Metering Patterns
Most advanced D-SLR cameras, along with the automatic exposure modes, have some additional settings that can affect your exposure. The default setting on most D-SLR cameras and point-and shoot-cameras is multisegment metering. (Nikon calls it matrix metering, Canon, valuative.) This method of metering divides the image into a number of smaller areas in which the microprocessors of the camera meter the light. The camera then combines these readings with the aperture and shutter speed and produces a near perfect result in almost all cases. I would suggest you leave your camera set on matrix/evaluative metering and switch temporarily to spot metering when the situation calls for it.
Spot Metering
Spot metering is a really good setting when shooting manually. The reading is taken from a very small section in the center of the frame, sometimes as little as one percent of the total image. This is very useful, for instance, if you’re sitting in a separate light from the person you wish to photograph. Say you are sitting outside a cafe in the shade of an umbrella. You see your friend has arrived and she is standing in a shaft of sunlight. In order to expose a picture of her correctly, use spot metering. You need to set the camera to expose for the sunlight around her, notthe shade around you.
Center-weighted Metering
Center-weighted metering is more biased toward the center of the frame. Less attention is paid to the corners and edges. Personally, I don’t have a use for this function except on some cameras in which automatic flash is more reliable on this setting. Other photographers like it because this kind of metering tends to underexpose the photograph, which worked well with slide film once and, likewise, digital. As always, experiment to find the bestcombination of settings for your camera.
Handheld Meter
This is an exotic accessory for the digital photographerand is really only necessary for a professional working withadditional lighting or strobes. A handheld meter todayis often a combination of an exposure meter and a flashmeter, and is generally used as an incident light meter. Thismeans that the meter measures the light falling on the subjectrather than the light reflected off the subject, the wayyour camera does its metering. This highly accurate andprecise instrument is used by holding the meter in frontTIP:The sunny f/16 Rule:If you are attempting to make a landscape photograph without atripod, inverse the ISO in selecting your shutter speed, i.e., witha 200 ISO you would select 1/200 second at f/16.of the subject with its white dome pointing towards yourcamera. You take the reading and transfer these settings toyour camera while your camera is set in the manual mode.This system does not take into account the color or densityof your subject and produces settings suitable for a midtoned,average subject. The main use for this meter in thedigital world is when using supplementary strobes/flashes.It has the ability to measure the brightness/intensity of anon-dedicated studio flash, a capability that is not found inthe meter in the camera. This tool is essential when settingup complicated shots with studio-type lighting.
Spot Metering
Spot metering is a really good setting when shooting manually. The reading is taken from a very small section in the center of the frame, sometimes as little as one percent of the total image. This is very useful, for instance, if you’re sitting in a separate light from the person you wish to photograph. Say you are sitting outside a cafe in the shade of an umbrella. You see your friend has arrived and she is standing in a shaft of sunlight. In order to expose a picture of her correctly, use spot metering. You need to set the camera to expose for the sunlight around her, notthe shade around you.
Center-weighted Metering
Center-weighted metering is more biased toward the center of the frame. Less attention is paid to the corners and edges. Personally, I don’t have a use for this function except on some cameras in which automatic flash is more reliable on this setting. Other photographers like it because this kind of metering tends to underexpose the photograph, which worked well with slide film once and, likewise, digital. As always, experiment to find the bestcombination of settings for your camera.
Handheld Meter
This is an exotic accessory for the digital photographerand is really only necessary for a professional working withadditional lighting or strobes. A handheld meter todayis often a combination of an exposure meter and a flashmeter, and is generally used as an incident light meter. Thismeans that the meter measures the light falling on the subjectrather than the light reflected off the subject, the wayyour camera does its metering. This highly accurate andprecise instrument is used by holding the meter in frontTIP:The sunny f/16 Rule:If you are attempting to make a landscape photograph without atripod, inverse the ISO in selecting your shutter speed, i.e., witha 200 ISO you would select 1/200 second at f/16.of the subject with its white dome pointing towards yourcamera. You take the reading and transfer these settings toyour camera while your camera is set in the manual mode.This system does not take into account the color or densityof your subject and produces settings suitable for a midtoned,average subject. The main use for this meter in thedigital world is when using supplementary strobes/flashes.It has the ability to measure the brightness/intensity of anon-dedicated studio flash, a capability that is not found inthe meter in the camera. This tool is essential when settingup complicated shots with studio-type lighting.
Understanding Histograms
As you’ve heard before, one of the best things about digital cameras is the ability to review your images on the back of your camera. When I harp on about checking the exposure on your LCD screen, sometimes I hear this: “You silly old fool. In the sunlight I can hardly see
the screen. How can I possibly judge my exposure?” Most D-SLRs have the facility to display a histogram on the camera LCD screen. hereas 99 percent of photographers think a histogram is some sort of family tree, it is in fact a fairly simple bar chart. The chart illustrates
how the pixels in an image are distributed by graphing the number of pixels at each color intensity level. This shows you whether the image contains enough detail in the shadows (shown on the left side of the histogram), mid-tones (shown in the middle), and highlights (shown
on the right side) to create good overall exposure. As you get used to viewing histograms, you’ll find them a great tool for checking and double-checking your photographs, especially in adverse lighting conditions. Knowing what sort of histogram a well-exposed image produces
eliminates the chances of being fooled by an LCD screen that is not set to the correct brightness. If the histogram looks all right, it doesn’t matter whether the image looks light or dark on the screen. The truth is in the histogram. A good exercise is to take some pictures of a subject with a full range of colors and tones. Set your camera to manual exposure and expose one frame as the meter suggests. Then
take the same picture in a range of frames at half or onethird stop increments, from three stops under to three stops over. Look at the histograms of these pictures to learn how to read and understand them, taking into account how the chart varies with under- and verexposure. Very, very crudely speaking— and I may get criticized for simplifying to this degree– you’re looking for a mountain range in your histogram window that starts at one edge, finishes at the other edge, and reaches toward the top of the histogram frame. Obviously, since every picture has different content, your mountain ranges will vary.
the screen. How can I possibly judge my exposure?” Most D-SLRs have the facility to display a histogram on the camera LCD screen. hereas 99 percent of photographers think a histogram is some sort of family tree, it is in fact a fairly simple bar chart. The chart illustrates
how the pixels in an image are distributed by graphing the number of pixels at each color intensity level. This shows you whether the image contains enough detail in the shadows (shown on the left side of the histogram), mid-tones (shown in the middle), and highlights (shown
on the right side) to create good overall exposure. As you get used to viewing histograms, you’ll find them a great tool for checking and double-checking your photographs, especially in adverse lighting conditions. Knowing what sort of histogram a well-exposed image produces
eliminates the chances of being fooled by an LCD screen that is not set to the correct brightness. If the histogram looks all right, it doesn’t matter whether the image looks light or dark on the screen. The truth is in the histogram. A good exercise is to take some pictures of a subject with a full range of colors and tones. Set your camera to manual exposure and expose one frame as the meter suggests. Then
take the same picture in a range of frames at half or onethird stop increments, from three stops under to three stops over. Look at the histograms of these pictures to learn how to read and understand them, taking into account how the chart varies with under- and verexposure. Very, very crudely speaking— and I may get criticized for simplifying to this degree– you’re looking for a mountain range in your histogram window that starts at one edge, finishes at the other edge, and reaches toward the top of the histogram frame. Obviously, since every picture has different content, your mountain ranges will vary.
Autofocus
Most beginning photographers leave their autofocus function on the factory-default setting of “on all the time,” like most of the other settings on their digital cameras. To start with, and as you learn, this is just where you should leave this setting. Only when you’ve mastered the other functions and facilities of your camera should you begin to tinker with these options. Like most settings on your D-SLR, autofocus should really be referred to as automated, rather than automatic. There are many options within the menus of your camera to fine-tune the focusing. I can’t stress enough the importance of gradually learning how to use these and all the functions of your camera as you progress. Using this automated (as opposed to manual) mode does not in any way mean that you’re taking the easy option. If anything, you’re proving that you are a master of technology and that all that hard-earned cash spent on your new advanced digital camera has not been wasted. Perhaps the first autofocus function found on high-end cameras that you should learn to use right from the start is commonly known as “one-shot” or “single servo.” Use this in cases where you want to compose your picture when the subject is off-center. In your viewfinder there will be either cross hairs or AF (autofocus) points to signify the point on which the camera focuses. Point your camera
directly at the subject so that the AF point is aimed at the part of your picture that you wish to be the primary point of focus. By using this one-shot/single servo mode, the autofocus is activated as you initially depress the shutter. It will then lock into place as the camera focuses on the point you’ve chosen. Holding down the button halfway to hold the focus, you may then recompose your picture perfectly,
allowing better composition. Be aware this feature is totally unsuitable for moving subjects, because once locked in, the focus does not move until you press the shutter. Every picture you shoot will, of course, need refocusing.
There are some scenes that are unreliable in the autofocus
function. They are:
• Snowy scenes
• Wide-open blue skies
• Very low light• Extremely backlit or reflective subjectsWhen the camera is unable to focus on any pointagainst the snow or blue sky, for example, set the oneshotfunction, lock the focus on something a similardistance from the primary subject, and then recomposeyour picture.Another function, which in use is in some way similarto one-shot, is commonly known as back-button focusing.In this mode, you enable one of the function buttons onthe back of your D-SLR to activate the focusing. So beforeyou shoot, and in fact while you shoot, you can enable anddisable the focusing at will. On some advanced D-SLRswhen you combine this with the ability to manually selectone of the many focal points, you’re using the camera’sautofocus system to its full potential.Once you’ve started to master your camera, there aremany more settings that you can learn to use within theautofocus menus. These vary a lot from manufacturer tomanufacturer and take into account many different factors,sometimes even the type of picture and color of theintended photograph. So you’ll need to refer to your camerainstruction manual, which I’m absolutely sure you’llhave taken the time to read by now. No doubt you’ll needto read it again and again!The only occasion on which I would recommendmanual focus is when you are photographing throughnetting or similar screening. When photographing soccer,for example, shooting from behind the goal throughthe netting can give a dynamic and graphic effect. Thissituation will usually foil all autofocus cameras. Switchoff your autofocus when taking this kind of shot. Thiswould apply equally to taking pictures of animals behindcages at the zoo.
directly at the subject so that the AF point is aimed at the part of your picture that you wish to be the primary point of focus. By using this one-shot/single servo mode, the autofocus is activated as you initially depress the shutter. It will then lock into place as the camera focuses on the point you’ve chosen. Holding down the button halfway to hold the focus, you may then recompose your picture perfectly,
allowing better composition. Be aware this feature is totally unsuitable for moving subjects, because once locked in, the focus does not move until you press the shutter. Every picture you shoot will, of course, need refocusing.
There are some scenes that are unreliable in the autofocus
function. They are:
• Snowy scenes
• Wide-open blue skies
• Very low light• Extremely backlit or reflective subjectsWhen the camera is unable to focus on any pointagainst the snow or blue sky, for example, set the oneshotfunction, lock the focus on something a similardistance from the primary subject, and then recomposeyour picture.Another function, which in use is in some way similarto one-shot, is commonly known as back-button focusing.In this mode, you enable one of the function buttons onthe back of your D-SLR to activate the focusing. So beforeyou shoot, and in fact while you shoot, you can enable anddisable the focusing at will. On some advanced D-SLRswhen you combine this with the ability to manually selectone of the many focal points, you’re using the camera’sautofocus system to its full potential.Once you’ve started to master your camera, there aremany more settings that you can learn to use within theautofocus menus. These vary a lot from manufacturer tomanufacturer and take into account many different factors,sometimes even the type of picture and color of theintended photograph. So you’ll need to refer to your camerainstruction manual, which I’m absolutely sure you’llhave taken the time to read by now. No doubt you’ll needto read it again and again!The only occasion on which I would recommendmanual focus is when you are photographing throughnetting or similar screening. When photographing soccer,for example, shooting from behind the goal throughthe netting can give a dynamic and graphic effect. Thissituation will usually foil all autofocus cameras. Switchoff your autofocus when taking this kind of shot. Thiswould apply equally to taking pictures of animals behindcages at the zoo.
Depth of field
Depth of field is the distance between the nearest and the farthest objects in an image judged to be in acceptable focus. The focal length and the aperture of the lens you’re using and your focused distance govern your depth of field. The longer the focal length, the less the depth of field. The shorter the focal length, the more depth of field. The smaller the aperture, the greater the depth of field, other things being equal. In layman’s terms, telephoto lenses have less depth of field than wide-angle lenses, and a more powerful telephoto lens gives less depth of field. It also follows that extremely wide-angle lenses provide the most depth of field. When you see a beautiful landscape photograph hanging on a wall in a gallery, it was very likely was shot on a very small aperture (large f/stop number) to get as much depth
of field as possible. Even on a sunny day, using the smallest aperture may require a rather long shutter speed and may therefore require the use of a tripod. This can create a dilemma. For instance, you wouldideally want to use a high shutter speed for shooting action photographs. Yet the subject is traveling at speed, so a small aperture would give you more of the subject in focus, thus making it easier to get the picture sharp. Some people would just use a higher sensitivity for their sensor, thus enabling higher shutter speeds and lower apertures. But this comes at a price—and perhaps the most expensive price when it comes to photography— the all-important quality of the image. The sad fact is that as you increase the sensitivity of your sensor, the image quality can decrease. (Camera manufacturers are improving greatly in their high-ISO performance as we write this.) So now it’s decision time: You can’t have everything, so you have to choose what is most important to you. Even on the brightest day of the year, with the sun on the subject, if using 100 ISO, your exposure at 1/1000 second would be f/5.6. This would not give you much depth of field on a long telephoto lens. And if you were photographing floodlit football, you would really be in trouble. A typical exposure setting would be 1/500 second at f/2.8 at 800 ISO. When you would like as much depth of field as possible, remember that the depth of field extends farther behind the point of focus than in front of it. If you focusone third into your subject, you will know that the depth of field will extend by equal amounts before and after the point of focus. Some lenses have depth-of-field markings showing approximately how much depth of field is available at a given aperture. To give a crude example: with a 20mm lens set to f/11 and the focus set approximately 5 feet into the picture, your depth of field will extend from 2 1/2 feet to infinity. Using a 400mm lens set at f/4, your depth of field with the focus set at approximately 30 feet would be less than a foot. Remember that you can use depth of field creatively by using a wide-open aperture to isolate your subject. Your subject will stand out sharply as the rest of the image surroundingit remains pleasantly blurred. Equally, with a wide-angle lens and a small aperture, almost everything in your picture can be sharp, enabling you to fill the frame and isolate your subject in the foreground while keeping a sense of place with a sharp background. To sum up, the smaller the f-stop, the more depth of field you will get. But always remember to use a shutter speed that is suitable for your subject.
of field as possible. Even on a sunny day, using the smallest aperture may require a rather long shutter speed and may therefore require the use of a tripod. This can create a dilemma. For instance, you wouldideally want to use a high shutter speed for shooting action photographs. Yet the subject is traveling at speed, so a small aperture would give you more of the subject in focus, thus making it easier to get the picture sharp. Some people would just use a higher sensitivity for their sensor, thus enabling higher shutter speeds and lower apertures. But this comes at a price—and perhaps the most expensive price when it comes to photography— the all-important quality of the image. The sad fact is that as you increase the sensitivity of your sensor, the image quality can decrease. (Camera manufacturers are improving greatly in their high-ISO performance as we write this.) So now it’s decision time: You can’t have everything, so you have to choose what is most important to you. Even on the brightest day of the year, with the sun on the subject, if using 100 ISO, your exposure at 1/1000 second would be f/5.6. This would not give you much depth of field on a long telephoto lens. And if you were photographing floodlit football, you would really be in trouble. A typical exposure setting would be 1/500 second at f/2.8 at 800 ISO. When you would like as much depth of field as possible, remember that the depth of field extends farther behind the point of focus than in front of it. If you focusone third into your subject, you will know that the depth of field will extend by equal amounts before and after the point of focus. Some lenses have depth-of-field markings showing approximately how much depth of field is available at a given aperture. To give a crude example: with a 20mm lens set to f/11 and the focus set approximately 5 feet into the picture, your depth of field will extend from 2 1/2 feet to infinity. Using a 400mm lens set at f/4, your depth of field with the focus set at approximately 30 feet would be less than a foot. Remember that you can use depth of field creatively by using a wide-open aperture to isolate your subject. Your subject will stand out sharply as the rest of the image surroundingit remains pleasantly blurred. Equally, with a wide-angle lens and a small aperture, almost everything in your picture can be sharp, enabling you to fill the frame and isolate your subject in the foreground while keeping a sense of place with a sharp background. To sum up, the smaller the f-stop, the more depth of field you will get. But always remember to use a shutter speed that is suitable for your subject.
Composition
Unfortunately, when it comes to framing your pictures, there is no auto-composition button to come to your rescue, so this is one skill that you really will have to master. This section is about developing an “eye” for a picture. Photography is about seeing something pictorial and
recording it in an interesting and graphic way. If the subject doesn’t have the content to begin with, you can’t mysteriously add it. If the colors and shapes of the subject don’t complement each other, guidelines will not help you. They are there to help you make the most of what you see and photograph. Unless you are constantly looking and thinking, you will not get great pictures. To compose your pictures properly, in very simple terms, is to produce a pleasing picture. This is easily achieved in most cases. Sometimes it may be as simple
as turning the camera vertically to take the picture as opposed to the more commonly used landscape, or horizontal, format. The important thing is to really think about your picture and not get too bogged down in technical details. This may sound hypocritical, as the bulk of this book deals with the technical aspects of digital photography, but it’s essential to understand that the technical side is there to enable you to express your creativity. Unless you fully grasp the basics of composition, no matter how technically advanced you become, your pictures will always be lacking. To start with, be bold and fill the viewfinder with your subject. If the subject is predominantly upright, shoot
the picture vertically. If your subject lends itself to a horizontal picture, shoot it in a landscape format. In the early days of your photography, when you review your pictures at the end of the day you will be surprised to find that the subjects are much smaller in the frame than you expected. You must make sure that when you look through the viewfinder you are looking at everything that is in the viewfinder. Take into account what’s around your subject and ask yourself if it contributes to the picture you are trying to make. One of the advantages of the compact digital camera, which is lacking on nearly all D-SLRs, is the ability to use the LCD screen on the rear of your camera as a viewfinder. I find that people tend to frame their pictures far better when using the LCD, because they tend to look at the whole picture. The LCD is so small that your eye cannot wander around the frame. When you’re looking through a normal eye-level viewfinder, it’s easier for your eyes to wander and, therefore, not consider the frame as a whole. As you start to shoot more pictures and you become more accustomed to filling the frame, start making use of your zoom lens (which most digital cameras now come with) and zoom in on your subject. Don’t be afraid to shoot, for example, an extreme close-up of your friend, or your baby, or a flower. When you shoot close-up portraits, try experimenting with your framing. Your subject doesn’t always have to be in the center of the frame and looking directly at the camera. Perhaps when photographing, say, your daughter, it may be more pleasing to compose the picture with her on the left or right looking into the center of the picture. Now that you are beginning to frame your portraits, you have started to compose your pictures well. Since the time of Leonardo da Vinci, budding artists have had the rule of thirds drummed into them at art school. I personally find rules extremely boring, but I grudgingly admit that this one is actually very useful to photographers. Look through your viewfinder and mentally divide the screen into three horizontal and three vertical sections, like a tic-tac-toe grid. The points where the lines intersect are the places that your eye naturally seeks out when looking at a photograph. It’s logical, therefore, that you should try
to position your subject near one of these four focal points. When photographing a landscape, it’s also good compositional practice to place the horizon or skyline on one of these imaginary lines. At this point we must also mention that it’s important to keep your horizon straight. Failing to do so is the most common mistake when starting out. It’s a real disappointment to see a photograph in which the skyline runs downhill. Changing the angle from which you take a picture can hugely transform it. For small subjects, such as pets and babies, try to get down on their level. Lie down and look up at your one-year-old child’s first steps for a far more interesting picture. A tight portrait of your bulldog asleep on the rug is far better photographed if you are lying down on the same level. Choosing a dynamic viewpoint can help your photography and accentuate your pictures. Don’t be afraid to be radical and stand directly above the sleeping dog. This may or may not give a more interesting viewpoint; the point is to keep experimenting and looking to find the most dynamic picture. I know I sound like Polly the parrot, but keep reviewing your images on the LCD screen on the back of your digital camera. A good tip for cameras with an LCD screen that can be used as a viewfinder—if it’s the sort with a hinged, adjustable screen—is to hold the camera on the floor or above your head to gain a more dramatic viewpoint and view the image using your LCD to control your composition. This way you can sometimes achieve a viewpoint that wouldn’t be possible if you had to compose a picture through your normal viewfinder. The less agile you are, the more useful this can be. If your frame contains visible or long, continuous lines, such as roads, rivers, fences, buildings, etc., take advantage of these lines when composing your image to lead your eye into the main subject of the picture. This works particularly well when the lines originate
from the bottom corners of your photographs. A winding road, for example, leads to the old church you are photographing, or the Great Wall of China starts in the bottom corner of your frame and then leads the eye into the center of the picture. One last word on color in your composition. It’s pointless to try to apply any rules to this; it’s up to you as the photographer to see and appreciate color and the aesthetics
of different combinations. Colors can give a warm or cold feeling to a picture, reflecting our preconceived views on color. A winter scene can be enhanced by the use of blue in the picture to give that chilly feeling, for example, or a red beach umbrella on golden sand can evoke the feeling of warmth. Although it’s not usually possible to add colors to your photographs, be aware of color as you’re looking to make that award-winning picture.
recording it in an interesting and graphic way. If the subject doesn’t have the content to begin with, you can’t mysteriously add it. If the colors and shapes of the subject don’t complement each other, guidelines will not help you. They are there to help you make the most of what you see and photograph. Unless you are constantly looking and thinking, you will not get great pictures. To compose your pictures properly, in very simple terms, is to produce a pleasing picture. This is easily achieved in most cases. Sometimes it may be as simple
as turning the camera vertically to take the picture as opposed to the more commonly used landscape, or horizontal, format. The important thing is to really think about your picture and not get too bogged down in technical details. This may sound hypocritical, as the bulk of this book deals with the technical aspects of digital photography, but it’s essential to understand that the technical side is there to enable you to express your creativity. Unless you fully grasp the basics of composition, no matter how technically advanced you become, your pictures will always be lacking. To start with, be bold and fill the viewfinder with your subject. If the subject is predominantly upright, shoot
the picture vertically. If your subject lends itself to a horizontal picture, shoot it in a landscape format. In the early days of your photography, when you review your pictures at the end of the day you will be surprised to find that the subjects are much smaller in the frame than you expected. You must make sure that when you look through the viewfinder you are looking at everything that is in the viewfinder. Take into account what’s around your subject and ask yourself if it contributes to the picture you are trying to make. One of the advantages of the compact digital camera, which is lacking on nearly all D-SLRs, is the ability to use the LCD screen on the rear of your camera as a viewfinder. I find that people tend to frame their pictures far better when using the LCD, because they tend to look at the whole picture. The LCD is so small that your eye cannot wander around the frame. When you’re looking through a normal eye-level viewfinder, it’s easier for your eyes to wander and, therefore, not consider the frame as a whole. As you start to shoot more pictures and you become more accustomed to filling the frame, start making use of your zoom lens (which most digital cameras now come with) and zoom in on your subject. Don’t be afraid to shoot, for example, an extreme close-up of your friend, or your baby, or a flower. When you shoot close-up portraits, try experimenting with your framing. Your subject doesn’t always have to be in the center of the frame and looking directly at the camera. Perhaps when photographing, say, your daughter, it may be more pleasing to compose the picture with her on the left or right looking into the center of the picture. Now that you are beginning to frame your portraits, you have started to compose your pictures well. Since the time of Leonardo da Vinci, budding artists have had the rule of thirds drummed into them at art school. I personally find rules extremely boring, but I grudgingly admit that this one is actually very useful to photographers. Look through your viewfinder and mentally divide the screen into three horizontal and three vertical sections, like a tic-tac-toe grid. The points where the lines intersect are the places that your eye naturally seeks out when looking at a photograph. It’s logical, therefore, that you should try
to position your subject near one of these four focal points. When photographing a landscape, it’s also good compositional practice to place the horizon or skyline on one of these imaginary lines. At this point we must also mention that it’s important to keep your horizon straight. Failing to do so is the most common mistake when starting out. It’s a real disappointment to see a photograph in which the skyline runs downhill. Changing the angle from which you take a picture can hugely transform it. For small subjects, such as pets and babies, try to get down on their level. Lie down and look up at your one-year-old child’s first steps for a far more interesting picture. A tight portrait of your bulldog asleep on the rug is far better photographed if you are lying down on the same level. Choosing a dynamic viewpoint can help your photography and accentuate your pictures. Don’t be afraid to be radical and stand directly above the sleeping dog. This may or may not give a more interesting viewpoint; the point is to keep experimenting and looking to find the most dynamic picture. I know I sound like Polly the parrot, but keep reviewing your images on the LCD screen on the back of your digital camera. A good tip for cameras with an LCD screen that can be used as a viewfinder—if it’s the sort with a hinged, adjustable screen—is to hold the camera on the floor or above your head to gain a more dramatic viewpoint and view the image using your LCD to control your composition. This way you can sometimes achieve a viewpoint that wouldn’t be possible if you had to compose a picture through your normal viewfinder. The less agile you are, the more useful this can be. If your frame contains visible or long, continuous lines, such as roads, rivers, fences, buildings, etc., take advantage of these lines when composing your image to lead your eye into the main subject of the picture. This works particularly well when the lines originate
from the bottom corners of your photographs. A winding road, for example, leads to the old church you are photographing, or the Great Wall of China starts in the bottom corner of your frame and then leads the eye into the center of the picture. One last word on color in your composition. It’s pointless to try to apply any rules to this; it’s up to you as the photographer to see and appreciate color and the aesthetics
of different combinations. Colors can give a warm or cold feeling to a picture, reflecting our preconceived views on color. A winter scene can be enhanced by the use of blue in the picture to give that chilly feeling, for example, or a red beach umbrella on golden sand can evoke the feeling of warmth. Although it’s not usually possible to add colors to your photographs, be aware of color as you’re looking to make that award-winning picture.
Color Balance
On most digital cameras today, photographers tend to use the auto white balance (AWB) setting. For most subjects,this is fine. In some cases, however, it’s better to use some of the preset WB settings, such as sunlight, shady, fluorescent, or tungsten lighting, and match them to the existing lighting. With advanced digital cameras, you also have the facility to set a manual white balance. This is achieved by photographing a neutral gray card, using one of the options of the camera. The camera then makes an adjustment to give very accurate color. Where the light is constant, this is the best way to achieve perfect color balance with mixed or difficult lighting. A good trick I use frequently is to set the degrees Kelvin (a measurement of color) in the camera slightly warmer than the light at the time. For instance, on a normal sunny afternoon, the correct color temperature would be 5,500 degrees Kelvin. I set my camera at 6,000 degrees Kelvin, which makes the camera think the light is cooler than it really is. This gives me a pleasing, slightly warmer effect similar to shooting Fuji Velvia film. Many of today’s cameras measure the color balance through the lens. As with through-the-lens automatic exposure metering, if the subject is a predominant color or density, the camera’s automatic exposure or color balance tries to achieve a neutral effect and can be fooled. So if you were photographing a red Ferrari against a red wall when shooting on auto white balance, the camera would try to
make your picture less red. Obviously, this isn’t good. In the same way, if you shot a snowman in the snow on automatic exposure, the camera would underexpose the subject. You can preset your color balance to get a more desirable picture. You can do this by:
• Making a manual color balance reading with the camera
• Using a color temperature meter and then entering the
reading
• Using your experience and entering the color balance
in degrees Kelvin manually To sum up color balance:
• In 90 percent of cases, auto white balance, like auto
exposure, produces great results.
• In unusual or mixed lighting conditions, or with subjects
of one predominant color, try to manually set your
color balance.
• Don’t be afraid to warm your pictures up slightly by
manually setting a cooler color balance than called for
by the light.
• If you are using an advanced camera and shooting in RAW, many of the color balance adjustments can be made on the computer after you’ve taken the picture. However, don’t be lazy and rely on this to avoid making the correct settings. The more accurately you adjust yourcamera settings, the better the final result.
make your picture less red. Obviously, this isn’t good. In the same way, if you shot a snowman in the snow on automatic exposure, the camera would underexpose the subject. You can preset your color balance to get a more desirable picture. You can do this by:
• Making a manual color balance reading with the camera
• Using a color temperature meter and then entering the
reading
• Using your experience and entering the color balance
in degrees Kelvin manually To sum up color balance:
• In 90 percent of cases, auto white balance, like auto
exposure, produces great results.
• In unusual or mixed lighting conditions, or with subjects
of one predominant color, try to manually set your
color balance.
• Don’t be afraid to warm your pictures up slightly by
manually setting a cooler color balance than called for
by the light.
• If you are using an advanced camera and shooting in RAW, many of the color balance adjustments can be made on the computer after you’ve taken the picture. However, don’t be lazy and rely on this to avoid making the correct settings. The more accurately you adjust yourcamera settings, the better the final result.
The Importance Of Background
One of the most common mistakes made by amateur photographers is not thinking enough about the background. When I’m taking pictures, one of the most important elements I consider is what the background of my picture is going to be. After all, no picture can be a “great” picture without a complementary background. This does not mean always getting a neutral background, although that can be a good start. The background should not distract from the main subject of the picture, be it an action picture, portrait, or even a landscape. In many cases, it can be used to complement or add to the picture content. Just changing the angle of the picture slightly can help a lot. For instance, if you are photographing someone outside on a sunny day and the background choices are dreadful, duck down low and photograph against the best—and my favorite—background in the world: the blue sky. Equally, if the weather is bad, many great portraits have been photographed against a cloudy, dark, moody sky. Sometimes, when the background isn’t great, a good trick is to use a telephoto lens and shoot at the widest aperture. This puts your background extremely out of focus and helps your subject stand out. Also, since a telephoto
lens has a smaller angle of acceptance, this allows you to be more selective with your background. Let’s consider a familiar scenario to illustrate the importance of the background. You are taking a photograph of the bride at her wedding. By framing the church in the background, you can turn a straight, boring portrait into a much better photograph. In this case, the background is complementing the picture, not distracting or overpowering it. You must be careful not to let the background take over the picture. Remember what you’re setting out to photograph and use what’s around the subject to help with your composition and framing. It almost goes without saying that background awareness is one of the essential elements of well-composed photography. Some really good portraits are helped by the pitch-black background on which they are photographed. Some fantastic still life pictures are enhanced by the completely clear, white background on which the subject has been placed. Finally, here are a few points to bear in mind when you photograph your next family outing:
• Always, always, always think about what’s in the background.
• When taking a photograph of your sister in New York,
don’t have a skyscraper growing out of her head.
• Don’t photograph your brother at the Grand Canyon
with the horizon coming out of his ears.
• When photographing your father fishing, frame the picture
with the lake in the background—not the car parked
next to the lake.
• When photographing your aunt at her birthday party,
make sure that the illuminated exit sign in the restaurant
is not distracting your eye from the cake.
• When photographing your son’s first football match,
choose a position with the green woodland, not the ugly
sports hall, behind the action picture you intend to take.
• When sneaking a picture of your friend sunbathing on
the beach, wait until the man walking his dog behind
her has gone.
lens has a smaller angle of acceptance, this allows you to be more selective with your background. Let’s consider a familiar scenario to illustrate the importance of the background. You are taking a photograph of the bride at her wedding. By framing the church in the background, you can turn a straight, boring portrait into a much better photograph. In this case, the background is complementing the picture, not distracting or overpowering it. You must be careful not to let the background take over the picture. Remember what you’re setting out to photograph and use what’s around the subject to help with your composition and framing. It almost goes without saying that background awareness is one of the essential elements of well-composed photography. Some really good portraits are helped by the pitch-black background on which they are photographed. Some fantastic still life pictures are enhanced by the completely clear, white background on which the subject has been placed. Finally, here are a few points to bear in mind when you photograph your next family outing:
• Always, always, always think about what’s in the background.
• When taking a photograph of your sister in New York,
don’t have a skyscraper growing out of her head.
• Don’t photograph your brother at the Grand Canyon
with the horizon coming out of his ears.
• When photographing your father fishing, frame the picture
with the lake in the background—not the car parked
next to the lake.
• When photographing your aunt at her birthday party,
make sure that the illuminated exit sign in the restaurant
is not distracting your eye from the cake.
• When photographing your son’s first football match,
choose a position with the green woodland, not the ugly
sports hall, behind the action picture you intend to take.
• When sneaking a picture of your friend sunbathing on
the beach, wait until the man walking his dog behind
her has gone.
Flash Photography
At this point I should be completely honest with you: I usually don’t like flash photography. I like to use any natural light that’s available and manipulate the subject to achieve the affect I’m after. There are occasions where using flash is a useful technique, and there are a few
things we need to know about the best ways to use flash.
Flash on Camera
We’ve all seen plenty of examples of how not to use flash—pictures in which the subject is lined up against a wall and the flash casts a huge ugly shadow that overpowers the shot. If the flash is built into the camera, it’s often hard to avoid this situation, but there are a few
simple tricks that may help. Move the subject away from the background; the farther away from a surface on which a shadow can be
seen, the better the result will be. The distance between the subject and the shadow will determine not only the size of the shadow but also the hardness of the edges, so the greater the distance, the softer and less obvious the shadow will be. On some occasions where it’s not possible to achieve this separation of subject and background, a shadow behind your subject is unavoidable, and the best you can do at these times is to make the shadow as unobtrusive as possible. Take the picture from an angle that will project the shadow behind the subject’s head rather thanbehind the face, or use Bounce Flash.
Bouncing the FlashBy redirecting the light from your flash you can reflect it, orbounce it, off another surface to change the angle and qualityof the light reaching your subject. The effect of bouncingthe light produces a less directional, less harsh light thatwill result in a much softer effect with fewer shadows.A simple piece of white card can be used to changethe angle of the light from your flash by placing it onthe back of the flash unit and extending it past the faceof the flash. Adjust the angle of the flash unit to directthe light in the required direction—usually off a neutralwall or ceiling—and then onto the subject.
Diffusing the Flash
One of the biggest problems with on-camera flash is thehard light that is produced; hard light, as we have previouslydiscussed, creates hard shadows that produce unattractivepictures.We can combat this problem by diffusing or softeningthe light produced by the flash with a proprietary flashdiffuser, or we can make our own. This is as simple asplacing a white handkerchief or some tissue paper infront of the flash. The light passing through the handkerchiefor tissues will be spread out, or diffused, producingfewer shadows and a softer look, making even your greataunt’swrinkles look less noticeable.
things we need to know about the best ways to use flash.
Flash on Camera
We’ve all seen plenty of examples of how not to use flash—pictures in which the subject is lined up against a wall and the flash casts a huge ugly shadow that overpowers the shot. If the flash is built into the camera, it’s often hard to avoid this situation, but there are a few
simple tricks that may help. Move the subject away from the background; the farther away from a surface on which a shadow can be
seen, the better the result will be. The distance between the subject and the shadow will determine not only the size of the shadow but also the hardness of the edges, so the greater the distance, the softer and less obvious the shadow will be. On some occasions where it’s not possible to achieve this separation of subject and background, a shadow behind your subject is unavoidable, and the best you can do at these times is to make the shadow as unobtrusive as possible. Take the picture from an angle that will project the shadow behind the subject’s head rather thanbehind the face, or use Bounce Flash.
Bouncing the FlashBy redirecting the light from your flash you can reflect it, orbounce it, off another surface to change the angle and qualityof the light reaching your subject. The effect of bouncingthe light produces a less directional, less harsh light thatwill result in a much softer effect with fewer shadows.A simple piece of white card can be used to changethe angle of the light from your flash by placing it onthe back of the flash unit and extending it past the faceof the flash. Adjust the angle of the flash unit to directthe light in the required direction—usually off a neutralwall or ceiling—and then onto the subject.
Diffusing the Flash
One of the biggest problems with on-camera flash is thehard light that is produced; hard light, as we have previouslydiscussed, creates hard shadows that produce unattractivepictures.We can combat this problem by diffusing or softeningthe light produced by the flash with a proprietary flashdiffuser, or we can make our own. This is as simple asplacing a white handkerchief or some tissue paper infront of the flash. The light passing through the handkerchiefor tissues will be spread out, or diffused, producingfewer shadows and a softer look, making even your greataunt’swrinkles look less noticeable.
Quality of light
People often ask me, “What is the best time to take photos?” This is a question that doesn’t really have one answer; there are many opinions. However, I do believe that being able to identify what lighting conditions will prevail at different times of day—and how to use these different lighting conditions—is one of the great skills in photography. The optimal times for photography are usually late in
the afternoon or early in the morning. Even though the position of the sun is low in the sky during both times of day, the process of photosynthesis creates a very different color palette in each. Photosynthesis is the chemical process that keeps leaves and grass green in reaction to the sun. But particles of dust in the air also react to the sunlight, becoming a darker color rather than invisible, as they are in the morning. Early morning light is a very clean, white light that provides crisp vibrant colors. Late afternoon or early evening brings a warmer, softer light. And the low angle of the sun in both situations casts long, strong shadows. The nature of the late afternoon light—a warm soft light, diffused and softened—makes it an ideal time to shoot against the light. Placing the sun behind your subject and using a reflector or a little fill flash, you can produce portraits with a surrounding golden glow that gives an almost ethereal effect. A good way to discover for yourself the effect of light at different times of day is to go to a local scenic spot in the early morning and shoot some pictures. Take the exact same picture at midday, and then again in the evening. Compare the pictures and you will see for yourself how
the light changes at different times of day. My least favorite time of the day for shooting is midday. The sun is at its highest so it creates deep, sharp shadows that you need to control. Again, fill flash or a couple of reflectors can help manage the shadows created by high, harsh light. Wet and overcast days can also make for visually arresting images if used well. A rocky coastline with crashing waves can be spectacular with menacing, cloudy, gray skies as a backdrop. A person looking through a rain-streaked window can evoke many different feelings. Immediately after a thunderstorm, I love the light that streaks through the blackened clouds as they move away. Those streaks
of light can illuminate the landscape like large spotlights. Light is essential for photography, and learning how light behaves at different times of day, and indeed, at different times of the year, is a skill that one must master to be a successful photographer. Here are some basic tips, in summary:
• In the early morning, when the sun is still low in the sky, the light is clean and white. This is a good time for landscape photography because the extra length of the shadows adds a three-dimensional effect to your pictures.
• At high noon, when the sun is directly above, the shadows are short and deep and the light can be very contrasty. Portrait photography is especially difficult because you must employ a fill flash or reflectors to soften the effect of the shadows.
• Late afternoon brings a warm diffused light with long soft shadows. It is an ideal time of day for most kinds of photography.
• Light is dynamic. Plan your photography around the light if possible. If you see a picture but the light is too harsh, wait an hour to see if conditions improve. They probably will, and so will your picture.
• “Good” weather doesn’t necessarily equate to good light. Overcast days soften light nicely and reduce its contrast while storms can create rare, surreal effects that can transform an otherwise normal scene
the afternoon or early in the morning. Even though the position of the sun is low in the sky during both times of day, the process of photosynthesis creates a very different color palette in each. Photosynthesis is the chemical process that keeps leaves and grass green in reaction to the sun. But particles of dust in the air also react to the sunlight, becoming a darker color rather than invisible, as they are in the morning. Early morning light is a very clean, white light that provides crisp vibrant colors. Late afternoon or early evening brings a warmer, softer light. And the low angle of the sun in both situations casts long, strong shadows. The nature of the late afternoon light—a warm soft light, diffused and softened—makes it an ideal time to shoot against the light. Placing the sun behind your subject and using a reflector or a little fill flash, you can produce portraits with a surrounding golden glow that gives an almost ethereal effect. A good way to discover for yourself the effect of light at different times of day is to go to a local scenic spot in the early morning and shoot some pictures. Take the exact same picture at midday, and then again in the evening. Compare the pictures and you will see for yourself how
the light changes at different times of day. My least favorite time of the day for shooting is midday. The sun is at its highest so it creates deep, sharp shadows that you need to control. Again, fill flash or a couple of reflectors can help manage the shadows created by high, harsh light. Wet and overcast days can also make for visually arresting images if used well. A rocky coastline with crashing waves can be spectacular with menacing, cloudy, gray skies as a backdrop. A person looking through a rain-streaked window can evoke many different feelings. Immediately after a thunderstorm, I love the light that streaks through the blackened clouds as they move away. Those streaks
of light can illuminate the landscape like large spotlights. Light is essential for photography, and learning how light behaves at different times of day, and indeed, at different times of the year, is a skill that one must master to be a successful photographer. Here are some basic tips, in summary:
• In the early morning, when the sun is still low in the sky, the light is clean and white. This is a good time for landscape photography because the extra length of the shadows adds a three-dimensional effect to your pictures.
• At high noon, when the sun is directly above, the shadows are short and deep and the light can be very contrasty. Portrait photography is especially difficult because you must employ a fill flash or reflectors to soften the effect of the shadows.
• Late afternoon brings a warm diffused light with long soft shadows. It is an ideal time of day for most kinds of photography.
• Light is dynamic. Plan your photography around the light if possible. If you see a picture but the light is too harsh, wait an hour to see if conditions improve. They probably will, and so will your picture.
• “Good” weather doesn’t necessarily equate to good light. Overcast days soften light nicely and reduce its contrast while storms can create rare, surreal effects that can transform an otherwise normal scene
