Problem when you forget tripod

Shooting in low light without a tripod or a fast lens

          In dim light, it is tough to get a shutter speed fast enough to handhold your DSLR camera. You can try tuning up your ISO and using  a wider aperture, but that only takes you so far. When all else fails, lean up against the nearest  wall, keep your elbows in and shoulders relaxed, take a deep breath, exhale half of it, and press the shutter gently. Repeat as necessary and hope one of the shots will be steady enough. Of course, if you are shooting a moving subject, the slow shutter speed might make your subject blur, though the background should be sharp. About the only way to save this is to tell everyone it is “an artistic effect”.

Want to try high dynamic-range imaging, but forgot tripod

     Since you have to combine multiple frames to create an HDR image, it is best to use a tripod so the DSLR camera will not move between frames and the images will lay perfectly over one another. But if you are without a tripod, see if your DSLR camera will shoot a high-speed burst in aperture priority and bracket mode. You will capture a series of images with varied exposure, perfect for HDR conversion. While you are at it, set bracketing sequence of DSLR camera to shoot underexposed, then normal, then overexposed to make your images easier to browse.

3 ways to control White Balance

          You could go forever without adjusting white balance – left on Auto, your DSLR camera will usually get it right. But sometimes you want to be in charge. Here are 3 ways to take power over white balance.

1. Use a preset white balance. These settings are simple to understand and can be useful when shooting under multiple light sources, which can fool Auto. Use Tungsten (usually denoted by a light-bulb icon) indoors under incandescent lighting – it makes the colors in photos less yellow (i.e., cools them down). The Fluorescent setting compensates for greenish artificial light, warming up your shots. Cloudy and Shade settings will also warm up cool, blue tones.
2. Create a custom white balance. If even a preset won’t do it in mixed light, make your own setting. Photograph a neutral gray under the light in which you’ll be shooting, and select this frame in the CWB mode. Your DSLR camera will “correct” it to neutral gray and apply the same correction to ensuing photos. Result: cast-free color.
3. Fix it in postproduction. If you don’t want to bother making adjustments while shooting, or if you got it wrong, there’s always hope. In adobe Photoshop, use the Gray dropper in the Levels command or the one-click white balance tool in any RAW converter to click on any area that’s supposed to have neutral color. The rest of your photo’s color will fall in line.

EV

     EV stands for the nondescript term “exposure value”. In plain language, an EV is a chunk of light equivalent to a full f-stop, or a full standard shutter speed, or any combination of the two adding up to a full step.

     Unlike shutter speeds and f-numbers that have geometric progressions, EV steps march along in ordinary whole numbers: EV 1, 2, 3, 4….. And unlike those wrong-way f-numbers that are big when the aperture is small and vice versa, EV numbers are logical: big to represent bright light, small for dim light.

     For EV readings to make sense, though, you have to state an ISO rating-the sensitivity of your film or imaging sensor. ISO 100 makes a good benchmark. At ISO 100, EV 16 is beach under blazing sun, whereas EV 0 is dark enough that people have great difficulty reading, and most DSLR camera AF systems give up.

     Another nice thing about EV is that it gives you a quick, accurate guide to the range of lighting in a scene or studio. A range of EV 4 to EV 8 is 4 stops.

     That’s another great thing about EV: even the fractions make sense. With EV, 0.3 is 1/3 stop, 0.5 is ½ stop, 0.7 is 2/3 stop. Period. So from EV 4.3 to EV 8.3 is 4 stops.

     If EV makes so much sense, why don’t DSLR cameras use it for exposure settings? Actually, most of today’s DSLR cameras do, for exposure-compensation control. Want the picture a stop darker? Just dial in -1 EV.

     Accessory flash units almost always use EV.

     And handheld lightmeters often provide EV readouts. We use EV reading meters in the Pop Photo Lab to set light levels for things like AF tests. It is easy with EV.

Vertical Grip

     One of the accessories that you will get offered when you go to buy a DSLR camera is the battery/vertical grip, but what’s so special about them? As the name implies, they serve two purposes – to provide extra power and to give you a vertical grip.

     Most vertical grips should allow you to use two DSLR camera batteries simultaneously, effectively doubling the power available and therefore your shooting time too. The advanced ones will also accept a choice of battery types. Often a tray of AA batteries is a cheap method to make sure you always have back-up power ready on a shoot.

     The second feature of a vertical grip is to make DSLR camera shooting with the camera in the upright position more comfortable and easier to operate. With the vertical grip attached, the overall feel of the DSLR camera improves in both standard and upright shooting positions so it will improve your camera’s handling. This coupled with the extra power makes them a solid choice for the enthusiast photographer.

DSLR Camera settings for Studio Flash

     Everyone will be familiar with the style of these modern portraits – high-key lighting, overexposed details and heavily saturated colors. Although it seems really complicated, this technique is fairly easy and can be mastered very quickly. The first hurdle to get over is having to shoot with lights in a studio. Here’s your simple guide to setting your DSLR camera for studio flash…..

Exposure Mode

     When shooting with studio flashes you must use the manual exposure mode. None of the auto modes will do the job.

ISO sensitivity

     To get the best possible results that can be tweaked post production you need to select the lowest possible setting on your DSLR camera, usually ISO 100.

White Balance

     When you’ve got your studio ready, the only light will be from the flashes so you should select the flash white balance setting as depicted by the flash symbol to get the most consistent results.

Shutter Speed

     You will need a fast setting to ensure that you freeze your subject’s movements. Go for the fastest speed that your DSLR camera will X-sync at – this is usually somewhere from 1/125sec up to 1/250sec but check your DSLR camera manual if you are unsure.

Aperture

     Focus needs to be pin-sharp from front to back, so this means you need to set an aperture between f/11 up to f/22.

Common DSLR camera problems: Blurred Images

     Even with modern autofocus systems in DSLR cameras or compact cameras, blur is one of the most common causes of ruined shots. But recognizing the causes will help you to prevent it happening again. There are two main causes for blurred pictures – camera shake and focusing. The effect looks similar, but the causes and solutions are quite different. Here’s what you need…….

Camera Shake

     The Cause : As the name implies, camera shake is due to the camera moving during the exposure. It is most common when using either long shutter speeds or longer focal length lenses. During long exposures it’s easy for the camera to move while you take the shot, no matter how steady you think you can hold it, while the greater magnification of long focal length lenses also magnifies any movement, causing camera shake.

     The Effect : Blur caused by camera shake affects the whole image, so one way of recognizing this problem is that no area of your shot is sharp. To be sure that camera shake is the problem you need to look closely at a blurred area of your shot. As it is caused by the camera moving during the exposure you should see two or more images of the subject, each slightly shifted from the others. The other telltale sign of camera shake are “lines” connecting blurred areas of the image.

     The Cure : The simplest way to cure camera shake is to use a faster shutter speed of at least 1/focal length of the lens, ie if you are using a 200mm lens you’ll need at least 1/200sec (or ideally 1/250sec). When this isn’t possible, or you want to use a long shutter speed for creative effect, use a tripod or beanbag and remote release or self-timer.

Incorrect Focusing

     The Cause : This occurs in both auto and manual focus modes, due to not focusing precisely. With autofocus it’s possible the focus point used isn’t exactly on the main subject. If you’re using single-shot autofocus or manual it’s also possible that either the camera or the subject moved between the camera focusing and the image being taken. This is more apparent when using long focal length lenses or wide apertures, and the closer you are to the subject, due to the shallower depth-of-field.

     The Effect : The most obvious result is when an area in front of or behind the subject is sharp, but the main subject is blurred. The subject moving during the exposure causes this too, so check for lines or multiple images. Focusing blur results in even softness across the out-of-focus areas of the pic.

     The Cure : You must ensure you focus precisely, especially if you are shooting with a shallow depth-of-field. With autofocus make sure the focusing point is precisely over the part of the subject you want sharp, and if using focus lock or manual focus ensure the distance between the subject and camera doesn’t change.

Three Essential Filters for your DSLR camera

     Because the effects of many on DSLR camera filters can now be emulated in software. It’s no longer necessary to buy a stack of them. Warm-up filter, which add a sunny amber glow to make a picture more attractive, were always a necessary purchase for film users, and colored grad filters were hugely popular for adding a hint of blue (or any other color) to a bland sky.

     The latest versions of Photoshop and Elements include a Photo Filter (found in the Image Adjustments menu) and this allows you to add and control just about any filter effect you’d want to apply. There are three filters, though, which can’t really be created in Photoshop, and these are the ones worth buying if you’re serious about your landscape shots

ND filter

     With landscape shooting, there are times when you want to reap the creative rewards of a long exposure. To obtain this, set the lowest ISO value, then switch to Aperture Priority mode and set your f/number to the highest possible. This is usually f/22 or f/32 on DSLR camera, and f/8 or f/11 on compacts. Your shutter speed will drop to slowest it can go.

     Trouble is, on bright days this still may not give you a very long exposure, so you have to make the scene darker. A Neutral Density (ND) filter places a neutrally-colored “pair of shades” over the lens to allow less light in. ND filters come in various strengths, and the best bet is to get a three-stop mode (a 0.9 or 8xND). This allows only one-eighth of the light to get through, and consequently gives you shutter speeds 8 times longer.

     With this, you’ll be able to make water “flow”, or if the shutter speed is slow enough, make moving people disappear from the scene. You’ll need to use a tripod to hold the DSLR camera still.

Polarising filter

     A polariser suppresses reflections in glass and water, darkens blue skies, and intensifies colors in a scene. Polarising filters come in two types; linear and circular. This doesn’t refer to the shape of the filter, but in the way the pattern is etched onto its surface. Linear polarisers tend to be cheaper than their circular brethren, but they can confuse the AF and metering system in DSLR camera, so avoid them. After you’ve fitted a polarizer to your lens, you apply the effect by rotating the bezel on the filter. Maximum polarisation occurs when you shoot at 90 degrees to the sun’s position, so you’ll see the effect deepen and then back off when you rotate the filter. At the maximum point, a polarizer will steal around three stops of light from your DSLR camera, so unless conditions are really bright, that means you’ll need a tripod to avoid DSLR camera shake.

Neutral Density graduated filter

     An “ND grad” filter is a sheet of glass or optical resin with a dark half like an ND filter and a clear half. The idea is to position the filter over the lens so the gradual divide runs roughly along the horizon. This results in a darkening of the sky, which helps balance exposure between sky and land. Depending on conditions, skies tend to be 2-3 times brighter than land, and although our eyes don’t see this, a DSLR camera sensor does. If you expose correctly for the sky, you’ll get an underexposed foreground, and if you expose for the land, you’ll be burn out the sky.

     An ND grad filter will balance the two, and they come in different strengths for different conditions. They have numbers of 0.3 (1x), 0.6 (or 4x), and 0.9 (or 8x) corresponding to the amount of light held back in the dark half. Most useful are the 0.6 or 0.9, which hold back 2 or 3 stops or light.

     They’re really easy to use – just position the filter and shoot as normal, then check your LCD to see if any highlights are burning out to white. If the burn-out is too prominent, dial in some negative exposure compensation (the +/- button), and shoot again, and continue until there are only a few small areas of peak white in the display. ND grads filter should be bigger than the front element of your largest lens.

Get creative with Aperture

     Now you understand what aperture is, and how its affects the depth-of-field in a picture, let’s put it all into practice. It’s hugely important to develop a good understanding of this area because, after composition and accurate focus, the control of depth-of-field is what distinguishes real photographers from casual snappers. Creative photography is all about making choices based on the options available to you, and trust us – you really need to nail the aperture thing! Here’s quick exercise to help you master the whole thing…….

1.       Start set the right mode.

Find (or set up) a subject and make sure there’s a reasonable distance of a couple of meters between it and the background. With your DSLR camera on a tripod, compose your shot and set Aperture Priority mode (A or Av) on your DSLR camera main “MASP” mode dial.

2.       Use maximum aperture.

Dial in the maximum aperture value (the smallest f/number) by rotating the appropriate control on the DSLR camera body and, after switching to Manual Focus mode, focus on the subject in the foreground (MF will stop your AF wandering about). Take a shot, and your subject will be sharp but the background will be defocused – just like it appears in the viewfinder.

3.       Use minimum aperture.

Now adjust your aperture control until it displays the smallest aperture (the highest f/number). If your DSLR camera has one, depress the depth-of-field preview button to check how the background has changed, and then take another shot. Your shutter speed will be much longer (hence the need for a tripod) and this time, the subject will still be sharp, and the background will be much more in focus.

4.       Final step Experiment!

Because you have a whole range of apertures in between the extremes you’ve just used, your job as a photographer is to decide which one gives the best overall effect for your subject. Leave your DSLR camera set to Aperture Priority mode, experiment with different aperture settings, and get used to thinking about depth-of-field every time you take a picture. Enjoy!

Hyperfocal distancing

     On DSLR lenses with distance markings (mainly prime lenses, nowadays) you can set your focus manually to generate the maximum possible depth-of-field. This technique is called hyperfocal distancing, and is really simple to do. In Aperture Priority mode, first set your aperture (say to f/22), and then compose your shot. With Manual Focus mode selected, turn the focus ring to align the infinity symbol with the furthest f/22 marker. Now you can read off the closest distance that’ll be in focus with the nearest f/22 marker. That’s it!

Understanding depth-of-field

     Although you only focus your DSLR camera on one point of a scene, you’ll have noticed that some pictures appear to be sharp all the way through from front to back, while others are only sharply focused at one point. The depth of this zone of sharp focus is caused by the size of the hole in the lens, so the aperture setting isn’t just for ensuring correct exposures – it’s also used for controlling which areas of a picture are sharp, and which are defocused.

     Though small apertures (large f-numbers) require longer shutter speeds to get enough light onto the sensor, they also give the greatest depth-of-field, so if you want a picture that’s sharp from front to back, you’ll need f/16 or f/22 to make it happen. Unless it’s extremely bright, you’ll probably also need a tripod to keep the DSLR camera steady because the shutter speed will be much longer than at f/2.8.

     There are many times when photographers want to isolate a particular part of a scene and throw the rest out of focus, though, and for these occasions you need a large aperture, like f/2.8 or f/4. This will ensure that only a narrow zone around the point you focus on will remain sharp. This means that focus has to be  as accurate as possible.

     Many DSLR cameras are equipped with a depth-of-field previews button, which helps take the guesswork out of what will be soft and what will be sharp in your picture. Depress this button when you’re framed-up, and it’ll reveal how the shot will be in the viewfinder.

     The only downside of depth-of-field previews is they make the scene very dark with small apertures (because less light is entering the lens) and this can make it tricky to see what’s happening – especially in low-light conditions. If you’re struggling to see what’s going on, just take the shot and check the screen image to see what’s sharp and what’s not.

Depth-of-field & digital compacts

     Although creative compact cameras have an Aperture Priority mode which generally allows all apertures from around f/2 to around f/8, they cannot offer the same depth-of-field control as DSLR cameras because of the smaller sensor size and very short focal lengths on the lens units.

     For shots like landscapes where you’ll often want a large depth-of-field, this is not a problem as huge depth-of-field comes built-in, but when you want a narrower plane of sharp focus, it’s a real issue. Even at large apertures of f/2 or f/2.8, compacts can’t produce the same kind of defocused backgrounds as DSLR cameras, so you’ll need to resort to Photoshop’s Gaussian Blur or Lens Blur filters to generate these kind of effects.

Understanding Aperture

What is aperture?

     In the simplest of terms, aperture is the “hole” in the lens that light passes through on its way to the sensor of DSLR camera. It’s adjustable, so you can let more or less light through by opening up or closing down respectively. How much you can open up aperture of your DSLR camera is determined by the maximum aperture that’s stated on the lens.

     If there’s just one setting written on the barrel, such as 1:2.8, it’s either a fixed focal length lens or it’s a professional zoom lens that allows the same amount of light to pass through regardless of the zoom setting. When there are two numbers like 1:4-5.6 (seen on most enthusiast zoom lenses) it means the lens has a maximum aperture of f/4 at the wide setting, dropping to f/5.6 at the long end of the zoom. In this case, the maximum aperture has been reduced because the extension of the lens has forced its light-gathering ability to fall.

What are f/numbers?

     Aperture is described in f/numbers (like f/2.8, f/4, f/5.6, f/8, etc) and these refer to the ratio between the diameter of the hole and the focal length of the lens. F/2 on a 28mm lens, therefore, would be a hole with a 14mm diameter (28/2), and f/2 on a 100mm lens would be a hole with a 50mm diameter. This makes it inappropriate and confusing to talk about aperture sizes in mm, since they vary with focal length, so we talk in terms of ratio.

     The good news is that the ratio remains constant over all lenses on offer, so if an aperture of f/8 is required with a shutter speed of 1/125sec to get a correct exposure, that will be true for all lenses, regardless of their focal length, and the type of DSLR camera they’re on. This keeps things simple, which, if you’re anything like us, you’ll recognize as a good thing.

     Each full f-stop represents a doubling in the area of the hole in the lens, and hence a doubling in the amount of light that can get through. The other way to achieve this is to expose the sensor for twice as long via the shutter speed control, so it starts to become clear that aperture and shutter speed are used together to establish the correct exposure.

……. and depth-of-field?

     So now we know that aperture is used to control the amount of light passing through the lens, and getting it right will give a good exposure. This may be enough for the casual snapper, but for creative photographers there’s a lot more to it, because aperture also controls what’s known as the “depth-of-field” in a picture, or the zone of sharp focus – and that’s where true photographic creativity comes in.

How to control the aperture setting

     On all but a few very specialist DSLR cameras, aperture is set by rotating a dial on the DSLR camera body and choosing the f/number you want in the viewfinder. A few lenses still offer aperture rings with the f/numbers inscribed, but these are generally for use with older film cameras. They’re still compatible with DSLR cameras, but if they’re on the wrong setting, they’ll give an error warning when fitted. Turning it to the right setting will solve this.

Types of ND Filters for DSLR cameras

When should you use neutral density filters, and with so many on the market, which one do you need? We explain the differences between them, give you some hints and tips and show you how to use your ND filters to get perfect results, every time.

SOLID NDS

These filters carry even density across the whole filter to reduce the light wavelengths. As they are designed to be neutral, this should not affect the coloring of the image, just the strength of light. The most common use for this type of filter is to create a blurred effect in bright conditions, and is often used to create a cotton wool effect with water. This is not its only use, however, night scenes can become more dramatic with increased light trails, or crowded scenes can appear to empty out simply by using an ND filter. For very bright conditions an ND filter may simply be used to allow the lens to use a wider aperture for creative effect, without going beyond the camera's shutter capability, or while keeping a slower speed for creative purposes. The orientation of the filter in front of the lens doesn't affect its job.

GRADUATED FILTERS

These are the bread and butter of any landscape photographer's kit. They provide filtration over roughly half of the square filter, with a gradual lightening towards the center. Their aim is to equalise the intensity of light in the image, usually between sky and land, to allow the DSLR camera to retain all of the image information within its parameters. The aim is not to equal the two levels completely as this would appear false in the photo, but merely to restrain the levels enough to show detail in each. There are two main types of ND grad filter and the distinction comes in how severely they are graduated. The soft grad has a gentle fall-off of density which suits busy horizons or more awkward extremes, while hard grads have a more sudden fall-off which leaves a definite line across the filter. This hard grad can be suited to very straight horizons or where there is a solid distinction between the bright and darker areas. They can also be easier to line up. There's no right or wrong choice, some photographers swear by soft grads or hard grads, while others may use a mix of the two, depending on the shot.

ND grads filter generally come in square formats that sit in a holder in front of your lens. They need to be accurately adjusted for each shot, and taken off again before putting back in your bag. Make sure they go back in their sleves or pouch every time though, as one scratch could ruin them.

ND Filters for DSLR camera

ND Filters

Shooting your DSLR camera  with Neutral Density Filters (ND Filters)

     If you aspire to take great-looking landscape images, you need filters. They are as essential a part of your DSLR camera kit as your tripod, or even your memory card. Back in the day, film users would rely on a catalogue of filters to provide a range of effects, from tobacco tones to soft focus. While these kinds of effects can be digitally recreated, one critical one can't, and that's neutral density. Photographers recognised that the sensitivity of film could not capture the same wide range as our eyes can see. We typically see a range of around 24 stops, while your average 35mm film could cope with between four and seven stops. This meant that in a darkened room with a bright window, where we could see detail in both window and the room, the DSLR camera would end up with either the room in complete darkness or the window completely overexposed. Similarly, on a bright day, an apparently beautiful view appears on the DSLR camera with either a white sky or dark and shadowy foreground. By using a graduated neutral density filter, photographers were able to even out the difference in brightness to levels the film could cope with and produce an image in keeping with how our eyes see it. Your typical JPEG image captured on a digital sensor offers around the same dynamic range, if not less, than 35mm film closer to the four stops of transparency film. Therefore it is even more important in digital photography to even out the brightness. Raw files do allow an increased dynamic range that can stretch to as much as 14 stops but this still pales into insignificance in comparison to human eyes.

     A solid neutral density filter provides a slightly different, but equally as important, role. By reducing the amount of light to the whole image it allows the photographer to use longer shutter speeds in brighter conditions. This may be when a shallow depth of field, and therefore a large aperture, is needed, or when motion is wanted to be blurred severely for creative effect.

Analyse your photo shots of DSLR camera

     Forget the emotional experience of taking a DSLR camera shot - if your picture doesn't stand up to objective viewing without you having to explain how early you got up, how far you trekked or how high you climbed, then there is likely to be something missing. Don't sit down and go through your DSLR camera shots as soon as you've taken them as the more time you can put between shoot and editing will help you become less subjective about the pictures. Be honest about your results. It is only by making mistakes and learning from them that you will really develop. Here we highlight four areas you should be looking at with your discerning eye when taking DSLR camera shot

1. Composition

     This is the most important consideration. Look for distractions, especially in the background where you might have missed them when shooting. Does the picture leap off the screen with a bold composition or does it feel a bit too much like a record shot? If it feels a bit "So what?" It's usually because of poor composition and uninspiring light. What could you do differently next DSLR camera shot?

2. Sharpness

     Be ruthless here. Is it bitingly sharp? Look at edges in the DSLR camera shot. Did you select a fast enough shutter speed of your DSLR camera to freeze the moment or a small enough camera's aperture to provide a deep depth of field? On the other hand, don't be happy with camera shot simply because it's sharp. It's easy to be lulled by a macro shot of a butterfly because you can count every hair on its chin, but what if the framing's all over the shop?

3. Exposure

     Check the Levels histogram on your DSLR camera. Is the information in the graph "clipped" at either end? If the graph runs off the left, you will have blacked up shadows. If it runs off the right, there will be "blown" highlights. Shadows that lack detail are much more preferable to burnt-out bright areas. If the camera shot looks grey and flat, drag the highlight and shadow sliders in to touch the sides of the graph.

4. The Moment

     The physical framing, sharpness and exposure of DSLR camera might be spot-on, but does your shot capture the peak moment? Did you capture that fraction-of-a-second expression in a portrait? Is the light highlighting that tree in the background in a scenic? Shoot DSLR camera lots of frames when the moment happens - professionals do - and analyse the results side-by-side to see which one has that killer combination.

Develop a System : to Getting the Camera Shot

     Although photography's an expressive art form with limitless creative potential, a bit of a scientific approach can make life easier - and certainly less frustrating. By developping a systematic way of adjusting camera settings, you will ensure that you don't make schoolboy errors, such as using a wide camera sperture for photographing a scenic, or leaving the ISO set on 1600 when you are shooting a portrait on a clear, sunny day.

     The sooner the technical side of photography becomes routine and second nature, the sooner you can start focusing on the subject, the composition and "the moment". It is always best to develop a set way of working, as it will allow you to react quickly and make fast changes to your camera settings in order to capture a fleeting moment prefectly.

     We'd recommend you start by creating a default setting for your camera - a kind of "sleep" mode that, if you fired the camera up quickly to grab a shot, you know exactly from what point you will be making adjustments. For instance, some photographers like using camera  Aperture Priority, with the aperture set at its widest setting, combined with ISO 200, pattern metering, continuous drive and center focus point with single-shot focus. From this camera set-up it would be easy to add exposure compensation or quickly switch to continuous focus to capture a moving subject. Just settle on a camera default set-up that's right for you and your style of photography.

     For those time when you've got more breathing space to consider a camera shot, start being a thinking photographer and follow the process we've outlined her.......

4 Steps to Getting the Camera Shot.......

1. White Balance

     Once you have found the camera shot, framed it up and focused, set the White Balance according to the conditions. A correctly set White Balance will not only give you a misleading (or way-off) representation on the camera LCD, but it also affects the exposure histogram. If you want to see this - take a RAW shot into Photoshop Elements and adjust the White Balance. Watch the histogram move.

2. ISO

     The golden rule : keep the camera ISO as low as possible for the best quality results. As you increase ISO, so  you increase noise in a camera shot, expecially if you underexpose it and have to "push" the exposure back up in software. The Nikon D3's camera performance at high ISOs is incredible, but we'd use an ISO of 100-400 on most DSLRs.

3. Shooting Mode

     What's the most important variable in a camera shot? Is the depth of field important? In which case, use camera Aperture Priority and dial in a small aperture. Is freezing action or adding blur an essential requirement? Switch to camera Shutter Priority. If you have got the time, use Manual mode.

4. Exposure

     Finally, choose the camera metering pattern to suit the subject and lighting and make any compensation adjustments to account for highlights/shadows. Make sure you reset any camera adjustments once you have got the shot in the bag.

Understand Metering : DSLR cameras

Knowing how your camera sees the tones in a scene will help you get the exposure you need

     There are three main metering patterns in DSLRs - pattern, center-weighted (a throwback to old manual cameras) and spot or partial, for pin-point accuracy.

     Let's face it, most of us stick with the pattern metering system in DSLR cameras. In most circumstances it can be relied on to come to the right calculation, but  you need to be aware of the conditions when it might be slightly off - and how you can put things right for your DSLR cameras. To ensure you never miss the decisive moment, you will need to know which way to turn the control dial to get the effect you want without having to take your eye away from the viewfinder. If you are shooting action for instance and you want to alter the settings quickly in order to go from frozen motion to creative blur, you need to know which direction gives you a smaller aperture/slower shutter speed of your DSLR camera. The same goes for dialling in exposure compensation - which direction reduces exposure and which increases it?

     Center-weighted metering of DSLR cameras can be relied on when you are shooting protraits, as it biases its reading towards the center of the picture, where your subject is likely to be. Its results are more predictable than pattern metering, as you don't have to second-guess the complex algorithms the DSLR camera uses for pattern metering.

     Spot-metering of DSLR cameras is the perfect accompaniment to Manual mode, although "Semi-manual" is often one of the quickest routes to good exposures. By combining Aperture Priority (or Shutter Priority) with spot/partial metering and the exposure lock feature of DSLR camera, you can get an effective on-the-fly "manual" mode. Point the DSLR camera at a mid-tone such as a pavement or grass in the same light as your subject, press the exposure lock button and recompose.

   

DSLR Camera Shooting Mode

Start  with the right shooting mode with your DSLR camera

Aperture priority

Use Aperture Priority to control front-to-back depth

     Aperture Priority is a mode which is easy to use and will get you through the majority of shooting situations. As you change the aperture to give you the desired effect in the picture - small apertures for lots of depth of field, wide apertures for shallow depth of field and the chance to isolate subjects better - the DSLR camera changes the shutter speed to give you a consistent exposure. Just keep an eye on the shutter speed as you do change the aperture - it needs to be fast enough to either freeze subject motion (if that's what you want) or stop DSLR camera shake.

     Be Careful With Flash, if you use a flashgun with Aperture Priority in bright conditions, keep an eye on the shutter speed. If it starts flashing, it means the shot will be overexposed - choose a smaller aperture to get the shutter to the "sync" speed of your flash.

Shutter Priority

Use Shutter Priority for quick control of motion in a shot

     If you want precise control of how speed is rendered in a photograph, use this mode. By spinning the control dial on your camera, you will be able to move from fast shutter speeds to long exposures very quickly - either freezing a moving subject or creating motion blur. So it is great for panning with a subject and trying out different effects. If you want to reduce the chances of blurred shots caused by DSLR camera shake, switch to Shutter Priority and dial in the equivalent of the lens focal length (so 1/100 sec for a 100mm lens) - double it to be sure.

     Watch Out For The Blinks, if the aperture read-out in the viewfinder starts blinking at you as you adjust the shutter speed, it means the DSLR camera can't get a good exposure. You will need to select either a slower or faster shutter speed or change the ISO setting.

Program

Use program for everyday shooting in good light

     An auto exposure mode that's one step up from point and shoot. DSLR camera set the aperture and shutter speed automatically in order to achieve a "correct" exposure for the subject and lighting conditions. You will be able to adjust the combination of aperture and shutter speed, and be able to make some other adjustments such as exposure compensation. Many photographers find this gives very good results that's why you still find this mode on pro cameras.

     Keep It Steady, while program mode does a good job of managing the settings, keep an eye on them - DSLR camera will give you a visual warning if it thinks the shutter speed is too slow.

Manual

Use manual for consistent, predictable results

     For the ultimate in precise exposures, try a spot of DIY. As the name suggests, in Manual mode you are in control of the decision making. It is down to you to choose the combination of ISO, shutter speed and lens aperture to give you the exposure  you want. The expopsure meter will indicate if the image will be over or underexposed, but bear in mind that this depends on the metering pattern in use and how bright or dark the subject you are pointing it at is.

     Don't Forget To Reset, as you finish shooting a subject, or move to different lighting conditions, get into the habit of  resetting your DSLR camera or  you may end up with some way-off exposures.

Flash Guns

Everything you need for the right flash choice

Types of Flash

Hotshoe Mounted

These type of flash sit on your camera's hotshoe and work either independently or with your camera's TTL system. Some  models feature swivel and tilt heads, for bouncing light around.

RingFlash

For macro and fashion photography, a ring flash is ideal as it provides an even concentration of light around the lens, helping to eliminate shadows.

TwinFlash

Similar to ring flashes in their suitability for macro work, but these feature two flash units around the lens, which can be supplemented with additional flashes.

Hammerhead

Generally offering more power than hotshoe mounted models, these sit alongside the camera's body on brackets and provide a better, off-centred lighting angle.

Choosing A Flash

Many DSLRs have built-in flash units, which are adequate for general snaps, but have limitations. If you want to get creative with flash, or just fire out more power with better light, a separate unit is essential. Like lenses, though,  you  need to find a flash that's compatible with your DSLR camera - a Canon flash won't work with a Nikon camera, for example. There are also independent manufacturers  who make versatile and powerful units in a variety of fits, while you may want something more specialised such as a hammerhead or ring flash. Modern units offer tremendous automation and much of the mathematics that used to be required when using flash is now redundant. However, manual control is still useful to have for unusual situations or creative purposes. Another advantage of a separate flash unit is that it will offer faster recyling times than on-camera units, which is useful if you are taking many photographs quickly. There is also battery power to consider; flash draws a lot of power, and this can seriously reduce the life of your DSLR camera battery, but a flashgun has its own batteries - usually a set of AAs. Finally, the danger of redeye is reduced because the light is further from the lens axis.

What to look for

When buying a flashgun, it is worth bearing in mind that you generally get what you pay for. Cheaper flashguns are a mainly automated affair, with a few preset settings that match with the aperture that you are using. These are fine for the beginner or occasional user. More expensive models benefit from better build quality, greater coverage and manual control.

Types of Lenses

Fixed Focal Length

Fixed lenses offer some advantages over zooms. They are generally smaller and lighter, with wider maximum apertures and superior image quality. An ultra-fast (eg. f/1.8) 50mm lens is perfect for low light, 85-105mm is ideal for protraits while a fast 300mm (or longer) tele lens is a popular addition to any wildlife or sports shooters kit.

Standard Zoom

Most DSLRs come with a standard zoom - that is, one which spans from moderate wideangle to short telephoto. These "kit" lenses are find for most purposes, but there are alternatives that offer superior image quality and/or wider maximum apertures - at a price premium, of course. Look out for those with constant maximum apertures, which don't decrease as you zoom in.

Widee-Angle Zoom

Wideangle lenses make subjects seem further away, enabling you to get more in the shot – perfect for landscapes and architecture. Among the most popular wideangle zooms lens are the 10-20mm / 12-24mm and 17-35mm ranges. Superwide lenses cause more distortion, especially when tilted off the perpendicular, but can also create a great sense of drama.

Telephoto Zoom

Telephotos lenses make subjects appear closer. They are great for sport and wildlife where you cannot get close, while short teles are good for portraits. Telephotos magnify camera shake, so consider one with Image Stabilisation if your camera does not have it, or buy one with a wide maximum aperture. This way you won’t need to increase your sensitivity in camera, which can lead to noise.

Super Zooms

Want a one-lens solution for your photography? Get a superzoom. While they rarely compare with shorter range lenses  in image quality, a 18-200mm type lens offers the benefit of speed, convenience and a dust-free sensor. Good for general shooting at moderate print sizes, but don’t expect to be making pin-sharp, aberration-free prints at exhibition size.

Macro Lenses

Many lenses misleadingly sport the “macro” moniker, but a true dedicated macro lens lets you get close enough to reproduce your subject at life-size (or half life-size) on the sensor. Macro lenses (few of which zoom) come in a range of focal lengths, from standard to telephoto, and can even be used with extension tubes for greater magnification.