Teach Yourself Photography

220 PAGES OF EXPERT PHOTO ADVICE
The all-in-one beginners course to using your D-SLR
LEARN ALL THESE THINGS:

How to use the key controls of your D-SLR
Improve your pictures in simple steps
Get to grips with lenses and accessories
Take photos that youll be really proud of
PMZ42
2014
Welcome to your
digital edition
Three easy ways to read this digital book
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to zoom
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to turn over
Compared with camera phones and compact

cameras, modern D-SLRs can seem terribly
over-complicated to the novice photographer.
The truth is, they have to be over-complicated
to satisfy the needs of a diverse range of users,
despite the fact that most photographers will
only use a small percentage of the features on
their cameras on a regular basis. What the
beginner photographer really needs, then, is a no-nonsense guide
to the most important features on D-SLRs written by experts that
reveals in plain English exactly what they need to know and
nothing more. This is that book.
Teach yourself Photography explains all the photography concepts
beginners need to know, such as how to balance exposures, how to
get sharp shots, and how to maximise image quality.
Once youve mastered these basics, you can then move on to
our more advanced skills section at the end of the book featuring
26 practical how-to guides for shooting almost any subject written
by seasoned pro photographer Mark Hamblin.
We hope you enjoy learning with this guide. Because
you bought this book wed also like to offer you a 40%
discount off our 40-part Teach yourself Photography
interactive DVD training course. To claim the
discount, use the voucher code MFMDVD at
www.myfavouritemagazines.co.uk/photo
Chris George, Series Editor
Teach yourself Photography
Future Publishing Limited

Quay House, The Ambury, Bath BA1 1UA
www.digitalcameraworld.com
Series Editor
Operations Editor
Design
Disc Editor
Editorial contributors
Chris George
Steven Raynes
Chris Hedley, Simon Middleweek,
Martin Parfitt
Ali Jennings
Claire Gillo, Mark Hamblin,
Hollie Latham, James Paterson
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Chris George
Simon Middleweek
Nial Ferguson
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CHAPTER 7
CHAPTER 1
Set up your camera
Get your new digital SLR camera out of the box ..................... 8
A guide to digital camera batteries............................................12
Memory cards for digital cameras explained.........................15
How to fit a lens to your camera .................................................18
A guided tour of your digital SLR camera ...............................20
24
A guide to your cameras menu system .................................26

Learn how to hold your SLR correctly .....................................28
Discover how to zoom and focus a lens ..................................32
Learn how to take your first photo............................................36
Transfer images from camera to computer ..........................38
40
Learn the different ways of framing .........................................42

Automatic shooting modes .......................................................44
Stay sharp with autofocus..........................................................46
Maximise your picture quality ...................................................48
Review your photos on screen ..................................................50
CHAPTER 4
Capture stunning creative portraits
52
A guide to your SLRs Scene modes........................................54

Produce picture-perfect portraits............................................58
Discover how to blur a background .........................................66
Use autofocus points for sharper shots..................................68
Get natural lighting right..............................................................70
CHAPTER 5
Shoot inspiring landscapes
72
Master landscape composition ................................................ 74

Make the most of natural light ...................................................84
Maximise your depth of field......................................................92
Take control of your exposures ................................................96
CHAPTER 6
Capture kids having fun
ISO explained...............................................................................126
Get supported with a tripod .....................................................128
Pop some flash light...................................................................130
White balance settings..............................................................132
Shoot light trails ..........................................................................136
Start taking control
140
Take control in Program mode................................................ 142

Get to grips with the mode dial ................................................146
The basics of exposure .............................................................150
Get to grips with manual mode ...............................................160
Which camera lens next? .........................................................164
CHAPTER 9
CHAPTER 3
Learn key features of your camera
124
CHAPTER 8
CHAPTER 2
The basics explained
Low-light tips and tricks
100
Easy home lighting .....................................................................102

Add pizzazz with camera picture styles ...............................106
How to avoid unwanted blur .....................................................110
Capture action-packed pictures ..............................................114
Fun family portrait tips ...............................................................118
Core skills
168
Be artistic at home .....................................................................170

Capture pets on the move ........................................................ 173
Capture holiday highs.................................................................174
Achieve perfect focus every time ........................................... 177
Shooting silhouettes.................................................................. 178
Master Auto ISO...........................................................................181
The light fantastic .......................................................................182
Fireworks!.....................................................................................185
Let there be light! ........................................................................186
Exposure bracketing..................................................................189
Go on a garden safari.................................................................190
Focus stacking ............................................................................193
Give your shots wings!...............................................................194
Switch focus................................................................................. 197
See in black and white ...............................................................198
Instant mono ...............................................................................201
See you on the other side ........................................................202
Metering modes ........................................................................205
Make the most of the golden hour.........................................206
Get exposure just right .............................................................209
Blur clouds with filters ...............................................................210
Capture rich blue skies ..............................................................213
Wizard wild flowers ....................................................................214
Capture the big picture.............................................................. 217
The sky at night ...........................................................................218
Seeing stars .................................................................................221

SET UP YOUR CAMERA

SET UP YOUR CAMERA
Set up your camera

We take a digital SLR camera and accessories out
of the box and show you how to set it all up
08
Get your new digital SLR

camera out of the box
Take the first steps in setting up

your digital SLR, and get familiar with the
accessories that accompany it
12
A guide to digital
camera batteries
15
Memory cards for digital

cameras explained
Learn everything you need to

know about your SLRs built-in battery and
included charger pack
We take look at the various types

of memory card so that you know which one is
right for your camera model
18
How to fit a lens

to your camera
Our easy-to-follow guide reveals all

you need to know about attaching lenses to an SLR
and removing them
20
A guided tour of your

digital SLR camera
Get to know your camera better by

understanding where all the main controls and dials
are positioned and what they are for

SET UP YOUR CAMERA
Unbox your SLR

Take the first steps in setting up your digital SLR, and
get familiar with the accessories that accompany it
ts always the same when you buy
something new as soon as you get
your new D-SLR home youll want to
start using it straight away. And thats
fine. But for the very best results its well worth
spending some time familiarising yourself with
your new camera (and its accessories) before you
start shooting. So, to ensure that you know whats
what from the outset, here well give you a quick
guide to the basics.
To take and save pictures, youll need a memory
card thats compatible with your camera, and these
arent often supplied as standard. Not sure what
to buy? Well be covering memory card types and
requirements later on.
For now though, we suggest you go and grab
your camera box and follow along with us so you
can be sure your camera is set up properly before
you head out to take pictures.
3 LENS
2 BATTERY
Your camera will be powered by a Lithium-ion
rechargeable battery, which slots neatly into
the battery compartment. Different camera
models will need a different battery type. If you
need to buy a spare, check the battery body
for the model number.
If you havent already done so, youll need to

purchase a lens. Many entry-level D-SLRs are
sold with a kit lens included in the price, and
this is a good way to get started. A standard
zoom lens, such as an 18-55mm model, is
perfect for beginners, and you can invest in
more flexible (and expensive) lenses as your
photography progresses.
1 USB CABLE
The USB cable enables you to connect your
camera directly to your computer or tablet,
so you can transfer, look at, file and back up
images without the need for a card reader.
1
2

SET UP YOUR CAMERA
SOFTWARE AND MANUAL

Your cameras instruction manual might not seem the most
interesting read, but it will prove very handy if you ever
get stuck, so make sure its always in your kit bag. If youre
unsure where to find certain features or your camera is doing
something you werent expecting, the manual will most likely
provide a solution. You can also download a digital version of
your cameras manual from the manufacturers website.
Youll notice, too, that your camera comes with free
software that will help you to organise and edit your
shots, and its a good idea to install this right away. Simply
insert the disc into your computer and follow the
on-screen instructions. Keep the software running
smoothly by downloading regular updates from your
camera manufacturers website.
4 BATTERY CHARGER
The battery charger will come with a cable
that attaches to a power supply. A small LED
light will let you know when the battery is
fully charged. Its worth charging your battery
each time you return from a shoot so that
your camera is always powered up. Its worth
carrying a charged spare too.
5 MAIN CAMERA BODY

The first and most important thing is the body itself. Your camera will
arrive with a protective body cap that should always be fitted when you
dont have a lens attached. This prevents dust and dirt entering your
camera and sitting on the sensitive image sensor inside. These sensor
spots will decrease the quality of your images.
6 NECK STRAP
To hang your camera securely
around your neck, and ensure your
camera is always there and ready to
shoot, you need to attach the neck
strap (see our step-by-step guide
on the next page to find out how).
4
6
10

SET UP YOUR CAMERA
Fit the camera strap

Attach the neck strap supplied with your D-SLR to the body
of the camera securely with our step-by-step guide
Lay out the strap
Take the strap out of the box

and lay it down on a flat surface
in front of the camera body. Make
sure the writing on the strap is facing
upwards and is the right way around.
Place in the loop
Grab the small end of the strap

and thread it underneath and
through the bar on the side of the
camera body. Pull about 10cms of the
strap through.
Adjust the buckle
Now grip the plastic buckle

and pull out a few inches of
the strap to make a loop. The next
step can be a bit fiddly, so ensure you
pull out enough slack now to make
the next stage easier.

SET UP YOUR CAMERA
Pull it tight
Carefully thread the end of the

strap up and down through
the buckle so that it locks into place
(see the image). You can now pull the
strap tight.
Repeat the process
Repeat this process on the

other side and give each side a
firm pull to test its secure. You can
now hang your camera around your
neck knowing its fully protected.
Some photographers prefer to wrap
the strap around their wrist and grip
the camera in the hand.
STRAP IN PLACE
11
12

SET UP YOUR CAMERA
Power up!
Learn everything you need to know about your
SLRs built-in battery and included charger pack
efore you even think about
delving into your cameras
endless menus and features,
youll need to charge the
battery and insert it. Each camera is
supplied with a battery and charger in
the box, and your battery will be a
Lithium-ion rechargeable type.
Some older D-SLRs still take AA
batteries, but the modern Lithiumion batteries supplied with the vast
majority of new cameras last far longer,
and are easier to recharge. To charge
the battery, simply insert it into the
charger slot, plug in the charger, and
switch on the power.
The battery is the lifeline to
your D-SLR. Unlike film cameras,
where everything could be controlled
manually, digital cameras need
batteries to power everything from the
on switch to the autofocus.
So, before you get started, heres
how to get the best out of your
rechargeable battery.
HOW DO I KNOW WHEN

THE BATTERY IS FULLY
CHARGED?
Your charger will have an indicator
light that changes colour or stops
flashing when your battery is full.
HOW DO I KNOW HOW MUCH

CHARGE IS LEFT IN MY
BATTERY?
Your cameras LCD screen will feature
a battery icon that lets you know at a
glance how much juice is left. When
power gets really low it will start
flashing. Some D-SLRs also include
a top panel LCD with a small
battery icon in the corner.

SET UP YOUR CAMERA
FIVE WAYS TO MAKE YOUR

BATTERY LAST LONGER
Keep it warm
Your batterys power will

drain much faster in the cold,
so keep it (and any spares) as
warm as possible. Carry multiple
batteries when shooting in freezing
temperatures, and keep your spares
in a pocket next to your body.
HOW DO I INSERT THE BATTERY

INTO MY CAMERA?
Theres a battery slot on the bottom of your camera. To
open it you need to flick the safety catch and lift the door.
Carefully insert the battery with the connection points
facing down and it will click into place. Your battery will only
fit into your camera one way, so dont force it!
HOW DO I KNOW WHAT TYPE

MY BATTERY IS?
Check the battery body for details
of the type. Every battery includes a
code. A Canon battery, for example,
will start with the letters LP, and Nikon
batteries with the letters EN. The
battery for the Canon EOS 1100D is
called an LP-E10.
Avoid draining
features
Get a spare
There are some functions that

will drain your battery faster than
others. Live View, autofocus, pop-up
flash and image review will all use
up power. If youre running low on
battery life, resist the temptation
to check your images on screen. Its
amazing how much longer you can
keep your camera going with a strict
no review policy.
A spare battery is always a

sound investment. That way
you can be sure youll never get
caught without power as an amazing
photo opportunity presents itself.
Store your camera

and battery
separately
Use a battery grip
If you dont use your camera for

a long period of time and were
talking a couple of months or more
its best to take the battery out
and store it separately. This will
make your battery last longer.
A battery grip is essentially

an additional battery
compartment that doubles up as
a secondary grip for the camera.
This provides double the amount
of battery life, and can make the
handling of smaller cameras easier
for those with large hands. With
some cameras, the grip fits into the
empty battery compartment when
the battery door is removed; in other
cases, it connects to multiple pins
on the base of the camera. Many
models also feature an additional
shutter release button thats more
conveniently placed for portraitorientation shooting.
13
Teach yourself
Black & White

Photography
Master mono photography
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SET UP YOUR CAMERA
Memory cards for

cameras explained
We take look at the various types of memory card
so that you know which one is right for your camera
1 COMPACTFLASH
ne important item that

wont be supplied with your
D-SLR is a memory card, so
here well take a look at the
basic types of memory cards, and what
you need to know before you head out
to buy one.
A memory card is a small device
thats slotted into your camera and is
used to record and store images as you
shoot. With so many types of memory
card on the market, getting the right
one for your camera can be tricky, so to
make it easier weve split the options
into chunks. There are three things to
consider card type, size (or capacity)
and speed.
The CompactFlash (or CF) card has

the largest dimensions of all the cards
available. Youre most likely to need
a CompactFlash card if you have an
older or high-end D-SLR.
2 SD, SDHC, SDXC

This is the most common type of memory
card, used by most entry-level D-SLRs. SD,
SDHC and SDXC cards all look exactly the
same, but there are differences, which come
down to how many images they can hold (see
the Capacity box overleaf). These cards are
flat and rectangular, with one angled corner.
3 MICRO SD AND ADAPTOR

To use a Micro SD card in your D-SLR, youll
need a Micro SD card adaptor. Insert the Micro
SD card into the adaptor, then insert this into
your camera. Mini SD cards are also available,
but again youll need the right type of SD
adaptor to insert it into your camera.
15
16

SET UP YOUR CAMERA
Capacity
Discover why size matters when it
comes to memory card capacity
nce youve worked out which type
of memory card you need, youll
need to consider the capacity. The
capacity of a memory card is
measured in gigabytes (GB), and this capacity
dictates how many images or video files it can
hold. The size of each image captured by your
camera depends on the resolution of its
sensor, and the file type you choose to shoot.
As mentioned, SD, SDHC and SDXC cards all
look the same, but their capacities vary. The

advantage of using an SDHC or SDXC card,
for example, is that these can come in much
larger sizes. An SDHC card can hold up to
32GB of images, and an SDXC can store as
much as two terabytes (TB). This makes an
SDXC card ideal if you plan to shoot lots of
video footage.
CompactFlash cards also come in a range
of sizes up to 256GB, but the chances are
you wont need anything as

large as this its better to
carry several smaller cards,
anyway, so that you have
less to lose should a
single, larger card fail or
go missing. Cards with
around 8GB or 16GB of
space can be picked up
for around 20-30.
Insert the card into your camera

Bought the right card? Heres how to use it
Find the card slot
Find your cameras memory card slot. Most have a mechanism

that you push forward to make the slot spring open; some
have a catch system, where you need to push a button or twist a
catch to open it. Push the card into the slot. It will only click into
place when inserted the right way, so be careful not to damage the
cameras delicate pin connectors.
How to remove a card
There are different ways to eject a memory card, depending on

the type youre using. For an SD-type card, for example, you
simply push it inwards and allow it to spring out of the slot. To eject a
CompactFlash card, press the small button next to the card slot, then
ease it gently out. Either way, ensure you power down your camera
before you attempt to remove the card.

SET UP YOUR CAMERA
Recording in progress
When recording a fast action sequence such as this, the speed of
the memory card and your cameras processor plays a key part in
how many images you can capture in quick succession before the
cameras buffer freezes to catch up. A small red LED light will flash
while your camera is processing images. Dont switch off your
camera or eject the memory card during this time.
The need for speed

Buy a fast card for the ultimate performance
When buying memory cards, speed refers to
how quickly the card and camera can process
and record the images as you shoot. For
example, if youre recording a high-speed
action sequence or video, a fast card is a must.
The speed of your memory card is
measured in megabytes (MB) per second, and
refers to the speed at which the card can read
and write your images, that is, how fast data
can be retrieved and saved. The slowest cards
start at about 5MB/s, and anything above
30MB/s is probably fast enough. Not all cards

have their speed written on the body, and
different manufacturers use different systems.
If youre just starting out, a fast card
(which could cost considerably more than
a standard card) isnt essential. However,
theyre certainly worth the investment
should you choose to capture raw files for
maximum quality, or take an interest
in shooting action, fast-paced
sports or videos.
17
18

SET UP YOUR CAMERA
How to fit a lens

to your camera
Our easy-to-follow guide reveals all you need to know
about attaching lenses to an SLR and removing them
he beauty of owning a D-SLR is that you can
change the lens. This is one of the greatest
advantages, and makes your camera much more
versatile you can shoot up close or further away
from your subject, alter the angle of view, and get creative
with blur. And when you come to upgrade your camera, you
may still be able to carry on using the old lens.
Lenses come in a variety of shapes, sizes and prices.
Youll most likely have a standard kit lens when starting
out. Theyre often bundled with entry-level D-SLRs, which
offers a versatile focal range (18-55mm) for an affordable
price. But once you become more experienced, youll want to
experiment with the differing focal lengths of other lenses.
Although at first it may feel a bit unnatural to change your
lens, once youve done it a few times it will become

second nature to you.
Each lens make and manufacturer has an alternative
mounting system. This means you can only fit a lens with a
certain mount onto your make of camera body. If you have
a Canon camera, a Nikon lens wont fit. However, there are
a lot of third-party lenses on the market just ensure they
have the correct fitting for your camera before you buy.

SET UP YOUR CAMERA
Remove the body cap
With your camera facing downwards (to prevent dust

and dirt falling into the camera body and onto the
sensor) twist the protective body cap to remove it from the
camera. You should attach a lens or replace this cap quickly
to minimise the chances of compromising the cameras
vulnerable mirror and sensor.
Line up the dots
Youll notice two dots one on the lens and one on

the body of your camera, which youll need to line
up. If you have a Canon camera with an APS-C sensor, youll
notice two dots one red, one white. This is because Canon
produces two types of lenses for different cameras. Line up
white with white or red with red.
Remove the rear lens cap
Twist it into place
Next, remove the protective cap from the back of the

lens you want to attach. Again, try to keep this cap on
at all other times the connection points that control the
lenss autofocus system must stay clean and protected when
not in use. Place both of the removed caps back into their
boxes for safe keeping.
Once the dots are lined up, push the lens gently into
place, then twist to lock it into position (your lens
will only twist in one direction, so dont force it). Youll feel
the lens click into place. To remove the lens, press the lensrelease button on the front of the camera and twist the lens
in the opposite direction.
Top tips for lens care
Change in a bag
When you remove the lens you expose

your cameras sensor to the elements.
If youre changing your lens outdoors, make
sure you pick a sheltered spot to do it in. You
can use the inside of your camera bag to stop
the wind blowing in unwanted dust and dirt.
If in doubt, however, leave the lens on!
Protect your glass
Make sure you keep the glass end of

your lens protected by attaching a lens
cap when your cameras not in use. If youre
worried about scratching the glass, you could
invest in a UV filter, which you can leave attached in most situations. The filter size you
need will be written on your lens.
Use a lens cloth
A lens cloth is a must-have accessory.

Before you shoot, make sure you check
for rain spots or marks on your lens that could
ruin the final result. If you wipe your lens with
a sleeve or tissue, before long fine scratches
will ruin the quality of your shots. A dedicated
lens cloth will leave the front element spotless.
19
20

SET UP YOUR CAMERA
A guided tour of
your digital SLR
Get to know your camera better by understanding
where all the main controls and dials are positioned
n these pages, well give you
a guided tour of an
entry-level D-SLR, the kind
of camera youre likely to
own if youre new to SLR photography.
Of course, every make and model of
camera will vary slightly in layout, but
the basic features are all the same
(your cameras instruction manual will
tell you exactly whats where). Once
you know where all the main features
and controls are, its much easier to get
your head around how everything
works. Read on to find out more
4 LENS RELEASE
3 MIRROR AND SENSOR

When you take a photograph, the mirror
inside your camera lifts out of the way to
reveal the sensor behind it. This is where the
image is recorded.
To change your lens you need to press the

lens-release button and then gently twist the
lens itself to remove it. Depending on the make
of your camera, you may need to twist it in a
clockwise direction; others should be twisted
anti-clockwise.
1 FOCUSING LIGHT
When light levels are low, some cameras use
an assist beam or IR light to help achieve
accurate focus.
2 LENS
The lens is the cameras eye. This is where
the image is projected through to the sensor.
Make sure you keep the glass element clean
(using a soft lens cloth) and avoid accidental
damage by replacing the lens cap when the
cameras not in use.
3
2

SET UP YOUR CAMERA
The top panel

Youll find the mode dial, shutter release, pop-up flash
and hotshoe mount on top of your camera
1 POP-UP FLASH
Most entry-level D-SLRs
have a pop-up flash unit
built in. To activate it,
press the small button
next to the flash symbol.
In your cameras Auto
mode, the flash will
engage automatically
when light levels drop.
2 SHUTTER RELEASE
Here youll find the on/off switch and the
shutter-release button. To focus, half
press the shutter release; press it fully to
take the picture.
3 MODE DIAL
The mode dial features your cameras shooting modes, including Full
Auto, various Scene modes, semi-automatic and fully manual options.
Simply turn the dial to select. Some mode dials have a lock button in
the centre that you must press before you turn the dial.
1
2
4
4 HOTSHOE
The hotshoe enables you to attach an external
device to your camera, such as a flashgun or
a remote trigger.
21
22

SET UP YOUR CAMERA
Around the back

The back of the camera contains a range of viewing
options and quick-access buttons and dials
2 VIEWFINDER
1 MENU BUTTON
Use the Menu button to access your cameras
numerous features and functions.
The image seen through the lens is reflected

from the cameras internal mirror up to the
viewfinder, where you can carefully frame your
shot. This is what sets D-SLRs apart from
other cameras, because you
see exactly what the
lens sees.
3 LCD SCREEN
The LCD screen has multiple uses look at
images and menu options or get a real-time
view in Live View as you shoot. Some models
come with a vari-angled screen, so you can
twist it away from the camera body if you want
to shoot from unusual angles.
2
1
3
4 BACK PANEL
CONTROL
On the right-hand side

youll find a control
panel of sorts. Use this
to navigate around your
cameras main menu.

SET UP YOUR CAMERA
Side view
Head to the side panel of the camera to
access your cameras connection points
1 NECK STRAP
ATTACHMENT
POINTS
Thread your neck strap through
these small attachment points
so you can hang your D-SLR
securely around your neck.
2 CONNECTION
POINTS
On the side of your D-SLR,
youll find a rubber flap that
covers the cameras connection
points. These can be used to
connect your camera directly
to a computer or TV screen
for instant storage or largescreen viewing.
3 TRIPOD MOUNT
4 MEMORY CARD FLAP
Flip the camera over and youll see a small

threaded hole. This enables you to attach
your camera to a tripod. Youll also find the
battery compartment and memory card slot
here (although some are positioned on the
cameras side panel).
Insert the correct memory card and your

images will be recorded and saved as you
shoot them.
23
24

THE BASICS EXPLAINED

The basics explained

Learn how to hold your camera correctly, choose the
right lens, get images onto your computer and more
26
A guide to your cameras

menu system
28
Learn how to hold your

SLR correctly
32
Discover how to zoom

and focus a lens
Discover how to access the most

important camera settings in your SLRs menu,
and customise the features
Get it right from the start and produce

better quality results by minimising the risk of
accidental camera shake
A big advantage of SLRs is that you

can change the lens for greater flexibility heres
a quick guide to using your optic
36
Learn how to take

your first photo
38
Transfer images from

camera to computer
Learn all you need to know about

how the shutter-release button works, and start
taking inspiring photos
See your images on the big screen by

connecting and downloading them directly from
your SLR to your PC
25
26

A guide to your SLRs

menu system
Discover how to access and customise the most important
camera settings in your cameras menu system
Menu button
and controls
On the back panel of your

D-SLR, you should see a Menu
button. Press it and youll gain access
to all your cameras most useful
features and functions. Your camera
will also have a Display or Info
button, and Set or OK controls
that enable you to find and select
features. The control buttons on the
back panel (usually on the righthand side in easy reach of your right
thumb) can be used to navigate
through the menu system, making it
quick and easy to make changes to
settings on the fly.
Camera settings
or Shooting menu
Your cameras menu system

will be divided into categories how
many depends on the make of camera
you own, but the basics on a Canon
camera, for example, cover Camera
settings, Tool settings and Playback
features. On a Nikon these are
labelled as Shooting menu, Setup
menu and Playback menu. The
Camera settings menu can be used
to alter things like Image Quality
and flash control.

Tool settings
or Setup menu
Time and date
The yellow Tools menu on

a Canon, or the Setup menu on a
Nikon, enables you to change settings
such as the LCD screens brightness,
and to format your memory card
(permanently erasing its contents).
Its a good idea to format your
memory card as soon as you put it
into your camera, and each time you
transfer your images onto a computer
for safekeeping.
Playback settings
The Playback menu options

help you to protect your
images and enable you to print
images straight from your camera.
Some D-SLRs even have the
technology to creatively process your
image files through the Playback
menu system.
Setting the time and date

should be one of the first
things you do with your camera when
you take it out of the box. This is
because time and date information is
saved into every image file, making
it easy to search for images by date
later. You can also apply copyright
information to images here. To set
the date and time, navigate to the
yellow Tools menu on a Canon or the
Setup menu on a Nikon, then follow
the on-screen instructions.
27
28

Learn how to hold

your SLR correctly
Get it right from the start and produce better quality results
by minimising the risk of accidental camera shake
2 SHOOTING
FINGER
ou may think theres only

one way to do it, but in fact
the way you hold your
camera can have an instant
effect on the quality of the pictures
you take, and its amazing how many
photographers get it wrong. Here, well
show you how to manoeuvre the
camera, control the buttons
comfortably, and minimise the chance
of introducing the kind of camera
shake that will make it impossible to
keep your shots sharp. By placing your
feet, arms, legs and hands in the right
position, youll be amazed at how
much easier it is to get great results
plus youll really look the part!
Your D-SLR is designed to

be held in your right hand, so
your right index finger should
be used to press the shutterrelease button on the cameras
top plate.
3 EYEBROW
When the camera is lifted up to the eye, press
the viewfinder against the eyebrow, as shown.
This makes another point of contact on your
body, and instantly increases stability.
3
2
1 RIGHT HAND
4 LEFT HAND
The right hand should be used to grip the

camera body. Curl your fingers around the
cameras rubber (or textured) grip panel,
and leave your thumb free to operate the
rear controls.
Put your left hand out. Place the lens in this

hand, cupping the lens gently from below,
and the weight of the lens and camera
immediately becomes supported. You can
twist the barrel of the lens with this hand
to zoom or focus manually.

Shoot in the
portrait position
The principles for shooting in the portrait orientation
remain the same as for landscape shooting
1 RIGHT ARM
2 SHUTTER AT THE TOP
When you move the camera

around, your right arm will
immediately come up. Keep it
as steady as possible.
Turn the camera anti-clockwise so that the

shutter button is at the top, as shown. Dont turn
it the other way around, because youll get your
arms in a twist and find it much harder to shoot.
3 THUMB
With your hands and arms in this position your
thumb can be used to press the buttons on
the back panel when you want to adjust the
camera settings.
1
3
4 LEFT ARM
TUCKED IN
Keep your left arm
tucked into your body
for stability in this
position its far more
stable than it would be
pointing out to the side.
29
30

Four ways to
stay steady
Control your breathing and stance, or lean

against nearby fixtures for steadier shots
2
1 BREATHING
Breathe out as you take the photo youll
move around far more if you hold your breath.
Practise makes perfect here. Youll be amazed
at the effect that controlled breathing has on
your shots.
2 ELBOWS
If you have a surface area in front of you, lean
your elbows onto it to steady yourself.
3 ARMS
Another good way to keep your camera sturdy
is by bracing yourself against something solid
and immovable, such as a tree, wall or car.
4 LEGS
Place your feet a little apart so that youre
balanced. If youre leaning in to take a shot,
move one foot forward to create a body
position that remains stable.

Be a human tripod
If all else fails, get down on one knee
to take the weight off your feet
4 CORE STRENGTH
Try to keep the core of your body still. If youre
steady through your centre, youll find it easier
to control your legs and arms.
1 CONNECT ARM AND KNEE

Bring your arm up and place your elbow
on your knee to connect your leg and arm
together. This creates a braced position so you
dont move around.
1
2 RAISE A LEG
By coming down into a crouching position
and bringing your leg up, you can turn your
body into a human tripod that supports your
camera effectively.
4
2
3 TAKE A MAT
When shooting outdoors in this body position,
you might get a wet or dirty knee. Take a mat
or a plastic bag to kneel on so that you dont
ruin your clothes.
31
32

Lenses explained
A big advantage of digital SLRs over compact cameras is that you can change
the lens for greater flexibility heres a quick guide to using your optic
ne of the biggest advantages
of owning an SLR is that
you can change the lens,
which opens up a whole
new world of opportunities for the
creative photographer. Lenses come in
a huge array of sizes (or focal lengths)
that cover a range of viewing angles,
from super wide to very long zooms.
Whichever lens you use, it will be
made up of a few components that
work together to help you compose
the scene you see through the

viewfinder. Some lenses have a fixed
focal length, but most including the
kit lens you may have bought with
your camera enable you to zoom in.
The numbers printed on your
lens show you its focal length. Take
a standard zoom lens. At its widest
focal length it reads 18mm, but at its
furthest zoom setting it reads 55mm.
These figures may vary from lens
to lens, so yours could be 24mm at
the widest setting and 70mm when

zoomed in. Just remember, the lower
the number, the wider the view, and
the higher the number, the more you
can zoom in.
You should keep stabilisation

switched on while shooting with
the camera handheld

STEP BY STEP:
HOW TO ZOOM IN
WITH YOUR LENS
Do the twist
Put your left hand out and place

the lens in this hand. To zoom
in to a subject you need to twist the
main barrel of your lens. This is the
moving part thats situated closest to
the camera body. There are numbers
marked just above the moving barrel,
and these numbers dictate how close
or distant the lens is to your subject.
So, for example, at the widest angle,
our lens will be in this position, at a
focal length of 18mm.
Above With our 18-55mm kit lens fully zoomed out at the
widest angle (at its 18mm setting), this is the most we can fit
into the frame
Get some focus
To focus your lens you need to

twist the front ring on the lens
barrel. If youre in the manual focus
mode it moves freely. By moving it
you can select the exact point in the
image you want to make sharp. When
using autofocus theres no need to
touch the lens the camera will do
the focusing for you when you half
press the shutter release. You just
need to point the camera at the point
you would like to appear in focus.
Right If we keep the

camera in the same
position, but twist
the lens barrel to
55mm, were now
fully zoomed in, and
unless we move the
camera physically
forward, we cant
get any closer to
the subject
Your lens may also have image

stabilisation (IS) or vibration reduction
(VR) technology built in. This means
that your lens will try to compensate
for any movement created when
holding your camera to prevent blur
in the resulting images. You should
keep stabilisation switched on while
shooting with the camera handheld.
If you mount your camera onto a
tripod, however, you will need to
turn it off.
The AF/MF switch

Lenses are essential for focusing, and accurate
focusing is the key to a successful photo. Youll find
a switch on your lens that has the letters AF and MF
(or A and M) written on it. AF stands for autofocus and
M stands for manual. If you want your camera to do
the focusing for you, then move the switch to AF.
If youre shooting a subject where you want to take full
control of the focusing, use the manual setting instead.
33
34

Which lens
should you use?
Whatever subject you choose to shoot, there will
be a type of lens thats perfect for the job
LANDSCAPES
PORTRAITS
Which lens do you need?
When shooting landscapes, a wide-angle lens enables you to fit

as much of a scene as possible into the frame.
A fixed focal length lens will flatter your subject, and help you to get
creative with focus and blur. Without a zoom, however, youll need to
move yourself forwards or backwards to adjust the composition.
Whats the typical focal length?

Wide-angle lenses range from 10mm to 35mm. Remember, though,
that wide angles can make objects appear smaller in the frame, so
youll need to compose the image carefully.
CLOSE-UPS

Usually around 35mm, 50mm or 85mm. These lenses produce a highquality result, and are really lightweight.
WILDLIFE OR SPORTS
If you want to capture the detail of an object at a one-to-one ratio

or closer, a macro lens is a must.
For wildlife and spectator sports (or any other genre that requires
you to shoot from a distance), youll need a telephoto zoom.
They vary, but 100mm is a popular focal length. Macro lenses can be
quite pricey, so only invest in one if youre serious about this kind of
photography. A cheaper alternative is to buy an extension tube, which
sits between a camera body and a standard lens.
Telephoto lenses usually start at around 70mm, and go up to

around 800mm. They can be heavy and expensive, due to the
complex glass construction, but if you need that extra reach, they
are well worth the investment.
Xxxx xxxx
PhotoPlus Xxx 2011 | 167
36

Learn how to take

your first photo
Learn all you need to know about how the shutter release
button works, and start taking inspiring photos in Auto mode
nce youve familiarised yourself with your new
camera and set it up to suit the way you shoot,
youll be keen to head out and start taking
pictures. But if youre completely new to SLR
photography, its worth taking a few test shots in the comfort
of your own home before you head out into the great
outdoors. That way you can be sure that youre comfortable
with holding your camera, zooming your lens in and out, and
getting the focus right, rather than fiddling around on
Turn to Full Auto mode
Turn your camera on, and then turn the Mode dial to
the Full Auto setting (usually represented by a green,
rectangular icon or similar). In this automatic setting your
camera will control all of the settings for you. If there isnt
enough light, it will engage the pop-up flash.
Half press to focus
With your lens set to AF (autofocus) mode, half press

the shutter-release button and youll feel and hear
your lens focus automatically. Your camera will beep when
the lens has locked focus, and the active focus points will be
highlighted in red in the viewfinder.
location and missing the perfect shot. To take an image, you

need to press the shutter-release button, which is found on
the right-hand side of your camera at the front. The shape of
the camera has been designed so that you can comfortably
grip your fingers around the body and use your index finger
to press the button.
Here, well show you a straightforward way to take an
image using your cameras Full Auto shooting mode, and with
the focus mode set to automatic.
Compose the image
Now shoot!
Hover your right index finger over the shutter-release

button and bring the camera up to your eye. Look
through the viewfinder, composing your image carefully and
moving the camera around, or changing your position, until
youre happy with what you see.
In one continuous movement, press the shutterrelease down fully. In a fraction of a second the mirror
inside your camera will flip up out of the way of the sensor,
allowing light to pass through and on to the sensor. The
image will now be stored on the memory card.
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38

Transfer photos
to your computer
See your images on the big screen by connecting and
downloading them directly from your SLR to your PC
nce youve taken a few photos, dont let them
languish on your memory card. By downloading
them to your computer, you can sort, check and
edit your latest images, then save them to your
hard drive forever.
Once downloaded, you can delete the images from your
memory card, freeing up precious space so you can head out
and shoot more. It helps if you devise a filing system from
the start, so that your images are easy to find at a later date.
Try putting them in folders labelled with the date they were
taken, their subject, or even both.
There are two ways to download your images to your
computer. The first is to connect your camera to your
computer using the USB cable that came in the box. The
second is to use a memory card reader, which is the preferred,
more efficient, option for most photographers.

Download your free software
You have access to free image-editing software, which

will have come in the box with your D-SLR. To install
it, insert the CD that came with your camera and follow the
on-screen instructions. If your computer doesnt have a
CD drive, you can download the software from your camera
manufacturers website instead.
Switch on your camera
Once its connected, turn your camera on. Dont

disconnect it from your computer until youve safely
downloaded all of your image files. Your computer should
recognise your camera and open up a program that enables
you to download your images. Here, were downloading them
from a Canon camera.
Plug in your camera
Download the pictures
Your camera will be supplied with a USB connection

cable. The large end plugs into your computer, and
the small end into your camera. On the side of your D-SLR,
youll find a flap that conceals connection points for various
devices. The connection point you need will be marked with
the USB symbol.
Here, weve opted to download all of the images at

once, and wed suggest you do the same you can
sort through them or delete some once theyre on your
computer. Make a new folder on your hard drive and export
all your images into it. By naming your folder with the
date, for example your images will be easier to find later.
Use a card
reader instead
Save wear and tear on
your expensive camera
A memory card reader is a small
device that plugs into your computer
via a USB connection point. You
then simply eject your memory card
from your camera and insert it into
the correct slot on the reader. Your
computer will recognise the device,
and present you with a folder from
which you can drag your images
into a folder for safekeeping on your
computers hard drive.
39
40

LEARN KEY FEATURES OF YOUR CAMERA

Learn key features

of your camera
Discover how to use the principal features and
functions of your SLR to shoot a basic still-life image
42
Learn the different ways

of framing your photos
44
Try the automatic

shooting modes
46
Learn how to use

autofocus on your SLR
We take a closer look at your SLRs

Live View and viewfinder features to identify when
each should be used to compose images
Get started quickly by giving your

SLR control of the basic settings and letting it do
the hard work for you
The easiest way to make sure your

lens focuses accurately and get sharp pictures is to
use the autofocus setting
48
Your cameras image

quality settings explained
50
How to use Preview mode

to review your images
Discover how to adjust your cameras

image quality to ensure you get the best photos
possible in any situation
Learn how to use your SLRs Preview

mode to check your photos on the LCD as soon as
youve taken them
41
42

Learn the different

ways of framing
We take a closer look at your SLRs Live View and viewfinder features
to identify when each should be used to compose images
Viewfinder
The viewfinder is a small

eyepiece on your cameras back
panel. To use it simply pull it up to
one eye and then close the other. The
advantage of a viewfinder is that you
can eliminate distracting elements
around you and see exactly what
youre about to capture. The
disadvantage? It can be hard to get
your eye to the viewfinder when
shooting from awkward angles.
Dioptre
If you look through the

viewfinder and the image
seems blurry, dont panic. Youll
notice a small dial to the side of the
viewfinder that has a small + and control. This is called the dioptre,
and you can use it to bring the screen
into sharp focus particularly useful
if you dont have 20:20 vision. This
adjustment wont affect focusing; it
simply makes it easier for you to see
what the camera sees.

Live View
But which should

you use?
Your cameras Live View

feature enables you to view
the scene in front of your lens on the
cameras rear LCD screen like you
would on a compact camera. It can
also help with accurate focusing. You
can change the screen display set-up
by pressing the Display or Info button
on the back panel most D-SLRs
have the option to include an overlay
grid on screen, for example, which can
be used to aid composition. Beware,
though, as Live View will drain your
battery, fast.
Live View button
Most D-SLRs have a Live View

button somewhere on the
camera body so you can activate the
feature without delving into the menu
system. Some models have a lever on
the top panel that you need to flick to
activate. If youre struggling to find
Live View, refer to your manual.
The choice is yours both

options come in handy in different
shooting situations. For example,
when shooting landscapes or a stilllife set-up it can be easier to use Live
View, whereas the viewfinder makes
it easier to keep up with fast action
or focus accurately on a headshot.
Live View is your only option in
Movie shooting mode, and its never
possible to use the viewfinder with
Live View activated the mirror,
which enables you to see through the
viewfinder, has to flip out of the way
for Live View to work.
43
44

Automatic
shooting modes
Get started quickly by giving your SLR control of the
basic settings and letting it do the hard work for you
hen youre ready to take a
shot youll need to decide
which shooting mode to use.
There are multiple options
including fully automatic, semi
automatic, manual and scene modes
that can be accessed via the mode dial
on your cameras top plate. Right now
the options might seem bewildering
not least because theyre represented
only by icons and letters, but well make
it easy for you.
The Full Auto mode is a good starting
point for beginners. By handing over
control of key settings to the camera,
you can concentrate on careful framing.
However, you will soon uncover its
limitations. Wed recommend you shoot
with it until you feel comfortable taking
pictures, then switch to one of the more
advanced shooting modes that we will
cover on the following pages.
Select Auto
The Full Auto mode on a camera usually appears on

the mode dial as a green rectangular icon, or something
similar. Turn the dial around to this point to activate it. Make
sure youre stood in a sturdy position with your finger
hovering over the shutter release, and your left arm tucked
tightly into your body.
Focus carefully
Make sure your lens is set to its autofocus (AF) mode.

Now your lens will take care of the focusing for you,
as long as you half press the shutter release, and youll hear
a beep when focus is achieved. In manual focus (MF) you are
in complete control simply turn the focus ring until your
subject appears sharp.

Flash light
If light levels drop when shooting in Auto mode, or

youre taking pictures indoors, the pop-up flash will
automatically engage to throw extra light on your subject.
Flash is also useful when shooting a subject with dark
shadows against a bright background, sometimes referred
to as fill-in flash, as used in the image above.
Take a different view
Now place your finger over the shutter button. Half

press the button to activate the autofocus and fully
press the button down to take the shot. Try having a go at
shooting a flower yourself, varying your angle of view, and
zooming in and out, for more creative results. You could
shoot just the centre of the flower, for example.
45
46

Stay sharp
with autofocus
Let your camera take control of the focus,
so you can concentrate on the composition
THE PROS AND

CONS OF AUTOFOCUS
Great for beginners it takes full
control of your focus setup, leaving
you free to be creative
Its very fast, and its accurate most

of the time
Your camera might not focus on the
s weve explained on the previous

pages, autofocus is brilliant for
beginners. If youre trying to master
a new SLR camera, by leaving your
camera to focus accurately on your subject, youre
left free to focus (no pun intended!) on other
things, such as positioning and composition.
You now know how to get started ensure the

switch on your lens barrel is set to AF, then
actuate focus by half-pressing the shutter-release
button and wait for the beep. As with all things,
however, there are ways to get more from this
feature, and things you should watch out for, as
we explain here.
part of the image you actually want to

be sharp it generally focuses on the
closest object
If theres not enough light, your

camera will struggle to lock on to
a focus point

Autofocus grid
Your camera has a grid of autofocus points built in
you can see them as you look through the viewfinder.
The number of focus points a camera has varies from
model to model high-end SLRs, for example, can
have up to 51, making accurate focus far easier to
achieve. In this example, our camera includes a ninepoint AF grid, and in autofocus mode the camera will
decide which of these points corresponds with the
area you want to be sharp.
Problems focusing?
If your camera is struggling to lock
focus (youll hear the autofocus
hunting backwards and forwards,
struggling to lock on), it could be
because theres not enough light.
If this is the case, your camera wont
let you fully press the shutter release
down. To fix this problem, bring in
some extra light by either shining an
external light source such as a lamp,
or moving your subject closer to
natural light.
Your lens may also struggle to
focus if its too close to the subject.
The solution? Simply move yourself

back and recompose the shot. Just
remember, if your lens cant lock
focus you wont be able to press the
shutter button down.
If you want to blur your photo on
purpose and the AF setting
wont let you, switch your
lens to its manual focus (MF)
setting and move the focus
ring with your fingers until
you get the desired effect. Just
remember to switch back to AF
when youve got your shot.
47
48

RAW VS JPEG: THE

PROS AND CONS
Shooting raw files
The files contain more data,
so you can rescue more detail
at the editing stage
You can edit raw images to
a much higher degree, without
compromising quality
Bigger file size they take
up much more space on your
memory card and computer
Unless processed, raw files
can look flat and lack contrast
and tone
Shooting JPEGs
Smaller in size than raw
files, so they take up less
memory space
Good if you dont want or
need to spend time editing
your pictures
Generally lower-quality
results after processing
Its harder to rescue image
detail from a JPEG
Maximise your
picture quality
Discover how to adjust your cameras image quality to
ensure you get the best possible photos in any situation
efore you start shooting, its worth
taking a second to think about
image quality. Your camera enables
you to select a number of different
file formats, each resulting in images with
varying file sizes, resolutions and quality
levels. Youll be able to save your images as
either JPEGs or raw files in fact, on many
cameras you can shoot both at the same time.
JPEGs are a universal file format recognised
by all computers. Theyre small, and great if
you want to quickly print or upload images to
the internet. But if you plan to process your
images in an image editor later, the quality

will deteriorate as you work, and your editing
options will be restricted.
Raw files are a little more complicated;
theyre the camera manufacturers own
format, and they contain uncompressed data.
Its essential to process these files on your
computer before you can edit them, print
them, or share them online. Most D-SLRs
come bundled with editing software that
can be installed on a computer and used to
process raw files. A raw file containing this
unprocessed data doesnt usually look quite
so good straight out of the camera, but it

will be packed with detail and offer much
more flexibility when it comes finessing or
manipulating your images on a computer. Raw
files are larger than JPEGs, so they will take
up more space on your memory card.
When youre starting out with SLR
photography its best to select the High
Quality JPEG option if youre unlikely to
spend time editing them. Youll also fit more
images on to a single memory card. As your
shooting and editing skills progress, however,
raw will guarantee better results.

How to change
the le format
To set, or change, the file format
(and therefore the image quality),
first access your cameras main
menu and navigate to the Image
Quality section. You can now
simply scroll to your desired setting
here weve selected the big L with
the smoothed curve symbol, which
stands for Large JPEG. See your
cameras manual for more about
the other file formats on offer.
Just remember that you can always

reduce your image sizes later on
the computer, but you cant
increase it if youve chosen to
shoot at a lower quality.
Raw-processing
software
If youre keen to edit your images,
then its always best to shoot in
raw after all, they contain the
maximum amount of image data,
so they look far better when
processed carefully. You should
think of the raw editing process as
similar to developing film you
take the images, then you process
the final results as you would in
the darkroom.
Your camera will come with free
raw-processing software in the box,
which youll need to install on your
computer. With this software, you
can tweak the exposure, colour,
tone, contrast and sharpness and
thats just the start.
JPEG image quality up close
High-quality JPEG
Medium-quality JPEG
Low-quality JPEG
In the high-quality example we can zoom

in much further. This is the setting wed
recommend you shoot in.
Sitting in the middle, this setting is useful

when you need to save on memory card space
but dont want to compromise too much.
You wont be able to print the low-quality

images very big, but they are adequate if you
only intend to upload to the web.
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50

Review your
photos on screen
Learn how to use your SLRs Preview mode to check
your photos on the LCD as soon as youve taken them
he beauty of digital photography, as opposed to
film, is that you can take a few images, then view
them on screen to see if youve got what you
hoped for. Not happy with what youve taken? You
can simply delete the images and try again.
To review your images, just press the playback button
this is usually marked with a play symbol on the back
panel of your camera and your images will appear. Use the
navigation keys to scroll through them one by one. You can

also access the image data, so you can see at a glance which
settings you used shutter speed, aperture, ISO etc.
Although its useful to view images as you shoot, dont
take for granted that what you see on screen is what youve
actually captured. Its always best to view your images on a
computer screen, as the colours will be more accurate and the
image much clearer to see.

Play it again
Press the playback button and the last image that you
shot will appear on screen. To scroll through all of your
captured images, use the navigation keys on your cameras
back panel control. On some D-SLRs you can use the scroll
dial to scroll through ten images at a time.
Check for sharpness
Using the back panel control, navigate around the

image to check its in focus. Make sure you zoom over
the main focus point (if its a portrait, ensure the eyes are
sharp). Once happy, you can press the zoom out button to
return to the normal view.
Zoom out for

more pictures
Your camera is capable of performing
quite a few different tasks in
playback mode. You can zoom out of
your images so you can view them
in a grid formation, for example, so
that you can assess many similar
images at once.
The more you zoom out, the
smaller the icons will become, and
the more images will fit on the
screen. This is a far quicker way to
find a single image from a whole
days shoot than checking each
picture individually.
Zoom in
Deleting images
One of the best things about having a playback feature

is that you can zoom right into the image to check
that your focus is spot-on. To do this, press the zoom button
(often represented by a magnifying glass) until you have the
magnification you want.
You have the option to delete images on your camera.

Youll find a delete button situated on the back panel.
Press the button and your camera will bring up a warning
message, double-checking that youre sure you want to
delete. Press OK to confirm.
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52

CAPTURE STUNNING CREATIVE PORTRAITS

Capture stunning
creative portraits
Learn how to compose fabulous-looking portraits and
start applying photographic effects for amazing results
54
A guide to your cameras

Scene modes
58
Produce pictureperfect portraits
66
Discover how to blur

a background
Ensure you capture great photos

by selecting the appropriate scene mode for
your subject
Follow our guide to portrait

composition and instantly take better shots of
your friends and family
Learn how to simplify your portrait

compositions with a beautiful blurred background
using a wide aperture
68
Use autofocus points

for sharper shots
70
Discover how to
light a portrait
Start taking more control of the

sharpness of your images by selecting the autofocus
points manually
The right lighting is vital for shooting

good portraits, so we reveal all you need to know
to get started
53
54

Introducing
Scene modes
Ensure you capture great photos by selecting
the appropriate scene mode for your subject
our camera boasts several
Scene modes, usually
accessed via the mode dial.
Theyre great for beginners,
because they automatically tailor your
exposure settings to get the best
possible image in a range of shooting
situations. Each mode will change the
way your camera exposes an image,
and give different kinds of image
a slightly different look by changing

colours or adding contrast.
Knowing when to use these modes
will quickly become second nature,
and gives you a degree of practical
control over exposure that will lead
to more creative shots. Theyre also
a great stepping stone to the more
advanced modes on your camera. Here,
well explain which mode does what

55
56

A guide to your
SLRs Scene modes
Get the most from any scene by selecting the
appropriate Scene mode from the mode dial
Portrait
The head icon indicates Portrait

mode. This will keep the band of
sharpness in the scene narrow, which
is ideal for isolating your subjects
against an attractive blurred
background. To use it, compose your
shot, half press the shutter-release
button to focus, then press it fully to
take your shot. As you can see, the
background here is nicely blurred.
Landscape
The next symbol on the mode

dial is a mountain, which
stands for Landscape mode. Unlike
Portrait mode, this will maximise
sharpness throughout your image, so
as much of the scene as possible is
captured in sharp focus. Landscape
mode will also boost colours and add
contrast to your image.

Sports
Night Portrait
Sports mode will set up the

camera to freeze the action
when capturing moving subjects.
Itll also change the focusing to
Continuous mode, which means
the autofocus will keep tracking the
subject as long as the shutter button
is half-pressed. This enables you to
freeze motion and get the focusing
spot-on.
Close up
Close up mode, indicated by

the flower, will set the camera
up for macro-style photography. Itll
sharpen the fine details and allow for
a larger area of focus, which is
important when shooting close-up
images like this.
In this mode your camera will

try to balance out the light
from the flash with the background
scene, so the flash pops up to light
the person in the foreground, then the
camera balances out the exposure to
record detail in the background too.
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58

Produce picture
perfect portraits
Follow our guide to portrait composition and instantly
take better shots of your friends and family
our D-SLR is the perfect
tool for composing
photographs. Its
combination of viewfinder
and lens make it much more suited to
quick and precise composition than a
point-and-shoot compact. But all the
technical knowledge and camera
controls we photographers obsess over
count for nothing unless you know
what you want to photograph, and how
to position it within the frame.
Theres never one correct way to

compose portraits, but here well give
you a few pointers that are pretty
much guaranteed to improve your
results. Over the next eight pages,
let us guide you through the basics
of good portrait composition, so you
can shoot your friends and family with
confidence. Well uncover the pitfalls
you should avoid, and where to place
your model in the frame for people
shots that really wow!

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60

The subject is slap

bang in the middle
of the frame, and
theres too much
dead space around
the edges
Top tip! Keep it clean

Watch out for background objects that might distract
from your main subject. Whenever you take a photo
of anything, its always wise to check around the
edges of the frame before you press the shutter to
make sure nothing messy is creeping in.

Top tip! Include interest

It may sound obvious, but every image should have a
main point of interest, something that draws the eye.
When shooting portraits there are a number of things
you should consider, such as what your model is
wearing, how their hair is styled, make-up and props.
Avoid heavy, patterned clothing, and make sure your
model complements the environment they are in.
Apply the
rule of thirds
Spilt the scene into nine, so you can balance the
background and your model within the frame
he rule of thirds is an effective
compositional tool that can be used
whatever genre youre shooting. In
portraiture, and in this example, by
positioning the subject off to one side and filling
the frame a little more, the composition is far
stronger than it would be if the subject were
positioned in the centre. To apply the rule of

thirds, use imaginary lines (or use the grid view
in Live View mode on your camera) to divide the
frame into three, horizontally and vertically, then
position points of interest on the points where
the lines intersect. This will create stronger, more
vibrant compositions.
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62

Top tip! Try a frame

within a frame
The frame-within-a-frame technique works
well for both landscapes and portraits,
and is a great way to ensure your image
really catches the eye. Try to find natural
frames in the environment around you that
you can use to draw the eye towards your
subject trees, walls, windows or open
doors all work well.

Frame your
masterpiece
Careful framing can transform an image from
a simple snap to a stylish showstopper
Top tip!
Where to crop
Its fine to chop into

limbs, but make
sure you crop about
half way up and not
right next to the
hands, feet or
elbows. The
close-up creates
a completely
different result. The
left eye rests a third
of the way in and
down, which really
strengthens the
whole portrait
With portraits, unless you want the

whole body in the shot, youll need
to decide what parts of the body to
include or exclude (also known as
cropping out, which can be done incamera or post-shoot).
Dont crop off at the hands or the
feet, because this will make for an
awkward composition. If you need
to lose the limbs, however, try to
crop half way between joints above
the elbows or above the knees, for
example. If you want to crop in tight
to a headshot, try cropping the top
of the head out completely, drawing
attention to the eyes. Just remember
to apply the rule of thirds (see the
previous pages).
Top tip! Leading lines

By including
what is known as
a leading line
natural or otherwise
in your frame,
you can effectively
draw the eye of
the viewer through
your image and
straight towards
your main subject.
Here, the leafy
path leads the eye
up to the model.
Always look for
elements in the
space or natural
environment youre
shooting in, such
as fences, walls,
streams and so on,
to help you do this.
Top tip! Its all

about the eyes
If your model is looking straight
into your lens, make sure their
eyes are pin sharp, as this is
the easiest way to connect the
viewer to the image. Just as
effective, though, is to ask your
model to look away from the
camera. This can be suggestive
and create narrative. If your
model is looking to the side of
the frame, include space on that
side for them to look into.
Even when the eyes arent looking

straight at the camera, here they make
the image. Note there is more space on
the right-hand side of the frame, as the
eyes are pointing in that direction
You can make an instant connection

by getting your model to look directly
into the lens
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64

What makes
it work?
Here we break a scene down into elements to help
you understand why the composition is successful
Dress to impress
Our model was dressed in a

coat and hat to complement
the autumnal scene. Think about
how your model is going to match
the environment they are in. This
is something you should consider
before you head out on a shoot.
Consider colour
The colours of the trees

create an interesting
background. Different times of
year will create different effects,
so if your shoot is out on location,
keep this in mind. If theres not
much colour in the scene in
the winter months, for example
you may want to consider
shooting in black and white.
Let there
be light
Whether youre shooting

with natural light or flash, light is
a vital part of your portrait. Here,
the sidelight created by the sun
creates a diffused glow. The model
is evenly lit and the sunlight picks
up the colours in the leaves.

Frame within
a frame
The branches of the tree

create a natural frame around the
model, and contain her within the
space. The rule of thirds has been
applied to the image, so the model
sits on the left-hand side with the
tree on the right.
Model
positioning
In this image the arms,

legs and facial expression have all
been carefully directed. Theres
movement in the body and legs
that creates the illusion of an
autumn walk. By looking straight
at the camera the model instantly
engages the viewer.
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66


Discover how to
blur a background
Learn how to simplify your portrait compositions with
a beautiful blurred background using a wide aperture
implicity is one of the keys to good portraits, and
one of the best ways to achieve this is by blurring
out busy backgrounds. Not only does this focus
attention firmly on your subject; it also gets rid of
distracting background detail and gives your portraits a
professional edge. To achieve a blurred background youll
need some parts of your image to be sharp, and others soft.
When you focus on a single point in a scene it is captured in
sharp focus, but you can also control how much of the image
Select Portrait mode
Select Portrait mode by turning your cameras mode dial

or accessing it via the menu. This mode chooses exposure settings that will capture your subject in sharp focus and
throw the background into blur. The strength of this blur will
be determined by how far your lens is zoomed in.
Step back
If youre close to your subject and using a fairly wide

zoom setting, you may need to step back to stop the
background appearing too sharp. Now you can zoom in with
your lens (using a focal length with a larger number), so the
area of sharpness will be narrower.
in front of and behind that point of focus that is recorded

sharply. This area of sharpness could be very wide, or very
narrow, and is called the depth of field.
So how do you make your subject sharp and transform the
background into attractive blur? One easy way is to use your
cameras Portrait mode, which will automatically choose an
aperture setting that will keep the area of sharpness fairly
narrow anything outside of this area will be nice and soft.
Here, well show you how its done
Too close
Add impact
Make sure you focus carefully on your model, and not

on anything in the background. If you shoot using one
of your lenss widest focal lengths (the smaller number on
your lens) youll get unflattering results and the background
wont blur enough, as in the image shown here.
Although were blurring the background, its still

important to consider how its going to appear in the
frame. For extra impact, think about how the background blur
will look. For example, bold colours or dappled light through
trees can be very pretty when thrown out of focus.
67
68

Use AF points
for sharper shots
Start taking more control of the sharpness of your
images by selecting the autofocus points manually
s weve already explained, to capture
professional-looking portraits you need to blur
the cluttered backgrounds. This focuses attention
on the person in your shot, and helps to soften
distracting background details. This means you need to
control precisely which areas of your scene are in focus, or
sharp, and which are soft.
For this reason, accurate focusing is vital. In portraits,
the subjects eyes must be sharp, but that plane of sharpness
will usually be quite narrow, so there isnt much margin for
error. By default your cameras autofocus system is set up to
snap onto objects in the centre of the frame, and often those
closest to the camera. But what if your subjects eyes and face
arent in the centre of the frame?
Left to its own devices, autofocus will snap on to the
centre of the scene, therefore throwing the eyes and face out
of focus and ruining the shot. Even if your subject is in the
centre of the frame, the central focus point will more than
likely focus on the nose because its closer to the camera.
In situations like this you need to take control of the
autofocus system, by telling the camera where to focus.
Heres how its done

Switch to P mode
To select different focus points, youll first need to

select Program mode, marked with a P on the mode
dial. This is a semi-automatic exposure mode that suggests
ideal settings, but lets you take some control perfect for
beginners looking to experiment. Now make sure your lens is
switched to AF (autofocus).
Get to the point
Each camera is different, so youll need to find the

button that enables you to bring up your focus points
on screen (refer to your manual if necessary). Set the AF grid
to its Single Point selection setting, and use the navigation
keys to move the focus point around. In this case, we want to
select the point on the right of the frame.
Do it in
Live View
You can use Live View
to do exactly the same
thing; the only difference
is you wont see the
nine-point grid, but
a white box that sits
in (and can be moved
around within) the frame.
Using the back-panel
navigation controls, move
it until it sits over the
main subject, then simply
half press the shutterrelease button to focus.
Available focus points
Now shoot!
If you look through your viewfinder youll see a faint

grid pattern with one square in the middle surrounded
by a selection of others. This is the focus grid. It allows you
to see which focus point is currently active it illuminates
when focus is achieved. You can also move the focus point
when shooting in Live View (see the box below for details).
Once youve decided which point to use, press the

shutter-release button halfway to trigger the
autofocus, and if youre happy that the lens has focused in
the right spot, press the button fully to take your shot.
Review the image on the LCD screen, zooming in to check
that the eye is perfectly sharp.
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70

Get natural
lighting right
Avoid harsh,
unflattering
shadows and
squinting eyes by
placing your model
in the shade
Avoid harsh sun and nasty shadows by

placing your model in the shade
hotographers tend to
classify light in one of two
ways: hard and soft. Hard
light comes from small
light sources a bare light bulb, for
example. If you shone the light from a
bare light bulb across your face, your
nose would cast an unsightly shadow.
But if you put a lampshade over the
bare bulb, the light would be diffused
and the shadow less harsh. The same
principle is applied to flashguns with
diffusers or studio flash units with

softboxes attached.
When the sun is shining, the
quality of light is hard just like the
bare lightbulb because it comes from
a small source, relatively speaking.
Thats not to say that the sun is small,
but because its so far away we see
it as a small spot in a big sky. Shoot
under a cloudy sky and the light is
much softer, just like the lampshadecovered bulb. Youd be forgiven for
thinking that a sunny day is best for

taking pictures of people outdoors, as
everything is bright and colourful, but
when in comes to portraits, soft light
is actually much more flattering.
Shoot under a cloudy sky and

the light is much softer, just like
a lampshade-covered bulb

STEP BY STEP:
HOW TO GET GREAT
PORTRAITS OUTDOORS
Find the right spot
Find the right location. If youre

shooting in overcast conditions
you dont need to worry about the
sun; if youre shooting on a clear
day find a shady spot. Remember
to consider the background space
behind your model. You dont want
to include anything that is distracting
in the frame.
By finding a spot like this the model is comfortable and you dont need to worry about your image being too bright
As these images
clearly show, harsh
sunlight produces
strong, ugly
shadows on the
models face
Essential settings
Get eye contact
Select your cameras Portrait

shooting mode. This will keep
your model sharp and softly blur the
background space. If you have a very
bright background, then you may
struggle to get the exposure of your
image correct. If this is the case,
move your model around until the
background doesnt look so bright.
For maximum impact, get

your model to look directly
into your lens. Keep talking, and keep
the positive feedback coming so they
feel relaxed in front of the lens.
Position the main focus point on
the eyes, and make sure your subject
doesnt squint.
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72

SHOOT INSPIRING LANDSCAPES

Shoot inspiring
landscapes
Everything you need to know to get started with
landscape photography, from composition to exposure
74
Master landscape
composition
Get to grips with the basics of

composition and start improving your own
landscape pictures
84
Make the most

of natural light
When it comes to landscapes, timing

is everything, so ensure great results by being in
the right place in the right light
92
Maximise your
depth of field
96
Take control of
your exposures
Discover how to control the focus

in your landscapes so that theyre sharp where
you want them to be
Use your cameras exposure

compensation feature to make images lighter or
darker as you shoot them
73
74

Master
landscape
composition
Get to grips with the basics of composition and
start improving your own landscape pictures
or those who love the outdoors theres
nothing better than heading out on a
landscape shoot with your D-SLR.
Landscape photography gives you the
chance to capture spectacular scenes and get back
to nature, but it can be frustrating if what you see
in front of you is not what you capture on
camera. Try and fit too much into the frame, for
example, and impressive structures can appear
very small in the final result. This is why you
have to break the scene up and consider whats
going on in the background and foreground
otherwise known as careful composition. Over

the next ten pages, well guide you through the
basics of landscape composition so that you
can improve your results in an instant. Well
show you how to apply the rule of thirds and
use simple tricks such as leading lines,
foreground interest and reflections to strengthen
the shots you take. Once youve got to grips with
the basics, the rest of your landscape
photography will fall into place. Remember, you
need to learn what works and what doesnt by
doing, then reviewing!

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76

How to use the

rule of thirds
The rule of thirds can be used in all

genres of photography, but its especially
useful for landscapes. By splitting the scene
into virtual thirds, vertically and horizontally,
you can balance the composition, carefully
positioning your main point of interest (a tree
in this example) on a point where the lines
intersect to draw the eye into the scene.
You should also aim to split the sky and
ground in this way, including either one-third
ground to two-thirds sky, or vice versa. If
youre shooting on a day with nice colours
in the sky, or there are interesting textured
clouds above, for example, it would be best to
include two-thirds of sky.
Take a tripod
A tripod is a must-have accessory for all

landscape photographers. When capturing scenic
shots youll often be shooting in low light at the start
or end of the day, or using small aperture settings to
capture as much of the scene as possible in focus,
so youll need to use a slow shutter speed, making it
impossible to get sharp shots handheld.
Using a tripod also helps you to get composition
right, as it forces you to slow down and think about how
your subject is working in the frame. The best way to get
better results is to shoot, review, tweak and then shoot
again. It may take you a few attempts to get it right, so
keep practicing.
In this image, the tree is in the centre and the sky

and ground are evenly spilt
Here, the eye is lead through the space and the

tree occupies the left-hand side. The ratio of sky
to land is also more pleasing
Apply the
rule of thirds
Split the scene into nine sections to create
a more pleasing landscape composition

How does the rule

of thirds work?
Both artists and photographers

use the rule of thirds to enhance their
compositions because it really works.
But how? If you place your main
subject slap bang in the middle of
the frame it will appear static you
create empty surrounding space that
is rarely interesting. By using the rule
of thirds, however, you use the space
more effectively and draw the eye
through the image.
Youll also find if you use the rule
of thirds to split the sky and ground
that the ratio of light (sky) and dark
(ground) is more effective. This
4
This simplistic image uses the rule of
thirds to great effect
Frame it up
When you arrive on location, have a good look

around before you even think about taking your
camera out of your bag. Take your time and consider the
space youre working with, moving around to decide on
the best vantage point to shoot from. Use your fingers
to mock up a frame so you can see what works and what
doesnt. Many photographers will return to the same
location on multiple occasions and in different lights to
get the results theyre after.
comes down to the fact that generally

we dont like to view things in equal
measures. That said, rules are made
to be broken, so experiment with
composition and see what works for
you in a given scene.
Use Live View

to compose
Live View is a great feature

thats guaranteed to help when it
comes to composition. The Live
View feature on most D-SLRs
comes with a grid overlay option
that you can use to apply the
rule of thirds. Simply line up the
horizon in the top or bottom third
and place your main subject at a
point one-third of the way in
a simple yet effective setup.
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Include interesting
foreground interest
Strengthen your compositions by including something
of intrinsic interest in the foreground of your image
Make water look

more interesting
Negative space
When shooting large areas of

water you can create the kind of
soft, milky effect used by landscape
pros simply by slowing your
shutter speed (creating a longer
exposure). This is a great way of
illustrating movement in water
whether youre shooting the sea,
waterfalls or fast-moving rivers
but also in dramatic overhead
clouds on a windy day. Its this
kind of technique that elevates
images from simple to stunning.
Weve mentioned the term

negative space, and despite
it sounding like a bad thing, and in
some cases it is, there are times when
it can be used to create an effective,
minimal result. In this monochrome
seascape, for example, weve created
movement and atmosphere by
dragging the camera across as we
opened the shutter. This works
particularly well in a coastal location
like this, where youre trying to
capture a large open space.
Add some
interest
It may seem obvious, but

placing something of interest
in the foreground of your image
really does work catching the
eye of the viewer and leading it
onwards through the frame.
Shots without foreground
interest are very boring. By
simply lowering the viewpoint
and including something in
the foreground, negative space
can be filled, and the result is far
more pleasing.
Landscape vs portrait
In landscape photography its easy

to get into the habit of shooting
everything in a landscape orientation,
that is, with your camera in its normal
shooting position. However, in some
situations youll get better, stronger results
simply by turning your camera to a portrait
orientation, as shown. Now you can capture
an entirely different view of a scene,
emphasising vertical lines and features that
lead the eye into the image.
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80

Pro landscape tricks

Nature is packed with interesting shapes, forms, patterns
and leading lines. Learn how to use them to your advantage
How low can you go?
It really helps to get down low when composing

your scenes, as this exaggerates those leading
lines and makes it possible to capture an original view
of a well-photographed scene. Try it for yourself:
take an image from eye level when standing, then get
lower to the ground and shoot again. Take the time to
experiment with viewpoints for the very best results.
Shape and form
Look for shape, form and pattern in

the landscape. There are many natural
environments where you can find such things
the beautiful patterns left in the sand when the
tide goes out, for example, or in this case simple
tracks left in a field. To capture this effectively, get
down low and use the rule of thirds to make the
image rest easy on the eye.
Include leading lines
When shooting landscapes, natural leading

lines are an effective way of drawing the eye
through the scene. Look for paths, posts, stone walls,
piers or even streams of sunlight, which can all be used
to strengthen your composition. Notice how these
examples draw the eye diagonally across the scene,
creating a more powerful result.
Which lens?
On a landscape shoot a
wide-angle lens will come in
handy. If landscape photography is
something youre keen to get into,
then a 10-20mm lens will be a wise
investment. For now though, you can

still get good results with just your
kit lens to play with shoot at the
18mm end to squeeze as much as you
can into the frame.

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82

What makes
it work?
Here we break a landscape scene down
Get the light right
This shot was taken at

twilight, the time just after
sunset but before the night
draws in. During this time the
sky has a magical blue tint thats
sure to enhance your images.
Change your view
Landscape photography is not just about heading

to the wilderness to capture vast natural vistas.
Hit the streets of any city to capture incredible urban
landscapes. When natural light starts to drop, the city
really comes to life.
Slow things down
Here, the slow shutter speed

has enabled the photographer
to turn movement into attractive
blur, creating a more interesting
space in the foreground.

Sky and water
Here, the proportion of

sky to water complies
with the rule of thirds. The
wispy clouds create interest
around the city skyline.
Lead the way
The bridge coming in from

the right really makes this
shot, cleverly leading the eye
towards Londons iconic St Pauls
cathedral in the background.
Top tip! Be reective

Reflections in the water can help enhance
what would otherwise be a large empty space.
Look for mirror crisp reflections in lakes on
a calm day that can be used to add a sense of
symmetry to the scene.
83
84


Make the most

of natural light
When it comes to landscapes, timing is everything, so ensure
great results by being in the right place in the right light!
ight is a vital part of photography,
whatever you choose to shoot, but its
especially important when shooting
landscapes. Understanding natural
lighting conditions, and being in the right place
at the right time to make the most of it, makes
the difference between an average image and
something truly spectacular.
It pays to be patient dont expect to pitch
up at a local beauty spot, fire off a few frames and
then head home. If you stand in the same spot
and take pictures all day, youll get very different

results, so youll need to do your homework.
As the sun moves across the sky it will cast
varying strengths of light, at varying angles,
illuminating the scene in front of you in many
different ways. The suns strength varies from
season to season too.
Wondering how to make the most of what
Mother Nature throws at you? Heres how to
get the best possible results out in the field,
whatever the weather
85
86

Shoot in the
golden hours
Shoot at first light or dusk for
landscape images that really wow
Make the most

of colour
To make sure you capture the

spectacular colours in the sky as
the sun rises or sets, first scout
the location in the daylight so
you can plan your composition
in advance. That way youll be
ready and raring to shoot, and are
far less likely to miss the magical
moment while you fiddle around
with camera settings. Take a
compass with you, so you know
exactly where the sun will rise
and set.
When is the
golden hour?
The golden hour happens

twice a day at sunrise and sunset,
and can provide photographers
with the best light of the day.
To be in with the best chance of
capturing it youll need to arrive
at your chosen location and get
set up at least half an hour before
or after the sunset or sunrise time
(which you can easily doublecheck online).

Shoot in diffused light
When the sun is low in the sky it creates a

diffused light that is far less harsh than that
from the midday sun, enhancing colour and making
accurate exposure far easier. The low angle of the sun
also helps to exaggerate the shape and form of the land.
Try shooting with the sun off to one side and see how
it affects the shadows and forms in front of you shoot
into the sun and youll run the risk of over- or underexposing your image.
Try twilight
Twilight also happens twice a day, just before

sunrise and just after sunset. This light is
great for cityscapes, as it creates a blue tint in the
sky that can look like moonlight. Twilight times
vary throughout the year, and change from location
to location the twilight period is shorter if youre
closer to the equator. This is because twilight ends
once the sun is 18 above or below the horizon.
87
88

Midday sun
shooting
Harsh sunlight can make exposure
tricky, but it does have benefits
Blue skies,
white clouds
In the summer and spring

months when the flowers come
into bloom, the midday light
is perfect for capturing classic
landscapes white fluffy clouds
against a blue sky are far more
interesting than a swathe of
plain blue. Look for dense fields
of flowers with a lone tree in
the foreground that you can use
to break the image up and add
essential interest.

What time of day?
In the summer months

the midday sun can create
very harsh shadows against bright
subjects. When the sun is right
above you, chances are your camera
will over-expose your image, making
it too bright. However, if you want
to shoot strong, saturated colours
this is the light for you just watch
out for exposure, and use your
cameras exposure compensation
feature to darken the image if
necessary (see page 96).
The time of year
The time of year you shoot in will make

a massive difference to the images you
take. Not only will you see varying vegetation,
but the light will have varying colours and
come from different angles too.
There is no bad time of year to head outside
and shoot, but you will need to be prepared for
the changing conditions the midday sun in
winter is much cooler and lower in the sky than
it is in summer, for example. It can be easier
to get dramatic results during the autumn
and winter months (despite the inclement
weather) the light is softer and more diffused
throughout the day, plus you dont have to
wait as long for the sun to set. Of course, this
depends on where you are in the world.
In the autumn months, daylight will produce
different results than it would in the summer,
and the landscape will contain different tones
and colours. Consider this when looking for the
perfect location
89
90

Shooting in
poor light
Light flat? Or shooting at night? Remove the colour
from the scene and start seeing in black and white
Flat light
The light on overcast, grey

days is often referred to as
flat, resulting in images that
lack tone and depth. You neednt
pack away your camera on days
like this; you simply need to
think differently. Flat light
is great for black-and-white
landscapes, and it makes it much
easier to expose your images,
as there wont be such a huge
difference between a shots dark
and light tones (in its shadows
and highlights), which can cause
problems on sunny days.
Textures in
the land
Look out for patterns and

textures in the land that you
can use to add interest to your
shots. Heavy skies with grey,
textured clouds will add drama
and atmosphere to the end result.
If the sky is not heavily textured,
include less of it in the frame and
instead concentrate more on the
form of the land.
Get creative after dark
Once the sun has set and the attractive

twilight light has disappeared, youre left with
dark skies and little light for photography. But you
neednt stop shooting; head to the country where
the sky is truly dark and experiment with light
painting instead. By setting a really slow shutter
speed 30 seconds, for example, you can illuminate
objects in the landscape with a hand torch during
the exposure, with really impressive results. A warm
white light will appear more yellow in the end result;
a blue-tinted LED torch will look much cooler.

Pack a tripod
A tripod is essential when

shooting in low light. Youll
need to use slower shutter speeds
(to compensate for the lack of light)
and smaller aperture settings (to keep
everything sharp), making it impossible
to shoot handheld. Use a remote
shutter release and make sure the legs
of your tripod are evenly spread and
secure in the ground any camera
movement during a long exposure will
result in unwanted blur.
91
92


Maximise your
depth of field
Discover how to control the focus in your landscapes
so that theyre sharp throughout the whole scene
ost landscape photographers want everything in
their images to be sharp, from the foreground
interest to the distant hills, and to do this you
need to understand depth of field. To maximise
sharpness you must extend the depth of field as far as
possible, and to do this you will need to shoot using a small
aperture setting (represented, confusingly, by a high number
f/22, for example).
One of the simplest ways to do this is to switch
your camera to its Landscape scene mode, because this
automatically chooses the setting you need to maximise
depth of field. However, this automatic setting wont allow
you any creative control over the other camera settings
Find a location
First, head out and find the right location. For a

really great image youll need a spot from where you
can capture something of interest in both the foreground
and the background. In our example, we selected a tree
in the background with this bush and thorn plant in the
foreground. There are lots of textures in the image.
changing autofocus points, for example. The semiautomatic Aperture Priority mode is a useful alternative.
In this mode you can select the aperture (f-stop) you wish
to shoot at, and the camera will select the correct shutter
speed for a decent exposure. In contrast to the Landscape
mode, however, you can also control settings such as ISO,
flash and autofocus.
When it comes to maximising sharpness, there are other
factors to consider for example, the distance between
two subjects in the scene and how close you are to the
first subject in the scene. Here, well show you how to use
Aperture Priority mode to get the very best results in your
landscape pictures.
Get some support
Mount your camera on a tripod. This means

you can ensure sharp shots. By selecting a small
aperture you will reduce the amount of light that reaches
the sensor, so the shutter speed needed to produce
a correct exposure will become longer. Slow shutter
speeds make it impossible to get sharp shots handheld.
93
94

QUICK TIP!
Make sure youre
not standing
too close to the
first subject in
the foreground
of your image.
Get too close
and youll find it
harder to keep
the background
of your image
sharp enough.
All about f-stops
An example at f/5.6
The amount of sharpness in an image is dictated by

the size of the aperture in your lens. The aperture
is set by selecting one of a number of f-stops (f/18, for
example) the higher the number, the smaller the opening.
In Aperture Priority mode you select the f-stop you wish to
use; the camera will control everything else.
Low f-stop numbers such as f/5.6 will make the

background blur if the lens focuses on an object in
the foreground, as shown here. As the hole inside the
aperture is at a wider setting, more light will hit the sensor
and the resulting shutter speed will be faster. However, at
f/5.6 we havent produced the sharpness were looking for.
Try manual focus

Instead of letting your camera do the
focusing for you, ensure accuracy by using
the manual focus setting instead. To do
this, attach your camera to a tripod, switch
your lens to its MF (or M) setting, then
engage the Live View feature on your
cameras LCD screen.
Once activated, use the magnify button
on the back of your camera to zoom into
the scene. Use the back panel control to
navigate to the point youd like to focus
on, then turn the front ring on your lens
(the focusing ring) until that point appears
sharp. Zoom back out to check that you are
happy with the result before proceeding to
capture the image.
Select Av mode
Final result at f/16
Turn the mode dial to the Aperture Priority setting

(marked with the letter A (Nikon) or Av (Canon)).
You can now change the aperture using the scroll dial
watch it change in the viewfinder display or rear LCD.
Select a high f-stop and the hole inside the lens will let in
less light, and maximise the depth of field.
The higher f-stop numbers close down the aperture

hole so more of your image appears in sharp focus.
By dialling in an aperture of f/16 the shutter speed will get
longer, but because our camera is mounted on a tripod this
doesnt matter. Now all thats left to do is focus carefully on
your main subject matter and take the shot.
LEARN PHOTOSHOP CC & LIGHTROOM THE EASY WAY!

Issue 45
December
2014
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96

Take control of
your exposures
Use your cameras exposure compensation feature
to make images lighter or darker as you shoot them
eft to its own devices, your camera
will try to guess what camera settings
it should use to correctly expose the
scene in front of it. However, its not
foolproof faced with particularly bright or dark
areas youll probably end up with images that are
too bright (over-exposed) or too dark (underexposed). This is because your cameras built-in
light meter tries to render everything as
something called a midtone (or 18% grey).
But there is a way to override your cameras
suggested exposure settings. In basic terms,
exposure compensation enables you to make an
image lighter or darker by shifting the exposure

values one way or the other very slightly. Look
through your cameras viewfinder (or on the rear
LCD) and youll see small exposure indicator
under the camera settings. You can move the
needle on this scale right or left to make the
image lighter or darker.
You can also use this feature to do what is
known as bracketing, where you take multiple
images at different exposure settings to ensure
you capture detail in a scenes shadows, midtones
and highlights, then blend the images together in
an image editor later.

97
98

Darken or lighten
your images
Master exposure compensation on your
camera for perfect exposures every time
Switch to P mode
You cannot access the exposure

compensation feature in the Full
Auto mode, so for this reason switch
your mode dial to its P (Program)
setting. This semi-automatic
shooting mode suggests settings
the camera believes to be correct
(aperture, shutter speed, ISO etc.),
but enables you to alter key settings
should you wish.
Adjust the
exposure
To alter the cameras suggested

setting, first find and press the +/exposure compensation button. With
the button held down, move the scroll
dial left or right (to make the image
darker or lighter). The needle on the
exposure indicator will move left or
right to illustrate the change.

Make the
image darker
Use a tripod
To make the image darker (by

what is known as one stop, press
and hold the exposure compensation
button and turn the dial so the needle
sits at -1 on the exposure indicator.
Reducing it by two stops (-2) will
make the image even darker). Hidden
detail in the shots highlights (the
brightest areas of the image) should
now be revealed.
Make the
image lighter
To make the image lighter you

simply turn the scroll dial the other
way. Press and hold the exposure
compensation button, then turn the
scroll dial so the needle sits at +1 on
the exposure indicator. Now when
you take your shot the shadows will
be exposed correctly (and hidden
detail will now be visible).
If you want to blend bracketed

images together to ensure
perfect exposure in tricky shooting
situations, a tripod is a must if
your images are to match up. With
your camera steady, take one image
with the needle in the centre of the
exposure indicator, then take two
more at -1 and +1.
99
100

CAPTURE KIDS HAVING FUN

Capture kids
having fun
Discover exciting ways to capture the magic of kids, from
lighting tips to adding cool effects in-camera and more
102
Easy home
lighting
You dont need fancy lights to

get great-looking results discover how to take
advantage of the light in and around your home
106
Add pizzazz with

camera picture styles
Use your cameras built-in

Monochrome picture style to capture classic
images in black and white
110
How to avoid
unwanted blur
Set up your SLR correctly to

avoid unwanted motion blur ruining shots of
fast-moving children
114
Capture action
packed pictures
118
Fun family
portrait tips
Discover how to use your SLRs

motordrive modes to ensure you never miss a
moment of the action
Use our simple techniques to get

the most from your shoot, and get great shots of
your kids that youll treasure forever
101
102


Easy home
lighting
You dont need studio lights to get great portraits.
Heres how to make the most of natural light
lthough its tempting to use your cameras
pop-up flash to illuminate your portraits, dont!
Flash will blast your subjects faces with hard,
flat light, which overpowers all the subtle
shadows that give depth and bring expressions to life, so
more often than not youre better off seeking out natural
light instead.
There will be lots of places with good, soft light around
the home, and here well show you how to find them. With
our help youll find great shooting spots both indoors and
in the garden that will make a massive difference to the
pictures you take. So lets get started!
Where? In the garden

The garden, or the local park if you dont have one,
provides you with ample shooting opportunities.
Dont shoot in the midday sun, as your model will
have harsh distracting shadows across the face.
Instead, wait until the sun is lower in the sky and
youll get lovely warm tones in the background. Put
your camera into its Portrait shooting mode, as this
will automatically choose an aperture setting that will
gently blur out distracting background detail for a
more professional result.
103
104

Light
hot spots
Places around the home where
youre almost guaranteed good
portrait opportunities
Where? Doorways
Doorways can be really good spots for soft light,
as the light is usually nice and directional,
and it can give you a moody dark
background just ask your model to
stand forward so theyre standing
in the light. You can also use the
doorway to create a natural frame
within a frame, which will help
to make your composition
more interesting.

Where?
Next to a window
One of the best places for good portraits
of children is next to a window. Get
them to stand or sit with the window
to one side for a lovely soft light that
illuminates the face, then falls off into
soft shadows on the other side. This
kind of light also creates beautiful
catch lights tiny reflected highlights
in the eyes. North-facing windows are
the best, as these give the most even
light throughout the day without harsh
sunlight creeping in.
Where?
Exterior wall in
the garden
Exterior walls can also form great
backdrops for portraits, as they
naturally block the light from one side,
making it more directional. For a nice
composition, get your subject to lean
up against the wall, then shoot from
one side as shown. The wall will act
as a natural reflector and create lines
that lead the eye towards your subject.
Here, weve added depth by capturing
the face in sharp focus while letting
the background fade gently into blur.
105
106

Add drama
with camera
picture styles
Use your cameras Monochrome picture style
to capture classic portraits in black and white
heres something about black-andwhite portraits that gives them a
timeless, classy feel. By removing a
photos colour you can focus attention
on the shape and characteristics of the face,
which makes it great for capturing expressions,
especially in children.
When it comes to making black-and-white
images you have two main options: capture
colour images and convert them to black and
white using an image editor later; or use your
cameras Monochrome picture style to apply the

black-and-white treatment as you shoot.
Your camera has several picture styles (or
picture controls) built in, including Portrait,
Landscape and Monochrome, which adjust
capture parameters such as the sharpness,
contrast, colour tone and saturation to ensure
the best results. Theyre great for beginners,
because they help you to get the most from your
subject, whatever youre shooting. Read on to
find out more
How to select a picture style
Dial P for Program
Switch your camera to its P (Program)

shooting mode. Now go to the main menu
and navigate to the Picture Style (Canon) or
Picture Control (Nikon) drop-down menu. Here
you can browse through the different options.
To shoot in black and white, highlight and
select the Monochrome option.
Further tweaks
You can tweak the suggested picture

style settings to suit your subject here
we have the option to increase or decrease the
sharpness and contrast, for example. You can
also add a traditional filter to enhance the
image. Here weve selected the Red filter, as this
helps to increase contrast.
Now shoot
Using the light from a window to

illuminate your subjects face, compose
your image (ensuring the background is clutterfree), then focus carefully on the eyes before
taking your shot. If youve shot using your
cameras raw quality setting, you can revert
your image back to colour later.

107
108

The effects available

via picture styles
Select the appropriate picture styles to
enhance your images, whatever the subject
Landscape
The Landscape picture style will

increase the saturation of the
greens and blues in the scene, and
also boost the sharpness to enhance
detail throughout.
Faithful
The Faithful setting will try

to reproduce accurate colours
in the scene when shot under
daylight conditions, so what you see
is what you get. It works by
decreasing the contrast.

Portrait
Neutral
With the Portrait picture style,

edge sharpness is reduced for
smoother skin texture. This is done
by adjusting the colour tone of the
magenta to yellow, and by adding in
brightness. Skin tones will appear a
lighter pink.
Monochrome
With the Monochrome picture

style you can also tone the
image (choose from Sepia, Blue,
Purple or Green) or replicate the look
of traditional lens filters: the Red
filter increases contrast; the Green
filter enhances any green hues.
The Neutral picture style

comes in handy when shooting
objects or scenes containing vivid
colours and subtle shades and tones.
It uses a moderate contrast and
saturation setting, so theres less risk
of colours becoming oversaturated in
post-processing.
109
110

How to avoid
unwanted blur
Set up your SLR correctly to avoid motion
blur ruining shots of fast-moving children
ne of the most important
considerations when taking any kind
of photograph, but especially
portraits, is to ensure your image is
captured in sharp focus. After all, its all too easy
to focus inaccurately, or for camera shake to
create unwanted blur.
The most common cause of shake is
movement in the camera as you take the photo,
which results in the entire image looking blurred.
This often happens when shooting in low light,
because the shutter will need to stay open
longer to let enough light in, and even slight
movement can ruin a shot. You can minimise
blur by mounting your camera on a sturdy
tripod, but this is of no use if the blur is caused
by movement from within the scene youre
shooting, rather than the camera itself.
Photographers sometimes use subject
movement for creative effect blurring the
motion of water, for example but when it
comes to portraits, the aim is usually to capture
the subject sharply. The problem is, people, and
children in particular, rarely stay perfectly still,
so you need to set the camera up to record the
picture quickly. Heres how

111
112

Reduce the risk

of camera shake
Five methods you can use to minimise the
risk of unwanted blur in your portraits
Increase your
shutter speed
Your camera exposes an image

by allowing light to hit the sensor
for a set amount of time. This time
is dictated by the shutter speed.
Speeds can range from hundredths of
a second to 30 seconds or more, but
unless both the camera and subject
are perfectly still, the longer the
shutter speed the more chance there
is of blur ruining your shot. When
photographing some scenes you can
use this to your advantage, however.
For this image we used a shutter
speed of one second with the camera
mounted on a tripod.
Look for more light
If your shutter speed is too

slow and your image and
subject are blurring, try repositioning
them next to a large natural light
source. Patio doors, large windows
and conservatories can all be used
to cast a nice, soft, even light onto
your subject. The more light there is,
the faster the shutter speed will be,
making subject movement less likely
to ruin your shot.

Try Sports mode
Know the
optimum settings
If youre shooting subjects that

you know will move young
children, for example try switching
to your cameras Sports mode. This
mode will automatically set a fast
shutter speed that will make it easier
to capture fast-moving subjects in
focus. Autofocus will automatically
track the subject while the shutterrelease button is half pressed, making
this a quick and easy way to capture
the action.
Use image
stabilisation
Some lenses include vibration

reduction technology (IS or Image
Stabilization on a Canon; VR or
Vibration Reduction on a Nikon),
which works to counteract any slight
movement in the camera and lens,
and can be activated when needed
using a small switch on the lens
barrel. If youre shooting handheld,
this feature is invaluable.
For capturing people, wed

recommend you keep your shutter
speed above 1/200 sec, but go higher
than this (1/1000 sec) if the person is
moving fast. Not only will this allow
you to hold the camera without risk
of camera shake, but itll also allow
for the movement of the person in
the photo. You may need to increase
the ISO and open the aperture right
up to bring in more light. Increasing
the shutter speed can lead to a fall-off
in image quality, particularly if light
levels are low, but its far better to
have a slightly grainy image than one
thats blurred and unusable.
113
114

Capture action
packed pictures
Capture the drama as it unfolds by using your
camera to fire off a rapid sequence of images
ids move fast, so if you want to get
good shots of them your camera will
need to keep up with the action. All
D-SLRs have a drive mode that lets
you fire off continuous shots by holding down
the shutter button. Different cameras will be
capable of shooting at different speeds if your
camera can shoot at three frames per second
(fps), for example, youll get three images for
every second you hold your finger down on the
shutter-release button.
Of course, your camera cant continue
shooting indefinitely; it will only be able to fire
for a certain amount of time before it needs to
pause to catch up (and save the images to your
memory card). The length of time it can continue
will be affected by the image format and size
youre shooting, and the speed of the memory
card youre saving to.
The drive mode setting is ideal for
photographing moving children or any type of
action sequence, including sports or wildlife
photography. But a spray and pray approach
doesnt guarantee good results. Youll still need
to compose and focus properly, then try to
provoke a good expression.

115
116


Camera, action!
Discover how to get the most from the drive
mode options your camera offers
Select a drive mode

With your camera in its P (Program) shooting mode,
navigate to the Drive mode menu and select the symbol
that looks like a stack of photos on top of each other.
Some D-SLRs have two continuous burst mode options
standard and high continuous (if you have the latter, it will
be marked with a small H next to it). Now you can simply
wait for the perfect moment before firing off a burst of
shots five or six should be enough.
Focus setting
When photographing fastmoving subjects like young
children youll improve your
chances of success if you
switch your autofocus setting
to track your subject as it
moves through the frame. On
a Canon camera this setting
is called AI Servo, and on a
Nikon AF-C simply select
the option from the autofocus
menu. Half press the shutterrelease button to focus once
on your subject, then keep
it held down to fire off your
sequence of shots.
Use sparingly
Of course, taking lots of shots
in this way will require more
time editing images later, so
only use your cameras burst
mode when the situation calls
for it. When you look back
through the shots, accept that
not every one will be perfect,
but youll hopefully have at
least one good, sharp, wellexposed image in the bag.
Maximise speed
If youre shooting both raw files and
JPEGs at the same time, your camera
will slow down when shooting in this
mode. For the drive mode to fire at
its maximum speed youd need to
set your image quality to its lowest
setting, but bear in mind that if you
turn the image quality setting right
down you wont be able to enlarge
your images later. Youll need to find
a compromise between speed and
image quality.
117
118

Fun family
portrait tips
Use our simple techniques to get the most from your shoot,
and get great shots of your kids that youll treasure forever
ids usually respond best when they
forget theyre having their picture
taken, so encourage them to run
around, play with toys, shout, laugh,
pull funny faces, dress up, spin around, jump,
throw leaves or absolutely anything you can think
of to distract them from the camera and the fact
that youre taking pictures. This will lead to some
great, fun action shots, and also help to bring out

each childs individuality and character. It will
also avoid dull, staged and static portraits.
For an interesting angle, ask them to lie down
on their tummies and shoot from in front, or get
them to roll over and try shooting from above.
Still looking for inspiration? Heres a whole
host of ideas

119
120

Down with
the kids
Get down low and have some fun
capturing great portraits of children
Dress sense
Before you start shooting, think

about the clothes the children
are wearing. Big brand names can be
a little distracting, while blocks of
colour work well. If in doubt, keep it
simple and colourful. While dressingup clothes are fun, for more naturallooking portraits dress your subjects
in their everyday clothes.
Crop for impact
Try cropping out one

side of a childs face for a
modern, edgy look. To do this,
you may need to shift your SLRs
focus point so that it sits over one
eye, as sharp eyes are the key to a
professional-looking end result.
Check your images as you shoot
by zooming right in on your LCD
screen. These kinds of portraits
will often look good when
cropped into a square shape later.

Thoughtful candids
Subjects dont always need to be looking

straight at the camera asking your subject
to look down or to the side can give your portraits
a moody, thoughtful quality. Use Portrait mode for
this, so that the background stays soft, and focus
carefully on the lashes.
Get down
Shooting at eye
level creates a
greater connection with
the subject, so get down
low when photographing
kids. Make decisions
quickly, communicate
your ideas and keep
them entertained. Speak
to them, make them
laugh, then be ready to
pull your camera back to
your eye to get the shot.
121
122

Capture
the action!
Stay one step ahead to
ensure you get your shot
On your marks
Ready, steady, go! When taking

action shots like this youll need
to be quick. Make sure you consider
the background, ensuring its not too
distracting. Its best to set your focus
to its tracking setting, as this will
give you the best chance of keeping
your shots sharp.
Use space
Leaving lots of space

(sometimes referred to
as negative space) around the
subject can give a standard
portrait an interesting twist.
This approach usually works
best with clean, simple or
textured backgrounds. Focus
on the face, keep the shutterrelease half pressed, and then
recompose to bring more of
the surroundings into the
frame. You may need an adult
to help with keeping younger
children in the right position.

Add some props
Props will ensure your

child stays entertained.
Hats are ideal for close-ups,
and toys, sports equipment and
dressing-up outfits can all add
character to your portraits, as well
as providing a splash of colour.
Framing
Why not try

framing a part of
the body other than the
face? Hands, for example,
can reveal a lot about a
person. You could even try
shooting feet, hands and
head, then combining them
into a stylish triptych. A
black-and-white finish can
also look effective, so try
selecting your cameras
Monochrome picture style,
or try converting your
images to black and white
at the editing stage.
123
124

LOW-LIGHT TIPS AND TRICKS

Low-light tips
and tricks
Learn how to get the best out of your SLR in low
light conditions and capture superb images
126
What is ISO and how

does it affect exposure?
128
Get supported
with a tripod
Learn how, why and when to use

your SLRs ISO sensitivity settings to tackle lowlight conditions
Discover how to use a tripod

to ensure theres no camera movement during
long exposures
130
Pop some
flash light
Use your cameras much-maligned

built-in flash unit to illuminate your subject in
low light
132
White balance
settings explained
136
Shoot amazing
light trails
Understand how to control your

cameras white balance and ensure you get perfect
colours in your shots
Wait for the light to drop and

change your SLRs shutter speed to capture
breathtaking trails of light
125
126

ISO explained
Learn how, why and when to use your SLRs
ISO settings to tackle low-light conditions
hotography is all about
light. However, there will be
times when youll find
yourself in a situation
where you simply dont have enough
of it to make a good exposure.
There are several ways of dealing
with this: You could simply adjust
your exposure to let more light in or
use flash lights, but these dont always
solve the problem. You may not have
a flashgun and adjusting the exposure
might require the use of a tripod,

which isnt always practical.
The other way to deal with a lowlight situation is to use your cameras
ISO. ISO indicates the sensitivity
of your camera sensor to light. The
higher the number, the more sensitive
it is. Typically, the range is from
ISO100 to 6400.
Like all good things, theres a
downside to using ISO to getting
yourself out of a low-light pickle.
The higher the ISO number you use,

such as 6400, the more digital noise
youll see in your pictures. This noise
looks a little like grain. So, how do you
know what number to set it to?
ISO can be useful in low light

to make your camera sensor
more sensitive to the light

STEP BY STEP:
HOW TO CHANGE THE ISO
At ISO6400 when looking at the image zoomed out on the

computer, you cant really see the noise
Enter P mode
Put your camera into the P mode.

You cannot alter the ISO if youre
shooting in the Full Automatic mode.
The P mode is still an automatic
mode. However, it enables you to alter
things such as the ISO so you can
start to have a bit more control over
the final outcome of your results.
Zoomed in at 100% at ISO100, the image quality is high and there

is no visible noise
Access ISO
Set it!
Some D-SLRs have an ISO

button on the main body. With
others youll need to access the ISO
through the camera settings menu.
If youre unsure on how to do yours
refer to your manual.
On the other end of the scales at ISO6400 you can see when
zoomed in that the image quality isnt as high
Well, you have a choice. If we take an

image at ISO100, when we zoom in
the result is good. However, because
theres not much light we had to use
a tripod. If we didnt use a tripod our
exposure would have been too slow to
shoot handheld and the results would
have been blurry.
Now, if we take the same image at
ISO6400 the image will look grainy,
and this is the digital noise. When
looking at the image from afar, the
noise isnt as noticeable. However,

if you zoom right in youll see the
deterioration. When you change the
ISO to a higher number, the other
settings on your camera change
for example your shutter speed can
become faster.
So it can be useful in low light
to make your camera sensor more
sensitive to the light, but remember
you start to compromise on image
quality the higher the setting gets.
Now all you need to do is

select the ISO setting. If you
want your image quality to be high
youll need to select a setting around
100 or 200. However, remember
youll need more light when using
these settings. At the other end of the
scales, if youre shooting in less light,
select a higher number such as 6400.
But remember youll get digital noise
with this setting.
127
128

Get full
support
When the light is low, get some support
to help you keep your camera steady
Why use
a tripod?
Weve all ended up with

pictures that look shaky and
unusable. This is because the
light around is too low, so the
camera shutter has to stay open
longer to let in more of it, which
makes holding near impossible.
The solution is to find a way
to keep the camera as steady
as possible, which is where
tripods come in.
Set it up
To set up your tripod

youll first need to extend
the legs, which will usually have
some sort of clip or release
mechanism. Pull the legs apart
and place them down so it sits
securely on the ground. If the
ground is uneven you may need
to adjust the height of one or
two of the legs.
Attach camera
To attach your camera to

your tripod, first detach
the tripod plate. Each make and
model will have an alternative
way of doing this if youre
unsure how yours works, refer to
your tripod instructions. On the
bottom of your camera theres
a small hole with a thread. This
is where you can attach the
plate onto your camera. Youll
need to make sure its securely
tightened. You can then fit the
tripod plate with the camera
back on to the tripod.

Top tip!
Keep it down
If youre battling the elements
then youll need to keep your
tripod weighed down. To do
this, attach your camera bag, or
a plastic bag with some rocks to
the centre column. Many models
come with a hook built in so you
can hang your bag from it. Also,
on a windy day use your body
as a human shield to stop the
tripod moving around.
Take
control
To control
the tripod you will
have levers or release
mechanisms to move
the head. Get familiar
with how yours works
before taking it out
on a shoot. Each make
and model is different
in design, but they are
instinctive to use so
have a play around.
Imagine the
possibilities
With a tripod you can

shoot using a long shutter
speed. Not only does this make
it possible to shoot in low light,
it also means you can capture
movement in the scene, or
create HDR images by shooting a
series of exposures from exactly
the same position. Having the
camera in a fixed position can
also be useful when thinking
about composition and framing,
as it means you take your time
to get it right.
129
130

Pop some flash light

Use your cameras built-in flash unit
to illuminate your subject in low light
our D-SLRs pop-up flash is
handy in situations where
there isnt enough available
light, such as indoors or at
night, providing a quick blast of light
that illuminates your subject.
There are two ways to activate
your pop-up flash. If youre in the full
automatic mode then your camera
will assess the amount of light in
the scene when you half press the
shutter, and if it decides that the light
levels are too low, the flash will pop

up automatically. Itll also figure out
exactly how much light is needed to
correctly illuminate the subject.
The second way is to manually
activate your flash by pressing the
flash button, which will be next to
the flash, or on the top panel of your
camera. So lets see how it works in
practice. When were shooting indoors
and the light levels are quite low, if we
put our camera in automatic mode and
half press the shutter button, then the

flash automatically engages.
The distance of the subject from
the camera is also important when
using the pop-up flash. If the subject
Pop-up ash is very handy in

low light, but dont expect pro
results when using it

STEP BY STEP:
REDUCE OR INCREASE
THE FLASH INTENSITY
Flash control
At times it can be useful to

change the strength of the flash.
You can control this with the flash
compensation feature. To access this
go into your cameras main menu and
find the flash menu. On this camera
its in the camera settings menu
under Flash Control.
To avoid casting harsh shadows from the flash, place your subject
closer to the background
Your pop-up flash can produce unwanted,

distracting shadows, so watch out for this
Increase
the strength
Now reduce it
Now we can adjust the strength

of the flash by adjusting the flash
exposure compensation meter. To
increase the intensity you want to add
in a number. We can do this in stops
or in thirds of a stop, as youll notice
on the meter. Start by increasing it
to one stop. If its not enough,
increase it again.
Your pop up flash can be useful on a sunny

day. Use it to fill in shadows cast by the
strong sunlight
is up close, then the flash will be

strong, and you might find the
background goes a little dark, but if the
subject is further away, then the flash
may not be strong enough, resulting in
an under-exposed image.
As you can see in the image
examples above, the flash has
illuminated the face. Notice how the
light is harsh and flat, and how its also
resulted in a hard shadow on the wall
behind the model. This is because the
light is coming from a small source

thats right next to the lens, which
means the quality of light is neither
soft, nor directional. Professional
photographers will rarely use the
pop-up flash for this reason, preferring
to use off-camera flash or available
light. So your pop-up flash is very
handy in low-light, but dont expect
professional results when using it. If
your camera has a bounceable flash,
always use it when necessary.
To activate the
pop-up flash you
need to press the
flash button
To reduce the flash we need to

go the other way on the meter.
So start by taking it down to minus
one stop. Again if its still too much
light then take it down again. Youll
have to experiment with it to get the
best results.
131
132

White balance
explained
Understand how to control your cameras white balance
and ensure you get perfect colours in your shots
ou may think that the colours you see
in front of your eyes are what you are
going to capture in your camera.
However, this is not always the case.
Different lights produce different colours. For
example, daylight is cooler then the light
produced from a bedside lamp. Unlike your eye,
which can adapt quickly to alternative light
sources, your camera may at times struggle to get
it right. For this reason your D-SLR has a white

balance setting. For the majority of time wed
recommend you keep your camera in the Auto
White Balance setting and only change it if
your camera is struggling to capture the right
colours. An important thing to note is you
cannot access the White Balance feature when
shooting in the Full Auto mode, so youll need to
switch your camera to the P mode.

How does
it work?
How do I set the

white balance?
To find your white balance feature, a lot of D-SLRs
have an external button, or you can access it through
the main menu. On the model we have the button is
marked WB. Youll notice a range of eight options,
and to select the right setting you need to match the
symbol to your surrounding light conditions. For
example, if youre shooting outside in the sun,
youll select this daylight symbol. Make sure you
change it back to the Auto setting once youve
finished your shoot, otherwise the effect will carry
on being applied to other images.
Different lights
produce different
colours because
they have different
temperatures.
Photographers
measure the light
temperature in
degrees Kelvin.
For example the
temperature of a
candle measures
1000 degrees Kelvin,
whereas a flash light
measures 5000
degrees Kelvin.
If your camera is
struggling to get the
colours of the scene
right under the Auto
setting, which its on
by default, you can
set it yourself to stop
your image having a
colour cast.
Candle
1000K
Sunrise
or sunset
2000K
Tungsten
3000K
The higher the
wattage of light
bulb, the higher
the colour
Photoood
4000K
5000K
Average
midday
sunlight
6000K
7000K
Flash
Overcast
sky
Hazy sky
8000K
9000K
10,000K
The light reected by

the atmosphere,
known as skylight, is
blue in colour
Clear blue sky
Which white balance setting?
Daylight
For the majority of the time the Auto White Balance setting works
well in Daylight conditions. If your image looks a bit blue then try
switching to the Daylight setting.
Shade
The shade outside measures around 7000 degrees Kelvin.

Use this setting if your image is looking a bit blue and you want
to add some warmth back in.
133
134

Cloudy
Tungsten
When the sky is overcast the light becomes much cooler. For
this reason when you set the white balance setting to cloudy it
will add in more warm colours to compensate.
Fluorescent
Flash
Fluorescent lights, which are strip lights often found in offices or

public spaces, are hard to shoot under, and produce nasty colours
that you cant see with your eye. They produce a green cast.
Tungsten light is usually symbolised with an indoor light bulb.

Tungsten light bulbs produce a very orange colour cast so your
camera will add in a blue cast to compensate for this orange light.
Most flash light sources measure around 5,000 degrees Kelvin.

As your flashlight is a consistent light source, it can be a good
idea when using flash to set the white balance to the flash symbol.
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136

Shoot light trails

Wait for the light to drop and change your SLRs
shutter speed to capture breathtaking trails of light
ou may have seen this cool light-trail
effect before, and want to do it
yourself. Its actually very simple, and
only requires you to set the shutter
speed on your camera. In this example were
shooting passing car headlights, but theres lots
of subject matter that this technique works well
for. Try shooting lots people walking by in a busy
city centre, or capturing the movement of water
in a waterfall or at the seaside. Just remember
that youll need to shoot in low light, because you
wont be able to set your camera to a slow enough

shutter speed setting if theres too much light.
Shutter speed is measured in seconds and
fractions of seconds. For example, if you open the
shutter for 1/500 sec, the movement in the image
is frozen. When you slow the shutter down to 1
second we can now see movement in the scene.
As were using a long shutter speed, we need
to support our camera with a tripod. If we didnt,
the results would be very blurred! Read on to find
out how to get started

137
138

Find a safe spot
To try this shoot for yourself youre going to need to

find the right spot. You need to be careful when
shooting at the edge of the road and make sure youre
wearing bright clothing. If you place yourself just after a
corner in the road youll capture the bend the car headlights
leave, which will make the result look more interesting.
Set the mode
Set the focus
The easiest way to control the shutter speed for

a long exposure is to put your camera into the
Shutter Priority shooting mode. This can be found on the
mode dial marked as S on most models and Tv on a Canon
model. In this mode we set the shutter speed and then we
can leave our camera to automatically control the rest of
our settings.
Now you want to half press the button and make

sure the scene is in focus. Were now going to lock
down the focus point, so our main focus point doesnt
shift during the exposure, which is likely in shots such as
this. To do this, switch the focus setting on the lens barrel
to manual (M or MF).
Set up the tripod
Set the speed
Time it right
To make sure you dont get blurred results youll

need to mount your camera on to a tripod. To do
this, screw the tripod plate onto the bottom of your camera
and slot it into the tripod head. Make sure your tripod is
secure on the ground and out of the way of passers by, and
of course, the traffic!
Were going to set our cameras shutter speed to 4

seconds. The length you choose will depend on the
light, the speed of the traffic, and the exact look you want
to achieve. Notice the next to the shutter time this
means seconds. Were also going to press the ISO button
and set the ISO to 100. This is to keep our image at a high
quality setting.
Now all you need to do is time the shot. It helps if

there are cars driving in both directions as that way
you get the white (headlights) and red (taillights) light
effects. Buses also look really good when they drive by as
the lights are higher up, so will fill more of the frame. Youll
need to have a few attempts to get it right.

Now try this!

You can use the same technique to shoot other
subject matter with a slow shutter speed
TRY THIS: WATERFALL
TRY THIS: PEOPLE PASSING
The movement of water against the still landscape setting creates a great result.
To capture the movement of the water and get the silky effect you need to set
your shutter speed to at least 5 seconds. The longer you expose the water, the
more silky and smooth it will become.
In the hustle and bustle of the city centre at the weekend, capture the
movement of people walking by. It helps if you have something static in the
frame. In this case its the girl. Set your cameras shutter speed to around 1
second to get the best results.
TRY THIS: SEASCAPE
TRY THIS: ZOOM BURST
Down by the sea the movement of the waves creates an ideal location for
a slow shutter speed. Be sure to rinse the bottom of your tripod after your
shoot with fresh water because the salt water and sand will corrode your tripod
if left as is after the shoot.
A zoom burst is when you twist the lens barrel as you open the shutter, and
in doing so you create this tunnel-vision effect. To try it for yourself set your
cameras shutter speed to around 1/15 sec. Start with the lens at the widest
angle, then as you press the shutter, twist the lens barrel.
139
140

START TAKING CONTROL

Start taking control

Take the next step on your photographic journey
by operating your SLR in manual mode and more
142
Take control in
Program mode
146
Get to grips with

the mode dial
150
The basics
of exposure
Discover how to take more creative

control over the way your images look by switching
to the P mode
Take a guided tour around the

mode dial and select the right shooting mode for
your needs
Start to understand the

fundamentals of photography and learn how to use
aperture, shutter speed and ISO
160
Get to grips with

manual mode
164
Which camera
lens next?
Take complete control of your

exposure, and balance all of your camera settings
by switching to manual mode
We help you continue your

photographic journey and look at a range of lenses
that will expand your creative options
141
142

Take control in
Program mode
Discover how to take more creative control over the
way your images look by switching to the P mode
lthough using the Full Auto mode
is great when starting out, youll
find you will come up against
limitations, and if you want to
progress, youll need to start controlling the
camera yourself. Once youre comfortable
with your camera and the various basic
shooting modes, youre ready to take the next
step by progressing to the creative exposure
modes. These are P, A, S (Tv on Canon
cameras) and M. They give you control over
the three main factors that make up an
exposure: aperture, shutter speed and ISO.

The easiest of these modes to understand is P,
which stands for Program. This works much
like the Fully Auto mode in that the camera
will figure out the correct exposure for you.
But it gives you control over other crucial
features, such as ISO.
Program also gives you some influence
over the exposure by letting you change the
shutter speed with the command dial. For
example, if we increase the shutter speed
then the aperture gets wider. This kind of
exposure, with a fast shutter speed and wide

aperture is useful if we want to capture fastmoving action or blur backgrounds.
Program mode also gives you another
hugely useful feature: exposure compensation.
This feature comes in handy in situations
where the camera may have misjudged the
exposure and recorded the scene as too bright
or too dark, such as in winter snow pictures.
All we need to do is hold the exposure
compensation button and turn the dial one
way or the other to compensate.

Enter Program mode
Put your camera into the Program mode. This can be

found on your mode dial symbolised by the letter P,
usually next to the Full Auto mode. This will give you extra
control over crucial features such as ISO and exposure
compensation. It also enables you to shift the aperture
and shutter speed.
Alter the ISO
Were going to mount the camera on to a tripod

so we dont need to worry about what shutter
speed were shooting at because camera shake wont be a
problem. We dont want to blast our setup with flash light,
because wed get a completely different result. Were going
to set the ISO low to 100, which will make the shutter
speed longer.
Useful to know
With Program, or any of the other creative
modes, you have control over the ISO, which
determines the cameras sensitivity to light.
Lower ISOs such as 100 or 200 make for
better quality images, but the lower the ISO,
the more light thats needed for a correct
exposure. On the other hand, higher ISOs such
as 800 or 1600 mean less light is needed,
but theres a trade off in image quality, with
increased levels of noise.
As well as giving you control over ISO, with
P mode you can also choose whether to fire the
flash in low-light situations, unlike Full Auto,
which will fire the flash whether you want it or
not. So for example, if you want to take a shot
indoors but you dont want to blast the scene
with flat light from your flash, then you have
the option to increase the ISO instead.
Light your scene
Use exposure compensation
Weve selected a still-life setup for this shoot. It can

be easier to practise your photography skills on a still
life as you can take your time to get the composition and
lighting right. We used a lamp to light the main subject, and
placed it to the side. This sidelight also creates a shadow in
the background that frames the flower nicely.
Take a test shot. In our example we want to make

the background a bit darker so were going to
adjust the exposure compensation. Press the +/- button
and turn the scroll dial so that the setting on the back
panel LCD or the top plate LCD reads minus one on the
meter. Take another test shot and notice the difference
the compensation makes.
143
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146

The mode dial

Take our guided tour around the mode dial and learn
how to select the right shooting mode for your needs
he mode dial is one of the most fundamental
controls on your camera. Here you communicate
with your D-SLR by telling it what you want to
control, and what you want it to control. There
are many different modes you can select and how you
choose to shoot comes down to personal preference.
Some photographers like to fully manually control their

camera, where as others like to use the part manual controls.
As you get to know your camera youll soon start to find the
way you like to shoot. To make it easier for you to get your
head around, were now going to guide you through the
mode dial and the various options
1 MANUAL MODE
2 APERTURE PRIORITY MODE
Take control and manually adjust your D-SLR. Select the aperture,
shutter speed and ISO setting yourself for complete creative control
over your images.
In this setting you can set the aperture and your camera will control the
rest of the settings for you. This is useful when the available light or the
depth of field is a prime consideration.
3 SHUTTER PRIORITY MODE
4 PROGRAM MODE
In this setting you set the shutter speed and your camera will control
the rest of the settings for you. This is ideal for action shots in which
you want to control the sharpness.
The Program mode is an automatic mode that enables you to alter

some of the settings such as ISO and exposure compensation. Its
handy for weaning beginners away from Full Auto.
5 AUTO MODE
6 NO FLASH MODE
All entry-level D-SLRs come with a fully automatic mode. With this
setting the camera takes control of everything for you. All you have to
do is compose and shoot.
This is useful if you dont want to shoot using the pop-up flash in low
light. This can be handy if youre in a museum or a gallery where flash
light isnt allowed.

8
7
1
2
6
3
4
7 THE SCENE MODES
8 MOVIE MODE
The scene modes are a quick and easy way to customise your camera
settings for any given environment. You are limited, however, in what
you can do with these.
Record video footage on your D-SLR by switching your camera to the

Movie mode. On some models the access to this function isnt on the
mode dial and may be on the back of the camera body.
147
148

The five
main modes
We delve a little deeper into the main shooting
modes available on the mode dial
Auto mode
On most D-SLR cameras the full

auto mode is marked as a green
icon. The camera on this setting will
take complete control over your
camera. You will find you come up
against limitations when using this
setting. For example, in low light the
flash will automatically engage when
you may not want it to.
Program mode
P for Program, is very similar

to full auto, but, as with all
the other modes, it gives you control
over the ISO and exposure
compensation feature. This is useful
when you need to make small tweaks
to your exposure. You can also make
adjustments to the shutter speed
setting by turning the scroll dial. The
P mode is useful when youre starting
out or if you have little time to set up
your camera to take a shot.

Shutter
priority mode
Manual mode
Controlling the shutter speed

can be useful for creative effects.
Setting a long shutter speed can be
good for recording blur in moving
water or clouds, but youll need a
tripod to keep the camera still. At
the other end of the scale, setting a
very fast shutter speed is useful for
capturing fast-moving subjects.
One important thing to note with
shutter priority, if the camera
calculates that the required aperture
falls outside the aperture range of
your lens, then the number will flash
in your viewfinder. If this happens,
youll need to either change the
shutter speed, or adjust the ISO to
allow for more or less light.
Aperture
priority mode
Next to shutter priority is its

counterpart: aperture priority. On a
Nikon its called A for aperture, on a
Canon its AV, for aperture value.
This mode lets you set the aperture,
and the camera will automatically
figure out the right shutter speed
for a correct exposure. Were able
to choose the size of the hole in the
lens, and in turn the camera will
decide how long the light should be
allowed through to the sensor.
The fourth mode is M, which

stands for manual. This lets
you set both the shutter speed and
the aperture. Its useful in
environments where the light is
controlled, such as in a studio.
Manual can also be useful if you
want to keep the exposure constant
throughout a range of shots. Say for
example, if you want to shoot a set of
pictures for a panorama, then using
manual mode will ensure that all the
frames match up.
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The basics
of exposure
Start to understand the fundamentals of photography
and learn how to use aperture, shutter speed and ISO
lthough the automatic settings on
your D-SLR are great when youre
starting out, if you want to progress
further youll need to start taking
control of your camera. The problem with
shooting in automatic modes is that you have
no meaningful creative input apart from the
composition, and your camera may not select
the right settings. So in this tutorial were going
to ease you in, and explain the basics of how
exposure works.
There are three elements in a camera that control

how much light is let through to the sensor.
These are, the shutter speed, aperture and ISO.
You should think of these things as a set of
scales. You have to balance all three to get a
correct exposure. Over the next eight pages were
going to guide you through each element and
show you how you can control each. Although
this might at first seem quite a lot to think about,
once you grasped these basics youll find your
photography can really advance to the next level.

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Aperture
Control the plain of focus in your
image through the aperture
What is the aperture?
The aperture is built into the lens and is a bladed

circle that opens and closes. This setting effects
how much of the scene is in focus. When shooting
portraits we tend to keep the person sharp and blur the
background. When shooting landscapes we want to keep
the entire image sharp. So we can control the aperture
and create different effects through this.
Aperture priority mode
You can control just the aperture in your camera

with the aperture priority shooting mode. Its
marked on your mode dial as A (Nikon) or Av (Canon).
It means you set the aperture setting and your camera
will work out what the shutter speed setting needs to
be, given the ambient light conditions.

F-stops
Photographers measure
stops of light through the
aperture in f-stops. When starting
out the f-stop system may seem a bit
confusing. Once you get your head
around the numbers its actually very
simple. Your lens has minimum and
maximum f-stop numbers. When
you increase or reduce the aperture
number you are either doubling or
halving the light going through to the
sensor. For example, if you change
the setting from f/8 to f/5.6 then
you are doubling the amount of light
going through. To make it a bit more
complicated our camera goes up and
down the setting in thirds of a stop
so for example, from f/8 to f/7.1 is a
third of a stop of light. Just remember
that low numbers open the hole (need
less light) and produce a soft effect,
whereas high numbers make the hole
smaller (need more light) and keep
the scene sharp.
Depth of field
If you want to blur and soften the background while

keeping your main subject matter sharp then youll
need to use a wide aperture setting, for example, f/5.6. Some
lenses open to very wide settings such as f/1.4. You need to
make sure youre accurate with your focusing when using
your lens at the widest aperture setting, as you have less
room for error with getting your main focus point sharp.
If youre shooting a portrait make sure the eyes are in focus
as these are the most important element. At the other end
of the scales if you want to keep your image sharp then turn
the aperture setting to a higher number, such as f/16. This is
more appropriate when shooting landscapes.
NARROW APERTURE
WIDE APERTURE
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Shutter speed
Control time and movement in your
images using the shutter speed
What is the shutter speed?
The shutter is a mechanical part in the camera body

that opens and closes to let light through to the
sensor. How quickly it does this depends on what it is
set to. You can set your shutter to a long setting and this
enables you to capture movement in the scene, or keep
the action sharp.
How do we measure
the shutter speed?
Shutter speed is measured in seconds and

fractions of seconds. For example at 1/500 sec the
subject matter is sharp and frozen. On the other end of
the scales if we have a slow shutter speed, for example 1
second, any movement in the scene will become blurred.
In some examples you can use this to your advantage.
For example, moving water in a landscape setting
becomes smooth and silky, and creates an effective
result. When shooting using a long shutter speed its
important a tripod supports your camera. You can hold
your camera as long as your shutter speed is reading
1/60 sec or faster.
If the shutter
speed is fast
enough it will
freeze the action
If the shutter
speed is set to a
long exposure, any
movement in the
scene will blur

Shutter
priority mode
Half or double
the light
You can control just the

shutter speed in your camera
through the shutter priority
shooting mode. Its marked on
your mode dial as S (Nikon) or
Tv (Canon). It means you set the
shutter speed setting and your
camera will work out what the
aperture setting should be. If
the aperture cant let in enough
light or if theres too much, the
aperture number will flash. Just
be wary of this when shooting in
shutter priority mode.
Like the aperture setting,

the shutter speed also halves
or doubles the amount of light
going through to the sensor in
stops. If you change the shutter
speed from 1/250 sec to 1/125
sec, that is one stop of light, and
its doubling the amount of light
coming through to the sensor.
If you went the other way from
1/250 sec to 1/500 sec, that
halves the amount of light.
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ISO
Control the sensitivity of the image
sensor using the ISO setting
What is ISO?
The third element in the exposure scales is ISO.

It works slightly differently to aperture and shutter
speed, as its a way of making your cameras sensor more
or less sensitive to the light that hits it. Set a high ISO,
and the sensor needs less light for a correct exposure
than it would with a low ISO. But there is a compromise:
image quality. The higher the ISO, the more grainy noise
youll see in the image. When it comes to setting the
ISO, think low for quality, high for speed.
Changing the ISO
The ISO is one of the most

useful camera settings. It
gives you flexibility to alter the
aperture and shutter speed quickly.
Back in the film days, each film
would have a fixed ISO sensitivity,
for example, ISO100, ISO200, or
ISO400. The problem with this is
that youd have to shoot the entire
roll of film to be able to change the
ISO. The beauty with digital, you
can change it for every image you
take if you wanted to. To access the ISO, most D-SLRs have a dedicated
button. If yours doesnt then you can access it through the main camera
settings menu. If you turn it up to a high setting, just remember to switch
it back. The idea is to keep it as low as possible while balancing it with your
other camera settings.

4
3
High ISO
When you need to shoot in low light or freeze

your subject matter then you will need to turn
the ISO up. Many cameras are capable of reaching
settings around 6400 or some even higher. The problem
at these high numbers is that your image produces
something called noise. Noise is a speckled, grainy effect
that deteriorates the image quality. It becomes more
noticeable the larger you enlarge your image. So why do
we shoot using a high ISO setting? You can make your
shutter speed faster or close down your aperture, so
sometimes to get the shot you have to compromise on
image quality and increase the ISO.
Low ISO
Typically, youd use a low ISO setting, such as ISO100, in bright

daylight. However, you can also set a low ISO when using a tripod as
long as theres nothing moving in the frame that you need to keep sharp. In
landscape photography you tend to keep the ISO at a low setting, as you want
to try to avoid digital noise.
This low-light
image was taken
on a tripod so that
the ISO could
remain low. The
shutter speed was
30 seconds
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The stop system

Take the three main ingredients and balance them together
to complete the exposure triangle using the stop system
What is exposure?
A correct exposure simply

means that the right amount
of light has hit the camera sensor.
Too much light and the image
would be too bright, too little
light and itll be too dark. There
are three ways to control how
the light enters the camera and
exposes the image. These are
shutter speed, aperture and ISO.

How does the stop

system work?
Once you understand how aperture, shutter

speed and ISO work, you can balance them together.
Your camera has a built-in light-metering system that
measures the light in stops. To balance everything in
the stop system if you reduce or increase one stop of
light, you have to compensate for it somewhere else with
another. For example, if you take out a stop of light in
the shutter speed you could add it in using the aperture
or the ISO. You have to decide which element of the
exposure is the most important (shutter speed,
aperture, or ISO) and then balance the other two
accordingly. For example, in a landscape scene you want
to keep the ISO low and the aperture narrow. So we
have to balance the shutter speed setting. However, if
you were shooting an action sequence and you want
your subject to be frozen, the shutter speed is the most
important element, and you can then balance the ISO
and aperture settings accordingly.
An example of the stop system in action!
So now weve looked at how shutter speed, aperture and ISO work, we
can begin to think about how different combinations of each will change
the look of your image. For example, say at 1/125 sec at f/8 using ISO400 your
image has a correct exposure. But what if you want more of the background
in focus? Remember, smaller apertures give greater depth of field, so we could
try closing the aperture down to f/22, which is a three-stop difference. But
if we take the shot now, itll be under-exposed because weve decreased the
amount of light. So we regain that three-stop difference by adjusting either
the shutter speed or the ISO. We could lengthen the exposure by decreasing
the shutter speed to 1/15 sec. But at slow shutter speeds like this we run the
risk of camera shake or motion blur. Alternatively, we could increase the ISO to
3200 to regain our three stops. But this will result in a grainier image. Another
option is to compensate with both shutter speed and ISO. So the new exposure
settings will be 1/60 sec (one-stop difference from 1/125 sec) at f/22 and
ISO1600 (two-stop difference from ISO400). These new settings will expose
the scene exactly the same as the previous settings.
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Manual mode
Take complete control of your exposure, and balance all

of your camera settings by switching to manual mode
or any beginner who wants to
advance their skills then
understanding how to use the
manual shooting mode will really
help. The manual mode allows you to control
every aspect of your D-SLR, from changing
the aperture to balancing the shutter speed.
The aim is to balance the exposure meter in
the middle of the scales so you have a correct
exposure. You will find the exposure meter
either by looking through the viewfinder
youll find it on the bottom of the screen

or you can switch on Live View mode and the
exposure meter is again at the bottom. Just
remember the needle needs to sit in the
middle of the scales when the scene is
correctly balanced. If theres an arrow flashing
to the left then you need to add in more light.
If you took the image without changing the
setting, all youd see is a black screen. This is
because you havent got enough light. If an
arrow is flashing to the right, this means you
have too much light and your image will

be completely white.
Wed recommend you start by selecting
objects that are static so you have time to
work out the correct settings. Youll soon
start to become quicker at knowing what to
select and how to control everything. Well
take our first shot manually together to make
it easier for you through our step-by-step
guide. So go and grab your camera and follow
along with us!
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Set up the subject matter
Set up a still-life scene in your kitchen. In our

example weve used some retro kitchen scales and
some fruit. You want to select objects that relate to each
other to make your image more interesting. When setting
up your objects, look for any distracting shadows and move
the object if necessary.
Choose manual mode
Balance the shutter speed
To access the manual shooting mode on your

camera you need to turn the mode dial to M. Now
were in this mode we can control the exposure directly.
We need to balance the aperture, the shutter speed, and
the ISO sensitivity together. We can adjust these
settings individually using the scroll dial and the back
panel controls.
If the arrow is pointing to the left, this means that

you need more light, or if its to the right then you
need less. Wed recommend you switch on Live View mode
to do this as you can see on the screen if the image is
getting lighter or darker. The aim is to balance the exposure
meter (at the bottom of the LCD screen) in the centre. In our
example our shutter speed is reading 06 sec.
Set up the tripod
Set the aperture and ISO
Take and review
As were shooting a still life, theres no movement

in the objects, so we want to mount our camera to a
tripod. This means we dont need to worry about what our
shutter speed is. It also helps when composing the scene as
we can keep looking through the viewfinder, or on the Live
View screen, so everything sits nicely in the frame.
The first thing were going to do is set the

aperture to f/8. This is so that everything in the
scene remains sharp and in focus. Were then going to set
the ISO to 100 so that were shooting at the maximum
possible image quality. All thats left to do is balance the
shutter speed with these settings so that we have a correctly
exposed image.
Now everything is set up, take a test shot. Dont

worry so much about composition in this one
were just trying to get the exposure right. You then want
to review the image. If youre happy with the exposure then
you can finish there! If you need to add in more light or take
light away then adjust the shutter speed. Keep shooting and
reviewing until youre happy.
164

Which lens next?

We help you continue your photographic journey and look
at a range of lenses that will expand your creative options
he lens that comes with
your camera is perfectly
good for lots of situations,
but if you want more
options, then theres a whole world of
lenses out there of all shapes, sizes and
prices. With so many choices, there
are a few things to consider when
buying a second lens.
When you look at any lens youll
see a number or number range,
followed by mm. This is the focal
length of the lens. On the standard kit

lens the focal range is 18-55mm, which
means it can zoom between these two
focal lengths. Some lenses are fixed at
specific focal lengths, in which case
theyll only display one number, for
example 50mm.
If youre thinking about a second
lens youve probably already found
yourself drawn to one type of
photography or another, so your
preferences will determine the type
of focal length you should go for. If,

for example, you want to take lots of
landscapes then it might be worth
buying a super wide-angle lens such
as a 10-22mm. This provides a wider
Primes will generally give

you better image quality than
similarly priced zooms

LENSES FOR LANDSCAPES

The most popular lenses for landscape
photography is a wide-angle one. These
vary from 10mm to 35mm in focal length.
When shooting landscapes generally you
want to shoot using a narrow aperture
setting so you dont need to worry if your
lens is not particularly fast.
For shooting
landscapes you
want a wide-angle
lens. Something like
a 10-22mm is
popular with
landscape
photographers
LENSES FOR PORTRAITS

Fixed focal-length lenses like the one
pictured come with wide aperture settings
meaning you can create that nice soft
blurred background effect. This is good
when shooting portraits. The most popular
focal lengths for a portrait lens are 35mm,
50mm and 85mm.
Most lenses come

with image
stabilisation
technology. This
means you can
shoot holding your
camera at lower
shutter speeds.
If youre shooting
below 1/30 sec
however, mount
your camera on
to a tripod
field of view than your standard zoom.

On the other hand if youre interested
in wildlife photography then youll
need a lens that gets you close to
far-away subjects, so a telephoto zoom
would be the right choice. Another
option is a fixed focal length lens
such as a 50mm model. These types
of lenses are called primes, and will
generally give you better image quality
than similarly priced zooms, but the
trade-off is less flexibility.
LENSES FOR
ARCHITECTURE
The focal length of your lens is usually written on the side.

It will end in the letters mm
Tilt and shift lenses are expensive and

specialist. However, the image quality from
one of these is very high. You can also
create the popular miniature effect, when
you blur the top and bottom of the image,
with one of these.
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166

Aperture
considerations
Its not all about focal length. There are other factors
to take into account when choosing a new lens
e also need to think about
the maximum aperture, also
referred to as the speed of
the lens. This determines
how well the lens performs in low
light, and how shallow the plane of
focus can get. The maximum aperture
will usually be printed on the side of
the lens. Itll either be a single number

or a range of two numbers. If its a
range, then this means the maximum
aperture will change depending on the
focal length, with the lower number
aperture only available at the lowest
focal lengths. Lenses with wider
maximum apertures such as f/1.4 or
f/2.8 give you greater flexibility by

requiring less light, and also allow you
to work with really shallow planes of
focus. But these lenses tend to be
more expensive.
Of course, price is always a
consideration. Lenses vary wildly in
performance, and quality lenses arent

TELEPHOTO
On the front of your lens you can see information about the lens.
The numbers on the right show the widest the aperture can open
to. It varies depending on where the focal length of the lens is set
When photographing sports or wildlife,

having that extra reach will come in handy.
We call these types of lenses telephoto
lenses, and you can get ones with fixed
or variable focal lengths. Typically, they
range from 70mm to 800mm. They can
be expensive due to the more complex
construction involved.
MACRO
A lens hood protects the end of your lens and helps reduce lens
flare, which is when you get a streak and light dots in your image
from the light source
cheap, but the good news is that they

often hold their value far better than
camera bodies, which are superseded
every couple of years. So a good
quality lens, kept in good condition,
can sell for just a little less than it
cost when new. So there are lots of
things to consider when choosing that
second lens. Our advice before parting

with your cash is to think carefully
about the images that inspire you and
the kind of photographs you want to
take. So the question you should ask
yourself isnt necessarily what lens
shall I get next? But rather, what do
I want to photograph?
Creative lenses
such as a fish eye
can be a fun way to
produce images
that are a bit
different
If you want to photograph objects or

creatures at a ratio of one to one or closer
then you will need a macro lens. As youre
very close to your subject matter you
want to shoot using a narrow aperture
to keep more of the image sharp in the
frame. If you want the whole of the image
sharp, photographers use a process called
focus stacking. This is more advanced
and requires you to blend multiple images
together in a software program.
CREATIVE LENSES
A fisheye lens is an ultra wide-angle lens
that creates a distorted view. Fish eye
lenses typically range between 8mm and
15mm in focal length. Its the shape of the
glass that creates the effect.
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168

CORE SKILLS

CORE SKILLS
Core skills
Seasoned professional photographer Mark Hamblin
reveals key techniques for taking amazing photos
Be artistic at home
170
173
174
177
178
181
182
185
186
189
190
193
194
Explore still-life opportunities

on your own doorstep
Capture pets on the move

Add dynamism to your pet pictures
by shooting them in action
Capture holiday highs

Ensure your holiday snaps are
stand-out photographic gems
Achieve perfect focus

Use a misunderstood concept to
sharpen up your landscapes
Shooting silhouettes
Silhouettes can make effective
subjects for dramatic landscapes
Master Auto ISO

Not sure which sensitivity setting to
use when shooting in changing light?
The light fantastic

Make use of the long winter nights
with amazing light trail images
Fireworks!
Shoot low-light scenes using your
cameras Bulb exposure mode
Let there be light!

Capture the enchanting essence
of your local woodland
Exposure bracketing
Get well-exposed images in
mixed light by bracketing
Go on a garden safari
Delve into the world of macro
in your own garden
Focus stacking
Merge multiple images with
different focus points
Give your shots wings!

Get amazing shots of wild birds
in your own garden
Switch focus
197
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201
202
205
206
209
210
213
214
217
218
221
Try back-button focusing for

getting sharper action shots
See in black and white

Think in mono to reveal patterns
and textures in nature
Instant mono
Dont wait until you get home
to see photos in monochrome
Capture the other side

Capture the world your eye cant
see with infrared photos
Metering modes
Discover how to select the best
metering mode for the job
Capture the golden hour

Theres no better time of day
to take outdoor shots
Get exposure just right

Discover how to make light or
dark areas in a scene look spot-on
Blur clouds with filters

Add another dimension to your
landscape images
Capture rich blue skies

Discover how to use the most useful
filter you can have in your bag
Wizard wild flowers

Capture fantastic photos of wild
flowers in the spring
Capture the big picture

Set up your camera to take
perfect panoramas
The sky at night

Add interest to your landscape
images after dark
Seeing stars
Use long exposures to capture
mesmerising images
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170

CORE SKILLS
Be artistic
at home
Mark Hamblin explains how you can explore
still-life opportunities on your own doorstep
ot everyone has the time or the money
to jet off to exciting locations to take
photographs. Thankfully, great images
can be created without even
stepping outside your front door. With a little
imagination, everyday household items make
ideal subjects for still-life photography. All
you need is a basic set-up and an artistic
arrangement, and youll soon be producing
striking compositions that are full of interest.
The great thing about shooting still-life
is that you can take your time and control all
the variables. The best still-life photographs
are a blend of interesting composition and
lighting, which harmonise to reveal shape, form,
colour, texture, light and shadow. All thats
required to create your own masterpiece is a
table or worktop, some form of lighting and a
complementary backdrop. Then all you need to
bring to the table is a suitable subject.
What you photograph is entirely up to
you. Look for objects that have character or an
interesting shape that you can shoot, either in
isolation or alongside other complementary
objects. Things like cutlery, old rusty tools, wine
glasses, coloured pencils and, of course, the
classic fruit or flowers all work well.
Start with something simple thats easy to
set up. Once youve mastered the basics, try
combining objects of contrasting shape and
colour to add variety to your images.
The lighting is just as important as the subject
matter, but you dont need to have expensive
studio lights to create the right look for your
still-life photographs. The most readily available
light sources are natural window light and table
lamps; both can be used effectively. Diffused light
coming through a window will light your subject
evenly on one side and create a slight shadow on
the other to add a feeling of depth.
For evening shoots, table lamps are a great
alternative. One or more of them can be placed in
any position or angle around the subject to create
different lighting effects.
The final piece of the still-life jigsaw is the
choice of backdrop. This will also have a strong
influence on the overall mood of the photograph.
Its best to keep it plain so that the background

CORE SKILLS
EXPERT ADVICE:
MAKE YOUR OWN STILLLIFE STUDIO AT HOME
Create a table
top studio
Set aside an area where you can

arrange your still-life close to a
window for natural light shots is
best. Choose a background that
complements the subject. Plain white
or neutral colours often work well,
but black or textured backgrounds
are also effective.
Compose the
still-life
Light the subject
Mark Hamblin
Choose an object that has some

character or a distinct shape that you
can shoot in isolation, or look for a
combination of objects that
complement each other to form an
interesting composition. Take your
time to place each object to create
an artistic arrangement.
Diffused natural light or

tungsten table lamps are the
best options for still-life photography
rather than using flash. This allows
you to fully control the lighting.
Experiment with single and multiple
light sources to create different
lighting effects.
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CORE SKILLS
TOP TIPS FOR

SHOOTING STILL-LIFES
In the dark
Shooting at a time of day when there
is no natural light means that you
can take complete control over the
light upon your subject by using table
lamps. Change the white balance on
your camera to the Tungsten Light
setting for best results.
Why this shot works

1
2
Use reflectors
Control natural window light by using
a reflector to bounce light back into
the shadows. If you dont have one,
then improvise by covering a piece of
A4 card with tin foil. If you slightly
crumple the foil beforehand, itll
bounce the light more evenly.
Experiment with
your lighting
Still-life photography is as much
about creating the right lighting
effect as anything else, so keep
experimenting with new ways to
light your subjects. Directional side
lighting will create strong shadows
adding drama and depth to the shot.
Change the position

Dont stick to the same shooting
position. Move your tripod around
so that you can shoot level with the
subject or try a plan view, looking
down onto the subject. And look for
interesting angles to emphasise part
of the subject.
complements the subject. You may be

able to shoot small objects against a
standard piece of paper or card, or use
the surface of a table.
Cloth backgrounds also work well
for some subjects. You could use
black velvet, which absorbs light to
provide a solid black backdrop. If you
have an old lightbox for looking at
transparencies (remember them?),
this is an effective way to photograph
translucent subjects.
Theres really no excuse for not
giving still-life photography a go: you
cant even blame the weather.
Set aside some time during the
evening or on a wet Sunday to practise.
Position your subject precisely to ensure

you get the best results
1 The bright primaries of this colourful subject

give the image instant appeal.
2 The pegs have been carefully arranged
to produce a regular symmetrical pattern.
3 The use of natural light coming through
a window plus a reflector has resulted in even
lighting, helping to reveal the detail in these
simple forms.
4 A clean white background gives the coloured
pegs greater impact and makes the photo feel
like a graphic.
Start with some strong compositions

and a simple lighting set-up, then
try varying your camera angles and
experiment with alternative lighting.
Its also worth being creative with
wide apertures to achieve a shallow
depth of field, where only part of the
subject is in focus. Whatever and
however you choose to shoot, look for
inspiration around the house and get
snapping some top-notch still-life.
Colourful everyday objects can be the focus of fabulous

still-life photography
Make your subject look its best

The way you compose your still-life is fundamental to creating
successful images that are both unique and engaging. In many ways,
the subject matter is largely irrelevant, because its the composition that
will ultimately make or break the shot. Take your time with this; dont
rush to get on with the process of taking the photograph. If you get the
composition right, the pictures will flow more naturally.
Use the classic compositional rule of thirds to create a strong
composition, and keep things simple with no distractions. Dont forget
that lighting can also add to the composition by creating strong shadows
that lead the eye across the frame towards the subject.
Look for strong colour combinations and juxtapositions of line and
shape. If a particular composition isnt working, then start again and
try something different. In addition, make sure that you vary the position
of the camera: this will change the perspective as well as the composition
of the image.

CORE SKILLS
Capture pets
on the move
Mark Hamblin helps you add
dynamism to your pet pictures
by shooting them in action
likely to get some blurring

of the subject. However, this
can be used to create effective
motion blur shots where only
part of the subject is sharp
ideally the head and eyes
with blurring in the rest of
the animal as well as in the
background.
To ensure the subject stays
in focus, switch from One
Shot or Single Shot mode to
a continuous focusing mode,
such as Servo. This means
the camera autofocus system
will track the subject and
continually adjust the focusing.
Its also helpful to use the
highest drive setting so that
you can fire off a rapid burst.
Shutter speed is the all-important

setting: it will determine whether or
not you freeze the movement
Mark Hamblin
ction shots may be a

little difficult with a
goldfish or, indeed,
an aloof cat, but
theres nothing a dog likes
more than racing up and down
a beach or across the lawn in
pursuit of a ball. So if you have
an active dog or other pet that
likes to run around, this is your
chance to capture some
action-packed images.
Shutter speed is the allimportant setting here: it will
determine whether or not
you freeze the movement. A
shutter speed of around 1/500
sec or faster is usually required
for a sharp shot. Anything
slower than this, and youre
Getting down to your dogs level allows you to fill your frame and doesnt leave you
with an image that looks like it was taken too far away
How to photograph your pet in motion
Get ready for action
You can use any lens, but a mid-telephoto

allows you to shoot from distance, which
will help track the animal. Switch to
Continuous Focus and use the central focusing
point. An aperture of f/4 will help make the
animal stand out from the background.
Freeze the action
For pin-sharp shots, use a shutter speed

fast enough to arrest the movement.
1/1,000 sec or quicker should freeze the action.
Track the animal and maintain focus by
keeping your finger on the shutter, taking a
burst of shots at the height of the action.
Capture motion blur
When the light levels are low, set a

shutter speed of around 1/30 sec in
Shutter Priority (Tv) mode. As the subject
moves, pan smoothly so the subject stays in the
same part of the frame. This technique is best
done with the camera on a tripod.
173

CORE SKILLS
Capture those
holiday highs
Mark Hamblin shows you how to ensure your
holiday snaps are stand-out photographic gems
or many people, the annual summer
holiday is a time to relax, soak up
some sunshine and indulge in the
local cuisine. But if youre anything
like most photographers youll also be keen to
slip away occasionally to immerse yourself in
some photography. A holiday is a chance to
experience a different culture and exciting new
locations and its also a fantastic opportunity to
grab yourself some top notch travel images.
All images: Mark Hamblin
174
First things first, what do you take? If youre

limited for space then youll need to stick to
the basics. A wide to short telephoto zoom is
an ideal travel lens if you have room, include
a specialist lens, such as a macro. Dont forget
your accessories battery charger, plug adaptor,
filters and extra memory cards, especially if you
cant download images during your trip. If you
can manage to squeeze in a lightweight tripod
or even a mini-pod it will help when it comes to

CORE SKILLS
EXPERT ADVICE:
THREE WAYS TO IMPROVE
YOUR HOLIDAY PICTURES
Get out early
In summer, sunrise is well before

most people are awake so take
advantage by heading out to shoot
before dawn. Youll have bagged the
best light of the day and captured
those must-see tourist attractions
when theres nobody else around.
Compose
creatively
Use light wisely
Shoot the scene from

different angles not always from
eye level. Get down low or seek out a
higher vantage point such as a hotel
balcony. Use a natural frame such as
an overhanging tree or archway or the
converging lines of a pier or bridge to
lead the viewer into the picture.
Aim to shoot at either end

of the day when the light is
warm and the scene will be side-lit
to help reveal shape and form. Bright
overhead light is unattractive for most
subjects but you can shoot close-ups
and people in the shade very
effectively. Use a burst of fill-in flash
to add sparkle.
175
176

CORE SKILLS
TOP TIPS FOR TAKING

HOLIDAY SNAPS THAT
STAND OUT
Why this shot works

2
Do your research
Check out websites and other
media for the unmissable sights and
attractions close to your holiday
destination. Make a priority list
and a plan for the best times of day
to shoot which attractions. Also,
download or buy a detailed map so
you can find them!
1
4
3
1 Taking this picture at dawn has meant that the

view has been captured in an attractive soft light.
2 The early morning sunlight has illuminated the
buildings with a warm glow.
3 The photograph has been taken with a good
choice of a high viewpoint overlooking the old
part of the town.
4 The image has been well processed and so
has retained good detail in the shadows and
the highlights.
Reduce camera shake

If youve travelled without a tripod
then camera shake can be an issue
when shooting in low-light situations.
To help keep the camera steady,
lean or rest on something solid to
act as a brace.
Record place names

Make a note of where your pictures
were taken by making a record shot
of place names, signs or information
panels so that you have a permanent
record that you can refer to once
youre back home. Or use the audio
memo feature if your camera has one.
Dont ignore the

smaller details
Often the smaller details capture
the essence of the location more
than the wider view. Look for things
that are unique to the places youre
visiting such as local crafts and
traditions and make these the focal
point of your shots.
shooting longer exposures. If youve

done your research youll have a good
idea of what to shoot, which could be
anything from landscapes, architecture,
cultural events and local people. Often
holiday shots are a reminder of where
youve visited but theres no reason to
ignore the creative possibilities. Your
mantra should be composition and
lighting. Get these right and your

images will be more than mere snaps.
Expansive landscape views look
great at the time but rarely translate
well in pictures if the main interest is
off in the distance or the shots have
been taken at midday. Look for
interesting features or lead in lines
that you can place in the foreground
to add scale and perspective to a
landscape or building. Compose
carefully and only include the most
interesting aspects of a scene. This
will keep the picture uncluttered and
focus attention on where you want it
most. Remember that the most
mundane scenes can be transformed
by beautiful light so try to shoot
during the golden hours of dawn
and dusk.
If youre staying in a town or city
then you may well want to focus on
architectural scenes. Most places have
their own style of architecture and
this can say as much about a location
as anything else. Older buildings tend
to suit warm light whereas modern
buildings with their sharp lines and
crisp shiny facades look good in high
contrast bright light. Converging
verticals may be a problem, which can
be partly solved by standing further
back and using a longer focal length
lens. Alternatively, go the other way
by moving in close and using a wideangle lens to exaggerate the effect for
greater impact. Photographing local

people and customs can be hugely
rewarding but its polite to ask
permission. Most people will
appreciate your attempt to
communicate in their language and
will then be more willing to be
photographed. Local markets, street
parades and other public events are
also great places to shoot more candid
portraits of people as well as
colourful close-ups of stalls and
produce. A telephoto lens is ideal for
this but you can draw attention to
yourself so be aware of causing
offence, especially in other countries.
Look for the unique details that seem to capture the essence of the
location more than wider views of the well-known tourist attractions
Be creative with holiday shots

When taking family holiday photos, make it fun. Vary your composition
by going in close you dont need to include their feet in every shot!
Frame from the waist up or include just their face and compose them offcentre. And dont be afraid to include something quirky in your portraits.
This helps keep the subject engaged and adds humour to your shots.Kids
love to be active so let them loose while you capture the action. Get down
low and use a wide aperture so you can isolate them from the background
and set a high shutter speed of at least 1/500th second to prevent any
subject blur. Take lots of pictures using a high speed motordrive. From
several hundred there will be just a few that stand out.

CORE SKILLS
Achieve
perfect focus
every time
Mark Hamblin reveals how a
misunderstood concept can
sharpen up your landscapes
half this distance to infinity.

For example, the hyperfocal
distance for a 28mm lens set
to f/16 on a camera with a
1.6x cropped sensor is 2.6m.
When this lens is focused
at the hyperfocal distance of
2.6m, everything from 1.3m to
infinity will be in focus.
Optimum distance
By setting the lens at the
hyperfocal distance, youre
making the most of the depth
of field available. Conversely, if
the lens in the above example
was focused at 5m, anything
closer to the camera than
2.5m would be unsharp and
important parts of the near
foreground could be out of
focus, spoiling the shot.
Mark Hamblin
yperfocal distance is
something that
involves complicated
maths, but the basic
principle is a useful way to
maximise image sharpness.
Hyperfocal distance relates
to depth of field: its the
optimal distance at which you
should set any given lens so
that as much of the picture
as possible from front to back
is in focus. The hyperfocal
distance is different for every
focal length, and there is also
a direct correlation to the
aperture setting you use but
dont worry, these values can
easily be looked up.
When a lens is set at
the hyperfocal distance, the
depth of field extends from
You can achieve pin-sharp depth of field from the near foreground to the horizon
in your landscape shots, using the principles of hyperfocal distances
How to capture a pin-sharp landscape
Look up hyperfocal distances
Use the Depth of Field Calculator at

www.dofmaster.com/dofjs.html to find out
the hyperfocal distance for your camera and the
focal-length lens you are using. Print these out
and carry them with you in your camera bag for
easy reference.
Focus and shoot
Switch the lens to manual focusing and

focus it at the hyperfocal distance using
the distance scale or by estimating. Using Live
View and magnifying the picture on the LCD
screen is a good way to focus on a spot a known
distance away from the camera.
Optimise depth of field
Set an aperture of f/16. Wide-angle

lenses offer greater depth of field than
longer ones when set at their hyperfocal
distance. Compose so near and far objects will
be sharp with the focal length, aperture and
hyperfocal-distance focusing youre using.
177

CORE SKILLS
Shooting silhouettes
Silhouettes can make effective subjects for dramatic landscape
or wildlife pictures. Mark Hamblin explains how to capture them
y definition a silhouette
is the dark shape of
something visible against
a lighter background. Its a
graphic representation of that subject,
and its this simplicity that makes
silhouettes so effective. The clean
shape of a familiar subject brought
to life by an often colourful or
dramatic background makes
silhouettes very appealing, and
theyre dead easy to do once youve
mastered a few basic principles.
Mark Hamblin
178
Subjects that work best are those that

have an instantly recognisable outline
such as a tree, person, structure, or
animal. What you must avoid is a
subject that has no obvious features
or an indistinct shape. In theory most
subjects can be thrown into
silhouette, but the end result will be
better with some than others.
The fundamental rule for a
successful silhouette is to shoot the
subject against a much brighter
background, typically the sky,
although water or mist are also very

effective. Its also important that the
subject isnt lit by any direct light,
which means youll usually be
shooting towards the light with the
side of the subject facing you in
shadow. In essence, shooting a
silhouette can be thought of as
extreme backlighting. A simple,
uncluttered composition usually
works best, with the main subject
placed sympathetically within the
picture space, such as on one of the

CORE SKILLS
EXPERT ADVICE:
THREE STEPS TO
ACHIEVING PERFECT
SILHOUETTES
Find your subject
Look for a striking subject that

has a clear, well-defined outline
that you can place against a bright
background, such as the sky. To add
some colour, shoot at sunrise or
sunset when the low sun will
illuminate the clouds with an orange
or red glow.
Use the rule

of thirds
Take a reading
Keep your compositions simple

by using just one key element, such
as a single tree, and place this on one
of the thirds with plenty of empty
space around the subject. Even if your
subject is small in the frame, it will be
the main focal point of the picture.
Take a meter reading directly

from the background without
the subject or the dark foreground in
the frame. Use manual mode for
better control of your exposure
settings or use aperture priority and
dial in between -0.5 and -2 stops of
exposure compensation.
179
180

CORE SKILLS
TOP TIPS FOR

IMPROVING YOUR
SILHOUETTES
Pick the best time

The best times of the day for
silhouettes are usually at dawn and
dusk with the sun just below or
near the horizon. Watch the weather
forecasts in advance, and choose a
day with thin white clouds that will
pick up the intense colour from the
low sunlight.
Hide the sun

When shooting with the sun higher
in the sky, obscure it from view by
placing it directly behind the subject
to avoid excessive burning out.
This will also reduce, or eliminate
completely, unwanted flare.
Check the shape

Make sure the entire outline of your
subject is visible against the bright
background, otherwise the bottom of
the subject such as the legs of an
animal or the trunk of a tree could
get lost, and the silhouette will appear
to be cut off abruptly.
Why this shot works

1 Colourful dawn and interesting cloud
formation provides a backdrop with impact.
2 By taking a meter reading from the lightest
part of the sky, the pine has been rendered as
a silhouette.
3 The isolated pine has been placed on the
thirds, and is offset by the more distant pines
on the opposite side of the frame.
4 A narrow aperture of f/16 has provided
sufficient depth of field to get both the
foreground and background pines in focus.
visual impact and colour, so its

important to get the balance right.
A silhouette works because the
light from the background (sky or
water) is typically five or six stops
brighter than from the subject. By
exposing only for the background,
the subject will be rendered very dark
or black. So you must expose for the
background, and disregard the subject
altogether when taking a reading. The
best way to do this is to use manual
mode and take a spot or partial meter
Shoot low
Get down low and look for unusual
subjects to silhouette, such as flowers,
grasses and other plants. Use the live
view function on your camera to help
compose the shot if you cant easily
see through the viewfinder.
thirds. You also want to avoid the

silhouette being too large in the frame
and overpowering the picture.
Its better to compose the image
with the subject occupying no more
than 30 per cent of the frame with
plenty of space for it to breathe. The
silhouette is providing the anchor
and focal point of the picture, but the
background is equally important for
Mist works well as a background to silhouettes, and is especially

effective at dawn and dusk when it picks up the colours of the low
sun. Shooting towards the rising sun will produce a fiery red glow
around your silhouettes
reading directly from the background.

Set this reading, recompose and take
the shot.
If youre unfamiliar with manual
mode then you can use one of the
semi-auto modes such as aperture
priority, but youll need to dial in some
exposure compensation typically
around -0.5 to -2 stops depending on
the subject and background.
Whichever way youve metered, its a
good idea to check a few things on the
LCD before proceeding further. First,
that the highlights arent burnt out;
second, that the subject is silhouetted;
and third, that the background isnt
too dark. When shooting towards a
bright background with the subject in
shadow, it can sometimes be a problem
for the lens to lock on using autofocus.
To overcome this, set a single focus
point ideally the central one and
place this on the edge of the subject
where theres an obvious contrast
with the background. If the lens still
doesnt acquire focus, youll need to
focus manually.
These principles provide the first
step to shooting silhouettes, but as
always, you cant beat getting out there
and putting them into practice. Just be
aware that silhouettes dont work in
every situation, and they shouldnt be
considered an easy alternative if youve
forgotten your ND grads!
Getting the perfect silhouette

You cant have the wrong exposure for silhouettes you just
get a different result depending on your settings. Once you have
an exposure that produces a silhouette that is, the subject is
black the only thing to consider is the tone of the background.
By taking a spot meter reading from a mid-tone portion of the
background, it will be rendered as you see it. But you can easily
darken it by metering from a brighter portion, or simply by
reducing the exposure in manual mode. This allows you to control
the look of the background, and the intensity of its colour. This
is a good technique to bear in mind when the sky is lacking in
colour. By deliberately under-exposing by several stops, the tone
of the sky will become much darker, and therefore more dramatic.
To emphasise the dark clouds and add atmosphere, we took a spot meter
reading from the pale blue sky close to the lone pine

CORE SKILLS
Master
Auto ISO
ith film cameras,
exposure is
controlled by
aperture and shutter
speed settings at a fixed ISO
setting (which is dictated by
your film). Digital cameras
allow you to change the ISO
setting with just the push of
a button, but on most models
this can be performed
automatically. This is very
useful when the lighting
conditions are changing quickly
when youre moving from
outdoors to indoors, or from
bright sunlight into shadows.
With the Auto ISO function
set to On, your camera will
select the lowest ISO for the
lighting conditions to maintain
maximum image quality. If
light levels fall, the camera
will increase the ISO up to
a maximum setting youve
chosen, maintaining a good

exposure at your chosen
aperture and shutter speed.
On some models, you can
also set the minimum shutter
speed at which Auto ISO
kicks in. For example, if this
is set to 1/60 sec, the camera
will continue to shoot at the
lowest possible ISO until the
shutter speed required to
make an accurate exposure
drops below 1/60 sec, at which
point Auto ISO increases the
ISO to maintain this shutter
speed. This is a handy way to
avoid blur caused by camera
shake, and it enables you to
concentrate on the subject.
The downside? Auto ISO
may lead to over-exposure
in very bright conditions,
depending on your aperture
setting. It doesnt work when
using flash, either.
Mark Hamblin
Not sure which sensitivity

setting to use when shooting in
changing light? Then let your
camera decide...
In changeable light, it can be hard to judge which ISO you need. Switch to Auto ISO
and your camera can decide, leaving you to concentrate on shooting
Switch to Auto ISO
Find the menu
Press the Menu button, then go to

Shooting Menu and scroll down to ISO
Sensitivity Settings. Press OK. This brings up
the ISO Sensitivity Settings menu screen. Set
the ISO Sensitivity to the lowest setting
available typically ISO100 or 200.
Switch to Auto
Use the multi-controller to scroll and

highlight ISO Sensitivity Auto Control.
Select On then OK. ISO-AUTO will be displayed
on the rear control panel and in the viewfinder.
At the default setting (Off) ISO sensitivity will
remain at the value selected manually.
Take some control
To set an upper limit for ISO, highlight

Maximum Sensitivity and select a value.
At high ISO values image noise will be
apparent. Set the Minimum Shutter Speed
value to determine the setting at which Auto
ISO is activated. Press OK to confirm.
181

CORE SKILLS
The light
fantastic
Make use of the long winter nights. Mark Hamblin
explains how to shoot amazing light trail images
ight-time may not immediately spring
to mind as a good time to go out to
take pictures, but theres bags of
potential for shooting after dark. If
you havent considered it before, here are a
couple of ideas to get you started.
In many parts of the world, were surrounded
by light all night long. And where theres light,
theres a photo opportunity. One of the easiest
but most effective techniques to try is capturing
182
the light from traffic in the form of long trails.

The results can be spectacular, and all you need
is a camera with a wide-angle zoom and a sturdy
tripod to produce some really dramatic images.
Light trail photography looks complicated, but
its actually easy to master with a little practice.
The secret to producing good light trails is to
keep the cameras shutter open long enough to
record the vehicle lights as they pass through
the frame. This is usually between 10 seconds

CORE SKILLS
EXPERT ADVICE:
CAPTURING TRAILS
ISNT HARD WITH A FEW
BASIC SKILLS...
Find a good
composition
Composition is vital, so dont

just shoot any old road. Look for
roads where the light trails will form
interesting shapes and help lead the
eye through the picture. Shooting
from an elevated position such as a
bridge can create a better perspective.
Set a long
exposure
Set the exposure

manually
There are no definitive

exposure settings, but aim for a
shutter speed thats long enough to
capture a reasonable number of trails.
This will depend on how fast the
traffic is moving and the length of
road framed in the picture.
Its best to use Manual

exposure mode so that you can set
both the shutter speed and aperture
independently. Use an aperture of
around f/8 and an ISO of 200. Take
a trial shot and check the LCD and
histogram. If its too dark, use a longer
shutter speed or increase the ISO.
183
184

CORE SKILLS
TOP TIPS FOR

SHOOTING LIGHT TRAILS
Shoot in the raw

capture format
The main reason for shooting light
trails in raw is to ensure that you
have greater control over your images
later on during the post-production
stage. This will allow you to alter the
colour balance of your shot and also
avoid colour casts from the artificial
light sources.
Use a low ISO

sensitivity setting
An ISO setting of 200 will ensure
that your images have as little noise
as possible. These low settings also
mean that you will be able to achieve
the long exposure times necessary to
capture effective light trails.
Focus manually
Youll find that many cameras
struggle to autofocus in low light
conditions because of the lack of
contrast. For this reason, its often
better to manually focus on the
key part of the scene. The magnify
function in Live View can help
with this.
Use your cameras

Bulb mode
Why this shot works

3
2
1
1 The dynamic composition converges light trails

from all four corners into a focal point that sits
on a rule-of-thirds grid.
2 The ISO setting for this shot was 100, keeping
noise low while enabling a slow shutter speed.
3 An f/14 aperture means a decent depth of field,
as well as creating the attractive starburst effect
in the street lights.
4 The exposure time of 13 seconds allows enough
traffic to pass to create the trail.
to a couple of minutes, depending on

the situation and amount of traffic.
The other thing to bear in mind is the
ambient light. Some natural light is
a good thing, but too much and the
trails wont show up.
To create a light trail, you need a
good subject. In theory, any section of
road that has a regular flow of traffic at
night will do the job but, of course, the
better the surroundings and the
composition are, the better the result
will be. Winding roads, junctions,
traffic islands and motorways all work
well. Consider city centres where
you can incorporate other lights from
buildings into your shot. Aim to
pre-visualise how the light trail will
For exposures longer than

30 seconds, use the cameras Bulb
mode. This enables you to keep the
shutter open for as long as you need.
Use a remote release to open the
shutter, then simply hold it open for
the required exposure time.
look by the way the traffic is moving,

and pick a place with lots of lights.
Try to choose a spot where you can
capture opposite lanes of traffic so you
get both red and white light trails for a
more colourful result.
Its a good idea to scout your
location while its light enough to see
the main features in your frame; this
will also help with composition and
focusing. Once youve got a shot lined
up, you need to make sure the camera
wont move during the long exposure,
so a good tripod is essential.
Twilight is the ideal time to shoot
light trails, as the residual light in the
sky will be recorded as a bluish-purple
colour, adding atmosphere to your
shot. You can also produce spectacular
results once its totally dark.
Trail and error
To produce interesting light trails you need an interesting bit of road.

Traffic islands, motorways or a dead straight road can all work well
A good starting point for gauging the

length of exposure is to time how
long it takes for a number of cars to
pass, then set your shutter speed to
this time. Shooting in Manual gives
greatest control over exposure but you
can also work in Shutter Priority. The
important thing is that you set the
desired shutter speed rather than
let the camera do this automatically.
Youll need to experiment a little with
the exposure times, but it shouldnt
take long before you start capturing
some fantastic light trail images.
Painting with light shots

The idea behind this technique is similar to shooting traffic trails, but the
results are quite different. Rather than capturing a light source moving
through the picture, youre using torchlight to paint the subject with
light. As with light trail photography, the technique relies on keeping the
shutter open long enough to allow the torch-lit subject to be recorded.
Use Manual mode and set a shutter speed of around 10 to 30
seconds, an aperture of f/8 or f/11 and an ISO of 200 to 400. These are
ballpark settings, and will depend on the intensity of the torch and how
close you are to the subject. Release the shutter and begin to paint the
subject with torchlight, sweeping it smoothly over the subject so that
its evenly illuminated.

CORE SKILLS
Fireworks!
Mark Hamblin explains how to
shoot low-light scenes using your
cameras Bulb exposure mode
he longest
automatic shutter
speed setting on
digital cameras is 30
seconds, which is fine for most
subjects. However, there are
some situations when you need
to make much longer exposures
after dark, for example. This
is where your cameras Bulb (B)
exposure setting comes in. This
setting allows you to hold the
shutter open for as long as
required, enabling exposures of
minutes (or hours) to be made.
Its best to use Bulb mode
when shooting star trails,
night scenes illuminated by
the moon, vehicle light trails,
firework displays, lightning
and when using long exposures
created by a strong Neutral
Density filter. Its very effective
for recording a succession
of fireworks over a period of

time on a single image. You
can shield the front of the lens
with your hand or a piece of
card between fireworks to stop
light reaching the sensor.
Bulb mode is accessed
on most cameras either by a
designated exposure mode
setting often displayed as B
on the top dial or via Manual
exposure mode by scrolling
one click below 30 seconds
until BULB appears.
In Bulb mode, the shutter
will remain open for as long
as the shutter is held down,
allowing you to make
exposures of any length of
time. Its possible to do this
with your finger, but its not
very practical. Instead, you can
use a remote shutter release to
open and close the shutter.
In Bulb mode, the shutter

will remain open for as long
as the shutter is held down
Shoot fireworks in Bulb mode and you can capture multiple explosions in one shot
just put your hand or some black card over your lens between each one
How to get enlightened in Bulb mode
Avoid camera shake
Use a tripod or solid support to ensure

there is no camera movement during a
long exposure. Make sure the tripod is secure
and wont be subject to any vibrations from the
wind, keeping it low if necessary. Turn off any
anti-shake features on the lens and camera.
Use a remote release
A remote shutter release with a lock

facility allows you to keep the shutter
open for as long as necessary. The shutter is
then closed by releasing the lock, which ends
the exposure. Some remotes have an integrated
timer to set the exposure length.
Expose manually
Bulb is a manual mode, so you need to

determine aperture and exposure settings
before you shoot. Set an aperture of f/8 and
experiment with exposure times. If your shot
is too dark, extend the time; if its too light,
shorten it. Use a low ISO to eliminate noise.
185

CORE SKILLS
186

CORE SKILLS
Let there
be light!
Mark Hamblin shows you new
ways to capture the enchanting
essence of your local woodland
andering through
woodland in
summer, who can
fail to be inspired
by these colossal natural
structures towering high
above? Yet trying to convey
this through our images is a
challenge and one that is not
easy to meet.
Woodlands are by their
very nature quite chaotic, and
while our eyes can take
everything in, our pictures
can look cluttered or lack a
focus. So if your woodland
images are not quite what
you hoped, we have some

solid advice to pep up your
pics when you go down to the
woods this month.
Come rain or shine,
woodlands present a plethora
of photographic potential
that is just waiting to be
captured. But first you need
to arm yourself with some
basic skills and plan your
approach. Woodlands can be
photographed any time of
the year so dont just limit
yourself to the colourful hues
of autumn. Spring, summer
and winter all have their own
EXPERT ADVICE: THREE

STEPS TO ENSURE GREAT
WOODLAND SHOTS
Plan your day
Early morning is great for mist,

dew and long shadows, midday
for shooting wide-angle shots of the
canopy, and the low angled light of
evening for a warm glow, soft light,
sunsets and silhouettes.
Make the best use

of the light
Add a splash
of colour
Use direct sunlight early and

late in the day for dramatic shadows
and strong colours. Direct light is
also great for backlighting foliage,
but avoid flare by framing the sun
behind a tree. Take advantage of
overcast light for lower contrast
images with a full range of tones
and saturated colours.
Look for woodland scenes

with good colour combinations.
Vibrant green foliage contrasts well
with tree trunks and also looks
amazing against a vivid blue sky
when shooting the canopy. Woodland
flowers provide a welcome splash of
colour and can add a point of interest.
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188

CORE SKILLS
TOP TIPS FOR GETTING

THE PERFECT WOODLAND
PHOTOGRAPH
Why this shot works

3
4
Avoid white sky

When shooting in overcast
conditions, try to frame your shot
tightly to crop out any white sky,
which will distract the eye from
the view. Bright hot spots can also
lead to underexposure so you may
need to dial in around +1 exposure
compensation.
1 An early morning start has been rewarded

with beautiful warm soft light streaming through
the woodland.
2 There is great use of mist, which has splintered
the sunlight to create the dramatic orange beams.
3 A short telephoto has compressed the
perspective and avoided any large areas of bright
sky in the shot.
4 Framing the sun behind a tree has prevented
flare and excessive burn out.
Banish the tripod

Photographing the tree canopy can
be a real pain in the neck and is very
awkward if the camera is mounted on
a tripod. Instead, hold your camera
and lie on your back for a more
relaxed approach! Remember to pack
a plastic sheet if its been raining.
Make an early start

An early morning visit is not only
your best bet for capturing mist,
but also dew, which adds appeal to
your images. Wind is also less likely,
which is a consideration in avoiding
unwanted blurred foliage.
Shoot silhouettes
Look for single trees that you can
silhouette against a colourful sky at
either dawn or dusk to extend your
shooting time. Also dont dismiss
night-time photography in woodlands
using a tree as the focal point for a
star trail image can be very effective.
special appeal too. More than the

season, it is the light that is most
significant in making your images
stand out. And it is the knowledge of
how to use light to best effect that will
lead to better pictures. There are many
different qualities and angles of light
each with their own appeal. Strong
direct light is good in open areas of
woodland or for lighting solitary trees
producing high contrast vibrant

images. Early morning or late
afternoon is best as the low angled
light will better illuminate the trunks
and produce long dramatic shadows.
In very dense woodland, strong
sunlight can lead to a lot of dark
shadows so is best avoided instead
use a lower contrast form of lighting.
Backlighting works really well in
woodlands adding plenty of drama to
the scene and is especially effective in
misty weather. In the absence of mist,
shoot early or late in the day, and if the
sun is causing problems with flare or
burnt out highlights, hide it behind a
tree trunk. While overcast light may
look less dramatic, it is a blessing for
shooting in dense woodland as the
light is more evenly spread with lower
contrast, leading to richer colours and
increased detail. And dont be deterred
by the rain it makes everything look
fresh and vibrant and really saturates
the colours of foliage, bark and
woodland plants.
enables you to isolate small sections

of trees for a more compact
composition. Look for an interesting
feature such as an angled trunk in a
stand of upright trees or a splash of
bright foliage among grey trunks to
use as a focal point.
For creative shots of the canopy,
fit a wide-angle lens to exaggerate the
converging lines of the trunks. Bright
overhead sunlight is great for
backlighting leaves and provides a
striking blue background on a clear
day. You can also use your wide-angle
lens for shooting whole scenes that
include flowers and ferns.
Keep it simple
When it comes to what to shoot, think
how you can simplify the image as
much as possible. What was it that
caught your eye in the first place?
Hone in on this and exclude
everything that doesnt add to the
picture. A telephoto lens is great as
it compresses the perspective and
When youre shooting the tree canopy, try a wide-angle lens.

This shot was taken with a 15mm lens
Create a blurred image

Set the camera up as normal on a tripod and frame up a section of trees
with straight trunks and some foliage colour. A short-telephoto zoom
lens such as a 70-200mm works well for this.
A shutter speed of around 1 second will give a good effect so set a
low ISO and a small aperture of f/16 or f/22. You may also need to fit a
polariser or neutral density filter to arrive at the desired shutter speed.
Frame the shot at the top of the pan, excluding any sky as this will be
recorded as distracting bright streaks. For a smooth result use the two
second timer and begin to pan just before the shutter opens, moving the
camera vertically downwards at a steady rate aiming to finish just below
the base of the trunks.

CORE SKILLS
Exposure
bracketing
xposure bracketing
is a term used to
describe the
technique of taking
three or more shots of exactly
the same scene using a
different exposure setting for
each one. The idea is to make
sure you have one shot that is
correctly exposed a fail-safe
method, if you like. It was
common practice when
shooting film, when exposure
had to be very precise.
With digital it could be
argued its less important,
because there are ways of
rescuing poorly exposed shots.
However, its far better to
produce a correctly exposed
image in camera.
Bracketing an exposure
is especially worthwhile in
difficult lighting situations
when its hard to be sure of the
correct exposure. By taking
several shots at different

settings you can then decide
which one works best on later
viewing. In extreme lighting
situations it can be invaluable
if you want to create high
dynamic range (HDR) images
by taking a series of exposures
to record detail in highlights
and shadows and then using
software to seamlessly combine
the images.
The usual method for
bracketing is to keep the
aperture setting constant (f/16
for landscapes, for example)
and then make changes to
the shutter speed, which can
be done easily in Manual (M)
mode. The difference between
exposures can be a full stop
(1/15, 1/30, 1/60 sec); half stop
(1/30, 1/45, 1/60) or even a
third stop (1/30, 1/40, 1/50,
1/60) for careful fine-tuning
of the exposure.
Mark Hamblin
If youre struggling to get wellexposed images in mixed light,

bracketing can help
In images where its essential to capture fine detail in both the shadows and
highlights, bracketing will help you to ensure you get the exposure spot-on
How to get started with bracketing
Bracket manually
Select Manual (M) mode, compose

the shot and set the aperture to f/16.
To take an exposure reading, use the Average/
Evaluative metering mode and then align the
indicator bar with the centre mark or
0 on the exposure indicator scale.
Adjust the shutter speed
Take the first shot using the settings the

camera has calculated to be correct. With
the same aperture, manually change the shutter
speed so the indicator bar is aligned with +1 on
the scale and take the shot. Do the same with
the indicator aligned with -1.
Tweaking the technique
If the lighting is more extreme (or for an

HDR image) take two further shots at +2
and -2. Conversely, if you wish to only alter the
exposure by a small amount, take three shots at
0, +0.5 and -0.5. You can chose 0, +1 and +2 if
you only want to brighten the shot.
189

CORE SKILLS
190

CORE SKILLS
Go out on a
garden safari
Mark Hamblin delves into the world of macro
to reveal the mini-beasts in your own garden
he average suburban back garden
is bursting with wildlife, from
birds fighting over scraps on the
bird table to foxes prowling at
night. Some of these can be a real challenge
to photograph, but there are also thousands
of other nature subjects that you can
photograph easily with some basic camera
gear and just a little know-how.
What were talking about are creepy
crawlies in all their many forms.
Theres something here for
everyone, even the
most squeamish
out there, so well explain how you can start

shooting striking insect images right on
your own doorstep.
Insects are the most abundant animals
on the planet, so your garden is sure to
contain myriad species that will provide
plenty of photographic fodder. Butterflies
are the most colourful and showy, with a
variety on the wing during the summer
and early autumn months. They go mad
for buddleia, but will seek out any
nectar-laden flowers found in your garden.
In the longer term, planting suitable flowers
will encourage a wider range of species as
EXPERT ADVICE:
THREE WAYS TO TAKE
BETTER INSECT SHOTS
Find the right light
Close-up photography is often

best done in bright but overcast
conditions, which provide a soft
low-contrast light thats ideal for
revealing detail. Early or evening
sunshine provides attractive warm
light, which is equally effective as
front- or back-lighting.
Aperture settings
Choose your
focus point
A small aperture brings more

of the subject into focus but
the background is also more clearly
defined, which may distract. A wide
aperture is good for selective focus,
when part of the subject is sharp with
everything else blurred out. If
possible, shoot both and decide later.
Autofocus has its limitations

for macro work, so manual is often
better. One trick is to pre-focus, then
move the camera towards the subject
until it pops into focus. For precise
focussing, use the magnify facility in
Live View to pinpoint a specific part
of the subject.
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192

CORE SKILLS
TOP TIPS FOR

SHOOTING CLOSE-UP
MACRO SCENES
Go mono
If you find setting up and using a
tripod is too awkward for this kind
of close-up photography, a monopod
may be a more effective way of
supporting the camera. This helps you
keep the camera steady, but provides
greater flexibility of movement to
follow insects around.
Why this shot works

4
1 The bright and colourful subject matter gives

the picture instant appeal.
2 The butterfly is a good size in the frame thanks
to the use of a 180mm macro lens.
3 Although the camera is hand-held in order to
track the butterflys movement, a shutter speed
of 1/500 sec has ensured that the image is nice
and sharp.
4 The f/8 aperture setting has kept the butterfly
sharp but blurred out the background to avoid
distractions.
Ensure sharp shots

In low light, you can use a very
slow shutter speed if the insect
isnt moving. Use mirror lock-up to
prevent internal camera vibrations
and set a low ISO sensitivity for
noise-free images with good quality.
Consider the
background
To make the insect stand out, try to
photograph it against a plain or
non-competing background. If
this isnt possible, then set a wide
aperture so that the surroundings will
be thrown out of focus.
Compose off-centre
Dont always place the subject in the
middle of the frame. Instead, frame
it off to one side with more space
in front of the insect. Placing the
creatures eyes or head on one of the
thirds (where the dividing lines meet
on a three-by-three grid) also helps
create a strong composition.
well as providing attractive

surroundings for your images.
Butterflies are most obvious when
theyre flying around the garden, but
trying to capture them on the wing
requires a lot of patience and a good
slice of luck. Its far easier to
photograph them when theyre feeding
or resting. They can be tricky to
approach, so a 200mm or 300mm

lens is a good option (fitted with
extension tubes to allow close
focusing), so that you can shoot from
further away without disturbing them.
Alternatively, search for them when
its cool in the morning before they
become active. You may even find
them covered in dew, which makes
them even more appealing.
Moths are often regarded as poor
relations compared to their more
exuberant cousins, but they make
equally attractive subjects. For
guaranteed success, use a moth trap
a white sheet and a bright lamp set up
during the evening will attract them
and, with careful handling, place them
on a suitable prop, such as some bark
for photography.
If you have a pond, dragonflies and
damselflies are sure to have found it
and theyre on a par to butterflies in
the colour stakes. At dawn, its
possible to get close to them before
they warm up and take to the wing.
But its also possible to photograph
them during the day, as many species
perch near water and will often return
to the same spot. If you set up and
wait, you stand a good chance of
grabbing some shots.
not just because they are less active.

The light is also a factor at this time
of day. The low sun is golden and has
a beautiful softness that is perfect for
insect photography, helping to reveal
fine detail and delicate colours in
the subject. As well as front lighting,
try backlighting the subject its a
great way to show the intricate nature
of translucent wings, for example.
Dont dismiss dull weather, either.
Low-contrast overcast light is ideal.
Your garden is sure to be home to
bees, beetles and a plethora of other
creepy crawlies, which all make terrific
subjects. So grub around your borders
to see what you can find.
Set your alarm

Early morning is the best time to
photograph many insect species, and
The limited colour and consistent texture of this leaf formation

means that it provides a great backdrop to the subject in this shot
Extension tubes
A macro lens is the ideal choice for insect photography, but theyre quite
pricey. If you dont already own a macro lens, try the less expensive
option of investing in some extension tubes. These glassless metal tubes
fit between the lens and your camera mount; they enable the lens youre
using to focus more closely, providing greater magnification.
Extension tubes come in various lengths, typically starting at 12mm.
The longer the tube, the closer the lens will focus. They can also be
stacked together. Some extension tubes maintain autofocus and auto
exposure capabilities, for example a Canon EF extension tube on a Canon
lens. Independent brands are cheaper, but youll lose the auto functions.

CORE SKILLS
Focus
stacking
epth of field the
amount of your
picture that is sharp
focus from the
nearest to the furthest point
is determined by two things
for any given lens: the aperture
setting and the distance
between the camera and the
subject. Shooting with a small
aperture such as f/16 will give
the greatest depth of field, but
as you get closer to your
subject the depth of field will
decrease. This means that if
you want to shoot a landscape
that includes something that is
very close to the camera, you
wont be able to get both the
foreground and background in
sharp focus simply by selecting
a small aperture setting. The
foreground will be sharp but
not the background, or vice
versa. The way to get around
this problem and achieve the
extreme depth of field required

is to use a technique called
focus stacking. This involves
taking a series of shots of the
scene using different focus
settings and then merging the
images in Photoshop or similar
editing software to create an
image thats sharp throughout
the whole scene.
Youll need a sturdy tripod
to ensure the images are all
taken from exactly the same
position. One that allows the
camera to be positioned close
to the ground is ideal, so you
can get close to the foreground
for added drama.
Before you start, compose
the picture and take an
exposure reading as normal
using a small aperture setting
of around f/16 and then check
this out using the on-screen
histogram. Once youre happy,
youre good to go.
Mark Hamblin
Mark Hamblin explains how

to merge multiple images
with different focus points
By merging three exposures, all with different focus points, you can overcome issues
with shallow depth of field and get a shot thats sharp from front to back
How to maximise depth of eld
Focus manually
Use manual focus to take images at

different settings. Take the first photo at
the closest focus setting, then one at 1m, one at
4m and one just short of infinity. If your lens
doesnt have a distance scale, youll need to
judge the focus distance using Live View.
Select your images
View the images in browsing software

and choose three that between them have
all parts of the picture in sharp focus. Open
these in Adobe Camera Raw, carry out basic raw
processing adjustments to all three images and
then open them in Photoshop.
Merge in Photoshop
Go to File>Scripts>Load Files Into Stacks.

Check Align Images so the images line
up. Youll have three layers. Activate them by
holding down Shift and clicking the top layer.
Go to Edit>Auto Blend Layers. Check Stack
Images and click OK. Select Flatten Layers.
193

CORE SKILLS
Give your
shots wings!
Want to try wildlife photography, but like your
home comforts? Mark Hamblin explains how
to get shots of birds in your own garden
ird photography isnt just
for dedicated wildlife
photographers with
expensive cameras and long
telephoto lenses. Many digital cameras
have cropped sensors, which is a real
advantage for wildlife photography.
With their 1.5x or greater crop factor
even a modest 300mm lens becomes
the equivalent of 450mm or more,
which allows you to fill the frame with
your favourite feathered friends.
But rather than just wandering
around the countryside hoping
to get some great shots,
entice the birds into your
194
garden where youll have more control

over the pictures you take.
The best way to attract birds is by
supplying regular food and water.
You can provide bird food all year
round, but in the late autumn,
winter and early spring birds
are most hungry and are
sporting their

CORE SKILLS
EXPERT ADVICE: THREE

EASY WAYS TO TAKE BIRD
SHOTS THAT SING
Feed the birds
Set up a feeding station in your

garden to attract birds. Choose a
spot that has a good background for
your shots and that receives sunshine
most of the day, as this increases your
lighting options.
Stay hidden
Keep up with
the action
Use a photo hide or temporary

screen, so that the birds are
more relaxed. Mount your camera and
longest telephoto lens onto a tripod
and train the lens on perches close to
the feeders. Use an easily adjustable
tripod head so that you can compose
your pictures and react quickly.
Small birds are often fast

moving, so to prevent subject
blurring shoot in Aperture Priority
(Av) mode with a wide aperture to
give the fastest shutter speed. Around
1/500 sec or faster is best. To capture
the bird in a good pose, use the
cameras motordrive to take a rapid
sequence of shots.
195
196

CORE SKILLS
TOP TIPS FOR

ENSURING TOP SHOTS
OF GARDEN BIRDS
Look after the birds

Provide a variety of good quality
bird foods and clean and replace the
feeders regularly to avoid problems
with disease. Squirrel-proof feeders
are a good option in areas where
squirrels are likely to be a problem.
Also supply the birds with clean
water daily for drinking and bathing.
Why this shot works

1
3
2
1 The wintry conditions give the picture an

obvious context, and the falling snowflakes add
further interest.
2 A fast shutter speed has arrested the height
of the action, with both of the birds captured in
sharp focus.
3 The background is a neutral tone, giving the
birds prominence and adding impact.
4 A large aperture setting on a telephoto lens
has thrown the background nicely out of focus,
making the birds stand out further.
Introduce perches
As a way to isolate your subject from
the background and to produce a more
attractive shot, set up a perch such as
a sprig of berries for the birds to land
on before they come to the feeder.
Attach the perch to a support or spare
tripod for precise positioning.
Shoot wide open

To throw the background nicely out
of focus, set a large aperture such as
f/4 or f/5.6. This combined with a
long focal length lens will give a very
shallow depth of field and produce
shots with a diffused backdrop and
just the bird in sharp focus..
Try backlighting
As an alternative way to light your
subject try shooting towards the
sun to rim light the birds feathers
against a dark background or create
silhouettes at sunrise or sunset. This
is a simple way to add some extra
drama to your garden bird pictures.
brightest plumage. Food stuffs such

as peanuts, sunflower seeds, windfall
apples, mealworms and raisins will
attract a range of different species.
Hang bird feeders on branches close
to where you intend to photograph
and scatter seed on the ground. It
shouldnt take long for the birds to
find the food and numbers will build.
Some species are tolerant of people,

and you may be able to sit quietly out
in the open to photograph them. But
others will be quite shy and wont
visit the feeders if youre close by. The
best approach is to conceal yourself
so that the visiting birds will be more
relaxed. Purpose made photo-hides are
ideal and have apertures cut into them
through which you can point your
lens. Alternatively, you could make
your own from old material or scrap
wood. It may also be possible to shoot
through the window of a garden shed
or from the house through patio doors.
Frame carefully
Think about the background of your
shots, because this should
complement the bird rather than
compete with it. Diffused backgrounds
of a neutral colour are the best way
to make the bird stand out well. If its
hard to find a spot in the garden that
provides a good background, then opt
to bring in your own instead.
A painted sheet of plywood works
well, or try camouflage scrim netting
or other material of a suitable colour
draped onto a fence or outside wall.
Position the background as far behind
the subject as possible so that it is
thrown out of focus to give a naturallooking effect.
The lighting is equally important,
but this can be anything from bright
sunshine to dull overcast light after a

heavy snowfall. Bright sunlight is most
attractive early and late in the day, so
check out the position of the sun at
these times and set up accordingly.
Your shooting position is less vital
in overcast light, but its best to face
north so that the subject is lit by the
brightest part of the sky. And dont
rule out bad weather falling snow
looks great and adds extra interest.
So if you fancy trying wildlife
photography, garden birds are a great
way to start, and youll be amazed at
the shots you can get from even the
smallest of gardens. Just head outside
and get started.
Throw your subject into silhouette by breaking the rules and

shooting towards the sun
Capture garden birds in ight

Once only possible with high-speed flash, flight shots are now accessible
to anyone with a large capacity memory card. Youll need good sunlight
and a high ISO setting, because a shutter speed of around 1/2000 sec is
needed to freeze the action. Autofocus isnt reliable for fast-flying small
birds, so its best to align the feeder and perch in the same plane of focus.
Manually focus on the perch (or feeder) and then re-compose the shot so
that its framed in the gap between them. With luck the bird will then fly
from the perch to the feeder and remain in sharp focus.
Use a remote shutter release so you can watch the bird on the perch,
and then take a sequence of shots as it takes off using the fastest
motordrive setting.

CORE SKILLS
Switch focus
Back-button focusing is a core
pro skill for getting sharper action
shots. Heres how to do it...
lift your finger off the button

for a split second before fully
pressing it. In this split second,
focus tracking will stop, and if
the subject moves closer to the
camera, the shot will blur.
The advantage of so-called
back-button focusing is that
you dont need to half-press
anything you just hold down
the back AF button with your
thumb to start focus tracking,
keep holding it down as you
track your subjects movement,
and then fire off a burst at the
peak of the action.
Not all cameras have an
AF button on the back, but
on most models back-button
focusing can be set using a
Custom Function. See below
for how to do this on a Canon
5D Mark II, or refer to your
cameras manual.
The advantage of back-button

focusing is that you dont need to
half-press anything to focus
Mark Hamblin
ocus is usually
achieved by
half-pressing the
shutter-release
button, but its also possible to
customise most SLRs so that a
button on the back of the
camera usually marked
AF-ON or * activates
autofocus instead.
This is useful when youre
using continuous autofocus,
or focus tracking. Using the
shutter button to focus is fine
for static subjects, but with
moving subjects it can be hard
to tell whether or not the
shutter is half-pressed, and if
you accidentally press too hard,
you run the risk of firing off a
burst of shots too early. Theres
also a risk that when you
come to fully press the shutter
button, youll inadvertently
Back-button focusing allows you to continuously focus with your thumb, and then
fire off a burst of shots with your forefinger at the moment you want to
How to set up back-button focusing
Find the Custom Function
Example for a Canon EOS 5D Mark II

(for other makes and models check your
manual). Press the Menu button and use the
Main Dial to highlight the Custom Functions.
Use the Quick Control dial to highlight C.Fn IV:
Operation/Others, and press Set.
Activate the back button
This will open Custom Function 1:

Shutter Button/AF-ON Button. To
activate back-button focusing, you need to
select option 3: AE lock/Metering+AF Start. To
do this, press Set, then use the Quick Control
dial to scroll to option 3 and press Set again.
And shoot!
Press the Menu button twice to clear

the LCD. With this option selected,
you can use the AF-ON button to activate
autofocus and take a meter reading, and the
shutter button to release the shutter. It takes
a bit of practice, but it works a treat!
197

CORE SKILLS
198

CORE SKILLS
EXPERT ADVICE:
THREE WAYS TO SHOOT
TEXTURES EFFECTIVELY
Think in black
and white
Ignore colour and concentrate

on tones and how the relationship of
light and shade creates patterns and
reveals textures in nature. Finding
suitable subjects takes time, so be
patient and learn how to spot smaller
details by looking beyond the obvious.
See in black
and white
Compose carefully
Make good use

of the light
Check out compositions by

moving around the subject and
trying different shooting angles. Look
for interesting patterns, shapes and
textures and compose using diagonal
or S-shaped lines or emphasising
symmetry. Frame the shot to avoid
background distractions.
Mark Hamblin shows how to think in mono

to reveal patterns and textures in nature
he natural world offers blackand-white shooters some
fantastic opportunities. The
striking patterns and textures of
the world around us are among the best
subjects to apply a mono treatment to.
Trees, leaves, bark, pebbles, rocks, shells,
feathers, moss, flowers and water are just
some of the myriad subjects that can be
found in nature, and all have the potential
for memorable images. The first step in the
process is to get outdoors and start looking
that might sound obvious, but its one

thing to look and another thing entirely to
see. Learning how to visualise patterns in
nature and then making an evaluation of
how they will look in black and white, is the
most important skill to master. Its really a
matter of training your eyes to look closely
at the subject.
When shooting conventional images,
colour plays a big part in deciding what to
photograph, because were naturally drawn
to certain colours and combinations. This
The type of lighting plays a

major role, so look carefully at how
this affects light and dark tones. Low
side lighting will bring out textures
and reveal shape and form, making
the subject appear three-dimensional.
Overcast, low-contrast light is better
for subjects with fine detail.
199
200

CORE SKILLS
TOP TIPS FOR MAKING

PERFECT NATURAL
MONOCHROME IMAGERY
Use a tripod
Tripods are helpful not just for image
sharpness, but also for composition.
Having the tripod in a fixed position
means that you can frame your
shot precisely, then make small
adjustments to the camera to create
a perfect composition.
Why this shot works

4
1 The cryptically patterned plumage is well suited

to monochrome, with the fine feathers creating a
rich texture.
2 Going in close with a macro lens has excluded
the background and made the composition feel
like an abstract.
3 The overcast light doesnt create heavy shadows
ideal for revealing fine detail in the feathers.
4 Keeping the camera parallel to the subject has
ensured a sharp focus.
Avoid bright sun

In strong overhead sunlight, it can
sometimes be rather difficult to retain
detail in the brightest and darkest
parts of the scene. In these situations,
you need to lower the contrast by
shading the subject so that a full
range of tones can be recorded.
Get in close
You can eliminate any distractions by
going in close and filling the frame
with the subject. A dedicated macro
lens is one good way to shoot closeups, but you can also use extension
tubes or close-up filters instead.
Use a polarising filter

A lot of subjects benefit from using
a polarising filter to reduce surface
glare and reflections. This also helps
to increase the level of contrast by
producing a richer range of tones,
adding extra punch to your images.
the subject to lead the eye from one

side of the frame to the other. Pattern
shots rely on uniform shapes and
regular spacing, such as a line of trees.
The background, or the lack of one,
is an important consideration for pattern shots, whether youre
shooting for colour or black and white.
If you do include a background, ensure
that its uniform in tone without any
distractions, such as bright hotspots.
Alternatively, frame the shot tightly
to exclude the background and give
greater emphasis to the subject.
contrast to reveal the textures.

Overcast light will provide a more
even tone, which is better suited for
revealing fine detail.
On location
Use these principles to pre-visualise
shots when youre on location. Once
you find something that you think
might work in monochrome, its time
to get your camera out and start
composing a few shots.
Photographers work in different
ways when it comes to settling on the
best composition, so stick with what
works best for you. Wandering around
with your camera in hand and
checking out potential subjects
through the viewfinder is a good way
to make a quick evaluation and see if
a particular composition will work,
before you get down to the more
serious business of setting up your
tripod to shoot.
Compose yourself
goes out of the window when youre
shooting for black-and-white images,
of course.
Try to re-programme your brain to
ignore the colour of the subject; look
instead at shape, form, texture and
strong lines and most important
of all, how the light is affecting all of
these. Strong sunlight will generate
deep shadows and create greater
In the absence of colour to provide

instant appeal, black-and-white
images are strongly reliant on the
relationship between light and shade,
and how they reveal patterns and
textures in the scene. Frame the shot
with this in mind and use the
interplay of tones rather than colour to
determine how you compose the shot.
Look for diagonal lines or S-curves in
Pattern shots typically rely on uniform shapes and regular spacing.

Make sure that the camera is positioned precisely
Stay focused
Its vital to pay attention to focusing when youre working in closeup. Focus is even more relevant with black and white, because the
success of the picture often relies on realising superb detail.
Switch to manual focusing (MF on the lens barrel) for more precise
results. And for even greater precision, use Live View, which enables
you to magnify the subject (5x or 10x) on the rear display. You can
then make fine adjustments using the focussing ring.
Depth of field is limited at close distances, so position the camera
parallel to the subject for increased sharpness. Use a small aperture of
f/11 or f/16 to maximise depth of field, and ensure that the subject is
as sharp as possible.

CORE SKILLS
Instant
mono
Dont wait until you get home to
see photos in mono. Mark Hamblin
looks at in-camera options
and-white images in-camera

is that you can review your
images in mono straight away.
This can improve your blackand-white technique.
Black-and-white images
produced in-camera also have
a unique look thats hard to
replicate in raw conversion
without spending ages editing.
The safe option

If you remain unconvinced, you
always have the option to shoot
in raw+JPEG. This way you can
convert the raw file to mono
if youre not happy with the
in-camera version. With some
cameras, you also have the
option to convert your raw files
to various black-and-white
modes in-camera.
Producing black-and-white images

in-camera means you can review
your images in monochrome
Mark Hamblin
odern cameras have

clever features that
perform all kinds of
tasks that were
previously only possible with a
computer. However, in-camera
processing features are
becoming highly sophisticated.
There is even an argument that
for certain tasks, such as
black-and-white conversion,
some cameras do a better job
than Photoshop or other
post-processing software.
Purists might argue that
shooting in raw format and
converting to black and white
afterwards is still the best
option, but lets consider
the case for doing the job
in-camera. One of the main
advantages of producing black-
You need an eye for monochrome to take good black-and-white shots in the first
place. Being able to see the results on the spot is a huge advantage
How to create a mono image in your camera
Enable mono shooting
Most cameras can capture black-and-white

JPEGs using a Monochrome picture
or shooting style thats accessed via the
shooting menu. But its not always easy to
visualise how a scene will look in black-andwhite before youve taken it...
Preview the shot
Once youve activated the cameras

Monochrome style, you can switch to
Live View and view the scene in black and
white on the LCD screen. After youve taken
your shot, you can then review it in black and
white on the rear display.
Convert to mono
If your camera has a monochrome postprocessing option, you can take the shot
in colour as normal, then create a black-andwhite version in-camera. This preserves the
colour original and saves a new mono version
to your memory card.
201

CORE SKILLS
202

CORE SKILLS
See you on
the other side
Capture the world your eye cant see with
infrared photos. Mark Hamblin explains how
right overhead sunlight isnt
usually flattering for shooting
landscapes, but its actually ideal
for infrared photography. This
may not be something youve considered
before, but shooting infrared images is
hugely rewarding, and gives outdoor
scenes an otherworldly haunting
appearance. The effect works especially
well on green foliage and blue skies, which
makes summer the perfect time to try
shooting some ghostly infrared images.

Infrared light is outside the visible
spectrum of the human eye, but digital
cameras can capture it either after a
modification or by using an infrared filter.
The first option involves having the
cameras infrared blocker removed and
replaced with an infrared filter so that the
camera will only record infrared light. This
sensor conversion costs from around 300
(www.advancedcameraservices.co.uk)
EXPERT ADVICE:
CREATE DRAMATIC
MONOCHROMES WITH
AN INFRARED FILTER
Get set up
If youre using an infrared filter,

long exposures are the norm, so
youll need to use a sturdy tripod and
set it up on firm ground. Its also a
good idea to use a remote release or
a self timer as well as mirror lock-up
mode to prevent any problems with
camera shake.
Exposure
Convert to black
and white
Frame your shot and focus

before you fit the filter. Set a
narrow aperture of around f/8 or f/11
to overcome the shift in focus. Use an
ISO of 400, and in manual exposure
mode, set the shutter speed to 30
seconds. Check the histogram and
adjust the exposure as necessary.
Convert your IR images to

monochrome in Camera Raw. Even
with black-and-white images, the
white balance continues to have an
effect, so use the WB slider to get
the best result. Increase the contrast
using Levels or Curves for a more
punchy result.
203
204

CORE SKILLS
TOP TIPS FOR

TAKING BETTER
INFRARED SHOTS
Check your camera can

capture infrared light
Put your camera in Live View mode,
point a television remote control
at the lens and press a few buttons.
If you can see a flashing red tinted
light, your camera is able to capture
infrared light.
Calculate the density

of your IR filter
If your visible light exposure is
1/1000 sec at f/8 using ISO400, and
the exposure with the filter fitted is
30 secs at f/8 using ISO400, then
the filter is equivalent to a 15-stop
reduction in light. You can then use
this to work out future exposures.
Turn off long-exposure

noise reduction
This means therell be no
in-camera noise processing, so you
wont have a lengthy wait for this to
be applied between shots. Instead,
you can adjust noise reduction during
the processing.
Black out the

viewfinder
Make sure that no stray light can
enter the camera, because this will
ruin your infrared picture. Use the
built-in shield for the viewfinder
eyepiece if your camera has one or use
dense tape or Blu Tack to black it out.
or from $325 (www.lifepixel.com). The

modification is irreversible, but you
could have an old camera converted.
The alternative approach is to fit
an infrared filter to your lens, which
blocks out all the visible light and only
allows infrared light through.
Specialist filters such as Hoyas
Why this shot works
screw-on R72 cost between 30 to

135 ($45-$85) for popular filter sizes.
These filters produce great results,
but they are very dark (like a strong
neutral density filter) so you need to
adapt the way you shoot, because you
cant see through the viewfinder once
the filter is attached.
Best conditions
Infrared photography is best suited
to bright overhead sunshine. In this
light, blue skies are rendered as rich
dark tones and leaves and grass
appear ghostly white after processing,
giving images an eerie appearance. For
this reason, landscapes are a popular
choice, but infrared can also be very
effective for other subjects including
people. Bright sunlight isnt essential,
though, so dont worry if the clouds
roll in.
If you have your camera converted
for infrared photography, you can
pretty much shoot as normal, although
be aware that some lenses give better
results than others. Check online to
see how your lens performs, and also
try using different lenses to see which
gives the best results. If youre using
an IR filter, then things like exposure,
focusing and composition are more
difficult, but its nothing that cant be
overcome with a bit of trial and error.
Youll need to compose and focus
on the scene before the filter is fitted.
1 I took the picture in bright midday sun to

maximise the infrared effect.
2 Blue skies work best to provide good contrast
in black and white. Large white clouds pop out
of the sky.
3 I chose these foreground trees as the main
subject for the ghostly effect of the infrared light
on the leaves.
4 I converted the raw image to monochrome and
adjusted the tones in Photoshop to add drama.
Infrared light is focused differently

to visible light, so what may be sharp
when seen in visible light may be
slightly out of focus when captured in
infrared. To compensate for this, its
best to set a narrow aperture to bring
all parts of the scene into focus.
Straight out of the camera your
images will have a strong red colour
cast, so youll need to convert the raw
image to monochrome and then make
adjustments to the contrast and colour
sliders to produce really striking blackand-white images. Successful infrared
photography takes a bit of practice, but
persevere and youll be rewarded with
some astonishing results.
Its not possible to take a meter reading with an IR filter, so youll

need to experiment and practise until youve worked out the factor
Boost your infrared images

Infrared images can appear rather flat, lacking in contrast and tonal
range, but you can easily fix this in Photoshop using Levels after
youve converted the image to black and white. Simply drag the left
arrow (black) to the right until it just touches the point where the
graph starts, and drag the right arrow (white) to the left to the point
where the graph ends.
You can increase the contrast further by using Curves to create
an S-curve. Add an anchor point on the diagonal line in the centre
of the graph (Input 127) by clicking the cursor at this point. Click
the line at the halfway point between the centre and the bottom
right (black triangle) at approximately Input 63 and drag the line
down to around Output 50.

CORE SKILLS
Metering
modes
Mark Hamblin explains how
metering modes work and how
to select the best one for the job
metering modes uses the same

light reading, but they process
the information in different
ways to give weight to specific
parts of the scene.
The default mode on most
cameras is evaluative or matrix
metering, which produces good
results in most situations. Its
less reliable with backlighting
or when there are areas that are
very bright or dark. Centreweighted metering mode gives
more emphasis to the middle
of the frame and less to the
background. This is useful
when its more important
to get the exposure right for
the main subject than the
background. Spot metering
takes a reading from a specific
point in the scene.
Most digital cameras have a

choice of average, spot and centreweighted metering modes
Mark Hamblin
nowing which mode

to use to take a
meter reading will
make a big
difference to the accuracy of
the exposure in your images,
and help you to deal with
different lighting. Most digital
cameras have a choice of
average, spot and centreweighted metering modes.
In order to get a wellexposed photograph, your
camera has to evaluate how
much light there is in the
scene. It does this by using a
built-in light meter that takes
a reading from the scene and
then uses a computer program
to calculate the appropriate
shutter speed and aperture
setting. Each of your cameras
If your camera incorrectly meters a scene because of the peculiar characteristics

of the lighting, try a different metering mode
How to use the different metering modes
Intelligent metering
In Matrix or Evaluative metering, the

camera computes the exposure based on
a large number of readings taken across the
frame. This works well most of the time but
it can be hard to try and predict the situations
where it will come unstuck!
Centre-weighted
This mode gives more weight to the

subject in the middle of the frame,
although the background can still affect the
meter reading. The main subject should be
placed in the centre to get the best results, so
its good for portraits, for example.
Spot metering
This works by taking a meter reading

from a small area in the middle of the
frame, usually the central 25%. You can also
use it to take a reading from a midtone that
isnt in your picture, providing its lit by the
same light as your intended subject.
205

CORE SKILLS
Make the most

of the golden hour
Theres no better time of day to take outdoor shots.
Mark Hamblin helps you to prepare for the glory
he time referred to as the golden hour
by photographers is that magical
period just after sunrise, or before
sunset, when the land is bathed in
beautiful warm light. Gone are the cool tones of
the middle of the day. Instead, the landscape
turns shades of gold and orange.
We tend to respond more favourably towards
these warm tones, which is why pictures taken
206
during the golden hours of sunrise and sunset are

so appealing. Unfortunately, this magical golden
light doesnt come along every day, so you need
to be ready to make best use of it.
Theres little doubt that shooting during the
golden hour will help improve your landscape
images and give them the wow factor. But this
sumptuous light that we crave is transient,
sometimes lasting for much less than an hour.

CORE SKILLS
EXPERT ADVICE:
ADD WARMTH AND
DEPTH TO YOUR
LANDSCAPE IMAGES
Plan your shoot
Get up-to-date weather forecasts

showing cloud cover for your
location, and look for clear skies to
the east or west. Give yourself plenty
of time to find a good viewpoint and
get set up. Take a headlight to help
when walking, and for checking
camera settings.
Compose
your shot
Take the shot
Work out the suns position,

and compose the shot so the light will
illuminate the scene from one side. Fit
filters, such as ND grads, to balance
the exposure or a polariser to reduce
haze and unwanted reflections.
Select an exposure mode

Manual (M) or Aperture
Priority (Av) are best and set the
aperture to f/16 for good depth of
field. Take a test shot and check the
histogram. Adjust settings if
necessary. Start shooting as the sun
rises or sets, and take plenty of shots
to capture the best light.
207
208

CORE SKILLS
TOP TIPS FOR

CAPTURING THE
GOLDEN HOUR
Why this shot works

1
Find the sun

Use an app such as the Photographers
Ephemeris (www.photoephemeris.
com) to work out the position of the
sun. This will help in the planning
of your shot, especially for earlymorning shoots, when its harder to
pinpoint exactly where the sun will
rise on the horizon.
3
4
2
1 Good research, such as previous visits, ensured

that the location was well lit at first light.
2 Plenty of time was allowed to reach the
viewpoint and get set up before the sun began
to rise.
3 Taken soon after sunrise, the picture benefits
from beautiful warm tones.
4 Shooting at right angles to the rising sun
has produced dramatic side-lighting and deep
shadows to define forms.
Watch yourself
When taking landscapes with the sun
low in the sky, you should take care
not to include your own shadow in
the picture. Shooting at right angles
to the sun will help avoid this, and
also enhance the feeling of depth by
creating light and shade.
Take a hike
If youre visiting hilly locations,
the valleys may well be cast in deep
shadow for several hours at either
end of the day. Head for the hilltops
instead to catch the best of the
low-angled golden sunlight.
Adjust the
white balance
When using auto white balance, you
may find that the camera sets a cooler
colour temperature to counteract the
warm light, making the scene come
out too neutral. Shoot in raw so you
can adjust this manually during
post-processing.
So the golden rule is preparation. You

have to be on location at the right time
in anticipation of good light, and be
ready to start shooting if and when the
light comes.
Early-morning light is arguably
the best light of the day for landscape
photography: it can often be much
softer than late-afternoon light. Mist
or frost are also common in the

morning, which adds extra appeal to
your images.
Early bird
Itll be dark when you set out, making
it more difficult to find a good
viewpoint. Youll also need to
pre-visualise how the shot will look
once the sun comes up. All this
requires careful planning if you want
to shoot early-morning light at its
best. By contrast, shooting later in
the day means that you can find a
good location and compose your shot,
then wait for the sun to drop lower in
the sky and paint the landscape with
warmth. Images taken towards sunset
benefit equally from the golden light,
but may be a little harsher and lack
some of the subtleties of early
morning. Either way, the low sun will
not only add warmth to your images
but also create more shadows, adding
a greater sense of depth and revealing
shape and form.
This is especially true when shooting

in the early morning, because you have
less time to find a good viewpoint and
composition. Once the sun comes up,
you need to work quickly and secure
your images, then move on or try
variations of your composition.
Success is never guaranteed: what
promises to be magical light can be
ruined by low cloud obscuring the sun.
But dont be put off trying again. If
you get yourself in the right place at
the right time often enough, youll be
lucky sooner or later and youll be
ready to capture some of your greatest
landscape images ever.
Plan ahead
While its possible to be flexible in
your approach to shooting during the
golden hour, its often better to head
for a location you know well or have
visited before. Having prior knowledge
of potential viewpoints is a great help
and will ensure that you are in the best
spot to capitalise on the best light.
Early mornings are probably the best time of all to take shots. The
mist that sometimes appears can help to enhance the mood
Get the balance right

In the low golden light at either end of the day, its possible to
photograph in any direction even towards the sun itself. This can
cause problems with exposure, because the camera cannot record these
extremes of tones. One way to balance the exposure so that both the
sky and the land are recorded the way your eyes see them is to use a
graduated neutral-density filter. An ND grad filter reduces the amount
of light passing through the top half of the filter, while the bottom half
is clear. This means that when placed over the front of the lens, the
exposure for the sky is reduced, while the exposure for the land remains
unchanged. The resulting picture is well-balanced, with good detail in
both the sky and the land.

CORE SKILLS
Get exposure
just right
Mark Hamblin shows you how
to make very light or dark areas
in a scene look spot-on
but when the subject is very

light or very dark, the cameras
meter may be fooled into either
under-exposure (too dark) or
over-exposure (too light).
This is because the cameras
meter is programmed to
see (and therefore meter)
everything as a mid-tone
(18% grey). So, if your image
includes a lot of bright sky,
the camera will meter this as a
midtone and itll be recorded
as too dark. On top of that,
the foreground will be much
too dark. To rectify this, look
at the histogram on the LCD
panel after taking a trial shot,
and then use the exposure
compensation button (or dial)
to adjust the shutter speed.
If your image includes a lot of sky,

the camera will meter this as a
midtone and it will be too dark
Mark Hamblin
ccurate exposure is
by no means
guaranteed if you
rely entirely on your
cameras meter to calculate
a reading. This is especially
true if you use a semi-automatic
mode, such as Aperture
Priority. When using the
default average metering mode
(also known as evaluative or
matrix metering), the camera
will take readings from various
parts of the frame and use
them to calculate an average
exposure value. In Aperture
Priority mode, you set the
aperture, but the camera sets
the shutter speed based on this
average reading. This method
works well in most situations,
The highlights in bright skies often fool your cameras automatic metering system.
Combine test shots and exposure compension for more accurate shots
How to banish badly exposed images
Take a trial shot
With experience, you can evaluate whether

to make any compensation to the
exposure, but its often best to take a trial shot
and check the exposure. View the image on the
LCD, then check the histogram for an accurate
assessment of the exposure.
Image too dark?
If the histogram is biased to the left, the

image is too dark, and youll need to add
more light. Do this by pressing the exposure
compensation button and moving the indicator
to +1 on the scale. Take another shot and check
the histogram again.
Image too light?
If the histogram is biased to the right,

your shot is too light and the white may
be blown out altogether. In this case, move
the indicator to around -1 on the scale. Again,
check the histogram after taking another shot
and fine-tune the compensation.
209

CORE SKILLS
210

CORE SKILLS
EXPERT ADVICE:
USE HIGH-DENSITY
FILTERS TO CREATE
CLOUD BLURS
Frame the shot
10-stop filters are so dense that

its impossible to see through
them, so you need to frame the shot
before fitting it to the front of the
lens. Add other filters, such as an
ND-graduated filter to balance the
exposure or a polariser to add
contrast to the clouds.
Blur clouds
with filters
Mark Hamblin shows you how to add another
dimension to your landscape images
eutral-density or ND filters are
used for lengthening the
exposure time, so anything
thats moving in the scene can
be recorded as a creative blur. Moving water
is the most typical subject for this
technique, but its also an effective way to
blur scudding clouds. Motion-blur of
fast-moving clouds provides an alternative
to the more conventional approach.
The trouble is, clouds move a lot more
slowly than water. While an exposure time
of one to two seconds is often ideal for
recording water as a blur, it wont have
much effect on clouds because they wont

have moved far. Coupled with this is the
problem of how to achieve very long
exposures in bright light in the middle
of the day.
By using a strong ND filter, its possible
to achieve exposure times in excess of 30
seconds, which is long enough to capture
creative cloud blurs.
Choose your subject

The starting point for this kind of shot is,
as always, a good subject. There are clouds
and there are clouds, but you need the right
Calculate the
exposure
Use Bulb mode
Most filters come with a

conversion table, or you can download
one from the web to help calculate the
correct exposure based on the
exposure reading made without the
filter fitted. For example, a shutter
speed of 1/30 sec would become 30
seconds when using a 10-stop ND.
To optimise cloud blur, aim

for a shutter speed of over 30
secs by setting a narrow aperture and
low ISO and using a high-density ND
filter. Set the mode to Bulb (B) and
use a lockable remote release to hold
the shutter open. Unlock the remote
to end the exposure. Check the
exposure on the histogram.
211
212

CORE SKILLS
TOP TIPS FOR

MAKING YOUR CLOUD
BLURS A BREEZE
Protect your filter

A high-density filter is both
expensive and fragile (they are
usually made of glass), so safeguard
it from accidental damage by always
protecting it in a hard case while its
not in use.
Why this shot works

4
Avoid light leakage

Shooting long exposures in bright
sunlight can sometimes create issues
with stray light reaching the sensor.
To combat this, you need to place
the high-density filter tight to the
front of the lens and prevent light
entering the viewfinder by using the
eyepiece shutter.
Look for movement

Dont be fooled by great-looking
cloud formations that arent moving
in the sky. These work brilliantly
as conventional shots using a short
exposure time. However, the lack of
movement means they wont produce
a good blurring effect.
Keep it steady
Camera shake can be a problem
during long exposures, so ensure the
tripod is well-grounded and wont
vibrate or move. This is especially
important in windy conditions. It also
helps to keep the tripod low, with the
legs only partially extended.
kind of clouds! Obviously, a sky filled

with uniformly toned clouds isnt
going to work because the clouds will
blur into one another, and be recorded
as an amorphous mass with no texture
or tonality.
What you need to look for are
clouds of contrasting tones dark on
white, white on dark or a good general
mix. Of course, white clouds against a
1 The contrast of the white clouds against

a blue sky has created a really strong
colour combination.
2 Theres great cloud movement from the long
exposure of three minutes.
3 The clouds moving towards the camera have
resulted in a fantastic dramatic blurring effect.
4 A wide-angle lens has been used to great effect
to include a wide expanse of sky in the top half of
the frame.
When lining up your shot, try to work

out roughly where the clouds will start
and finish, and compose the picture
so that the cloud blur will lead the eye
across the frame.
Treat this as a fun technique, and
experiment with different exposure
times and cloud formations. And
whenever you have a landscape with
fast-moving clouds, turn to your highdensity ND filter to capture an
alternative version of the scene.
blue sky will also work well, and these

fair-weather cloudscapes can produce
some of the best results of all.
Approaching storms are a
fantastic opportunity to create
stunning landscape images with
blurred clouds. Watch out for big dark
brooding skies looming on the horizon
and get yourself set up in an
appropriate location to record the
storm clouds as they move towards
you. Dawn and dusk similarly produce
some of the most dramatically
changing skies of the day.
Low, thin clouds pick up the best
colour when the sun is just below the
horizon, turning them into a
succession of pink, mauve and orange.
These warmly lit clouds look better if
there are darker clouds behind to add
contrast and make the colours pop.
Which direction?
The direction and speed of cloud
movement is also an important
consideration for shooting cloud blur
shots. The faster the clouds are
moving, the further they will travel
during the course of the exposure,
which will result in greater blurring.
Also, if the clouds are moving across
the frame, the resulting blur will look
different to when clouds are moving
directly towards the camera. Both work
well, and even clouds moving away
from the camera can be effective.
If youre shooting fast-moving clouds, they will travel further during

the length of the exposure, resulting in a fantastic blurred image
Which lter?
Neutral-density filters come in different strengths, typically
0.3ND, 0.6ND, 0.9ND, 1.2ND. But even the strongest, the 1.2ND,
will only reduce the exposure time by four stops too fast to
record clouds as a blur.
You could add a polarising filter, which will reduce the exposure
by another two stops, but this is still not enough. Another 1.2ND
filter will bring the exposure down to 15 secs, which is better, but
you now have three filters stacked on the front of your lens.
A better option is to use a high-density filter such as a Lee
Big Stopper, which can reduce the exposure by around 10 stops.
This allows you to generate exposure times of 30 seconds, or even
longer if you add another ND filter or polariser.

CORE SKILLS
Capture rich
blue skies
Mark Hamblin shows you how to
use a polariser the most useful
filter you can have in your bag
light striking the subject. They

work best when shooting at
right angles to the direction of
sunlight and are less effective
if the sun is directly behind
you. They are also effective in
overcast conditions to remove
glare from water.
A polarising filter reduces
the amount of light reaching
the sensor, so a slower shutter
speed is needed to capture the
shot. This can be a positive
attribute if you enjoy shooting
scenes using a long exposure,
such as moving water. On the
downside, you usually need
to use a tripod when using a
polariser to prevent unwanted
camera shake.
Polarisers are often used to darken

the sky, giving it a more intense blue
colour and making clouds stand out
Mark Hamblin
polarising filter is
probably the most
useful filter you can
own and, unlike
other filters, its effects cannot
be replicated in Photoshop.
Polarisers remove reflections
from non-metallic surfaces,
which makes them useful when
photographing water.
They also remove reflections
from the tiny water droplets
present in the atmosphere,
giving landscapes better colour
saturation. Polarisers are often
used to darken the sky, giving it
a more intense blue colour and
making clouds stand out.
The effect a polariser has
depends on the angle of the
A polariser can improve the sky in your images by deepening the blue and
brightening the clouds. You need to watch the direction of the light though
How to get perfect polarised shots
Choose your polariser
Polarisers come in two forms linear and

circular but both do the same job. A linear
filter is used in combination with a filter holder
fitted to the front of your lens. Circular ones
come in different sizes to fit the thread of your
lens, so you many need to buy more than one.
Set it up
Using a circular polariser is easy. Screw

the filter onto the front of your lens and
line up your shot, ideally with the light coming
from one side. Rotate the outer ring while
looking through the viewfinder or rear LCD
until the polarisation effect is most obvious.
Watch out for...
Polarisers can cause vignetting on a

wide-angle lens, but this can be avoided
by zooming in. Polarisation can also be uneven
with a wide-angle view this is most obvious
in a clear blue sky. Shoot a tighter composition
if this is a problem and always use a tripod.
213

CORE SKILLS
214
Wizard wild flowers

Mark Hamblin shares the skills you need to leave the confines of your
garden and capture fantastic photos of wild flowers in the spring

CORE SKILLS
EXPERT ADVICE:
A STEP-BY-STEP GUIDE TO
SHOOTING WILD FLOWERS
Choose your lens
Choose an appropriate lens.

A wide-angle is ideal for showing
a flower in its habitat, while a closefocusing telephoto will isolate it. For
super close-ups and abstracts use a
dedicated macro lens.
Frame the shot
Think about
the settings
Set the camera up on a tripod

and position it roughly level
with the flower to create a pleasing
composition. Check the background
and look around the frame for any
distractions, tidying the
surroundings as required. A clamp
will hold tall stems steady and prevent
subject movement.
Use a low ISO sensitivity

setting for the best quality images
with minimal noise. Set a small
aperture for maximum depth of field
or a large aperture to make the
subject stand out from the
background. Use manual focus for
maximum precision. Live View can
be useful for accurate focusing.
215
216

CORE SKILLS
TOP TIPS FOR

IMPROVING YOUR
FLOWER PHOTOGRAPHY
Why this shot works
Shoot early in the day
Subject movement from even the

slightest of breezes is a real bugbear
for flower photographers, and often
results in soft shots. To minimise
this problem, aim to shoot before
or soon after sunrise when there is
less chance of wind. An early start
also increases the chance of
capturing attractive dew or frost
on your subject.
Enhance movement
If its really windy, use this to your
advantage and shoot groups of flowers
blowing in the breeze using a slow
shutter speed of around 1/4 second
to convey movement and create some
interesting blurring. See the features
in this book on shutter speed for
more on creative effects.
Control the light

To reveal more detail in the shadow
areas, try bouncing light back onto
the flower using a reflector, or add
some fill-in flash. If you are forced to
shoot in bright sunshine, cast your
own shadow over the flower to reduce
the contrast, or use a diffuser for
softer lighting.
Expose manually
Bright or reflective flowers can
fool your cameras meter into
under-exposing. Shooting in Manual
exposure mode and checking the
histogram display will help you to
overcome this.
1
2
ompared to other
aspects of nature
photography,
shooting wild plants
and flowers is a stroll in the
park. After all, they cant run
off and you dont need to lug
back-breaking lumps of glass
around with you to get a decent
shot. Whats more, the diversity
and abundance of plants means
that you wont have to venture
far to find a subject, and now is
the ideal time to give it a go.
There are a number of lenses
that are suitable for flower
photography, depending on
the style of image you hope to
capture. Most general purpose
zooms that cover focal lengths
of around 24mm to 135mm will
give you plenty of options. The
wider end of this range will
allow you to include the plant
or flower as part of its
surroundings, helping to put
it into context. The use of a
wide-angle lens also increases
depth of field, so the subject
and backdrop can be recorded in
sharp focus.
A short to mid telephoto is
useful if you want to isolate an
individual flower by throwing
the background out of focus.
Its also possible to reduce the
1 The photos subject matter an impressive and

colourful display of wild orchids offers plenty
of interest.
2 A wide-angle lens was a good choice,
as it allowed the photographer to squeeze the
mass of flowers into the frame.
3 The image has been well composed. Including
the distant hills emphasises the flowers and puts
them into context.
4 The early morning soft light has enhanced the
vivid colours of the orchids.
minimum focusing distance of

a telephoto by fitting extension
tubes. These inexpensive
glass-less tubes fit between
the camera and lens and are an
effective alternative to a macro
lens. For serious close-up work
though, use a 1:1 macro so you
can hone in on the fine details.
Think about light

Most flowers look great to
the human eye when viewed
in bright sunshine, but this is
often not the best light for
pictures. Direct sunlight can
cause problems with contrast,
burning out highlights and
creating unflattering
shadows. Soft, diffused light is
much better and will produce
a more attractive result with
bright, well-saturated colours.
An alternative approach is to
use backlighting to reveal fine
details on the stem and flower
and add impact to colourful
petals. Backlighting is
particularly effective when the
subject is photographed against
a black background.
In terms of framing,
flowers lend themselves well to
a variety of compositions
in both horizontal and
vertical formats, and this is
often dictated by the flowers

overall shape. Try to shoot level
with the subject rather than
looking down on it, and place
it off to one side of the frame.
This will lead to a more
intimate and sympathetic
composition. Be creative and
think beyond a straightforward
record shot and more in terms
of the shape, colour and form.
Dont just concentrate on the
flower itself the leaves, stem
and other parts of the plant can
be just as interesting.
Its also important not to
ignore the background. Frame
up the flower so that it has a
complementary background
that doesnt compete for
attention. Shooting low level
will help throw foregrounds and
backgrounds softly out of focus
when using a telephoto lens.
Setting a large aperture will also
minimise depth of field so that
just the flower is sharp. If
necessary, tidy the background
by holding or carefully tying
distracting foliage out of shot.
Tweezers can also be useful for
removing dead stems.
As time goes by, more
flowers will come into bloom,
providing you with a stream of
subjects to perfect your skills.
Depth of eld dilemmas

The look of your pictures is determined partly by your choice of lens,
shooting position and composition. But depth of field is an equally
important factor that affects how the final image turns out.
If you want the entire flower to be in sharp focus, a small aperture will
increase depth of field, but this will also bring the background more into
focus, which can be a distraction. A compromise may be necessary to get
the right balance.
For a more abstract look, use a very shallow depth of field by setting
a large aperture. This will limit the amount of the flower that is in sharp
focus to just a millimetre or two, concentrating attention onto a specific
area and creating an attractive soft-focus effect around it.

CORE SKILLS
Capture the big picture

panoramic image
closely matches our
own view of the world,
so its a very natural
way to photograph the landscape.
And the good news is that
shooting panoramas has never
been easier. You can even do it
with your smartphone. For a
more professional result, though,

use your SLR to take a series of
overlapping shots that can be
stitched together using
Photoshop or other software to
create gorgeous panoramas.
You can do this hand-held,
but using a tripod will give you
better control over framing. Try
Hold the camera and simply twist

your body from left to right while
looking through the viewnder
to get the tripod and camera level

so that the resulting panorama
wont have any gaps along the top
and bottom edges. The golden
rule for shooting panoramas is
to do everything manually. This
means using manual exposure,
manual white balance and manual
focus so that each frame will
blend seamlessly with the others.
Get creative
Shooting in a vertical panoramic
format will give you more options
with cropping, and help you
include more foreground and
sky. It also means you can use a

longer focal length, which usually
gives a better perspective.
Composing a panorama can
be tricky, but a good way to
start is to hold the camera and
simply twist your body from left
to right while looking through
the viewfinder to see how itll
look. Try to include interest
right across the panorama. One
side can be more dominant than
the other, but there should be a
natural flow from left to right
or vice versa, depending on how
you see the world.
How to shoot successful panoramas
Prepare the shot
Look for scenes with interest across a

wide field of view, with strong features on
both sides. Form a panoramic shape with your
fingers or swivel your camera to get a feel for
how the scene will look. Level your tripod to
get everything perfectly square.
Switch to manual
Shoot in raw so you can adjust the white

balance for each shot during processing.
Set the exposure in Manual (M) mode. Switch
to manual focus so all the frames are identical.
You can use AF to acquire focus, but switch to
MF to take the shots.
Create the panorama
Mount the camera vertically and take

a succession of frames with roughly a
30-per-cent overlap to aid stitching. A lens
in the range of 35 to 80mm will give the best
perspective. In Photoshop, use Photomerge to
form the panorama.
Mark Hamblin
Mark Hamblin shows how to set your camera to take perfect panoramas
217

CORE SKILLS
The sky at night

Looking to add interest to your images? Mark
Hamblin heads out to take scenics after dark
ou may think it seems
counter-intuitive to shoot
landscapes once the sun has
disappeared and light levels
drop, but the night sky actually has a
special quality that brings a completely new
dimension to your images.
The low-light conditions can present a
challenge in terms of the practicalities of
taking pictures, but much of this is a
218
psychological aversion to shooting in

the dark. Once these mental barriers are
overcome, the rewards far outweigh any
personal discomfort, opening up a whole
host of new image-making opportunities.
Lighting is clearly an issue when
shooting at night there simply isnt much
of it, especially out in the countryside away
from artificial light sources. So how do you
light your subject? One way is to use the

CORE SKILLS
EXPERT ADVICE:
THREE WAYS TO GET
GREAT RESULTS IN
MOONLIGHT
Compose
with care
All successful landscape

images need a strong composition.
Increase the ISO to its highest setting
and use Live View to get a clear view
of the scene on screen, then return
the ISO to a lower setting before
taking the shot.
Calculate the
exposure
Use Bulb mode
Set the ISO high and take a test

shot using an aperture of f/5.6. Check
the histogram, and if the exposure
is accurate use these settings to work
out the exposure for a lower ISO
setting for example, f/5.6 at 4 secs
at ISO12800 is the same as f/5.6 at 4
mins at ISO200.
The longest exposure possible

using one of the standard
modes is 30 seconds, so youll need
to use the Bulb (B) mode instead.
This allows exposures of any length
to be made using a remote
shutter release. Press and hold/lock
the remote to keep the shutter open
for the desired time.
219
220

CORE SKILLS
TOP TIPS FOR

GETTING GREAT SHOTS
AFTER DARK
Why this shot works
Good timing
Check the internet to find out when
the next full moon phases in your
location are, when the moon rises in
the afternoon with good potential for
photography during the early evening.
4
2
3
Do a recce
Scout out possible subjects and
locations for night photography
during the daytime so that you
know how to find them in the dark!
When you return to your chosen
spot, make sure you bring a torch
or better still, use a head torch for
hands-free light.
Wrap up well
The temperatures at night are
considerably lower than they are
during the day, so youll need to wear
extra layers and take a hot drink and
sufficient food to maintain your
energy levels. Keep your camera
well fuelled with fresh batteries too,
and always make sure you keep the
batteries warm so they dont go flat.
Make sure your

camera is steady
A solid tripod with a good head is
essential to maintain stability during
the long exposures required for
night photography. During the shoot,
double check that the tripod head is
locked down securely to prevent any
movement taking place.
light reflected from the moon. Under

a fullish moon its possible to produce
a fully illuminated landscape picture
using a long exposure. Moonlit images
have a mystical, tranquil quality. The
light is unlike that from the harsh rays
of the sun, and the results are amazing.
In a similar way that our eyes adjust to

moonlight and allow us to see almost
as well as in daylight, a camera is able
to capture images illuminated solely
by moonlight. However, there is a big
difference between daylight images
and those taken using the much softer
light from the moon. The way that
light interacts with a scene to reveal
shape and form looks very different
when captured over a long exposure of
ten, 20 or even 40 minutes.
Its all about timing

The shooting period for moonlight
landscape photography revolves around
a full moon and two or three days
either side. It also needs to be a clear
night. The best times are two to four
hours after the moon has risen, when
its at a good angle to create shadows
and reveal form in the landscape.
When shooting under a full moon,
try a baseline exposure of one minute
at f/5.6 using ISO400. For the day
either side of a full moon, youll need
to increase the exposure by 50%
1.5 mins at f/5.6 and ISO400, for
example. Two days from a full moon it
would be 2 mins at f/5.6; ISO400.
The best approach is to take a shot
at these settings or equivalent, check
the LCD image and histogram and
make any necessary adjustments. Its
often worth bracketing anyway, by
taking three or more consecutive shots
1 The long exposure has captured the movement

of the clouds across the sky, adding interest to
the top half of the frame.
2 Strong composition, with the castle and the
horizon placed according to the rule of thirds.
3 Foreground detail gives the picture depth.
4 The position of the full moon and the
bright, airy exposure adds an intriguing quality
the picture almost appears to have been taken
in daylight.
at differing exposure times. Another

approach is to use the light reflected
from stars to paint their own picture
as the earth rotates and they appear
to move across the sky. Rather than
shooting the stars themselves, use a
foreground feature such as a tree that
you can silhouette against the sky with
star trails circling above it.
Alternatively, introduce some
artificial light to illuminate the
foreground. This could either be a
burst of flash fired during the
exposure, or torch light used to paint
the foreground with light.
Illuminate your subject with multiple flashes or torchlight during a

long exposure at night to give your landscapes an otherworldly feel
Shoot the moon!

Either in close-up or as part of the landscape, the moon offers
a number of shooting possibilities, and each of its phases creates
a different effect.
Shooting the moon within the landscape is best done during
twilight when it is possible to balance the light from the moon with
the light from the sky. Too early and the light from the sky will
overpower the moon, too late and the sky will be black and lacking
in interest.
Try including a line of silhouetted trees or hills along the bottom
of the frame, or use a distinctive man-made structure such as a
windmill or church. Also, keep an eye out for the next lunar eclipse
for your opportunity to shoot a dramatic red-tinted full moon.

CORE SKILLS
Seeing stars
Make the most of long winter
nights by using long exposures to
capture mesmerising images
as much light though the lens

as possible, so youll need to
use a fast lens, ideally with an
aperture of f/2.8. You will also
need a dark, moonless night
and a location well away from
light pollution. An exposure
of around 60 to 120 minutes
at f/2.8 using ISO800 is a
good starting point. There
are, however, some downsides
to this approach. Residual
light pollution can spoil the
picture at long exposures, and
unwanted thermal noise caused
by the sensor heating up can
degrade image quality too.
The image-stacking
technique is often a better
option. This relies on taking
a sequential set of images
over a long period and then
combining all the images using
post-processing software.
To shoot a single long exposure

you need to allow as much light
though the lens as possible
Mark Hamblin
hotographing the
sky at night is a
fascinating
experience, and
modern cameras can produce
amazing images after dark.
Relatively short exposures of
30 to 60 seconds can be used
to capture twinkling stars in
sharp focus, but for a much
more dramatic effect try
making extra long exposures to
create surreal star trails that
streak across the sky.
There are two ways to create
star trails either by taking
one long exposure to register
some movement or by taking a
sequence of shorter exposures
and then using image-stacking
software to combine them into
a single picture on a computer.
To shoot a single long
exposure you need to allow
If youre shooting in the northern hemisphere, locate the North Star and use that
as the focal point of your composition to get circular trails like this
How to capture the sky at night
Set up the shot
On a clear, moonless night, set up your

camera (with a fresh battery) on a tripod
on firm ground so that it will remain stable
during the shoot. To get concentric circles
point the camera towards the North Star the
last star on the handle of the Big Dipper.
Focus carefully
For best results, use a wide-angle lens

with a maximum aperture of f/2.8. An
f/4 lens will also work well, but you may need
to increase the ISO setting. Use Live View and
magnify the image on the LCD to focus on a
bright star dont rely on the infinity setting.
Shoot and stack
Set an exposure of around 60 secs at

f/2.8; ISO800. Use a programmable
remote controller to take a sequence of 100 or
more images. Batch process them using
identical settings and use stacking software to
merge them and create the final star-trail shot.
221
222
Teach Yourself Photography is also available as a 40-part video

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app and discover another great way to learn photography
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220 PAGES OF EXPERT PHOTO ADVICE

The all-in-one beginners course to using your D-SLR

LEARN ALL THESE THINGS:

Click the page

Compared with camera phones and compact

Chris George, Series Editor

Teach yourself Photography

Future Publishing Limited

FUTURE PUBLISHING LIMITED

Tel: +44 (0)1225 788186

PRINT & PRODUCTION

Future produces carefully targeted magazines,

Teach yourself Photography

Set up your camera

A guide to your cameras menu system .................................26

Learn the different ways of framing .........................................42

Capture stunning creative portraits

A guide to your SLRs Scene modes........................................54

Shoot inspiring landscapes

Master landscape composition ................................................ 74

Capture kids having fun

Start taking control

Take control in Program mode................................................ 142

Learn key features of your camera

The basics explained

Low-light tips and tricks

Easy home lighting .....................................................................102

Be artistic at home .....................................................................170

Teach yourself Photography

Teach yourself Photography

Set up your camera

Get your new digital SLR

Take the first steps in setting up

Memory cards for digital

Learn everything you need to

We take look at the various types

How to fit a lens

Our easy-to-follow guide reveals all

A guided tour of your

Get to know your camera better by

Teach yourself Photography

Unbox your SLR

If you havent already done so, youll need to

Teach yourself Photography

SOFTWARE AND MANUAL

5 MAIN CAMERA BODY

Teach yourself Photography

Fit the camera strap

Lay out the strap

Take the strap out of the box

Place in the loop

Grab the small end of the strap

Adjust the buckle

Now grip the plastic buckle

Teach yourself Photography

Carefully thread the end of the

Repeat the process

Repeat this process on the

Teach yourself Photography

HOW DO I KNOW WHEN

HOW DO I KNOW HOW MUCH

Teach yourself Photography

FIVE WAYS TO MAKE YOUR

Your batterys power will