want to create an almost black-and-white image,
is to look for recognizable subjects that can be “read” or use background colour to set off your subject?
REFLECTED LIGHT
You don’t have to shoot towards an
obvious light source, such as the sun,
to create a striking silhouette: light
reflecting off glass, metal, or water,
can just as readily provide the strong
backlight that you need.
CHOOSE A VIEWPOINT SELECT A MODE

The strongest silhouettes have a You need to be in control of your exposure when you’re shooting
plain, uncluttered background, so look silhouettes, so use Program, Aperture Priority, Shutter Priority, or Manual
at your subject from different angles to modes. For this shot Shutter Priority was selected because the breeze was
see where you’ll get the best shot. disturbing the grasses and seed heads, so a fast shutter speed was needed.
SELECT SPOT METERING LOCK EXPOSURE AND RECOMPOSE

Switch your camera to its spot metering Lock the exposure by holding down your camera’s Automatic
pattern (see pp.76–77) and take an exposure reading Exposure Lock (AE-L) button and then reframe your shot. You may need
from the bright background. This will ensure that to access your camera’s menu to make sure that the AE-L button doesn’t
your subject is underexposed. lock the focus too (see pp.92–93).
ALSO WORKS FOR...

Dawn or dusk are perhaps the
best times for creating silhouettes.
The low angle of light provides
the perfect backlit conditions, and
there’s also the increased chance
of capturing some striking colours
in the sky. Shooting with the
“wrong” White Balance setting
(see pp.126–29) can also produce
interesting results.
A
The striking pattern formed by these seed heads and
the barbed wire works well in silhouette. We shot ƒ/8 1/250 ISO
AW B
from a low angle looking upwards, so that the sky, SEC 10 0
rather than the field beyond, formed the background.
146 E X PL A IN IN G | LENS FL ARE
HOW DO YOU WORK

WITH LENS FLARE?
You’ve probably seen plenty of photographs “elements” that are designed to control, direct,
that have been affected by lens flare, whether and focus light onto your sensor. However,
it manifests as coloured “blobs” that emanate when you take a photograph with your lens
from a source of light (typically the sun) or pointed towards a light source, some of the
simply as an overall loss of contrast. Camera light can reflect off the various elements, rather
lenses are made up of numerous glass than passing through them, resulting in flare.
Avoiding lens flare

HOW IT HAPPENS
The most obvious way to avoid lens flare is to aim
Flare is caused by non-image-forming light (either in the
your camera away from the light source, so you take scene being photographed or out of shot) reflecting off
the picture with the light behind you. Although various parts of the lens and reaching the sensor.
effective, this can be restrictive – if you slavishly stick Sun
to this “rule”, then all of your photographs will be lit
from the front. There will also be shots that you’ll
miss out on, due to the position of your subject in
relation to the sun or other light source. Lens
Image-forming light flare
Instead, it’s far better to be aware of flare (and its
causes) and understand the ways in which you can
work around it. This can be done by blocking the
w
light source with your subject or another element in o f v ie
Subject A ng l e Camera lens
the scene, or using one of the techniques below.
LENS HOOD SHIELD WITH YOUR HAND MAKESHIFT SHADE
▲ A lens hood is designed to “shade” ▲ If you can hold the camera steady you ▲ Not all lenses come with a lens hood,
the front of your lens and minimize the can use one hand to shield the front of but you can use items such as magazines
amount of light that can hit it from your lens. You can do this in addition or maps to make an effective impromptu
the side, reducing the chance of flare. to using a lens hood. lens shade.
Using flare creatively

Although lens flare is often seen as an undesirable addition to a photograph, it’s
not always all bad. In some situations flare can actually have a positive impact
on a picture, enhancing the atmosphere and giving an impression of dazzling
sunlight or adding a splash of colour to an otherwise subdued scene. ▼ The flare in this shot
Some photographs work best when you include the source of the flare is subtle, yet effective.
(the sun, for example) in the frame. This not only enhances the flare, but It demonstrates that you
don’t always need to include
also means that anyone viewing your picture will see that including it was the light source in the frame
a conscious decision on your part, rather than a mistake. to use flare creatively.
▲ The starburst effect of the low sunlight filtering through ▲ Flare doesn’t have to dominate a photograph to have an
the trees is an integral part of this shot, and is as much the effect. In this urban scene it imparts a sense of the heat of the
“subject” as the woodland itself. Without it the atmosphere day on this busy city street, but it doesn’t overpower the detail
would be entirely different. in the lower half of the image.
FLASH
FLASH
After a lens, a flash is the most popular add-on accessory for dSLRs and CSCs
(and some high-end compacts as well), augmenting the built-in unit found on most
cameras. As you’ll discover in this chapter, the versatility of today’s flashes can really
broaden your photographic capability, regardless of whether you simply use your
camera’s pop-up flash or decide to invest in an external hotshoe flash. The table
below describes some of the most useful (and creative) flash modes.
RED-EYE REDUCTION SLOW SYNC
Red-eye occurs most often when you’re photographing In some modes your camera will set a fairly fast shutter speed
people (or animals) in low-light situations and they’re looking when you use flash, and while this will expose your subject
directly at the camera. It’s caused by light from your flash correctly, it may not let enough light into your camera to
entering your subject’s dilated pupil and reflecting off the expose the background, especially at night. Slow sync tells the
blood vessels at the back of the eye. Red-eye reduction works camera to use a slower shutter speed to capture ambient light,
by firing a pre-flash (or several pre-flashes) before the main in addition to firing the flash. Slow sync is linked directly to 1st
flash, which causes your subject’s pupils to contract before and 2nd curtain sync (see right), so activating one of these
you take the shot. modes automatically initiates slow sync too.
WHEN TO USE IT WHEN TO USE IT
◾ For taking pictures of people in low-light situations ◾ For recording ambient background light
◾ For low-light pet portraits ◾ When you want to record background movement
◾ When photographing wildlife at night blur while keeping your main subject sharp
FL ASH 151
FLASH COMPENSATION
Just as you can use exposure
compensation (see pp.80–83) on your
camera to make an image brighter or
darker, so you can compensate your
flash exposure too. This increases or
decreases the power of the flash, either
to balance it with the ambient light, or
simply to change the intensity of the
flash for creative effect. Flash exposure
compensation is usually activated via
a button on the camera body and is
adjusted in ½- or 1-stop increments.
1ST/2ND CURTAIN SYNC HI-SPEED FLASH
With a “regular” shot, the flash fires as soon as the shutter is fully Hi-speed flash, or “high-speed sync”, is typically found on
open. This is known as “1st curtain” sync (see p.153). It works well high-end external flashes. It enables you to use shutter speeds
for static subjects, but if you’re using slow sync flash (see left), any that are faster than the camera’s sync speed (see p.152), so you
movement after the flash has fired will be recorded as a blur, can use flash at 1/1000 sec, 1/2000 sec, or even faster. It
with the trails in front so that moving elements appear to be achieves this by firing a series of very rapid flashes. The flashes
going backwards (above left). Switching to “2nd curtain” sync are so close together that they effectively create a “continuous”
fires the flash at the end of the exposure, creating a more natural light source that guarantees the entire frame is exposed,
look, with movement trails behind the subject (above right). despite the very fast shutter speed.
WHEN TO USE IT WHEN TO USE IT
◾ For static subjects, 1st curtain sync is ideal ◾ On bright days, to provide fill-flash
◾ Use 2nd curtain sync to record movement blur in your ◾ When you’re using very fast shutter speeds
subject, while keeping the subject itself sharp ◾ When you’re using a wide aperture and/or a high ISO
152 E X PL A IN IN G | FL ASH ESSENTIAL S
WHAT ARE SYNC SPEEDS

AND GUIDE NUMBERS?
Perhaps the most important concept to understand when it comes
to using flash is “sync speed” (short for “synchronization speed”). Your ▼ Flash synchronization is
camera’s “flash sync speed” is the fastest shutter speed at which the based on the way in which
camera shutters work. With
sensor is exposed to light in its entirety. This is the point at which a flash fast shutter speeds (usually
can be fired, and that brief burst of light will expose the whole frame. faster than 1/200 sec), the
sensor is exposed to a
If you use a faster shutter speed, then the sensor is only being exposed travelling slit of light, rather
than being exposed in its
to a slit of light, so you end up with a partial image. The sync speed on entirety, so the resulting
most cameras is around 1/200 sec. image is “cut off”.
SHUTTER SPEED SET TO SYNC SPEED (OR SLOWER)
OFF OFF FLASH ON OFF OFF
SHUTTER SPEED FASTER THAN SYNC SPEED

FL ASH 153
How a shutter works

GUIDE NUMBERS
To understand flash sync speeds you need to know
The flash guide number is effectively an indication of its
how a camera’s shutter works. A shutter is comprised
power. In the past, knowing the guide number was essential,
of two “curtains”. When you press the shutter-release as you needed to use it in conjunction with the flash-to-
the first curtain opens, exposing the sensor to light. subject distance and the aperture setting to determine the
After a predetermined amount of time (which is the correct exposure. However, it’s no longer quite so necessary.
Through-the-lens (TTL) flash control means that the camera
shutter speed), the second curtain closes to end the
can now make the exposure calculations for you, and you
exposure. Your flash needs to be triggered when the may view your image immediately, so you know whether
first curtain is fully open and the second curtain has you need to tweak your settings. The guide number is no
yet to start closing. However, with fast shutter speeds longer an accurate indication of a flash’s power, either. In an
this moment doesn’t actually happen: the second attempt to make their flashes appear more powerful (at least
on paper), some manufacturers have taken to measuring
curtain starts to close before the first is fully open. flash power at longer telephoto lengths and/or high ISO
So, if you fire a flash, you’ll record the closing shutter, settings: both of which inflate the guide number.
as shown below.
1/200 SEC 1/250 SEC
1/320 SEC 1/500 SEC

154 A PPLY IN G | BUILT-IN FL ASH
USING FILL-FLASH
Your camera’s built-in flash can be both a blessing and can result in red-eye. However, it doesn’t have
and a curse, especially for portraits. On the one to be this way. Often, it’s not so much the flash itself,
hand it can be invaluable when you’re shooting in but the way in which it’s used that’s the problem, and
low-light conditions, but it can just as easily ruin making a few basic changes to your flash settings
your shots as its direct light creates deep shadows can transform your results.
Red-eye On/Off Off

On
SELECT APERTURE PRIORITY ACTIVATE FLASH ACTIVATE RED-EYE REDUCTION

Aperture Priority will give you Press your camera’s flash button to The default setting for red-eye
control over the depth of field, so you pop it up or lift it manually – it depends reduction is usually Off, but you can
can throw the background out of focus on your camera model (but don’t force it). change this on most cameras by using
if you want to. the flash button and control wheel.
INDOOR PORTRAITS
The simplest option for indoor
portraits is to activate red-eye
reduction as described above and
use your camera’s built-in flash in
Program mode. You’ll be able to
adjust the exposure pairing to use a
wider or smaller aperture (to change
the depth of field), although the
shutter speed won’t go past the
camera’s maximum sync speed
(usually around 1/200 sec). The
aperture range will also be limited
by the power of the flash, but don’t
forget that you can change the ISO if
you need to. Increasing the ISO will
allow you to use a smaller aperture
setting and/or increase the effective
range of the flash.
TAKE A TEST SHOT
Make an exposure and check the result on
your camera’s LCD screen. If you need to, you can
fine-tune the flash compensation to make the
flash more or less obvious (see p.151).
MORE
0
FLASH STRENGTH
-1
LESS
THE RESULT
Fill-flash has prevented any hard shadows being cast across our
subject’s face, which not only lifts the shot as a whole, but also
-2 adds sparkle to her eyes.
ALTER THE FLASH STRENGTH CAMERA SETTINGS

Decreasing the flash power by 1–2 stops will
A
let the flash act as a fill light, rather than the main 1/200 ISO
ƒ/4
light source. On most cameras this is achieved by
SEC 10 0
pressing the flash compensation button and turning
the control wheel.
156 A PPLY IN G | HOTSHOE FL ASH
BOUNCING THE FLASH

In addition to offering you more in the way of power, means spending a little more. This is because a
a key difference between your camera’s built-in flash hotshoe flash allows you to bounce the light off
and a good external, hotshoe-mounted unit is the a ceiling or wall, which effectively spreads it and
ability to tilt and possibly rotate the flash head. Not makes it much “softer.” As a result, your photographs
all external flashes offer this, but it’s worth investing won’t suffer so heavily from the hard, unattractive
in a model that does have this feature, even if it shadows associated with direct flash.
External flash func. setting
Shutter sync 1st curtain

2nd curtain
ATTACH YOUR FLASH SELECT A MODE ACTIVATE FLASH SETTINGS

Fit your flash and lock it. Switch it Set your camera to Program, To balance the flash with the
on and set the flash to TTL (through the Aperture Priority, or Shutter Priority. ambient light you may need a slow
lens) so the camera will be controlling the Here Aperture Priority was selected shutter speed, so use slow sync, setting
flash output. to allow control over depth of field. either 1st or 2nd curtain sync (see pp.151).
TILT THE FLASH HEAD TAKE A TEST SHOT

To bounce the flash you need to As your camera and flash are set to TTL metering, the camera will
tilt the flash head upwards: the flash will automatically try to compensate for the added distance the flash has to travel
probably have a lock that stops you (to the ceiling and back again, rather than simply straight), but it is worth firing
doing this accidentally, so don’t force a test shot, just to be sure the exposure is adequate.
it if it doesn’t tilt easily.
FL ASH 157
ADJUST THE FLASH

If the lighting in your HOTSHOE ACCESSORIES
test shot isn’t quite how you
want it, adjust the flash There are many accessories designed to soften
AEB
Flash exp comp compensation to make the flash light. Diffusers fit over the flash, while others
Custom WB
flash appear more or less use an angled white card to bounce the light (so
WB SHIFT/BKT
obvious, and shoot again. you lose less power, and it can be used outdoors).
Color space sRGB
Other gadgets “split” the flash, so some light is
Picture style User Def.2
Dust Delete Data
directed upwards, and some at your subject.
THE RESULT ▼ DIRECT FLASH
Direct flash resulted in very harsh, artificial-looking illumination, but by

bouncing the flash off the ceiling – effectively creating a much larger
light source – we were able to produce a more natural-looking light.
CAMERA SETTINGS
S 1/60 ISO
ƒ/5.6
20 0 AW B
SEC
158 A PPLY IN G | HOTSHOE FL ASH
USING FLASH AT NIGHT

When you’re photographing at night, or under any images more noisy. None of these approaches is
low-light conditions, you have several options when necessarily “wrong”, but using a hotshoe flash may
it comes to getting the exposure right. You could use be the best solution as it will give you much more
a slow shutter speed, which might result in blur; set a control over the exposure. This, in turn, will give
wide aperture, which will restrict your depth of field; you a greater level of control over the overall look
or you can increase the ISO, which will make your of your photograph.
External flash func. setting
Shutter sync 1st curtain

2nd curtain
SET UP YOUR TRIPOD SET SHUTTER SYNC SELECT APERTURE PRIORITY

If you want to retain some of the Once you’re set up, set the sync To use a slow shutter speed while
ambient light, you’ll need to use a slow mode on your camera. For static subjects, keeping control over the depth of field,
shutter speed, so a tripod is essential – use either 1st or 2nd curtain sync. If your select Aperture Priority and set the
unless you have a solid surface that you subject is moving, 2nd curtain sync is the aperture to f/8, which will keep the
can sit the camera on. better option (see p.151). background fairly sharp.
NORMAL FLASH NO FLASH

LET THE CAMERA DECIDE
The camera will set a fairly slow shutter speed because of to light your subject properly (above right). Setting the camera
the low light and relatively small aperture setting. With “normal” to slow-sync gives you the best of both worlds; the slower
flash, your subject is well exposed, but the background is barely shutter speed captures ambient background light, while the
visible (above left). If you use a slow shutter speed without flash, aperture controls depth of field and flash power to ensure
you see the background but the ambient lighting isn’t enough your subject is well-lit.
FL ASH 159
IMPROVING FLASH ALSO WORKS FOR...

Using a hotshoe-mounted flash Slow-sync flash also works
(or built-in flash) in low-light indoors, when you want to
conditions is almost certain to expose for your main subject
produce red-eye if your subject is but retain a sense of “place.” You
looking directly at the camera. Avoid need to be aware, however, that
this by activating Red-eye reduction although the flash will freeze
(see p.150). Direct flash is a “hard” your subject at the moment the
light source, so invest in a diffuser flash fires, the slow shutter speed
that slides over the flash head (see can cause movement blur trails.
p.157). Alternatively, you’ll find This effect can work well for
instructions for making various some shots, but act as a
ingenious DIY flash diffusers online. distraction in others.
A
The final shot combines a well-lit subject with a
ISO
background exposure that gives a sense of place. The
warm colours from the streetlighting and light trails
ƒ/8 1 SEC 20 0 AW B
from the moving traffic impart an urban “edge”.
160 A PPLY IN G | OFF-CAMER A FL ASH
USING A SIMPLE LIGHTING SET-UP

Wireless flash control is an increasingly common dedicated through-the-lens (TTL) lead or remote
feature on hotshoe-mounted flashes and dSLR triggering system. The main benefit of off-camera
cameras and CSCs, and one that allows you to start flash is simple: you’re no longer limited to flat, frontal
exploring “professional” lighting set-ups with minimal lighting. These opens up a whole world of creative
fuss. Even if you don’t have wireless flash you may be options, starting with this simple one-flash set-up
able to take your flash away from the camera using a that’s perfect for portraits.
SET UP YOUR FLASH
Because you’ll be using the
flash away from the camera, you need
something to hold it in place. Lightweight
stands like the one shown here are
inexpensive and perfect for the job, but
you could use a tripod with a suitable
hotshoe adaptor.
REMOTE CONTROL
Remote triggering systems are
available for a wide range of cameras
that don’t have wireless control as
standard. These triggers consist of a
transmitter that sits in the camera’s
hotshoe, and a receiver under the
flash that together provide you with
full TTL wireless flash control.
SWITCH TO TTL POSITION A REFLECTOR SELECT A MODE

Set your hotshoe flash to its TTL Adding a reflector (see pp.130–31) As your camera will be controlling
mode, so the camera can control how opposite the flash will help fill in any the flash output automatically, you can
powerful the flash is, depending on the potentially hard shadows created by set the shooting mode to Program,
exposure settings you’re using. That way, the flash. For portraits this softer light Aperture Priority, or Shutter Priority. But
if you change the aperture, the flash is almost always preferable. be sure not to exceed the camera’s flash
will compensate. sync speed (see pp.152–53).
FLASH TOO BRIGHT
BACKGROUND SHADOWS
SHADOWS FILLED
THE RESULT
Getting your flash away from the camera avoids the harsh,
front-lit look you’d get from a built-in or direct hotshoe flash.
This instantly produces more professional-looking results.
TAKE A TEST SHOT AND EXPERIMENT
Until you take a test shot, you won’t know for CAMERA SETTINGS
sure what effect your flash will have. Make sure that
A 1/100
you don’t have any exposure warnings indicated in ISO
ƒ/4 AW B
the viewfinder (if you do it’s probably because the
SEC 10 0
aperture’s too wide), and be prepared to move the
reflector around to fill any hard shadows.
162 A PPLY IN G | OFF-CAMER A FL ASH
PAINTING WITH LIGHT

With off-camera flash you can create truly unique light an entire building in this way (if you wish to), but
night-time images by “painting with light”. The basic there are a couple of things to be aware of. First, you
technique is fairly easy to grasp: set a long exposure need to work in total darkness and wear dark clothes
time on your camera and fire your hotshoe flash so that the long exposure doesn’t record you as a
multiple times to illuminate your subject. Assuming “ghost”. Second, you have to be patient; it takes
your exposure time is long enough, it’s possible to practice to get consistently stunning results.
SET UP A TRIPOD SELECT MANUAL

A tripod is essential for light Set your camera to Manual mode and dial in a shutter speed of
painting: you’ll be holding the shutter 30 seconds (usually the camera’s maximum automatic setting). As a
open for a while, so your camera must starting point, choose the lowest ISO, an aperture of f/8, and set the
be steady. White Balance to Flash or Daylight for neutral colours.
SET YOUR FLASH TO MANUAL

Set your flash to manual and
zoom it to its widest zoom position so
you get the greatest spread of light. Start
with the power set at 1/16.
MOVE AROUND
Now, trigger the shutter and start
lighting your subject by pressing the test
button on your flash. Light from various
angles and distances (but avoid standing
between the flash and your camera or
you’ll appear in shot).
FL ASH 163
ASSESS THE SHOT

Check the exposure. COLOURED LIGHT
If it’s too bright, try reducing
the flash power, firing fewer You don’t have to
flashes, and/or setting a restrict yourself to
smaller aperture. If it’s too “straight”, daylight
dark then the opposite balanced flash.
applies: increase the flash Coloured lighting
power, fire more flashes, gels can be used to
and/or use a wider aperture transform the light
setting until you get the result from your flash,
you’re after. simply by holding
them in front of the
flash as you fire it.
M
The long exposure has lightened the residual orange
ISO
glow in the sky, but it’s a single flash fired from
multiple angles that has illuminated the facade of
ƒ/8 30 SEC 10 0
this ruined gatehouse.
IMAGE
ENHANCEMENT
IMAGE ENHANCEMENT
Although it’s by no means essential, the majority of digital photographs will benefit
from a certain level of post-production work, or “image enhancement”, whether
that means simply tweaking the exposure or completely deconstructing and
reassembling an image. Between these two extremes are the steps that will ensure
that every photograph you take looks as good as possible, and in this chapter you’ll
discover just how easy and effective these adjustments can be.
Working with layers

When it comes to choosing editing
software, “Layers” should be considered
an essential feature. In the simplest sense,
layers can be thought of as clear sheets
of acetate that you place over your image.
You can then make any changes you wish
on that layer, and your underlying digital
image will be protected. If things go wrong
at any time, you can simply get rid of the
layer, rather than the original photograph.
Using multiple layers enables you to make
complex groups of changes, which can
then be blended together, giving you even ▲ Adjustment layers allow you to
make changes to an image that
greater control over your images. can be reversed and fine-tuned
without degrading the original.
SUGGESTED WORKFLOW
DOWNLOAD OPEN IMAGES CROP & STRAIGHTEN SET EXPOSURE

The first step is to get your All editing software will Rogue elements creeping Even if you get the exposure
images onto your computer, allow you to open your into the edges of frame and “right” in-camera, it’s worth
either by connecting your images individually, but sloping horizons are very tweaking it on screen to
camera to your computer, or some will also let you apply common problems and see if there’s any room for
by putting your memory card changes to multiple images should be fixed before improvement (see pp.170–71).
into a card reader. at the same time. you do anything else Before you start, create an
(see pp.168–69). adjustment layer.
ANATOMY OF A TOOLBAR
All image-editing software differs to a greater or lesser degree help you edit out unwanted blemishes, for example. These
(the anatomy here shows Photoshop Elements), but certain tools are generally found in a toolbar at the top or side of the
features are shared by most: selection tools, brush tools, the screen. Additional features that call up a separate window or
ability to add text, and one or more retouching tools that will dialog box are usually accessed from the main menu bar.
KEY
1 13
1 Move tool For moving selected parts 14 Eye dropper tool Allows you to
of an image from one place to another “sample” (pick) colours from anywhere
2 14 on the screen
2 Hand tool For dragging your image
around the screen to see different areas 15 Lasso tool Selection tools for choosing
3 15
Selection tool A variety of regularly irregularly shaped parts of an image
3
4 16 shaped selection tools 16 Quick Selection tool Uses edge
Magic wand tool Uses colour to select contrast to quickly select parts of
4 an image
5 17 areas of an image
Type tool Allows you to add text to 17 Crop tool A quick and efficient way
5 to trim your images
6 18 your digital images
6 Cookie cutter tool Creates quirky 18 Straighten tool Helps correct sloping
7 19 cutouts from your image horizons and converging parallel lines
Red-eye removal tool Corrects 19 Healing brush tool Removes defects

7 and blemishes with a single click
8 20 red-eye in portraits taken with flash
8 Clone stamp tool For removing dust 20 Eraser tool Allows you to delete areas
9 21 and scratches manually from a layer
9 Brush tool Used to “paint” onto your 21 Smart brush tool Allows you to paint
10 22 creative effects onto your image
digital images
11 23 10 Paint bucket tool For filling large, flat 22 Gradient tool Allows you to add a
areas with a single colour gradient effect to your image
12 Custom shape tool Adds predefined 23 Blur tool Used to selectively blur parts
11 of an image
shapes to your pictures
12 Sponge tool Lets you selectively 24 Color swatch Used to set the current
24 increase or decrease saturation foreground and background colour
13 Magnifier tool Used to zoom in and

out of your image
ADJUST CONTRAST COLOUR SHARPEN OUTPUT

If your image is looking From highly saturated Once you’ve made any The final stage in your digital
a little flat and lacklustre colours, to subtle tints, to other adjustments, ensure image workflow is to save
you can boost the contrast black-and-white, colour – that small details and edges and output your adjusted
between light and dark to or the lack of it – has a huge in your image are crisply image, whether to print or
make it appear more vibrant impact on how we perceive defined (see pp.180–81). the web.
and “3-D” (see pp.172–73). an image (see pp.174–79).
168 A PPLY IN G | CROP AND ROTATE
CROPPING FOR IMPACT

In an ideal world it would be possible to have your shooting hand-held, rather than with a tripod, and
camera locked on a tripod and carefully levelled for sometimes you simply won’t have a lens that’s long
every shot you take, with a full range of focal lengths enough. In these situations, take the shot and use
at your disposal so you can get as close to your your editing software’s crop and rotate tools to
subject as you wish. However, often you will be improve the image in post-production.
ADD A GUIDE
Most editing software allows you
to add guidelines, which are horizontal
or vertical lines superimposed over the
image. Drag a horizontal line to the
horizon to determine whether it’s
straight; if not, this gives you a target
for alignment.
ROTATE YOUR IMAGE

The Rotate feature is most commonly a menu option, and when activated it
will select the entire image area. Use the “handles” at the corners of the image to
rotate the image by clicking and dragging them.
SELECT THE CROP TOOL SELECT THE WHOLE IMAGE RESIZE THE CROP AREA
The Crop tool usually sits as With the Crop tool activated, As with the Rotate tool, handles
an option on the main toolbar of click and drag from one corner of your will appear at the corners of the area
your editing software. The icon, as image to its diagonal opposite (top left selected. Drag these inwards to set
shown here, often depicts a pair of to bottom right, for example). This will the crop area. Here, the area that will
traditional “cropping Ls”. select the entire image area. be cropped out is shown in red: the
full-colour area is the new crop.
ALSO WORKS FOR...

There are two main reasons why you might
crop an image. The first is to make your
subject appear bigger in the frame; the
second is to remove distracting elements,
such as someone stealing the limelight in
the background.
THE RESULT ▼ BEFORE CROP AND ROTATE
Rotating the image has levelled the horizon, but it’s the fairly severe crop
that’s had the most effect by focusing attention on the floodlit building
and removing several unnecessary elements from the foreground.
CAMERA SETTINGS
A 1/2 ISO
ƒ/22 AW B
SEC 40 0
170 A PPLY IN G | LEVEL S
CORRECTING EXPOSURE
With so many different exposure modes and camera will have been “fooled” by tricky lighting
exposure metering patterns built into your camera, conditions. Whatever the reason, your editing
you may wonder why you’d ever need to adjust the software will have tools to help you, ranging from
exposure of a shot in your editing software. But simple exposure sliders through to the more
sometimes you may feel that an image would look advanced Levels, a histogram-based tool which
better a little lighter or darker than shot, or your gives you greater control.
-1 0 +1

APPLY EXPOSURE COMPENSATION Increase the exposure level (+) to brighten an image, or decrease
The Exposure tool is the simplest way to correct the exposure level (-) to darken it. As with in-camera exposure
exposure, and it works in a similar way to the exposure compensation, adjustments are usually made in “stop” increments,
compensation found in your camera (see pp.80–81). although editing software is usually more precise.
USE LEVELS SET THE BLACK POINT SET THE WHITE POINT
While Exposure allows you to At the left end of the histogram At the right end of the histogram
make universal changes to your images, (the shadows) is a black slider control. (the highlights) is a white slider that
Levels lets you control the shadows, Move this to the right to darken the controls the brightness of highlights.
highlights, and midtones independently. shadows in your image without affecting Move the slider to the left to brighten
It does this by using an editable the highlights. light areas without affecting the shadows.
histogram (see pp.78–79).
SET THE MIDPOINT

At the centre of the Levels
histogram is a grey, midtone slider
(known as the “gamma” slider). This
controls the overall brightness of the
image and can be used to make universal
exposure changes. Slide it to the right to
brighten your image, and move it to the
left to darken it.
THE RESULT ▼ BEFORE EXPOSURE CORRECTION
Adjusting the midtone and highlight areas with Levels quickly corrected
the exposure in this shot. A subsequent colour boost (see pp.174–75) and
some sharpening (see pp.180–81) further improved the shot.
CAMERA SETTINGS
Av 1/30 ISO
ƒ/32
SEC 1600
172 A PPLY IN G | CURVES
ADJUSTING CONTRAST
When photographers talk about contrast, they’re picture (see box, below), but your editing software
usually referring to two extremes: low contrast and is the perfect solution to the problem of flat-looking,
high contrast. Neither of these is necessarily bad or low contrast images. The best tool for adjusting
wrong, but sometimes a shot feels a little “flat” or contrast is Curves, thanks to the high level of control
too “contrasty”. It’s generally much better to deal it offers: shadows, highlights, and midtones can all
with high contrast when you’re actually taking the be locked and manipulated independently.
OPEN CURVES ADJUST THE HIGHLIGHTS ADJUST THE SHADOWS

When you open a Curves dialog In its simplest sense, adding a The same process applies when
box, you’ll see a straight line running control point to the top right end of the adjusting shadows, except this time you
across a box from bottom left (shadows) curve allows you to adjust the highlights need to add a control point to the lower
to top right (highlights). The aim is to in an image. When you move the curve left end of the curve. Drag the point
change the line into a “curve” to modify upwards, they brighten; when you move downwards to darken the shadows, or
the shadows and highlights. the curve downwards, they darken. drag it upwards to lighten them.
HIGH CONTRAST
While low-contrast images can often be
improved in your editing software, the
same isn’t true with high contrast. Many
programs have a Shadow/Highlight
Recovery tool (or similar), but this won’t
help when the shadows or highlights in
an image are “clipped” (see pp.78–79),
as is the case here. In the original image
(left), the highlights on the child’s face
are pure white, and they remain so after
adjustment (right). You simply can’t
recover what isn’t there to begin with,
which is why high contrast is best tackled
in-camera, either by using a reflector (see
pp.130–31) or diffuser (see pp.132-33), or
by shooting for HDR (see pp.84–85).
APPLY AN S CURVE
The simplest way to LEVELS VS. CURVES
boost contrast is to create a
shallow S shape, as shown You can use Levels (see pp.174–75) to adjust
here. This deepens the contrast: moving the black slider to the right and
shadows and brightens the white slider to the left to darken shadows and
the highlights without lighten highlights. However, with Curves you can
losing detail, which can usually add multiple control points, allowing you
occur with other contrast to finesse your results, should you need to.
adjustment tools.
THE RESULT ▼ BEFORE CURVES ADJUSTMENT
The original image felt a little washed out. Applying an S curve has made
a significant difference – the increased contrast has made the colours
appear more vibrant, and the flower now leaps from the picture.
CAMERA SETTINGS
A 1/1000 ISO
ƒ/4
SEC 10 0
174 A PPLY IN G | HUE AND SATUR ATION
BOOSTING COLOUR
The meaning of “colour” in photography doesn’t boosting colour you can can rescue photos taken on
just relate to the colour temperature of the light overcast days, when colours tend to appear drab and
(see pp.124–25) or the white balance (see pp.126–29) uninspiring. In abstract photography, colour and shape
– it can also refer to the intensity and level of colour are often more important than the ostensible subject
in an image. In this sense, colour can be subjective, – and improvements in post-production can lift this
with no “right” or “wrong” result. For instance, by effect to a whole other level.
CORRECTING
COLOUR CASTS
If your image has an overall colour
cast (that is, it appears overly cool
or blue, or it has an orange tint),
then you need to make an equal
and opposite colour adjustment.
Look for a Colour Balance or Colour
Variations tool in your editing
SET LEVELS ADJUST CONTRAST software, as these are usually a little
Before you start adjusting the Contrast can also have an impact more refined than Hue/Saturation
colour, use Levels (see pp.170–71) to get on colour: low-contrast images appear in this instance. However, set the
the exposure right: overexposed images flat, while colours tend to stand out when exposure and contrast before you
appear washed out, while underexposed the contrast is higher. Use Curves (see make any adjustments.
images may look over-saturated. pp.172–73) to fine-tune the contrast.
ADJUST HUE ADJUST SATURATION

Once the exposure and contrast have been set you can make changes While Hue alters the colour itself,
to the colour. A Hue/Saturation tool can be found in most editing software, Saturation determines its intensity, usually
and the first step is to see whether changing the Hue will improve your from a scale of 0 (fully desaturated/shades
image. Adjusting the Hue slider shifts the overall colour bias of an image, of grey) to 100 (heavily saturated colour).
from green through blue, red, yellow, and all colours in between. A small Even small shifts in the Saturation slider
adjustment usually creates a significant overall visual effect. can have a major impact on the image.
ALSO WORKS FOR...

Hue and Saturation adjustments can be used to
transform your pictures, either by changing one of the
parameters or changing them both together. A popular
method is to brighten up shots containing people, as
this instantly makes this type of photograph more
appealing: warmer tones suggest a happier mood.
THE RESULT ▼ BEFORE COLOUR BOOST
A combination of exposure, contrast, and colour adjustments has

transformed this dreary, nondescript shot of a rain-spattered window
into a pleasingly vibrant and eye-catching abstract.
CAMERA SETTINGS
A 1/100 ISO
ƒ/4
SEC 40 0
176 A PPLY IN G | MONOCHROME TECHNIQUES
CONVERTING TO BLACK AND WHITE

All image-editing software offers a simple Desaturate and white: a straight conversion can result in a
or Greyscale option (or similar), which will remove flat-looking image, without contrast or dynamic
the colour from your photograph at the click of a range. So, unless it’s your only option, it’s not the
button. However, this won’t give you any control most effective route to take. Instead, check to see
over the appearance of the final image. It’s the same whether your software has a more sophisticated
as if you were to set your camera to capture in black black-and-white conversion tool.
PORTRAIT LANDSCAPE INFRARED NEWSPAPER

EXPERIMENT WITH PRESETS
To begin with, try each of the available presets to see their effects. The images
above show a variety of presets available in Photoshop Elements, demonstrating how
the notion of “black and white” isn’t as straightforward as it seems.
INCREASED RED INCREASED GREEN INCREASED BLUE

EXPLORE COLOUR FILTERS FINE-TUNE THE RESULT
Some software offers colour adjustment in addition to (or instead of) preset If appropriate, you can apply
styles. Through the use of sliders for red, green, and blue (and possibly more colours), an S curve to finesse the image (see
these can also control how different colours appear in black and white. Increasing pp.172–73). In this case, a boost in contrast
one slider generally means reducing the strength of other colours to compensate. has accentuated the modern feel.
177
USING DIGITAL
COLOUR FILTERS
Digital colour filters replicate the
effect of lens filters, traditionally
used in black-and-white photography
to, for example, create dramatic,
high-contrast skies in landscape
images. The way they work can seem
confusing at first, but there’s a simple
way to remember the effect they’ll
have on your image. A colour filter
will lighten areas of the subject that
are the same colour (or similar), and
darken opposite colours. For
example, when you convert to black
and white, a red filter will lighten red
areas (and, to a lesser extent, orange
and yellow areas) of the image, while
at the same time darkening
blue-green areas.
THE RESULT
Converting portrait and wedding pictures to black and white is a great
way of giving them a timeless yet contemporary look. Removing the
colour can often enhance the romantic mood of an image like this.
CAMERA SETTINGS
A 1/60 ISO
ƒ/8
SEC 20 0
▲ BEFORE BLACK AND WHITE CONVERSION
178 A PPLY IN G | MONOCHROME TECHNIQUES
TONING THE IMAGE

Before colour photography was invented, toned even after it became possible to produce a stable
black-and-white prints were relatively common. black-and-white print, toned images remained a
Initially, this wasn’t so much a creative decision as popular means of adding colour and atmosphere
a technical one, as various photographic pioneers to an otherwise greyscale image. The practice is still
experimented with different chemicals in an attempt used today, although now the tones are more often
to extend the life of their delicate prints. However, applied using software, rather than toxic chemicals.
REDUCE CONTRAST REMOVE COLOUR ADJUST TONE

Toning works best when it’s The basis for any toned image Using the Color Variations (or just
applied to a slightly “flat” (low contrast) is a black-and-white “original”, so you “Variations”) tool allows you to tone the
image, so rather than boosting the need to remove the colour. Convert the shadows, midtones, or highlights, and
contrast, consider reducing it using image to black and white (see pp.176–77) you can also set the adjustment intensity
Shadows/Highlights (or similar) before without increasing the contrast. from a mild tint through to a strong tone.
you begin (see pp.172–73).
INCREASED RED DECREASED BLUE LIGHTENED

EXPERIMENT
The adjustment buttons give a “live” preview, so it’s leave the area set to Midtones, but you can change the intensity
simply a case of clicking on an adjustment button and the of the colour adjustment, if you wish. Clicking on Increase Red,
“After” image will be updated to show how your picture’s Decrease Blue, and Lighten results in a subtle, sepia-toned look.
looking. For a “straight” toned image it’s a good idea to
MAKE FINAL
ADJUSTMENTS SPLIT TONE
When you’re happy with the
tone you’ve created, click on You can add a “split tone” to your images by
OK to apply it to your image. toning the shadows with a different colour to
Then, if necessary, tweak the the one you’ve used for the highlights. This is
brightness and contrast (see usually done with “opposite” colours – adding
pp.170–73), and sharpen (see a blue tone to the shadows and making the
pp.180–81) ready for printing highlights more yellow is a classic combination.
or sharing online.
THE RESULT ▼ BEFORE TONING
This was an incredibly straightforward process, yet the picture has

been completely transformed: the warm sepia tone gives it an “antique”
appearance that enhances the quiet, contemplative nature of the image.
CAMERA SETTINGS
A 1/60 ISO
ƒ/5.6
SEC 20 0
180 A PPLY IN G | SHARPENING
ACHIEVING CRISP DETAILS

If you’ve spent a fair amount of money on a camera your pictures will be, but all digital photographs
and an accompanying lens (or lenses), you might can benefit from additional digital sharpening. This
wonder why you’d ever need to sharpen your is essentially because of the way in which digital
photographs with editing software: surely your camera sensors work – it’s unavoidable, and not
camera will deliver a sharp image? Well, yes and no. a camera fault – but your editing software is more
Your lenses have a significant impact on how sharp than capable of putting things right.
DUPLICATE THE IMAGE LAYER SET THE BLENDING MODE

You’ll need software with Layers for this technique (see Using the drop-down menu in the Layers palette,
p.166). First, duplicate your image so you have a copy of it on change the Blending mode for your duplicate layer from
a second layer (the “adjustment layer”). This will be at the top Normal to Overlay. Don’t worry if the image looks overly
of the Layers palette, with your “master” layer beneath. saturated and contrasty at this point.
SHARPENING FILTERS
Most editing software incorporates several sharpening
filters, ranging from simple Sharpen options that don’t give
you any control at all, through to advanced sharpening
tools such as Unsharp Mask (USM). USM is an incredibly
powerful (and complex) sharpening tool, but should be
used with caution: it’s easy to overdo it and end up with an
unattractive, over-sharpened result (see detail below, right).
APPLY THE HIGH PASS FILTER

Although you want to sharpen the image, you won’t be
using one of your editing software’s sharpening filters. This may
seem strange, but these filters tend to be either rather crude or
overcomplicated in their approach (see box, left). Instead, apply
the High Pass filter to your duplicate layer. Adjust the filter
amount so that the details in the image appear crisp.
ADJUST OPACITY
Fine-tune the effect of the High Pass filter
by adjusting the Opacity of your adjustment layer.
Decreasing the opacity allows the master layer
below to show through. Although this effectively
reduces the sharpening effect slightly, you should be
able to keep the edges nice and crisp, without any
halos appearing along them: this would be a sure
sign that the image is over-sharpened.
THE RESULT ▼ BEFORE SHARPENING
With a subject that contains a lot of fine detail, such as this scaly iguana,
sharpening is essential, especially if you plan to print your image. It also
boosts colour and contrast slightly, which further enhances the shot.
CAMERA SETTINGS
A 1/80 ISO
ƒ/2.8 AW B
SEC 40 0
182 GLOSSARY
GLOSSARY autofocus A system that uses

sensors to assess the subject and
use “lossy” compression to produce
small file sizes, with some data loss.
(words that appear bolder in the focus the camera lens automatically. Some Raw files are uncompressed.
entries also have their own entry) AWB (Automatic White Balance) Continuous Autofocus (AF) Mode
aberration Unwanted defect in A camera feature where the camera that allows the camera to constantly
an image, typically caused by the assesses the scene and sets the adjust the focus of the lens to
camera lens. correct white balance. compensate for a moving subject.
AE-L (Automatic Exposure Lock) contrast The range between the

brightest and darkest parts in an
A camera feature that allows you to backlighting Lighting situation
lock the exposure set by the camera, image. Contrast can be low or high.
where the primary light source is
usually so you can reframe a shot. behind the subject, pointed towards crop To remove unwanted areas
AF-L (Automatic Focus Lock) the camera. from an image, usually using image-
editing software.
A camera feature that holds the blending mode A feature in digital
focus at a set distance. image editing software that enables
ambient light Existing light in you to change the way one layer
depth of field The area of an
a scene, such as daylight. interacts with other layers.
image in front of and behind the
angle of view The amount of a bracketing Making a number point of focus that appears
scene imaged by the camera. Usually of exposures of the same scene at acceptably sharp.
different EV settings to ensure that
given as a diagonal measurement. diffusion The scattering of light
one is correctly exposed, or to create
aperture A variable opening in the particles, which softens the light
an HDR image.
lens that allows light to pass through and shadows cast by it.
brightness The intensity of light
to the sensor. The main control over digital manipulation To make
depth of field. in an image.
changes to a digital image using
Aperture Priority A semi- image-editing software.
automated exposure mode: the centre-weighted metering An display Part of a device that can
photographer sets the aperture exposure metering pattern with a show a digital photograph on a
(and ISO), and the camera selects bias towards the centre of the image. screen, such as a computer monitor,
a shutter speed that will give the rear LCD screen on a camera, tablet,
“correct” exposure. clipping When detail is lost in
or smartphone.
either the highlight and/or shadow
APS-C A discontinued film format, areas of an image. distortion Commonly refers to a
measuring 25.1mm x 16.7mm. The lens aberration, whereby straight
CMYK (Cyan, Magenta, Yellow,
size closely matches that of the lines appear curved, especially
Key) The primary colours used in
sensor found in many dSLR cameras towards the edges of the frame.
printing, where “Key” is black.
and CSCs and results in a 1.5x or
dpi (dots per inch) Used as a
1.6x focal length magnification. colour cast An overall colour shift
measure of print resolution: the
in an image, typically caused when
artifact An unwanted defect in a greater the number of dots (of ink)
the incorrect white balance is set.
digital image, such as sharpening per linear inch in a print, the higher
halos or noise. colour temperature A measure the resolution.
of the temperature of light, given
Auto (exposure) Exposure dynamic range The difference
in degrees Kelvin (K).
mode in which the camera sets the between the brightest and darkest
aperture, shutter speed, and ISO, compression Typically used in parts of a scene that a camera can
in addition to the white balance, reference to image files and the way record information in. Usually given
and most other camera settings. in which they are saved. JPEG files as a range of stops.
GLOSSARY 183
EFL (Effective Focal Length) the lens. (2) A software feature that ISO An international standard film
Used to describe the angle of view changes an image (or part of an rating, denoting a film’s sensitivity to
shown by a lens when it is used on a image), sometimes to emulate a light. Now used in digital cameras,
camera with a sub-full-frame sensor lens filter. although changing ISO boosts the
(see focal length magnification). signal amplification, not sensitivity.
flare An aberration that manifests
EV (exposure value) A single as either distinct coloured polygons, image stabilization Lens-based
number given to the permutations or as an overall “haze” that reduces or sensor-based technology that
of aperture, shutter speed, and ISO contrast. Caused by non-image- typically uses sensors and gyros to
that all produce the same overall forming light reaching the sensor. sense and counter camera shake.
exposure. A change of one EV is
focal length The distance between
the same as a change of one stop.
the optical centre of a lens and a
evaluative metering A metering sharp image of an object at infinity JPEG (Joint Photographic Expert
pattern that assesses the scene as a projected by it. Usually measured Group) One of the most popular
whole, sometimes by dividing it into in millimetres. file formats for recording and
zones. Also known as Matrix, Multi- saving digital photographs. It uses
focal length magnification compression to reduce file sizes,
area, and Multi-segment metering.
Magnification factor applied to a lens although the compression process
EVF (electronic viewfinder) used on a sub-full-frame camera to loses some of the information. This
A viewing system common to bridge give its full-frame equivalent focal data loss is cumulative, so more data
cameras and CSCs that uses a small, length. With APS-C sized sensors this is lost every time a JPEG file is
eye-level LCD screen to provide the is 1.5x or 1.6x; with Micro Four resaved as a JPEG.
photographer with a through-the- Thirds cameras it is 2x.
lens view of a scene.
focus The point at which the light
exposure The fundamental process rays are brought together to produce Kelvin (K) Scale used for measuring
of allowing a specific amount of light the sharpest image. colour temperature.
to reach the camera’s sensor for a
full-frame A sensor size that
specific amount of time to create a
matches the traditional size of a landscape (format) When used
digital photograph.
35mm film frame; approximately to refer to an image format, signifies
exposure compensation 36mm x 24mm. that the longest side of the rectangular
Camera feature that allows you to frame is horizontal (as opposed to
adjust the exposure from that given portrait format).
by the camera, usually in 1/3, 1/2, or greyscale A monochrome digital
1 EV increments. image made up of shades of grey. layer A feature of image-editing
software that allows some elements
of an image to “float” above others,
f/number (f/stop) Term used to highlight The brightest or lightest thereby allowing adjustments to be
refer to the size of the aperture in parts of an image. made selectively.
a lens. Expressed as a fraction of the LED (Light Emitting Diode)
histogram Graph showing the
focal length; f/4, f/11, f/22, etc. The display technology behind the
distribution of tones in an image,
fill-in Using flash or a reflector to from pure black to pure white. Can vast majority of camera screens and
lighten (“fill”) any shadows falling be used to determine exposure flat-screen televisions.
across your subject. Commonly used accuracy and clipping.
Levels A feature of image-editing
in portrait photographs.
hotshoe A fitting found on the software that is based around a
filter (1) A piece of glass or resin, top of most digital SLR cameras histogram. Allows you to adjust the
often coloured, that is put in front of and some CSCs that allows a flash black and white points (shadows and
the lens to modify the light entering to be attached to the camera. highlights), as well as the midtones.
184 GLOSSARY
light meter A tool used to measure midtone A tonal area in an image partial metering Metering pattern
light and produce an exposure that is equidistant between pure used by Canon. Measures at the
reading. All cameras feature a built-in black and pure white. centre of the frame, using an area
light meter that takes reflected light that is larger than a spot meter
monochrome Any image made up
readings, but you can buy handheld pattern, but smaller than centre-
of a single colour, typically black.
light meters that take both reflected weighted metering.
and incident light readings. multiple exposure A camera
pixel Short for “picture element”;
feature that allows you to take several
the smallest unit of digital imaging.
shots and combine them into a single
macro Specifically refers to image. The effect can be created with pixellated Appearance of a digital
close-up photography at a image-editing software using Layers. image in which the individual pixels
magnification ratio of 1:1 or are clearly discernible.
greater, so the subject appears portrait (format) When used to
at least “life size” on the sensor. noise Random variations in digital
refer to an image format, signifies
images. There are two types of noise
macro lens A lens designed – chroma noise and luminosity noise.
that the longest side of the rectangular
specifically for macro photography. frame is vertical (as opposed to
The former exhibits as coloured
landscape format).
manual exposure An exposure patches or speckles; the latter as an
mode that gives you full control underlying texture. Noise has two ppi (pixels per inch) A measure
over the aperture, shutter speed, main causes: heat (as a result of long of a digital image’s resolution
and ISO settings. exposures) and high ISO settings. based on the number of pixels per
Most cameras and image-editing linear inch.
memory card The solid-state software offer some form of noise
storage device used by virtually prefocusing A technique where
reduction system.
all digital cameras and smartphones. the focus is set (usually manually) in
The most common type in current anticipation of the subject arriving.
use is SD (Secure Digital). Some Suitable for fast-moving subjects.
opacity Used in digital imaging as
cameras use CF (Compact Flash). a measure of how transparent a layer prime lens A lens with a single,
metadata Information about is. Typically shown as a percentage fixed focal length.
an image that forms part of the value where 0% is entirely transparent
Program An exposure mode where
image file itself. Metadata can and 100% represents total opacity.
the camera sets both the aperture
record the location, time, and optical viewfinder A camera and shutter speed. Differs from Auto
creator of an image, amongst other feature that uses an optical system in that the photographer can set the
things, as well as camera, lens, and to view a scene, rather than relying ISO, and can also “shift” the exposure
exposure details. Some metadata on the camera’s LCD screen or an pairing to prioritize depth of field or
can be edited, allowing you to electronic viewfinder (EVF). All dSLRs shutter speed.
add copyright information and use an optical viewfinder.
keywords to your images.
overexposure When too much
Micro Four Thirds A digital Raw Image file format that records
light is received by the sensor,
standard developed jointly by the data from the camera “as shot”,
resulting in an overly bright image,
Panasonic and Olympus and with little or no processing. Processing
most often with a loss of detail in
popularized by their G-series and is then carried out on the computer.
the highlight areas.
PEN compact system cameras red-eye An effect created when
respectively. Based around a sensor light (usually from an on-camera
size of 17.3mm x 13mm, giving panoramic (format) Used to flash) reflects off the blood vessels at
a focal length magnification describe a picture format where the back of the subject’s eye, making
of 2x. the image is letterbox-shaped. their pupil appear red in an image.
GLOSSARY 185
red-eye reduction A feature of a sensor The light-sensitive imaging sync speed The fastest shutter
camera flash that attempts to prevent chip inside a digital camera. speed at which the camera’s sensor
red-eye by firing a series of pre- is exposed to light in its entirety. At
sepia Traditional colour tone
flashes to dilate the subject’s pupil. faster speeds the sensor is exposed
applied to monochrome images
to a travelling slit of light.
resizing Changing the size of a to give them an “antique” look.
digital photograph, either making it shutter The mechanism inside a
smaller to use online, for example, or camera that determines how long telephoto A focal length with a
increasing the size to produce an the sensor is exposed to light. The narrow viewing angle, typically 35°
enlarged print. Increasing the size of time the shutter stays open for is or smaller.
an image reduces its quality. the shutter speed. TIFF (Tagged Image File Format)
resolution (1) Of a lens, is a Shutter Priority A semi-automated Widely used image file format for
measure of its ability to record fine exposure mode in which the saving processed Raw files. Produces
detail clearly. (2) Of a digital image, photographer sets the shutter high quality files that are either
refers to the number of pixels per speed (and ISO), and the camera uncompressed, or use lossless
inch (ppi) or, in the case of a print, chooses an aperture that will give compression algorithms.
the dots per inch (dpi). the “correct” exposure. TTL (through-the-lens)
rim lighting Lighting technique silhouette Effect in which the Any camera system that receives
where the subject is lit in such a way subject appears as a black shape, information via the lens, such as
that it is outlined with light. Usually usually against a brighter background. a viewfinder, exposure meter, or
results in the subject falling into Can be caused by or created with autofocus system.
silhouette unless fill-in is used. strong backlighting, and avoided
RGB (Red, Green, Blue) through the use of fill-in lighting.
underexposure When not enough
The primary colours used in Single-shot Autofocus (AF) light is received by the sensor,
the recording and viewing of Mode where the lens is focused and resulting in an overly dark image,
digital images. the focus distance will not change most often with a loss of detail in
rule of thirds A traditional until an exposure is made or the the shadow areas.
composition “rule”. Based on the idea shutter-release button is released.
of dividing the frame into three equal Ideal for static subjects.
white balance A camera feature
segments, both horizontally and SLR (single-lens reflex) A viewing used to adjust the colour of an image
vertically, using imagined lines. Key system that uses a prism and mirrors to match the prevalent colour
elements of the image should be to transmit the light passing through temperature of the light.
placed along these lines, or at their the lens to an optical viewfinder.
intersection, for greatest effect. Now used to describe a type of wide-angle A focal length giving a
camera that uses that viewing wide angle of view, usually at least 50°.
system: for example, a digital SLR.
saturation The intensity of colour.
spot meter Very precise metering zoom lens A lens covering a range
scanning The process of digitizing pattern that reads the light in a very of focal lengths.
a printed image, film frame, or small area of the frame.
document using a scanner.
stop A change in exposure equal to
Scene mode A set of pre- a halving or doubling of the amount
programmed exposure modes of light. Can be used to refer to
optimized for use with specific exposure in general, or any one of
subjects – for example, Landscape, the exposure controls: aperture,
Portrait, and Sports. shutter speed, and ISO.
186 INDE X
B
APS-C film format 102, 182 grip 28–29
INDEX prime lens 112
sensor size and crop factor
settings key 10
shake, and telephoto lens
106 background blur 114
A
architecture and close-ups 60–61 camera handling 28–29
lens flare, creative use of 147 prime lens 112 camera grip 28–29
light and shadow, exploiting see also blur cross-bracing 29
aberrations 33, 182, 183 138–39 backlighting 123, 182 crouching and staying steady
angle of view 182 tripod 138 and exposure 116–17 30
focal length 104–05 see also landscape and halo of light 142–43 long lens support 29
prime lens 112 outdoor photography and lens flare 142 lying down and staying
see also perspective; Auto mode 50–51, 182 portraits 143 steady 31
viewpoint Autofocus (AF) 89, 182 see also lighting sitting and staying steady 31
aperture control 45, 182 Automatic 89 barrel distortion, wide-angle stance and staying steady 30
LCD screen key 23 Automatic Focus Lock 93, lens 109, 110, 182 camera movement
Scene modes 49 182 batteries 15, 39 ISO setting 137
viewfinder 22 changing point of focus battery level 22, 23 self-timer function 60, 70,
wide, and hi-speed flash 90–91 black-and-white conversion 134
151 and close-ups 60–61 176–77, 184 cameraphone 14
see also exposure Continuous 89 colour filters 176, 177 candlelight, colour temperature
Aperture Priority mode Continuous AF, and moving contrast and S curves 176 124, 182, 183
50–51, 182 subject 96–97 light and shadow, exploiting Canon
Automatic Exposure Dynamic AF (focus tracking) 139 dSLR 17, 19, 20–21
Bracketing (AEB) 96 outdoor photography 109 flash, anatomy of 36
82–83 focus lock 92–93 toning images 178–79 HDR imaging 85
close-ups 60–61 freezing extreme movement see also silhouettes high-end compact camera
depth of field 46–47, 66 Blending mode 180, 182 26–27
54–57, 98, 108–09, LCD screen key 23 see also sharpening LCD screen key 23
118, 138, 154, 156 movement blur, creating blur shooting modes 51
exposure compensation extreme 70 background see viewfinder 22
80–81 Multi-area and Single-point background blur centre-weighted metering 77,
exposure setting 56–57 90–91 and exposure pairing 53 182
fill-flash 154 One-shot 89 see also movement; see also metering patterns
flash at night 158 portraits 112 movement blur Child mode 48–49
focus 56–57 reframing and focusing bridge cameras 15, 26–27 clipping 182
halo of light 142 92–93 brightness 182 histogram reading 79, 84
hotshoe flash 156 and shutter speed 91 exposure correction tools 170 close-ups
light and shadow, silent focus 33 HDR (high dynamic range) Aperture Priority mode
exploiting 138 Single-shot 89, 185 imaging 84–85 60–61
low light indoors 136 Sports mode 49 wireless flash control 161 and Autofocus (AF) 60–61
low light outdoors 134 telephoto lens 115 built-in flash and background blur 60–61
macro lens 116, 118 viewfinder 22 fill-flash 154–55 contrast 118–19
medium aperture 54–55 zone focusing 91 flash power reduction 155 depth of field 60–61, 88,
outdoor photography Automatic Exposure red-eye reduction 154 116, 118, 119
108 Bracketing (AEB) see under see also flash diffuser and contrast 118–19
reasons for using 54–55 exposure compensation halo of light 142–43
shutter speed 110 Lock button, and reframing image stabilization 107
C
silhouettes 144 139, 182 lens choice 60–61
small aperture 54–55 Lock button, silhouettes 144 macro flash units 37
stopping down 54–55 white balance 125 macro lens 60, 103, 116–19
wide aperture 54–55 Automatic White Balance camera Manual Focus 88
wireless flash control (AWB) 125, 126, 182 bags and cases 38–39 telephoto lens 113
160–61 see also white balance choices 14–15 tripod 60–61
INDE X 187
wide-angle lens 102 continuous shooting mode, wide-angle lens 102 Automatic Exposure
clouds portraits 112 diffuser 37, 182 Bracketing (AEB), and
colour temperature 124, contrast 182 close-ups and macro lens HDR (high dynamic
182, 183 adjustment, Curves tool 118–19 range) imaging 84–85
as diffuser 133 172–73, 174 cloud cover as 133 Exposure tool 170
white balance 125 adjustment, Levels tool 173 and contrast 118, 133 flash 151
Cloudy setting, white balance close-ups 118–19 and high contrast 172 halo of light 143
127 colour, effects on 174 red-eye reduction 159 high-contrast highlights 140
Color Variations tool, and diffuser 118, 133 and shadows 130, 131, 133 low light outdoors 135
toning images 178–79 HDR (high dynamic range) softening light 132–33 Shutter Priority mode 80–81
colour imaging 84–85 digital manipulation exposure pairing
boosting 174–75 high-contrast techniques see image enhancement and blur 53
casts, correcting 126, 128, see high-contrast distance, telephoto lens fill-flash 154
174, 182 techniques 114–15 Program mode 52–53
contrast, effects of 174 image enhancement 167 distortion, barrel, wide-angle Exposure tool, exposure
exposure correction tools Raw files 40 lens 109, 110, 182 correction 170–71
171 S-curve application 173, 176 dSLR camera 15, 185
filters, black-and-white toning images 178–79 anatomy of 16–21
F
conversion 176, 177 see also highlights viewfinder 22, 25
image manipulation 167 crop factor 182 dynamic range see HDR (high
of light 124–25 focal length 106 dynamic range) imaging
and Scene modes 40 prime lens 112 fill-flash 154–55, 183
temperature 124, 182, 183 Crop tool 166 see also flash
E
white balance selection cropping for impact 168–69 filters 183
126–27 CSC camera 15 colour filters, black-and-white
Colour Balance tool, colour viewfinder 25 conversion 176, 177
cast correction 174 Curves tool, contrast exposure 183 and haze 56
colour temperature adjustment 172–73, 174 and backlighting 116–17 High Pass, image sharpening
electronic flash 124, 182, bracketing, low light 180–81
183 outdoors 135 lens 38
D
white balance 125 correction, histogram reading neutral density (ND) see
Colour Variations tool, colour 78–79, 80, 170–71 neutral density (ND) filter
cast correction 174 correction, Levels tool 166, polarizing 38
compact system cameras daylight 170, 174 sharpening 180
(CSCs) 14 colour temperature 124, good, elements of 45 and shutter speed 70
high-end 26–27 182, 183 key elements 44 firelight, colour temperature
Lumix 24–25 setting and tungsten lighting LCD screen key 23 124, 182, 183
compression levels, JPEG and 127 Manual mode 75 fisheye lens 105
Raw files 40–41 white balance 125, 127 setting, Aperture Priority flare see lens flare
computers see also lighting mode 56–57 flash 15, 150–51
and HD video modes 21 depth of field 182 spot meter 22, 142, 144 1st/2nd curtain sync 151, 158
see also image enhancement Aperture Priority mode value 44 ambient lighting 151, 156,
Continuous Autofocus (AF) 46–47, 54–57, 98, 108–09, viewfinder 22 158
mode 182 118, 138, 154, 156 see also aperture control; anatomy 36
and Continuous Drive Mode close-ups 60–61, 88, 116, depth of field; ISO choice; built-in see built-in flash
96–97 118, 119 overexposure; shutter colour temperature of
and panning 72 flash at night 158 speed; underexposure electronic 124, 182, 183
Continuous Drive Mode focusing and reframing exposure compensation 183 exposure compensation 151
Automatic Exposure 46–47, 93 Aperture Priority mode fill-flash 154–55, 183
Bracketing (AEB) 82–83 freezing extreme movement 80–81 guide number 153
and Continuous Autofocus 66–67 Automatic Exposure hi-speed 151
96–97 preview button 55 Bracketing (AEB) 82–83, hotshoe see hotshoe flash
subject movement 64 shallow, and portraits 58–59 182 LCD screen key 23
188 INDE X
H I L
night photography 158–59
off-camera 160–61
ready indicator 14
red-eye 150, 159 halo of light, creating image landscape format 183
remote control 160–61 123, 142–43 duplication, Layers tool holding the camera 29
slow sync 150, 158, 159 haze 180 Landscape mode 48–49
sync speeds 153, 160 colour temperature 124, quality JPEGs and Raw files landscape and outdoor
synchronization 152 182, 183 40–41 photography
test shots 161 problems 56 size options 41 Aperture Priority mode 108
white balance 125 HD video modes 21 image enhancement 182 black-and-white conversion
wireless flash control 160–61 HDR (high dynamic range) contrast 167 109
workings of 152–53 imaging 84–85, 182 toolbar 167 Incandescent White Balance
fluorescent bulb, white balance contrast 84–85 workflow suggestion setting 127
125 and high contrast 172 166–67 lighting 123
focal length 104–05, 183 LCD screen key 23 see also computers low light 134–35
angle of view 104–05 tone-mapping 84 image stabilization 32, 33, 183 panoramic views 184
fisheye lens 105 High Pass filter, close-ups 107 reframing 109
image stabilization 107 image sharpening focal length 107 shadows 123
sensor size and crop factor 180–81 indoor photography 110 traffic, light trails 63
106 high-contrast techniques telephoto lens 63, 103, 107, tripod 108, 109, 134
focus 183 and diffuser 172 114 wide-angle lens 102, 108–09
Aperture Priority mode 56–57 highlights, exposing 140–41 indoor photography see also architecture;
depth of field 46–47, 93 light and shadow, exploiting Daylight setting and wildlife photography
LCD screen key 23 138–39 tungsten lighting 127 Layers tool 166
manual 88 see also contrast image stabilization 110 Blending mode 180
prefocus see prefocus high-end compact cameras, low-light conditions 136–37 image duplication 180
selective, and standard lens anatomy of 26–27 slow-sync flash 159 Opacity adjustment 181
102 highlights 183 tripod 110, 136 LCD screen key 23
tracking (Dynamic AF) 96 Curves tool adjustment 172 tungsten lighting 124, 125, lens 15
viewfinder 22 S-curve application 173 127 anatomy 32
FourThirds camera 184 split tones 179 wide-angle lens 102, aspherical 33
focal length 102 see also contrast 110–11 attaching 33
sensor size and crop factor histogram reading 78–79, ISO choice 45, 183 filter choice see filters
106 183 camera movement 137 fisheye 105
framing clipping 79, 84 fill-flash 154 full-frame 15, 102, 105, 106
Live View 112 exposure bracketing 82 freezing extreme movement hood, and flare 108, 146
and Manual Focus 94–95 exposure correction 78–79, 66 low dispersion glass 33
movement blur, creating 80, 170–71 high, and hi-speed flash 151 perspective see perspective
moderate 68 gamma slider 171 LCD screen key 23 removal 33
and tripod 140 halo of light 142 low light indoors 137 support, long 29
see also reframing Live View 141 low light outdoors 134 terminology 33
full-frame lens 15, 102, 105, low light outdoors 134 movement blur, creating lens choice 102–03
106 tonal range 78–79, 140 moderate 68 close-ups 60–61
see also lens hotshoe flash 158–61, and noise 45, 46–47 freezing extreme movement
183 painting with light 162 66
accessories 157 viewfinder 22 standard focal length 102
G
anatomy of 36 see also exposure see also macro lens; prime
bouncing the flash lens; telephoto lens;
156–57 wide-angle lens;
J
glass, photographing through slow sync activation 156 zoom lens
88 see also flash lens flare
grey card test 74, 183 Hue/Saturation tool, avoiding 146
white balance 128, 142 colour boosting 174 JPEGs 40–41, 183 and backlighting 142
INDE X 189
creative use of 147 interiors, dimly lit 136 spot 22, 142, 144, 185 Nikon
and lens hood 108, 146 reflector 130 see also lighting dSLR 16, 18, 20–21
Levels tool 183 Scene modes 49 Micro Four Thirds HDR imaging 85
contrast adjustment 173 Live View 18 see FourThirds camera LCD screen key 23
exposure correction 166, framing 112 midtones see under sensor size and crop factor
170, 174 histogram 141 toning images 106
shadows adjustment 141 portraits 112 monochrome techniques superzoom camera 26–27
light low-light conditions 123 see black-and-white twin flash 37
colour of 124–25 histogram reading 79 conversion viewfinder 22
meter, hand-held 74 indoors 136–37 movement noise 184
painting 162–63 landscape and outdoor camera see camera handling; and ISO choice 45, 46–47
trails (traffic) 63 photography 134–35 camera movement LCD screen key 23
lighting Manual Focus 95 freezing extreme 66–67 low light indoors 137
against-the-light techniques red-eye reduction 150 freezing, and shutter speed Noise Reduction tool 46–47
142–45 Lumix compact system camera 46–47 Nokia, macro ring flash 37
back see backlighting (CSC) 24–25 movement blur
background ambient, and 1st/2nd curtain sync flash
O
slow sync flash 150 151
M
candlelight 124 creating extreme 70–71
daylight see daylight creating moderate 68–69
diffuser see diffuser panning for 63, 72–73 off-camera flash 160–61
direction 123 macro flash units 37 shutter speed 46–47, 57, 65 coloured lighting gels 163
front 123 see also flash slow sync flash 150, 159 painting with light 162–63
halo of light, creating 123, macro lens 103, 184 see also blur off-centre shots 90–91
142–43 Aperture Priority mode 116, Movie mode 51 Olympus CSC 24–25
hard 122 118 moving subject outdoor photography
haze see haze close-ups 60, 103, 116–19 Continuous Autofocus (AF) see landscape and
high 123 diffuser and contrast 118–19 89, 96–97 outdoor photography
landscape and outdoor Manual Focus 116 high-speed subjects and overexposure 184
photography 123 moving subject 116–17 Manual Focus 98–99 histogram reading 78
low see low-light conditions static subjects 118–19 macro lens 116–17 testing for 80
metering patterns as telephoto lens 103 and Shutter Priority mode see also exposure
see metering patterns see also lens 98
night photography Macro/Close-up mode 48–49
P
see night photography Manual Focus 88
N
portraits 123 and framing 94–95
quality 122 light painting 162
reflector, use of 130–31 low-light conditions 95 partial metering 76, 184
rim 185 macro lens 116 natural world see also metering patterns
shadows 123 point of focus control 94–95 diffusers and contrast 133 Pentax, shooting modes 51
shadows, exploiting contrast prefocus and high-speed halo of light 142–43 perspective
138–39 subjects 98–99 macro lens for mobile standard lens 102
silhouettes 123 silhouettes 144 subjects 116–17 telephoto lens 115
soft 122 Manual mode 50–51, 184 see also landscape and wide-angle lens 111
sunlight see sunlight full 74–75 outdoor photography; see also angle of view;
tungsten bulb 124, 125, 127 memory cards 39, 184 wildlife photography viewpoint
using available 122–23 Metering mode, light and neutral density (ND) filter 38 photolamp, colour temperature
white balance see white shadow, exploiting 138 movement blur, creating 124, 182, 183
balance metering patterns 76–77, 184 extreme 63, 70–71 Photoshop Elements
lighting, ambient 22, 182 centre-weighted 77, 182 night photography black-and-white conversions
flash, at night 158 multi-area 77 flash 158–59 176
flash, bouncing 156 partial 76, 184 night lights, Shutter Priority toolbar 167
flash compensation 150–51 setting 74 mode 62–63 polarizing filters 38
190 INDE X
Portrait mode 48–49 back-lit portrait 143 reflector, use of 130–31 see also exposure
portraits 184 coloured 130, 131, 143 S-curve application 173 silhouettes 144–45, 185
Autofocus (AF) 112 diffuser 131 split tones 179 Aperture Priority mode 144
backlighting 143 and high contrast 172 white balance 125 Auto Exposure Lock button
continuous shooting mode lighting, ambient 130 sharpening 144
112 use of 130–31 Blending mode 180, 182 histogram reading 79
eyes as focal point 113 wireless flash control 160–61 crisp details 167, 180–81 lighting 123
fill-flash 154–55 reframing exposure correction tools white balance 145
holding the camera 29 and Auto Exposure Lock 171 see also black-and-white
lighting 123 button 139 filters 180 conversion
Live View 112 depth of field 46–47, 93 over-sharpening signs 181 Single-shot Autofocus (AF)
low light and red-eye 150 and focusing, Autofocus (AF) panning for sharpness 63, 89, 185
red-eye reduction 150, 154, 92–93 72–73 see also Autofocus (AF)
159 landscape and outdoor Shutter Priority mode 50–51, Skylight filter, and haze 56
shadows 123 photography 109 62–65, 185 Sony, HDR imaging 85
shallow depth of field 58–59 wide-angle lens 109 Automatic Exposure Sports mode 48–49
telephoto lens 58–59, 103, see also framing Bracketing (AEB) 82–83 sports photography
112–13 Rotate tool, cropping for camera shake and Shutter Priority mode 62–63
white balance disc 129 impact 168–69 telephoto lens 114 telephoto lens 103
zoom lens 58–59, 112–13 exposure compensation spot meter 22, 142, 144, 185
prefocus 184 80–81 see also metering patterns
S
freezing extreme movement freezing extreme movement stabilization mode, and
66 62, 66–67 panning 72
high-speed subjects, hotshoe flash 156 subject movement, freezing
focusing on 98–99 S-curve application, contrast light and shadow, exploiting 64–65
prime lens 184 173, 176 138 sunlight
angle of view 112 Scene modes 48–49, 185 movement blur 63 haze see haze
background blur 112 aperture control 49 movement blur, creating hi-speed flash 151
crop factor 112 and colour 40 moderate 68–69 lens flare, avoiding 146
lens choice 103 lighting, ambient 49 and moving subject 98 lens flare, creative use of 147
telephoto lens 112 self-timer function, camera night lights 62–63 softening, and diffuser
see also lens movement 60, 70, 134 panning for sharpness and 132–33
Program mode 50–53 Shadow/Highlight Recovery blur 63, 72–73 superzoom cameras,
Automatic Exposure tool 172, 178 silhouettes 144 anatomy of 26–27
Bracketing (AEB) 82–83 shadows sports photography 62–63
camera shake and adjustment and Levels tool and subject movement 64
T
telephoto lens 114 141 telephoto lens 63
exposure compensation background, wireless flash water 62–63
80–81 control 161 wildlife photography 62–63
exposure pairing 52–53 Curves tool adjustment 172 wireless flash control 160–61 telephoto lens 185
hotshoe flash 156 and diffuser 130, 131, 133 shutter speed 45, 185 Autofocus (AF) 115
silhouettes 144 exposure correction tools Aperture Priority mode 110 camera shake 114
wireless flash control 160–61 170 and Autofocus (AF) point 91 close-ups 113
and fill-flash 155 fast, and hi-speed flash 151 distant subjects 114–15
filled, wireless flash control flash at night 158 freezing extreme movement
R
161 flash sync speeds 153, 160 66
hotshoe flash 156 flash synchronization 152 holding the camera 29
landscape and outdoor freezing movement 46–47 image stabilization 63, 103,
Raw format 40–41, 184 photography 123 LCD screen key 23 107, 114
red-eye 184–85 and lighting 123 and movement blur 46–47, macro lens as 103
flash 150, 159 and lighting, exploiting 57, 65 perspective 115
reduction 150, 154, 159 contrast 138–39 Scene modes 49 portraits 58–59, 103,
reflector 37 portraits 123 viewfinder 22 112–13
INDE X 191
V
prime lens 112 landscape and outdoor
Shutter Priority mode 63 photography 102,
shutter speed 114 108–09
tripod 103, 107, 138 viewfinder 22, 25 lens hood 108
see also lens viewpoint and perspective 111
toning images 178–79 focusing and reframing 93 reframing 109
black-and-white conversion silhouettes 144, 145 and viewpoint 111
178–79 and wide-angle lens 111 see also lens
midtones, exposure see also angle of view; wildlife photography
compensation 80–81, perspective eyes, focusing on 115
184 macro lens 103
tonal range, histogram red-eye at night, avoiding
W
reading 78–79, 140 150
tone-mapping 84 sharpening detail 180–81
traffic, light trails 63 Shutter Priority mode 62–63
tripod 15 water, Shutter Priority mode telephoto lens 103
anatomy 34 62–63 see also landscape and
architecture photography white balance 125, 185 outdoor photography;
138 Auto Exposure 125 natural world
Automatic Exposure Automatic White Balance wireless flash control 160–61
Bracketing (AEB) 82 (AWB) 125, 126, 182
ball-and-socket head 35 clouds 125
Z
close-ups 60–61 Cloudy setting 127
flash at night 158 colour cast 126, 128, 174, 182
and framing 140 colour temperature 125, zoom lens 185
heads anatomy 35 182, 183 close-ups 60–61
indoor photography 110, creative effects 127 freezing extreme movement
136 custom setting 128–29 66
landscape and outdoor daylight 125, 127 holding the camera 29
photography 108, 109, disc 129 portraits 58–59, 112–13
134 flash 125 superzoom and camera
light painting 162 grey card test 128, 142 shake 107
macro lens and camera shake Incandescent White Balance see also lens
118 outdoors 127
movement blur, creating LCD screen key 23
extreme 70 and light changes 129
movement blur, creating low light indoors 136
moderate 68 painting with light 162
pan-and-tilt head 35 Program mode 52–53
quick-release plates 35 Raw files 40
telephoto lens 103, 107, 138 selection 126–27
tungsten bulb 124, 125, 127 shadows 125
silhouettes 145
tungsten bulb 125, 127
U
viewfinder 22
wide-angle lens 185
barrel distortion 109, 110,
underexposure 185 182
histogram reading 78–79 close-ups 102
testing for 80 depth of field 102
see also exposure fisheye 105
Unsharp Mask tool 180 indoor photography 102,
UV filter, and haze 56 110–11
192 ACKNOWLEDGMENTS
ACKNOWLEDGMENTS
DK would like to thank:
Gerard Brown and John Munro for the photography and Thomas Morse for retouching. Many thanks
also to our models: Rhiannon Carroll, Hannah Clark, Satu Fox, Joe Munro, Priscilla Nelson-Cole, John
Owen, Farmer Sharp, Duncan Turner, and Angela Wilkes (also Lotus the pug and Piper the pointer).
For their kind permission to photograph we’re very grateful to: Borough Market, Brands Hatch
Racing Circuit; The British Museum; Drusilla’s Animal Park; and Earnley Butterflies, Birds and Beasts.
The publisher would like to cr). 37 LumiQuest®: (bl, bc, br). Souders (tr); Image Source (sports); Corbis: Peter Dressel / Blend Images
thank the following for their Manfrotto: Lastolite (cr). Courtesy of Lawrence Manning (night lights); (crb); Yves Marcoux / First Light (cr);
kind permission to reproduce Nikon: (tr). Image Courtesy of Sigma Frank Krahmer (water). 67 Corbis: Jim Zuckerman (br). Getty Images:
their photographs: Imaging (UK) Ltd: (tc). 38 Crumpler: Tim Davis (tc); Radius Images (tr). 73 Iconica / Stephen Simpson (cra).
(cla). Hoya Filters: (clb, bl). LowePro Getty Images: Martin Harvey (tc). 76 124 Corbis: Blaine Harrington III
(Key: a-above; b-below/bottom; / DayMen International Limited: Corbis: Tim Graham (bl); Reed (candlelight); Radius Images (clear
c-centre; f-far; l-left; r-right; t-top) (fcla). Manfrotto: Manfrotto Bags / Kaestner (br). 77 Corbis: Kent & skylight); Sara Wight (overcast sky);
KATA (cra). Peli Cases: (fcra). 39 Charlene Krone / SuperStock (br); Myopia (midday). Getty Images:
2 Corbis: Staffan Andersson / Johnér Courtesy of Canon (UK) Ltd: (fcr). Hugh Sitton (cr). Getty Images: OJO Images / Le Club Symphonie
Images. 3 Corbis: (cl). 4-5 Corbis: Courtesy of Nikon: (cr). SanDisk Photodisc / Dennis Flaherty (tr). 78 (sunset). 127 Corbis: Julian Calverley
Guido Cozzi / Atlantide Phototravel. Corporation: (tc, tr). Sony Corbis: Rudy Sulgan (cl, c, cr). 79 (tr); Jeremy Woodhouse / Blend
6 Corbis: Nabiha Dahhan / Corporation: (ftr). 40 Getty Images: Corbis: Roy Hsu (cl); Frank Lukasseck Images (tc). 134–135 Andy Mitchell
Westend61 (tl); Yves Marcoux / First Taxi Japan / Ryuichi Sato (c). 42-43 (cr). Getty Images: Photonica / Geir and Joe Munro.139 Getty Images:
Light (tc). Getty Images: The Image Getty Images: Photodisc / Arthur S. Pettersen (c). 84–85 Chris Gatcum. Photographer’s Choice / Richard
Bank / Peter Adams (tr). 7 Corbis: Aubry. 48 Corbis: Nabiha Dahhan / 86-87 Getty Images: Ricardo Boll (tr). 143 Corbis: Daniel Smith
Imaginechina (tl). 8 Corbis: Chris Westend61 (macro/close-up / l); Cappellaro / Flickr Open. 88 Corbis. (bl). 145 Getty Images: Photonica /
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Fitzharris / Minden Pictures (cra); Morandi / Hemis (portrait / r); Phototravel (ca); Odilon Dimier / Unlimited, Inc. / Adam Jones (tl).
Tabor Gus (cb); Tim Graham (fcr). (landscape / l, landscape / r); Randy PhotoAlto (cla); Jon Hicks (cra). 147 Corbis: Tabor Gus (cr); Gerolf
Getty Images: Blend Images / JGI / Faris (child / l); Isaac Lane Koval Getty Images: Blend Images / JGI / Kalt (clb); Matt Mawson (br).
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Flickr Open (cl). 12-13 Getty Images: (sports / r); Frank Lukasseck (macro/ BLOOMimage (crb). 95 Corbis: Ted / OJO Images. 150 Corbis: Caterina
E+ / kgfoto. 14 Courtesy of Canon close-up / r). Getty Images: Riser / Levine (tr); Andrew Parkinson (tc). 99 Bernardi (cr, fcr); Tim Hall / Cultura
(UK) Ltd: (cb). Getty Images: T3 Sean Justice (child / r). 50 Corbis: Jurek Biegus: (b). Corbis: Koji Aoki / (fcl, cl). 151 Corbis: Awilli (cr). 152
Magazine (clb). Sony Corporation: Guido Cozzi / Atlantide Phototravel Aflo (tr). 100-101 Corbis: Frank Getty Images: Lane Oatey / Blue
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Corporation: (cl, cr). Panasonic: (bl, Flickr (tc). 59 Getty Images: blue jean Graham (bc, br). Getty Images: Imaginechina (cla, ca, cra, clb,
br). 25 Sony Corporation: (cl). images (cra); Imagemore Co, Ltd. Photodisc / Ursula Alter (cb, crb). cb, crb). 179 Corbis: Imaginechina
Panasonic: (bl). 26 Courtesy of (crb). 62 Corbis: Michael Durham / Tamron Co. Ltd: (tr). 113 Getty (b, cra, tl).
Canon (UK) Ltd: (bl, br). Courtesy of Minden Pictures (water); Michael Images: Taxi Japan / ICHIRO (tr). 115
Nikon: (cla, cra). 27 Courtesy of Truelove / Cultura (sports); Helen Corbis: George Hammerstein (bl).
Canon (UK) Ltd: (bl). Courtesy of King (night lights); James Hager / 117 Corbis: Staffan Andersson / All other images ©
Nikon: (cla). 32 Tamron Co. Ltd. 34 Robert Harding World Imagery Johnér Images (tr). Getty Images: Dorling Kindersley
Manfrotto: (r). 35 Manfrotto: (tr, bl). (wildlife). 63 Corbis: Tim Fitzharris / Digital Vision / Frank Krahmer (tc). For further information see:
36 Courtesy of Canon (UK) Ltd: (cl, Minden Pictures (wildlife); Paul 120-121 Corbis: Chris Collins. 123 www.dkimages.com

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THE

Jacket Designer Natasha Rees

Producer, Pre-production Rebekah Parsons-King

Managing Editor Stephanie Farrow

Written by Chris Gatcum

This edition published in 2016

Copyright © 2013, 2016 Dorling Kindersley Limited

All rights reserved. No part of this

A CIP catalogue record for this book

Printed and bound in China.

ABOUT WHAT’S ON THE PAGES?

THIS BOOK INTRODUCING |

camera make or model is different, you’ll ﬁnd

that most dSLRs (and many CSCs) have very

similar functions and controls.

CAMERA SETTINGS KEY

The following icons are used throughout the book to

SHOOTING MODES EXPOSURE

A 1/100 USING A WIDE-ANGLE LENS

M Manual mode WHITE BALANCE CHOOSE A LENS

METERING MODES AWB Auto

Multi-area Daylight You can minimize the effects of

Flash Camera settings Wherever you’re

104 E X PL A IN IN G | FOCAL LENGTH LENSES 1

WHAT IS ON CAMERA FISHEYE LENS

The angle of view refers to

FOR MOBILE SUBJECTS Backlit subjects are easier to ﬁnd

THE RESULT CAMERA SETTINGS CAMERA SETTINGS

Boxes Handy tip boxes The result A brief

CAMERAPHONE BASIC COMPACT ADVANCED COMPACT

FUNCTIONALITY FUNCTIONALITY FUNCTIONALITY

BRIDGE/SUPERZOOM CSC DSLR

FUNCTIONALITY FUNCTIONALITY FUNCTIONALITY

FRONT VIEW KEY

BACK VIEW KEY

1 Viewﬁnder 7 Info button 13 Playback button 19 Live View button

TOP VIEW KEY

2 Lens release button 8 Viewﬁnder 14 Movie mode/record button

3 ISO button 9 Hotshoe (for mounting a ﬂash) 15 Pop-up ﬂash

4 Shutter-release button 10 Autofocus (AF)/Drive mode button 16 Exposure compensation button

5 Control wheel 11 LCD screen

6 Mode dial 12 Metering pattern selection button

SIDE VIEW KEY

THROUGH THE VIEWFINDER

ON THE LCD SCREEN

OTHER CAMERA TYPES

COMPACT SYSTEM CAMERA (CSC)

COMPACT SYSTEM CAMERA KEY

8 Movie mode/record button

10 Exposure lock button

Control pad and camera

19 Flash PC sync socket

20 Electronic viewﬁnder (EVF)

Exposure compensation, white balance,

25 Exposure compensation dial

3 Autofocus (AF) illuminator

7 Flash ready indicator

8 Movie mode/record button

9 Scene mode selection

Control pad and camera