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8/12/2019 DSLR Tutorial
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I L E X
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Chapter 3_Color
White Balance Made Simple 54
Look for the Gray 56
Color Target for Total Accuracy 58
Custom White Balance 60
Check on a Laptop 61
Impact from Color Contrast 62 Subtlety from a Restrained Palette 63
Unified Color 64
Shooting for Black-and-White 66
Chapter 4_Technicals
Customize Your Settings 70
Dust Check 71
Clean Your Own Sensor 72
100% Sharpness Check 74
Repairing Poor Focus 76
Really Sharp Focus 78
Know Your Steadiness Limit 80
Improve Your Steadiness 82
How to Hold a Camera 83
How to Squeeze the Shutter Release 86
Carry a Tripod 87
When Tripods Are Forbidden 88
Instant Weatherproofing 89
Cold Weather Handling 90
Heat and Dust 91
Chapter 5_Composition
Compose for Contrast 94
Dynamic Placement 96
Dynamic Division 98
Simplify 100
The Essence in Detail 101
Shapes Organize 102
Basic Triangles 103
Diagonals Move 104
Curves Flow 106
Vertical Virtues 107
Look for Rhythm 108 Try Motion Blur 109
Alignments 110
Juxtaposition 112
Wide-angle Involvement 114
Telephoto Detachment 115
Wide-angle for Dynamics 116
Telephoto to Fill the Frame 117
Chapter 6_Stitching
StitchingDigitals Specialty 120
Stitch Big 121
Stitch Wide 122
Efficient Overlaps 124
Keep the Settings Consistent 125
Finding the Nodal Point 126
Chapter 7_Multi-shot
BracketingThe Safety Net 130
Aligned Sequences 131
Blending Exposures 132
HDRFrom Workhorse to Weird 134
Simple HDR Capture 136
One Light, Many Directions 138
Noise-Removal Sequences 140
High-Low ISO Blending 142
Crowd-Removal Sequences 144
Infinite Depth of Field 146
Make Movies 147
Chapter 8_Low-Light
Right Camera, Right Sensor 150 Decide Your Priorities 151
Noise Reduction 152
Know Your Cameras Noise Potential153
Ad Hoc Supports 154
Fast Lenses 155
Shoot for Detail, Not for Smooth 156
Hand-held or Locked Down 158
Noise Depends on Image Size 159
Night Shooting GearHand-held 160
Night Shooting GearTripod 161
Chapter 9_Processing
Assemble the Right Software 164
Anticipate the Processing 165
Raw Converters Are Not Equal 166
Recovering Highlights and Shadows 168
Caption and Keyword 170
Managing EXIF Data 171
Glossary 172
Index 174
Acknowledgments 176
Chapter 1_Basics
Just Shoot 10
It Happens Only Once 11
Shoot Raw 12
Shoot for the Future 14
Prepare, Forget, Shoot 15
Back Up Constantly 16
Workflow Questions You Should Ask 18
Work Out Your Own Workflow 19
Situational Awareness 22
Stay with the Situation 23
Explore the Subject 24
For Candid, Shoot Blind 25
Give Chance a Chance 26
If Youre Uncertain About Permission 27
Chapter 2_Exposure
Know Your Dynamic Range 30
Know the Scene Dynamic Range 32
When Good Histograms Go Bad 34
Be Histogram-Literate 36
Shoot for the Highlights 38
Choose the Key 40
Low-Process Settings 42
A Touch of Flash 44
Backlighting Solutions 46
Reliable Portrait Lighting 48
Reliable Product Lighting 50
Contents
Michael Freemans 101 Top Digital Photography Tips
First published in the UK in 2008 by
I L E X
The Old Candlemakers
West Street
Lewes
East Sussex BN7 2NZ
www.ilex-press.com
Copyright 2008 The Ilex Press Limited
Publisher: Alastair Campbell
Creative Director: Peter Bridgewater
Managing Editor: Chris Gatcum
Editor: Nick Jones
Art Director: Julie Weir
Designers: Jon Allen
Design Assistant: Emily Harbison
Any copy of this book issued by the publisher is sold subject to
the condition that it shall not by way of trade or otherwise be lent,
resold, hired out or otherwise circulated without the publishers prior
consent in any form of binding or cover other than that in which it
is published and without a similar condition including these words
being imposed on a subsequent purchaser.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from
the British Library.
ISBN 13: 978-1-905814-34-3
All rights reserved. No part of this publication may be reproduced or
used in any form, or by any means graphic, electronic or mechani-
cal, including photocopying, recording or information storage-and-
retrieval systems without the prior permission of the publisher.
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With all the technical invention that goes into
cameras, lenses, and the software needed
to process images, you might be forgiven for
thinking that photography is on a never-ending
path to complexity. Digital capture seems to have
unleashed quantities of information, techniques,
controls, and features that we never knew we
needed. And thats just itthe huge number of
possibilities opened up by digital now threatens
to swamp photographers in a morass of menu
choices, buttons, mouse clicks, and, well, sheer
exasperating detail.
Introduction
I wont pretend that you can ignore all the
technological advances and demands on your
attention, but I can make a stab at cutting through
the information overload. Here, in as simple and
direct a manner as I can think of, are what I believe
are the essentials for shooting.
At the end of the day, photography is about
the act of taking picturesyou, the camera, and
the subject youre facing. Just that.
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Chapter 01_
The subtitle for thisshould be never rely on
returning. This is one of those painfully obvious
pieces of advice that call for one or two bad
experiences to bring home the truth. Most
photography is about the moment, and even
though it may seem to matter less in some kinds
(studio still life) than others (sports), it permeates
just about everything. Even a landscape, which you
might think is relatively static, has the dynamics of
lighting and sky and possibly some other moving
elements. The timescale is definitely not the same
as in street photography, but even so, one moment
for a landscape is not the same as the next.
If anything, the dangers of waiting might begreater for slow, fairly static subjects, simply
because they dont seem urgent in any way.
Planning a shot and thinking it through is a great
idea, but every so often youll be surprised,
unpleasantly, that time was not standing still for
you and the situation didnt get better. Its very easy
to come across a scene, check it out, and predict
that it should look great when the light changes
just so, or the clouds move, or maybe tomorrow
morning when the shadows will be falling the
other way. Bit its always maybe.
Better insurance is to shoot the scene the way
it caught your eye at the time. Apart from the time it
takes to do this, there is no loss. You can still come
back at sunrise or whenever, but if that doesnt work
out you will at least have something already shot.
2 Arriving late in the afternoon at the mountaintopoverlooking this volcano in Costa Rica I saw that the clouds
were beginning to close in, so rushed back to t he rental
car to get the camerasand found that Id locked the keys
inside. By the time I found them (worse, they werent in
the car after all, but in my pocket), we were all shrouded in
cloud. Sheer stubbornness kept me there for three days
until