Getting Started in Digital SLR Photography

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Getting Started in DigttaJ SLR Photog"",hy
--
EDITOR'S WELCOME
-
/ OOl
Welcome...
"As you have no doubt discovered. by using a digital SLR. you
have taken a majOr step towards shooting better pictures.
Boasting an incredible level of versatility, delivenng superb
image quality and form ing the heart of a system that can be
expanded with lenses, flashguns and various other accessories.
the DSLR has led to a revolution In photography that you are
now part of. While the digital SLR is relatively easy to use for
simple 'snapshot' photography. the truth is that getting the very best from
your camera kit and. more importantly, developing the creative side of your
photography. requires some time and dedication to learning new techniques
and skills. The good news is that Getting Started in Digital SLR Photography.
produced by the experts at Digital SLR Photography magazine, is packed
with Information. advice and techniques that will help you become a better
photographer. If you"ve ever looked at images from the professionals and
wondered how they managed to get such great results. then this guide is for
you. We"ve covered all the basics of photography and provided tried and tested
practica l techn iques for shooting stunning images, along with expert advice
to chOOSing the best gear and pages of inspiring images to get your creative
juices flowing. Good luck with your photography. All the best!""
DANIEL LEZANO, EDITOR
Meet our digital photcgraphy experts

All our experts are learn rnerrt>ers or regulCW" coolnbJlors to D'8ltal SLR Phot~ magazIne.
For more expert advlce and IJ"lSPIrallon. piCk up the latest issue. available on the second Tuesday
of ~ month. For further nformation. visil the magazine's website al www.dlgltalslrltloto.com

006/ UNDERSTANDlNG YOUR DIGITAL Sill Getting startedm Digltal SLR Photogrophy
- - -

Getting Started m Di9'tal
-----
SLR Photogmphy UNDERSTANDING YOUR DIGITAL Sill/ 007

OOS/ UNDERSTANDING YOUR DIGITAL SLR __ Getting startedm Digltal SLR Phot"""",hy
GETTINGTO
GRIPS WITH YOUR
DIGITALSLR
While every camera brand designs
digital SLRs in their ovm way. there
are many similanties in the control
layouts of most models. We've
highlighted the key functions that
you should get to know as soon as
possible. as understarding how
your DSLR works will help you to
capture great pictures with ease
Press the shutter release

button halfway down to
activate the autofocllS and
exposure systems then
fully to l ake the picture.
This is an important
exposure override. usually
designated with a +/ -
symbol. Use it to increase or
decrease the exposure in 113
or l12-stop incTements.
The exposure mode

determines tIO'N scenes are
captured. full Auto is ideal for
beginners. but you should
aim to shoot using one 01 the
semi-auto modes.
4) 1N1EGRAl.f1.ASH
The range of the built-in fl ash
is limited to a few metres but
is ideal when taking pictures
of friends and family. Most
models include a number of
flash modes.
The integraillash is very

useful for nearby subtects
but, when extra power or
features are required. the
solution is to slip a flashgun
on the hotshoe.
tliiti "" ",):1

Some cameras sport a fn
(function) button lor fast
access to regularly selected
functions, such as ISO
rating. White Balance, Af
modes or the drive function,
With most DSlRs. you

press a flash button to pop
up the integral flash while
in one orthe 'creative'
modes. such as aperture-
or shutter-priority.

-
Getting Started in Digttal 5LR Photogrophy
--
UNDERSTANDING YOUR DIGITALSLR
-
1009
1M ! ~ : I i , ·1: i, ... :.:t rW· ,II,::,".:-I

When reviewing your stored The on-5Creen mef1U system This is the information centre 01
photos. you can zoom into the allows access to the majOfity your digital SLR. allowing access
image to check sharpness. By of a camercfs functions and to most of the camera's settings.
using the four-way control. you is quickly activated by as well as the chance to review
ean move from one area of the pressiog the MENU button and edit images and, .....ith many
magnified image to another. beside the LCD monitor. models. shoot in Live View.
ffi1 :';" '" Ilti FOCUS PONT SE1.ECItIR

The viewfinder image comes via Use these to chaf'@csettings DSlRsoffer multi-point AF
the lens and the reflex mirror. such as apertures and shutter systems and )'OIl have the
which bounces the image up speeds. They're usually found options of leaving all AF points
into the pentaprism. A hood on the handgrip. onlhe rear active, individually select the
cuts out stray light to proYide a where your thumb restSOl; on central pointor choose one of
clearer. brighter image. some models. in both positions. the surrounding AF poin!$.
14, I't'lEMOllVCARD SlDT r.ETERlNG ""TTERNSSELECTtMI

This handy control, found on DSLRs require memory cards A choice of metering patterns
most DSLRs. offers an up. down. boasting big capacities (you helps)'Oll deal with difficu~
left and right control and allows should aim for 2GB-8GB). lighting situations. Most models
you to quickly navigate throogh CompactFlash, SDISDHC and offer multi-zone and centre-
the various menu options that Memory$tk:k cards are able to hold weighted average. as well as
appearon the LCD monitor. several gigabytes of information. either spot or partial.
" ,
Depending on what you're
shooting. you can set your OSlR HELP (INFO BUTTON
to fire one fmme only (Single) Of"
lire sequences (ConiinUOU$). You·1I find ttlat miII1'f dogltal SLRs boast
You also use this button to select an Info or Help buttl7l tl\at prOVIdes an
the self-timet. aptanatoon cJ vanous camera functlOl1S.
whICh 1$ a real beneI,l when trying to
undenIand how you'" camera works

Aperture-priority AE
In our opinion, thiS IS the most useful and versatile mode
en:! we reoommencllt for 95 percent of yQUr photography
APERTURE-PRIORITY AE is wi thout doubt the most popular choice
of eKposure mode with DSLR photographers. Ir s termed a semi-
automatic mode. be(:ause you determine the aperture and the
camera automatically selects the corresponding shutter speed.
This mode is sui table for virtually all types of photography and is
usually labelled on DSLRs as A or Av (Aperture valu e). It is
parti cularly popular with landscape and portrait photographers
who use it to control depth -ol-f ield and determine how much of the
scene appears sharp. Landscapes are often shot wi th a small
aperture to have as much of th e scenery as possible appearing
sharp whi le with portra iture. a Wide aperture is used so the
background behind the subjec t IS thrown out of focus. An illustrated
guide to apertures and depth-of-field is shown below.
u . ,~rture- ' 'tyAE

~""" - -pnoIl
Turn the dIal to Av (or A) and then rT"IOVe the input dial (OOfmally found
behind the shutter button or on the top right-hand corner on the
camera's rear) to change the aperture. lightly depress the shutter
button to see the eorrespondll12 shutter speed. As you adjust
apertures. the shutter speed automaticallychanges.
YOII 'II normally find the eXpoSUre

mode di/ll on the top Ielt of the
ca mera. We'Ve shown eX&mplts
from lou r leadlna bra nds alleNe.
Once sel to Av or A, !"(Itate the Input
dia l to selec t YOIIr aperlure, which
IIppelll"S on the lCD monil or. Press
the shutter button h/llfw/IY lind the
Cil mel""/l sets the shuller speed .
How gpertu,es atIect depfl!<>f-fielC\

The following set of images. shot on a Nikon D200 with a 28-70mm lens,
shCM' how changing the aperture affects depth·of.lield.
At /I mid-aperture selling. most 01 Set the !em to Its smallest apetlure

the sune Is in l oeLIS oot distant and you'll discOVl'f that lar more of
S1Jbjects still /lppellr llOft. the Kene /lppears sharp.

ShuHer-priority AE
Choose to capture movement as a streaked blur or
a frozen moment by controlling the shutter speed
THIS IS A SEMI-AUTOMATIC mode that allows you to select the
shutter speed you wan t to use and lets the camera automatically
set the corresponding aperture. II's the best choice when there is a
moving subject in the frame, as it allows you 10 cootrol whether to
freeze its motion by selecting a fast shutter speed, Of record It as a
blur Of streak by selecting a loog exposure l ime.
UsinQ..Shutte.:miority AE
The procedu re for setting shutter'priority AE is very similar to how
you"d select aperture-priority AE. Turn the dial to Tv or S and then
rotate the input dial to select the shutter speed. All displays only show
the denominator of a fraction, so lI250sec appear as 250. whi le whole
seconds are usually displayed with a', e.g two seconds would be 2".
Shutter-priority AE Is ofte n ... belled

ii' Tv (Time villue) or S on the
exposure mode dial and tile LCD
monitor. See: above fot four
Hamples. Once sete<;ted, rotate the
inpul dial to setect YOUt shutler
~d, press the shutter relea$<!!
halfway and the camera
aulomalit;ally sets the apert ure.
HOW SHUTIER SPEEDS DEPICT MOV£MENT IN YOUR IMAGES

While apertures allow you to control the amount 01 the scene that appezrs
sharp, shutte.-speeds determine how moving subJects are recorded , A fast
shutter speed freezes acll()O, while a slO'N speed records II as a blur.
A ~ l3$t shutter speed Choosinl a mid-setti"l A slow shutter ~

lreezes water movement sti8ll11y blutS the walet blurs mOYefl1ent but
IIIId t;aplures its detail. but l'ebins limited debil. some shape I'f!mains.
EMPHASISE MOVEMENT BY PANNING THE CAMERA

If you're feeling confident. try your hand at panning. This
leclYlique requires you to set a slow shutler speed such as
1/2sec. press the shutter release as the subject passes by. and
follow its movemenl With the camera. The result is the subject
appears sharp while the background records as a blurred
streak. It reqUi res practice but is wel l worth the effort.

Shul1er speeds lor moving subjects
This table provides a starting pomt of shutter :;pee&.; to try when
shooting a number 01 different typesol rTlOYmg subjects. Use
these to begm with. then eJ(periment with a range of speeds and
study how differently the subject appear.; when it has been
captured at different shutter speed settings.
Subject
Subject ~ir@ Subject mcMng
towards tamela aa05sframe
Athlete
Car.tnotorbike (3Omph)
1112."""" Ia5<>vsoo.oo
lI25().~
Ia5<>""""
CarAnoIOibike (70mph) Ia5<>"""" lI5OO-Vl~
Cyclist 1I200·1I250sec Ia5<>~

Gallopill: hofw 1/250-lI5OOse<; lI5OO·1I1()()(}sec
Motorsports 1I500-l/750se<: 1I10Cl0-lI2000sec
Surler 1I250·l/5OOsec Jl250-1I5OOsec

OI4 / UNDERSTANDING YOUR DIGITAL SIR- - Getting startedm Digltal SLR Photogrophy
---
Autofocussystems
New fa" tre SCIefCe part we expIarn the secrets of hc::m a
d~""1 SlR focuses 1rd _to use rtto)OOr ~
ASK MOST PEOPLE how autofocus on a digital 5LR works and the
answer yQl(1I gel_s something like ~you press the shutter button
and the lens focuses before taking the picture~. lNhile there's
nothing wrong with this statemenllt's a very simple way of
descnbing a highly sophisticated and accurate system. While we
won' t blind you WItl'1 science as we cover autofocus systems. It'S
fa ir to say there is plenty to take In. Here we provide a iargon-free
explanation 01 how your DSlR's autofocus system works.
HOW AUlOFOCUS SYSTEMS

ON DIGITAL Sl RS WORK
Digital SLRs use what is called
a passive autofocus system
(also known by its more
leclmica l name - phase-
detection system), II highly
accurate and ir1(:redibly quick
form of focusins . regardless If
the subject is a lew /eel away
or towards a distant horizon.
~ wor!\s by using a beam
splitter to direct light on to a
sensor, that measures what is known
as the phase: difference to determine the sUJject's dist.vloe from the
carnem. II"s a vety accurate ~tem in most circumstances. but
strt.l88les in certain Situations. such as when woriImg with low-
WHEN TO USE MULTI-POINT Ai
contrast subjects 01" photographing in low-light conditions.
You can leave the cacnercI set to multi-
point AF lor most shoollng situations.
You'll find that the Ai system will focus on
the closest Slbject to the cacnercI as this
is normally the one that you want in locus.
Wh,le suItable for general use. there
are two main adv<W"Itages of multI-point
AF. The ffitlS for composmg a scene and
focusing on an off-centre subject in one
hit. whereas '" the past, )QU had to locus
the subject in the central point of the
frame arXllhen recoolpose the image.
The second major advantage is when
shooting moving subjects. as you can
have all the AF sensors active and have
the various AF 5e,'sors track the subje<::1.
Usi na; multi-point AF allows you to quickly

grab it 51101 of ~ n off-ce ntre subje-ct. ln th is
case,lt meant capturing this cheeky grin.
InsideAP. Main types ofAFsensoj§

There are two main types of
autolocus sensors. known as
cross-type and line sen$Ol"5
Cross-type sensors ¥e the 0~
( , !.I, I- ~ 'I ·I· \
I lrl~" I 'I )
most sens.tr.<e and oIfer the
best pertormance. They boast
a ver1ItaI;:ncl horizontal aXIs 111 ~tll
that allows fer faster and rrore I t 1+ /1 I
responSive AF. YOI.ill rormally
hnd that only the central Ai
polnl uses a cross·type sensor.
although rTIOfe hIghly· specIfied models may use cross·
types In a few of the Af poInts In the central are<! of the frame.
line sensors are the mosl common type and a-e used on the
malonty of AF points. Tt-ese me.:lSlI"e across a single pIarle and
whIle acclJ<lte and SUItable for most SltuatlOllS. cannot match the
~tlV lty ct the cross·type sensor. especially In low light ~tuat l()(lS
ard when trackIng movIng sublOCtS.

_ Getting Started in Digtlai SLR Phologrophy_ UNDERSTANDINGYOURDIGITALSLR / OI5
When 10 switch to single-}X)intAF

Sometimes It IS better to mlch from multt-pomt tV
to Slngle'POInt AF wtrj? Well. occasoonally. yolill find
thaI the subfect you W<J'1! to focos on I'; qUIte far awJy
and when l/SIfI8 multi-point Af. the camera keeps
focuslJ'lg on objects nearer to you. ThIS is otten the
case With portraitS when ~ want to focus on the
eyes. but It's the nose that the C<VT1efa keeps locl\l~
on to. You'. also find thai you may be shootlfl! a
Sl.tltCCt where the area you want to locos IS aJ;w;.rys
positioned behind a pa1lClU tV poll1t. so It makes
sense \0 keep thiS AF POint actIVe For Instance. you
may have the camera on a trIpOd <Yld are trying
different colour b<lckdrops foI' ckJse.up shots of a
flCM'CI" and want to focus on a p.:w-bcular petal for all
the shots. Finally. yoIill fwd the extra seo5lliVlty of
the central cross-type sensor means shooting action
USing the central ~nt only IS a pq)Ular techn ique
used by many experll2nced sports photographers.

Autofocusmodes
YOU'LLFINDTHAT~~~~~~~~~~COJ[
of autofocus modes.
optlOflS. one for IoctJSlng on a
for focusing on a mOVing subject and a i
a hybnd of the f irst two. We'll show you when to
use each shortly. One thing to note IS the AF
viewfinder ICon (usually a clrcte) in the viewfinder. Ifit's permanently
III the AF has locked on to the subject if it's blinking it indicates the AF
cannot focus on the subject. I! can also be used to assist wi th manual
focusing - when the sublect is in focus, the icon will appear.
j) SingieffiotAE Focus Lock

This ISthe AF mode you'll most likely use fOf the KnowIng row to usc Foa..s
majority of pictures you take. In th iS mode, once Lock IS cssentaal to taq
the autofocus locks on 10 the subject. it doesn't a pe1ect1y focused shot
shift Its focus, even if the subject distance
III AF·S mode. The great
thing IS that Irs very easy
changes. So, If you focus Of! a subject three
to do. Shutler button5
metres aw;ry and either you or the subject have al'M)-stage act01
moves so that the camera to subject distance is. - a gentle press~
say 3.5m, the lens will stili be focused at 3m. the AI' and meten~
This makes this AF mode unsuitable for ~ while fully dcprCS5q! rt t<*aS the IXflJI'a
moving subjects, but It'S a great choice in other • II's the first stage where ~ can usc Focus lock - all you have
ways. Its biggest benefit is that you can lock on to a subject and to do IS focus on the Sltltect and keep appIYII18 gentle pre5S(Xt' on
the srntter button to lock the AF As ~ as you rnaontaln ptCSSLn'.
then recompose the Image to SUIt. So, if for instance, you're
the AF will not shift and you Ca'l recompose the frame and take
shooting a scene and want to focus on a tree and then position it at the sI10t when satisfied Wlth the COfTljOSltIOfl. R€!T'I2!Tber. If you
the edge of a frame, you'd select this mooe. focus on the tree. then rT'r(){e b.xkwards or forwards and chalge the distan::e between
recompose the trame while partly holding the shutter button down you and the SI.btect. you 'll have to repeallh is process aga in. ie
(see Focus Lock) before ti r ing. In single-shot AF mode. the camera release pressure on the shl.llter button and then press il aga in.
will not take the picture until the AF has locked 011 the subject.

AF assi"
,'">gg':r-.l
Many SLRs offer an AF asSist Iarc that
DfOYldes addItional light to aid a
autofocus system. IllS normally _
located In the S<VTle ~ as the
lflIegral flash or on the camera's
front 300 auto-naltcalty fires when
light levels falls below a
cert3IIl value. The
AF ilSSIst~
normally projE.'ClS
a patternee! be8n
or a strobe fOf" the
AF to lock on and
~~
can """""
be swllcl'led
off I.JSII1g custom
functions.

2) ContinuousM
When you're photographing moving subjects.
you want to swrtch from single-shot to this mode.
!!!:!!':!!!!O!!!
The major difference with thiS AF setting is that ~
the autolocus system will constantly analyse the
subject distance and make adjustments. so If the
subject moves, the autofocus will shift position to
stay focused on the subJect In thiS mode, you do
have to take care because the shutter will fire
even il the subject is out of focus. for general
shots, uSing mult;-~nt AF is the best choice, but
if you're tracking fast moving action, such as motorsports, you
might find switching to the central AF point improves accuracy.
PAEDtcTIVE ,U
This is the term given to the continuous AF
system used by many cameras. Predictil'e AF
wor\\s by measuring the changes in subject
distance CHer regular intervals (within fractions
of a second) and uses th is dala to calculate
where the subJect will be when you takelhe
shot. I! has proven very accurate although it
isn't so re liable if the subject conllnuously shifts
d irection or chCWlgeS speed.
FOCUS LOCK ON
Some lop-end professional DSlRs offer II
function caHed Focus Lock-on. It's used when
you're tracking II subject in rn.;lti-point AF and
allows the camera to ignore &.l'I objects that
pass in front d the subiect while you're
tradllt~ it. For example, if you're tracking .. car
and your view of it is briefty blocked, the
camera will ignore the obstructlOO and follow
the car's progress when It reappears.
~) AutoM
This merle IS best described as a mil( of the
ot~ two AF modes, When you first press the
shutter button, It works in the same way as
AF-S,locl<lng the AF on to the subject. However,
should the SlJbject move, It detects thiS movement alld switches to
AF-C automatically, Now here IS the thing that confuses some
people. The camera only switches from AF-S to AF-C when it
detects minor changes In focus distance, ie. the subject starts to
move towards or away from the frame. However, if it detects a
major change in distance it doesn't refocus. This is because such a
big change is interpreted as the photographer using Focus Lock.
Auto AF mode Is useful when

shooti", kids. It w~l lock foellS
when they're static, but
automatically ~itehes to
continuous AFwhen they
predictably start to move,

Whi le autofocus systems are
highly accurate and reliable,
there are times when you
may have to switch from AF
to MF and focus manually. As
well as the typical sl tuallons where
AF struggles (see panel Autofocus
Problems), the other occasion
where you may lind yourself uSing
manual focus IS when shooting
close-ups. When won(lng at very
short fOCUSing distances. especially
when you're using a macro lens to
shoot tiny sublects, It IS critical that
you focus on the correct part of the
subject. While autofocus systems
can work OK in these Situations,
you'll probably find it easier and
qUicker to use manual focus.

020/ UNDERSTANDING YOUR DIGITAL Sill- - Getting startedm Digltal SLR Photogrophy
---
Understanding ISO ratings

The ISO rating stems back to the film era a1d knovving rts
onglns 'Mil help urderstand tu.\llt 'MJI"ks WIth OSLRs
WHAT DOES ISO STAND FOR AND WHAT DOES IT RELATE TO?
There's some hiStory involved here. so bear WIth this explanation! ISO stands
for Internallonal Standards OrganisatIOn and the ISO rating originally related
to how the sens.tivlty oflilm emulsion to light was stated. In other words. it
was a standard 'measure' 01 how sensitive film was to light Up until the ISO
rating was introduced, film speed was stated in various ~ (ASA and DIN
being the most commonly known) so having one universal standard made
everything far more SImple. Because sensitivity affects
the eXpo$I.Jre reqUired for an image. ISO ratings
were also termed 'film speeds' and described
ilSslow, medium and fast-terminology
that is still used with digital cameras. So.
ir'l summary. the ISO rating provided a
measure of a film 's sensitivity to light.
With the advent of digital ca lneras,
the ISO rat ings were retained. as it
was a lamiliarsystemfO(
photographers 10 work with. so that
they could adapllhe ir wayol
thinking by using the tned and tested
ISO settings to work out the changes
in 'sensitIVIty' 01 the SEfISOf.
HOW'do ro ralingswork?
The ISO ratins. alorqj: WIth the sl'utter speed
and aperture. ~ a vrtaI part in hem the exposure is calculated.
All three are II~ together. so chansing one has a bearir@onthe
others. Every cametll hasa I'iIfW! of ISO settings. with ISO 100-1600
belr@themostcommon.andcanbechangedinincrementsofll3. ".. or
one'Slop steps. The most common ISO speeds are as follows:
~II , , ) ..) " ".
Changing the ISO increments WOI'1<s in much the same 'Na'I as that of
shutter speeds and apertures. so going up a full stop (for example from
100 to 2(0) halves the exposure. ....nile going down a stop (say from ISO
800 to ISO 4(0) doub~ the exposure. The lower the ISO rating. for
example ISO 100. the less 'sensitive' the senSO!' is to light and the lTlOfe
light that is required to give the correct exposure (through a longer
exposuretllne and/or wider aperture). Becausetheexposure time is
lengthened, setllng a low ISO rating is also COffiITlOIlly described (in
particular byex-lilm photosmphers) as setting a slow ISO speed .
Increasing the ISO boosts the signal travell ing throogh the senSO!' and
effectively increases the 'sensitivity', meaning that a laster shutter
speed andror smaller aperture gives the cor rect exposure. Due to the
reference to faster shutter speeds, setting higher ISOs are otten relerred
to as using faster ISO speeds. So if sorne<.Jne says they've set a slower or
faster 'Iilmspeed'. you now know what they mean!
When $IIoollnll movinll Stlbjects, you can use the ISO ",linKto help Kive you
the shutter speed you need to either freeze motion or re(;ord it as a blur.

Some OSlRs have a custom functIOn
that extends the ISO r.JfIge to incllde a
Iow(l)and hIgh(H)settorw Whilethe l
settlf'4llS useful. nnaees shot With H art!
normalty very!l:)lSY and best iFo'OIded

022/ UNDERSTANDING YOUR DIGITAL Sill __ Getting startedm Digltal SLR Phot"""",hy
ISOcompcui.sonfromISOlOO64OO ;;;'"'Iiii~::~:::;;;~~§~
The scene <Jboo.oe was taken at different ratings from ISO 100 to 6400 on a
tTipod-moonted Nikon 0300. fitted With a Sigma ID-2(}-mJ wide-angle
zoom set to 1114. As you can see from the magnified portions. there is very
If!I?
~...
..
little differeoce in the Quality at loweI'" ISO speeds but as ','(11 reach the f T.
higher speeds. rose progressivejy becomes more evident, sh<lrpoes.$ starts
to drop and ~ours lose saturation and accuracy. The Nikon 0300 ISone of
the best at shootmg at higher ISO speeds. so if you've an older DSLR, you'll
probably lind quality differences are even more exaggerated.

-
Getting Started in Digttal SLR Photogrophy
--
UNDERSTANDING YOUR DIGITAL
-
Sill/ 02l
Howo:xn unde~lSOratings
makevooabetter~
The choice 01 ISO lilting you use has an enormous
impact on the final result 01 )OUr images. Its maIO
mfluence is that rt will affect what combinations of
apertures and shutter speeds are available to you, for
instance. in low light. Increasing the ISOcana11ow
you to choose a shutter speed for hancl1eld
photography that isn't available at a lower ISO speed.
II also has a big $WI in ove:all image quality, with
noise (digital's eQl"lIvalent to lilm gram). col(U
reproduction and contrast all being affected by the
ISO rating youchoose. Ullinlately. it influences ~
Single image you take as it has a direct aS5Ociation
with ShuttCf speeds and apertures when determining
the exposure. so you can', alford not to understand it
if you really want to progress your photography.
;;0 howdoes the ISO !!!ling a1fect the ~?

As we've mentioned. the ISO rating IS used along with the shutter speed and aperture to give the
correct exposure. What )'Ou should set the ISO to depends on the situation, the lighting and the effect
you're trying to achteve. and this knowledge will come through practice and experienoe.
Understand"'g the fundamental rules of eXpl.&Jre will help you know what to set.
Your OSLR has a set shutter speed range (most have between 30 seconds to 1I4OOOsec) and your
lens will have a chotce fA apertures. When you're taking pictures, you'll have many of these available
to you and by chCV1ging the ISO rating, you will be able 10 vary your se1e<:tion,
For any Sivensilualion, using a lew ISO rating (e.g, ISO loo)will mean that you'll have to set longer
expos.xe Ilines, wider apertures, or a combination of both, Setting a fast ISO (e.g, ISO 1600) means
you can use lasler shutter speeds. smaller apertures or a combinabon of both, Use a mediLm ISO
speed like ISO 400 and you'll have apertures and shutter speed options between these two eKtremes,
What you set really depends on ~ sub\ec1:, the amount r;t available IISht and the effect you're
trying locapture, There are no hard and fast rules and as already menboned, expenence (and
studying other photogr.Iphers' irTlilQe5) will help you 10 I!ra5P the basics,
What you need 10 set used 10 Ihi~ing about is determining which ISO IS best SUited /0( what
you're trying to shoot For instance, if you're handhoiding lhe camera and USIng a Ion!! teIeZoom, you
should know thai you'll need 10 keep the shutter speed quite high 10 avoid camera shake, so raisins
the ISO allows for a laster shutter speed at a given aperture, 11 your camera is on a tripod and shake
isn't a problem, then you can set a lowe- ISO, Within this suide, we'll look at the most common
shooting scenarios and provide essential advice on how to set your ISO ratings 10 deliveI' the best
possible results, Once you've read this guide, we'd stronl!ly recommend that you spero a couple 0/
hours shootlf18 a couple fA scenes at different ISO ratinl!S to see the affect it has on apertures and
shutter speeds, In particular, try it out in very bright and quite dim ligllting condrtions and see how
chanSlng the ISO rating allO\YS you to choose shutler speeds and apertures not available at other ISO
speeds arld wI1lch could be the difference between adecent image and a poor one.

024 / UNDERSTANDING YOUR DIGITAL Sill
--
Getting startedm Digltal SLR Photogrophy
---
ISO and general photogJaphy ISO speed

So YOlireout and about shooting anything that catches your eye:
somescerllcs. a fewcandlds. the odd archrtectural image. How
should you determine whICh ISO to use? Daniel LezanoexplalllS
how he considers which ISO to set when thesubJects he's
shooting are constantly Changing
100 800
1''1£ BEEN TAKING pictures lor around 2Syears nr:IN. so I have had plenty of
practice when it comes to getting my head around ISO ratings! And. as anyone
who learned the ropes uSlflg film will testily. the ISO rallng was far more of a 200 1800
considerallon then than it is today. 1Ntr'j? Well in the 'old days' of/jim photography,
you had todeclde the ISO you were going to use before you loaded upthe camera,
because each fi lm had ItsOwn ISO ratll1!!. The lu~ury of being able 10 change 150s
before each shot didn't exist. Instead, you were stuck l oa particular 'film speed'
for 24 Of 36lrames. Looking back. th is constraint was a great 'lasH rack' method
forgett mg logrips with ISOs. as you had to real ly give the ISO some thought
belore buyinglloading your fi lm. III wasoul for the dayshooting landscapes , I'd
use ISO 50 or ISO 100 for the best quality, whi le for general photography and lor ABOVE: You
flash, ISO 200 or400 galle more flexibility. I only loaded with IS08000r higher have 10 sla rt
somewhere
when I knew that I was handholding in low light and had flO option but to sacr ifice a nd 10. &eneral
on quality to get the e~tra speed that was need to gille decent shutter speeds . pholography,
I've camed this ISO-philosophy over into how I shoot digitally and have found IS0400 ,sa
that it works pretty well. When I want the best possible quality, I'll use as low an &OOd choice,
ISO as I can get away With aod I'll onlyupthe speed if there is the risk 01 camera uil offers
shake when handholdil'l8 the camera. That said, I'm far happier to use speeds of ulra spo:ed
wil h m,nimal
ISO 400-800 then I ever was With IiIm and each rew WiM! of DSlRs seem to raise 10$1 In quality,
the bar in termsol high-ISOquahty, HoweYel'; I'll still always try to avoid going
above 150800, as that's when noise beo:lmes evident and sharpness suffers. RIGHT:
r(HIards the end of my time With film. I found I was often usmg ISO 400 as my When you 're
general·purpose speed as emulsions had got so good. I have to say that l've shooting in low
light. you.
carried thIS W'OI'kiI'l8 practice t:Ner to dlgrtal. The quality 01150 400 OIl D5LRs is choke of ISO
near-inclislil'l8ulshable to lower speeds (unless makil'l8 enlargements) arid the will vlII'/. 1f
extra two stops oompared to setting ISO 100 is invaluable for a variety of you're uslna I
Situations, such as shootmg on·the·spot portrait owortunities, or haodheld tripod, you eIIn
scenes OIl a typically muggy British day. I'll drop to ISO 100 on bright days or alford to sel I
when USIng a tnpod, lJlless this nsks subject blur through movement, soch as low ISO but il
trees blOWll'I8ln thewind, but usually sllcllio ISO 400. So, if you want the hilndholdina.
you'rebHt
'wisdom' of a oouple of decades of trial arid error, start out at ISO 400, drop down setti naa 'asl
to ISO 100 when using a tnpodor on verybrighl days and bump it up 10 IS0800 ISO such a5
when yoo're shooting in dim conditions. 150800,
GENERAL
The extra speed
of ISO 400
eompared 10 ISO
100 means thill
you're more likely
to howe a 5hulter
speed thai allows
for handheld
photography,
"' ....
. ''''..
..,
Bill
FAST ACTION
Shulter speeds
need 10 be as
high as ponible
so a lasllSO like
8000. 16OO,a5
well as a wide
aperture, will
fre.flzemovi ng
SlJbjec15,
ISO_
..
,~
",
.. ,..,
STILHI r£
When YtH.I want
the bHt possible
quality, and
CiIrT1era 5hake i1'
subjeel
m(M!mem !sn'la
problem,lhensel
lhe 10W'e'S1
poss ible ISO,
ISO_
.-
..
... '"
''''

-
--
-
SLR / 025
Expert advice from pros on picking the best ISO rating

Four experts shed some light on selecting the nght ISO for landscapes. studIO 'M'Xk. portrGuts and nature
lSO~andnature
Nature sn~ regularly have ~~ts
10 contend with poor lighting When I'm shooting portraits,
CO!lditions and Slbject the thought at the forefront of
moYement. While a fast shutter my mind is depth-of·field. So.
speed is essential to freeze for whatever subtect I'm
mcNement and eliminate shooting, whether it be
camera shake. which is a real weddings or babies. I know the
problem vmen using II optimum aperture I wanl to set.
telephoto lens handheld (a Therefore. I constantly change
tr ipod is often Impractical). I the ISO rating 10 ensure I have a
have to compromise on an workable shutter speed for the
exposure that allows meto shootinS conditions and to
shoot durir'lll dawn's low light. avoid camera shake.
I 'm not a fan o f flash eit her. If I'm photographing a si rlgle
especi ally when shooting person or a baby I normally use
cl ose-ups. as it can destroy the the widest aperture I can to get
natural fee l, So, I gain the extra a minimum depth-of·field, so I
speed by ra ising the ISO. 1try Nature pllotographyoften requires get away wilh a vel)' low ISO. Sl>ooting port...its presents many
not to use speeds upwards 01 the ISOto be ... ise<:! to I>etp provide Whereas. Ifl"m shooting a dilferent cl>aLlenges and l'&htin&,
ISO 800 as, although signal deptl>-<lf-field or prevent shake couple, I'll need more conditions. so I'm constantly
noise has been greatly witl> telep/loto lenses. ISO 400 is depth-of-field (115.6). so need chilnging the ISO rating to giYe me
improved at higher 150s. II usually the best lor sharp results. al least a medium speed of ISO the de$Jtll-of-field I nee<:!.
cIoesgrow IT'IOfe VISible. An ISO 400, while at weddings I use
400 IS usually sofiicient, ISO 1600-3200 for versatility.
especially when combined Sure there Will be more noise,
with an image stabilised lens. but I"d rather have a noisy
While I always reoommerd sharp shot than a blurl)' one,
USing the lowest ISO rating and so woold my clients. As a
-
.,.
possible. don" be wary 01 rule-of-thumb. ifconditloos are
increasmg it even if it's at the
..
darll.1"1I bump the ISO rating
,. .
-
sake d image Quality. A slightly upandwhen irs bright 1"11
noisy image is nearly always
preferable aver- a blurred one.
By RO$s Hoddinott
ISO rotings and

- knock it down_Irs a system thai
has never let me down!
By Brett HaMmen
ISO rotings and

.'"
lc!nc!scaJ:>g; studioflash
As a landscape pholographer, When I"m shootlns portraits or
image quality takes precedence fashion images, I'll tl)' louse
overfl~lb il ity, so III)' to opt for the Icmest ISO loretain
a small aperture and keep the all-important Image quality and
ISO to 100. This invariably accurate skin tones. The beauty
resu lts in slow sl>utter speeds, ot studlo IIShts is you can alter
but wit h m,; tripod-mou nted the power 0/ the flash heads to
D5LR camera shake is rare. suit your requirements. If
5imilarto water, plants shot on you 're outside on a dull day and
a W1ndydaycan benefit from want maximum depth-o/-field.
SIO'N shutter speeds as il you would end up having to use
creates Il'lO'I'eITIent in an image. a long shutter speed to get a
But when capll.xing wlldli1e in small aperture. forc:inS you to
landscapes. I II)' 10 keep animal up the ISO. With studio liShling.
as sharp as possible. while also you don't have this problem;
retaining maximum you really can have your cake
depth·oj-field. The small Landscape photograp/lers w~1 and eat it. You can use a low I take gr1!ilt care with my
aperture needed to keep normally aim for the maximum ISO rating, narrow aperture and stlMlioltilsh outfits when setting up
front-lo-bacII sharpness means quality and plenty of deptl>-oHoeId a fast shutter speed. prOViding my fashion images so to ligtrt my
and so set a low tSO. long shl,J\ler
the only parameter open 10 me ...-eds you have flash heads W1\h a subjects carefully. Get\inll the best
........
add iI nicI! blur to water. irnil&e quality also requires <lIS low
to stop movemenl 0/ lhe animal decent amount 01 power. A
is byraisl~ lhe ISO rating. In ratlfl[ o13OOw.-'s is normally -~-
these cases. I tend to increase fine for portraits. The onty time
it to between 200 and 400: you may find yourself having to
enough to give a faster shutter raise the ISO speed is when
speed while keeping noise to a your f\ast1 heads aren't
minimum. At the end o/the delivering enough power
.. ,.,
day. landscape photography is Decause they're heaVIly
... ..
about keeping a balance diffused. such as soft boxes, or 100
between the highest quality you want to balance fl ash and 1100
Image and the mosl ambient IIghl. which will otten
aesthetically pleasing effect.
By Adam Burton
' reduce your shutter speed.
By Malt Henry '"

026/ UNDERSfANDING YOUR DIGITALSill Getting Startedm Dig,tal SLR Photogrophy
----------
WhiteBalance
Your camera's sensor is
very sensitive to the colour
tem[:€rature of light. and It'Sthe
White Balance setting that helps
with oolour reproduction
YOU'LL HAVE PROBABLY noticed that
daylight can appear warme r or cooler
at ce rtain t imes of day, or season. and
that some arti ficial light sources produce
a colour cast. This is beca use li ght has
what is known as a colou r tempe rature ,
measured in Kelvins, wh ich can have a
major effect 011 how accurate ly colours
appear in your images. Digital SLRs have
a While Balance (WB) faci lity thai allows
you to set the sensor's sensitivi ty to a
part icular Kelvin rating so thai you can
shoot images wit hout any colour cast.
Using it correctly wi ll ensure accurate
colours in you r shots.
KELVIN SCALE This scale indicates the range of oolourtemperatures and the Kelvin rat ing of the main Wh ite Balance presets, (iI's worth I10ting
that thesetemperalures may vary from model to model), The Kelvin scale runs from wa rm to cool, with the Kelvin value increasing as the light
Daylight flash Cl oudy Shade
,:;:~ ~
1 I.. I~
7000K 8000K lOOOOK
AWB (AUTO WHITE BALANCE): The camera evaluates the
scene and sets its own Wh ite BalarlCe accordingly. It's a good
choice fo r begirmers, but you should think about setting the
appropriate preset for the lighting conditions you're shooting in
whenever possible, as it will give the most accurate colours,
The value tor Fluorescent light varies because the colour
temperature given off by fl uorescent tubes can be different. Some
cameras, in tact. have three settings to balance these different
types of fluorescent light. With Custom, you set the White Balance
by following your digital SLR's preset procedure - it's a good
choice when shooting in mixed lighting,
WHITE BALANCE BRACKETING Some cameras allow you to

bracket the White Balance of your exposures. This fires an image at
the White Balance preset you have selected, then another frame
th at's slightly warmer arld another thaI's coo ler.
SETTING THE WRONG WHITE BALANCE! You'll find that setting

an incorrect White Balance for a given lighting condition can give
interesting results, for instance, setting Daylight when shooting
indoors in artificial (tungsten) lighting will give a strong orange
cast: setting Shade or Cloudy in bright sunlight will give a wa rmer
tone, whi le setting Tu ngsten in daylight will give a COOl, blue cast.
,
Whi1eBalance ,,"~J
Aocessor!§.
, , ,
e~
You can use the Custom
preset to set an exact
\~
\ , \~
While Balance by USing
a wh ite surface or grEY
C<lrd (depending on \'QU'
DSLR) as a benchmark.
Arl altem<llive is to buy a
• " J
,.'-;..
custom -made disc that IS

placed In front of the lens to "
take a Wh ite Balance reading from. The cdvantage IS that iI's small
erough to keep With you €VeI)'Wtlere JoOO go. We'd recommend
you look at the ExpoOlsc (www.flaghead.co_uk)or obtain a che~
and cheerfu l grey card from your local photo reta iler.

-
--
--
Sill/ 027

028/ UNDERSTANDING YOUR DIGITAL SLR Getting Startedm Dig,tal SLR Photogrophy
----------
Image quality ...

When you take pictures. )'Ou can save
them as Ra'W files andAJr JPEGs. Each
file format has its O'NTl advantages and
disadvantages. which are covered here
ID The Raw file has often been described as

a 'digital negative' This description relates to
how the image has been captured in its purest
digi tal for m. w ith no image processing appl ied.
Shooting in Raw is a little more involved than
shoot ing in JPEG and because t he fi les are not
compressed. it takes longer for the image to be
Ira rls/erred to the ca rd . Also, you' ll find thaI
unless you have compatible software, you won't
be able to open or manipulate the image in the
same way t hat you can w ith JPEGs. However.
when you come to open a Raw fi le. you'll find that
you'll be presented with several options to 'tweak'
the image before it's opened. For instance, if
you've set the White Balance to Tungsten when
shooting in daylight and all your images have a
strong blue cast. don't worry, you can set the
White Balance to Daylight on the software and
insta ntly correct the error. You 're also able to
work on other parameters like sharpness.
contrast alld exposure. so shootillg Raw does
give you more fall-back optiolls should you make
any mistakes.
THE ADVANTAGES OF RAW
t/ The best po~ible Quality
t/ The opportunity to challge parameters
like White Balallce and exposure
t/ You can work off the original and save as
marlY variants as you like
DISADVANTAGES OF RAW
)( Takes up more memory space
)( Slower to proce~
)( Requires conlpatible software to process
~ The JPEG (Joint Photographic Experts

Group) is the most popular type of file format.
due to its versatility. Ir s whal"s kllown as a 'lossy'
format. wh ich means that you lose some image
._-... _- -----------_,,--
illformation when you shoot ill a JPEG format. as
the file is 'compressed' so that it takes up less
space on a memory card or computer. The
amoUllt you lose is up to you - you call decide
this by the quality setting you apply on your
~.. -=:::...
... _-- ••
camera alld when savillg the image 011 your

computer. We'd recommend you always shoot at
maximum Quality, as you 'll be hard pushed to
notice any degradatiOIl of the image. Start
--
-_. .,.
increasing the com pre~ion and you'll discard
more image information. degrading the final
image and leading to unwanted 'artefacts'
spoiling the final result.
THE ADVA NTAGES OF JPEG
t/ Take up less memory, so you call fit
more images on your card
t/ Faster read alld write transfer speeds
t/ Smaller file size makes it easier to email
DISADVANTAGES OF JPEG
)( Compressillg the ti le can lead to
image degradation
)( If you mess up with something such as the
White BalarlCe or exposure, iI's much
harder to salvage the result
~ __
.. -..,._--~
--.._-...J

Getting Started m Di9'tal SLR Photogmphy UNDERSfANDING YOUR DIGITALSLR / 029
---------------
Shooting in JPEG is very convenient and if you kee p com p.rt'ssion to a

minimu m. quality is excellent . In crease com pressioo and quality drops.
QugIIk~~~slz!>
To get t he best out of your JPEGs. size and compressi on are two important factors to be coosidered
IMAGE-SIZE OPTIONS When you're shooting JPEGs. you 'll usually IMAGE-QUALITY OPTIONS The other quality setting relates not to
find yoorse lf presented with twooptioos thai affect image quality. image size lxit to the level of compression, For the best quali ty,
The first is to set the size of the image you'd like to capture, in always keep compression to a minimum and only choose one of the
other words the number of pi ~els that make up the shot. The other options as a last resort if you're running out of capacity on you r
settings available are usually slated as L. M and S (Large, Medium memory card. You'l l usually lind com pression stated as an icon or
and Sma ll ) or in mega pixels. Normall y, you'll shoot allhe highest worded as Best, Better and Good, Here's how quality settings are
rating to make full use of all of the pixelson the sensor ( i,e. shoot a shown on four popular models:
six-m illion pi xel image if your DSLR has a six-mega pixel
resolution. But if you're s~oting for web use, you might want to
I ~~, I I .~,
.
Brand Medium
reduce the image size to make the fi les more manageable. CompreSSion CompreSSion COmpreSSIOn
(Desl Qualrty i (medrum QUAlrtyl (IOl'>fst Qualrty)
Camera I MaXimum Mtdlum I Lowesl Canon EOS400D •
resoluhon ~solullon resolullon
(besf QII~lrly) (medrum ava1rly) (IQIIIl'S1 aHalrlvl
Nikon D80 Normal Basic
Canon EOS 400D L
• S
Nikon D80
Olympus E-400
l'flIIax KlooO
&;;l
SItQ
6M
,.
ti!l
HQ
!iii
SQ
105M
Olympus E-4oo I n.7 U4 or 118

OlO/ BASIC TECHNIQUES --
Getting startedm Digltal SLR Photography
---
UnderstandingRaw
Getting to know what Raw files are and how they differ
from JPEGs is an essential step towards Improvement
WHATOOESRAWMEAN?
Raw Isn't a mode or a 'feature' that you'lIlind on your camern: it's the name
given to the file format in whICh you reo:rd the image. Whether you know it
or not. YOU'll most likely have been shootmg and saving your images as
JPEGs, a file format that pro.'ides a conveniefrt W<Pf of recording lots of
images quickly to your card. On your camera, you wil l have set your
camefa to shoot images as a JPEG by setting L (Large), M (Medil.m) or 5
(Small) or Fine, Normal or Basic. While JPEGs are great, there are added
benefits to SWitching to Raw that you may be unaware of. And, if you've
heard of Raw but were afraid of trying it because you thought it would be
difficult to use, the truth is that shooting in Raw is hardly any different to
leaving the carnera settoJPEG. The main differences. and benefits, are
evident once you have transferred your images to your computer.
DOES THE CAMERA BEHAVE DIFfEREI'ffi.'{ WHEN SHOOTlNG RAW!

Once you've set yourcarnerato shoot Raw, ratherthan JPEG, you use the
camefa in exactly the same way as you would normally. The main
difference you may notice (and I'(Iries from model to model), is it takes
longerforthe camera tOWflte Raw images 10 the caro than when shooting
JPEGs (i.e. the little red light on the back of the camera stays lit for looger).
This isn't a problem unless you're shooting fast sequences, in which case
you'll see the frame rate slow down aftef a certain number of shots have
beefllaken in quick successioo. You'lI also find that the camera is sk.mer
when reviewing images on the LCD.
You'lI also notice the rl.Jmbef of images you can shoot on a memory
card redl.lceS dr.rnatically. be<:ause unlike JP£Gs, the Raw files ¥e not
'compressed'. SO each Image takes up more space 00 the card. For
aample, il you're using a ten·megapixel DSlR, you can lit¥ound 60 Raw
liles on a 1GB card, as opposed to OYer 200 highest-quality JPEGs.
WHAT ARETHEMAlNAOVANTAGES Of RAW?

Shootll'f! Raw alloNs you to get the best Quality.mages!rom your digital
SLR. You·re basically captunl'f! a 'raw' image. without any camera
processi~ or compression. so in effect, you have the purest possible
imageliiethat thecamefa can record. W,th JPEGs, the quality is influenced
I:ti in"Carner.l proceSSing via sett:If'IgS such as Sharpenllll. Colour
Saturation and 'v'Ihite Balance. which diminishes the quality of an image.
The main advantage of Raw is one that YQU'II discoYer once you've
downloaded your shots ooto ycur computer - Raw files allO'N you a level of
lIexibility in teons of simple image adjustments, such as changing White
Balance settings, that shouldn't be underestimated. We'll cover all oflhese
benefits in more detail later.
HAS IT ANY DISADVANTAGES1

Yes , there are the drawbacks mentioned
earlier, namely tile whole process of
shooting in Rawtakesa little more
time. The camera takes longer to
wnte Images tothe card and it also
lakes longer to oopj images !rom
the card to the computer, as well as
filling your card up QUicker because
each image takes up more memory
space. Also. you'll need to use
software to open your Raw lile before
you can save it as a JP£G.
Fortunately, these drawbacks are
relatrveiy mmor cornpa.-ed to the many
benefits from USI~ Raw.
Raw_deal!
Each camera bfand has its own form of RiM file.
For example, Canon has .CR2 or .CRW. Nlkon has
.NEF and Penta. has .PEF. Each brand's Raw
~Ion software can only haodle their own RiM
fi les, however third·party software like Adobe
PhoIoshop or Phase One can cope with all types of
Rawfiles. Adobe has also produced a univer'Sa1 Raw
lile. called .DNG. but it still hasscme way togo to
gain widespread support.

_ Getting Started in Digtlai SLR Phologrophy_ UNDERSfANDING YOUR DIGITALSLR / 031

032 / UNDERSTANDING YOUR DIGITALSill -
---
TheprocessofconverlingRawlmages
Taking photographs With your DSLR set to RaN rather than JPEG pn:N'des you WIth literally the rc.MJ matenals
for a great image. To transform them into top-quality photographs requires the use of Raw processing software
The interface of ..
,......,m.,
R_software
lniti;olly ilppe.
daunting, but don't
WO";'l- you'll soon
~ e liang of it!
we 5how tile
". ,.·_u_
Raw processor
1.10, used in Adobe
~,. Photoshop CS3.
- -,{- ...
,
... 'I
l) TOO LS
Basic 1001510.
magnifyinglhe
preview image 0,
making
-.- --
1 _....
adjust ments sueh
, -.,- Mcropping.
2) PREVIEW Allows
you to preview any
cha nges you'll'
0
"' making before
-. -.-
•
-, -
opening the file.
J) IMAGE
& ADJUSTMENT
INFO
--.
SLIDERS
~ 'This are .. provides
0
•• awealthof
In/ormation about
••
----
yourR_i~
0 and various sliding
conlrols thai allow
0 • you to make an
Inc~i" numbt't"
0
• of cha~ to the
image. on', wony
•
-
0 about tile latg'l!
II\lmber of options
( s- ___ ) - )'(ILI'II only need 10
_ _ (1_ ( ' - ' ) CE:)
,
._~to '''''''''' II_.
use a few of these
to begin wilh.
Rawsoftware
As we've merlhoned before, it's not
until ~ou download your images to
your computer thai the benefits of
shooting in raw can be seen, Man~
digital photographers who have
migrated from film describe Raw
files as digital 'negatives', with the
computer replacina the darKroom
as the place where the 'orillinal' is
processed and the final il'Tl(t8e
developed, Ratherthan chemicals,
it's software that IS used to convert
the Raw image into a JPEG or TIFF
that can be saved and printed.
While II's possible todothis fREE RAW SOnwARE WITH YOUR CAMERA PREMIUM RAW SOnwARE
without ITI1Ikina any image These are the packages bundled with the OSLRs. These packages are designed to hardle all Raw
adjustments. the fact is a few Most offer basic Raw to JP£G oonversion. others files aod offer more advanced features than the
small tweaks can make a ITI1Ijor otter more sophisticated features. Nikon and packages that come With the cameras. Below are
Olympus offer rTlOI"e elaborate packages as an some d the popular and more powerful
difference to the final result.
optional extra (see right). packages. Some are available web-only.
....
..._..
""""'"
,-
.......
-~,
[),guIPhclo~
I1nef'ix Studio
l'IctInfro,ocI 1.7
MMtrr z.o
SilkYP<" ~ [)eo.oeIQper StudQ
.....
.....
.....
..... ...
-""
PIooatosIIot> Elements 1
"'''»",
~2(Maconty)
ule& Pro
;om
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~
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"""'" """''''
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_ Getting Started in Digtlai SLR Phologrophy_ UNDERSTANDING YOUR DIGITAL SLR / 033
While ~rcast days prOYide ..

pleasanL flattering light lor
$hooting portraits. it can result in
ima&l'S with du. coIo\on. (!lee insel).
UsiIu! features such lIS Contr.J5t,
with a slighllweak of the Exposure
$IDer, transformed this shot. adding
punch to prev;ous/y lifeless tORe$.

034 / UNDERSTANDING YOUR DIGITAL Sill- - Getting startedm DigItal SLR Photogrophy
---
Set up your DSLRthewayyou like it!

In less time than it takes to drink a cup of tea, you can learn something new
about your digital SLR that will change the way you take pictures - guaranteed!
In the days of fi lm, you picked ~ ISO rali~ and you stucfo; With it br the
next 36 frames. In the digital world 1hough.ISOs have become aoother
variable. just like apertures and Ylutter speeds. You can change them in
halves or thirds of 11 slop over 11 range of some seven stops, dependire on
your camera. That's more than the aperture range in some standard zooms.
To reflect this. most OSLRs have an Auto ISO settlt'l8...mere the ISO is
raised automatically as light levels dim. usually in order to maintain a
shutler speed for shake-free handheld shooting, Some Pentax and
Samsung DSLRs ellen go so far as to include an ISO priority mode (SAv). where the shutter speed and
aperture are both locked and it is only the ISO thCII is changed ir'l response to changing light.
Auto ISO is a particularly useful function 101' the street photographer. When light levels are chang ing, but
you are woriIing quickly, you don', always have chance to notice whether your shutter speed has dipped into
the camera-shake territory or not. arK! up the ISO to compensate, W'rry not let your camera do this for you?
Many OSLRs allow you to customise their Auto ISO option, specifying a minimum shutter speed after wllich
the camera will start to change ISO instead. You' ll also be able to specify the maximum ISO va lue here, which
is cruc ial if this feature issoing to work for you. lor as the ISO climbs higher. pictu re quality terK!s to degrade.
with noise becoming more apparent. It's worth experimenting with yourcamerato/ind your own ISO limit-
a setting wllich you're happy to work at. but not beyond. II you are lucky enough to have a high·spec fu ll-frame
camera - like an £OS 50 Mkll or Nikon 0700 - then thiS could be some ISO 3200 or higher. BacIc in the real
wor1d though. it is more likely to be around IS0640-800 onsomething like a Canon £OS 4500 or Nikon 090.
IJve VIew mode

Live View is a feature that Ieh; you compose a picture on
the DSLR's LCD lTOlilor - as you might with a compact
camera - instead of through its viewfinder. When it was
lirst introWoed. manylabetled Ii agll'l"llTltCk. but since
then more and more uses for-thlS techl'lOlogy have
emerged_ The most otMous use lor Live V_ is working
at different viewpoints WIthout pulling a rruscle. Shooting
from down below or t:Nef heads in large crowds ts much
easier this W<r>j_ But there are ~ advantages too. Some
argue that Ii's easier to see whether a composltl()"l Will
work ornotbyusing the LCD monitor <nd nol the
viewfinder - and if you set your camera to blac:t< & white
mode. it·s possiDleto preview the scene in front of you in
mono. FurthelTl1Ofe. on some OSLRs (Canon and Pentax
particularly) Live View;s ca rried out USing the aperture
set on thecamera. wllich means you can use it to prev~
depth-of- field arK!lhe effect of NO grad filters, ABOV£: LiYeVIeW can be useful for composition.

-
--
-
Sill / 035
The great thing aboUt digital photography is the control you have over
factors such as colour saturation. contrast and sharpness when editmg
pictures on your computer - but did you know you can also do thiS
in-camera? Most digital SLRs offer the facility 10 tweak image settings
like this. Some have pre>determined picture settings. such as
Landscape or Port~t. while others give more individual cootrol over
settings like brightness. conbasl and satUf3lion, letting you sa...e these
as presets. If your camera offers manual control over ptdure settings,
here's one to get you started: try reducing the coiour saturation as ::. .' S:l • '"'"
much as you can without making the image completely mono, and - ", , ',"
then pump upthecontrast as high as it' ll go. You'll gel a hard, gritty ~ " " '" " "
look thai is great 101" striking portraiture. landscapers may like to try ABOVE; Select piclure sty1es from the
the opposite - boosting saturation and leaving contrast set to normal. menu and choose from the options.
Using your hlsIo\IJ!!Itl

Take a picture on your DSLR and we bet the/irs! thing you do afterwards
is take a good long look at the back of your camera to review the picture
on the LCD monitor. Nothing wrOr18 with that, of course - it'sone ollhe
best things about digital photography - but can you reallybelievewhat
you are looking at in this preview?Well, yes and 00, You can zoom in and
check that the sharpness is OK. and of course il'lI si"lo'N you r composition
and lraminll, but when it comes Io~posure,the hun"tllescreen doesn't
always show the truth. It can be influenced pa1icularly by ambient light
- bflghl sunhghtwill make pictures appear under~po:sed, while dim
oondltioos Will make things look too bflghl. The answer is 10 use your
camera's histogram. thiS IS a graphic representation of hem the vaious
tones are dlSlributed througtnJl the picture: on the X-axis are tones. from
piXe black on left-hand side 10 pure while on the right. On the Y-axis is the
number of Pixels in the scene that have a specllic tooe.
Rather than interpretlhe histogram in terms of hard and fast nl.l'nbers,
ii's better to look lor trends and shapes. For an _rage. pl'operIy-exposed
scene that contains a variety of tones. you'd expecIlo see an e\'eIl
distribution of tones throughout the histogram. If the scene is
underexposed though, the histogram will be skewed to the left-hand side
(the black end). likeWise, iI overexposed, the peak will appear on the
right 0/ the scale. This is a much I1'IOfe reliable indication of exposure
acruracy than looking at the Image itself.
This is. of course, only true lor 'average' subjects. Shoot a high-key or
low-key scene (ie, one filled mostly with dark ()( light tones) and ~u
should expect to see the histogram biased towards one end citlle scale
atrfViaY, Aga in, once you know what to 1001<./0( in a histogram. you can
use it togause just how close you are 10 setting the perled e~posure
F()( further information on using hlslOilrams. see page 46.

www.nikon.co.uk At the heart of the [mage
0800230220
Karen finds it easy

to take beautiful pictures.

Getting Started m Di9'tal SLR Photogrophy BASIC TECHNIQUES/ 037
-----------
BASIC TECHNIQUES
The essential knowledge you need to take impressive photos with your digital SLR
}I

038/ BASICTECHNIQUFS Getting Startedm DigItal Sill Photography
--------
1be fundamentals of composition

EVERY TIME WE ra ise a camera to oureyetotake a photo we're Natural or man-made lines can be used to lead the eye around an image.
'composing', but the mistake many photographers make is fa ilingto spend whi le fOfeground interest adds depth and scale. Colour has great power,
enough time deciding if what they've got in the viewfi nder is actually helping to highlight specific elements so they dominate the compos ition Of
interesting belOfe hitting the shutter release, influence the overall mood oj the image,
Painters have a distinct advantage (N€r photographers because they Lens choice allows us to control e)(OCtly what appears in the frame and
start off with an empty carll/as, then set about filling it. sothey can move also how perspective is recorded, whi le viewpoint changes the relat ionship
things around a litt le, add things that don't exist. Of omit elements that spoil between the elements in a scene. Ultimately though, the most powerful
the compos ition and detract from the overall impact. Ourcarll/as is already tools at your disposal are your eyes. and it's only by using them and
full, so we have to decide what part of a scene or subject we want to thi nking about what you're doing that your compos itional ski lis wi ll
capture, There are various aids and tricks available to help us do this improve. Once you've established an eye fOf composition, you 'll find that
correctly, The ru le-oj-thirds is a class ic and effective compositional tool. your images take on more balance and offer stronger visual impact,
The rule-of-thirds is the most common photographic 'rule' and was Lead-in lines can make a good scenic shot great, because they
first devised by artists to use when painting landscapes. II's based on provide a natural errtry point into the composition and carry the
the idea of divid ing the image area into thirds and placing Ihe desired viewe r'seye into the scene, These could include rive rs, streams, wal ls
focal points 00 the intersection of those thirds for a more balanced and ~ges In landscapes, or arms and legs in portraits - any line that
compositioo, A photographer can to th is by simply dividing the travels irrto and through the frame will work wel L If the lines travel
viewfinde r into an imaginary grid usingtwa horizoota l and two diagonally, ideally Itley should run from the bottom left of the
vert ica l lines. Use the hOfizontallines toaid positiooingof the horizon, compos ition to top right- where, you wil l have hopefully placed you r
the bottom line 10 emphasise the foregrotlild and Itle IqJ line 10 focal point according 10 the ru le of lhirds. Converging lines are even
emphasise the sky, Use vertical lines to position features such as more powerful as they not only lead the eye into and through the
buildings, trees or a person. Finally, the fou r intersection points make scene, but they alsoadd a strong sense oj distance and depth sothe
idea places to positioo your main foca l points. composition looks three-dimens iooal.
By placing subject mailer in the foreground of a compos ition, you can Colour doesn't just make images look realistic, it can also influence
create depth and scale. This is easiest and most effective if you use a the mood of a photograph. Warm colours such as ye llow and orange
wide-ang le lens, as you can include fealures literally at your feet. aresoothiogand restful, whi le green is refreshing and blue can be
These lenses also appear to exaggeral e perspective so that S(Jbjects cold and hostile. If you include contrasting co lours, such as blue and
closer to the camera are much larger than the distant featu res. This yel low or red and green, the compos ition will be roo re eye-catChing,
illusioncOrlll€YS depth because your brain knows the distant features whereas colours that complement each other such as red and yellow.
are normally bigger. and so assumes they' re further away, The are more gentle and atmospheric, Warm colours are said toadvance.
landscape is full of potential foreground interest such as rocks . sothey work wel l in the foreground on a shot, while cool colours
driftwood and flowers. Be sure to use a small aperture (f!16orfI22) (green and blue) recede and so they ma~e better backgrounds,
to ma xi mise depth-of-field, because unless everything in the Finally, red is the most potent of all colours and will dominate a
compositioo issharp from froot-to-back, your efforts wi ll be in vain. compos ition even if red are<JS are only mlall inthe frame.

--
Getting Started in Di91tai SLR Photogrophy
- ----
BASIC- TECHNIQlill5/
---
OJ9
The first deciSion you need to make when composing a

photograph isdecidll1g how rruch, or howhttle, otthe
scene or subject you actualty want to include - this is
mam!yoonlrolled by which lens you use. Wide-anWe
lenses obviously have a generous angle-of-v;ey.. end
can capture more than our eyes can see, whereas
telephotos magnify the scene so you can be rTlOfe
selective about what you include in theCQrTllOSition.
Zooms c:o.oenng wide-angie and telephoto settings are
Ideal because you can control what you include Of
exclude Wlth greal preciSion. But lenses do more than
this - they also allow you to make use 01 perspective
and scale. Wide·angles seem 10 stretch perspective so
the features in II scene appeCV" spaced apart. which is
greal for empOaslsif4! lines and foreground interest.
Telephotos. on the other hand, appear to compress
perspective so the features In a scene appear more
crowded together than they really are. allowlng you to
create clr.3matic images. Finally, wide-angle lenses give
extensive depth-of·lield. especially at small apertures,
so you can achieve front-Io-back sharpness. Whereas
lelephotos limit depth-of-fi eld so you can throw the
txtckground and~ fOl'eground out of focus and make
specific parts of the image stand out. such as a person
set against a potentially distract in!! background.

The basics of exposure
Our largon-free guide to the fundamentals of exposure prO'v'ldes everything
you need to know to get to gnps With apertures and shutter speeds
EVERY EXPOSURE YOU take is made up of a correct exposure and this is selected by the
combination of an aperture and shutter exposure mode. While the Full-Auto AE (Auto
speed that determines how much right will Exposure) mode provides polnt-and-shoot
reach the 5efIsor. The aperture is the iris in simplicity by automatically selecting a
the lens, much !ike the pupil of the eye. that combination of aperture and shutter speed.
can widen to allow fTlO(e light through or and allows beginners to taKe great p ictures
coo tract to restnct the amount of light that with the minimum of fuss, the beauty and
enters the lens. Use a Wide aperture and enjoyment 01 digital SLR photography IS to
more light is able to pass through during a taKe control and directly determine how the
set t ime span than if you had selected a picture wi ll lOOK.
sma ll aperture setting. The first major step to doing th is is to take
The shutter IS a barrier in front of the your camera off Full Auto and select one of
sensor that moves out of the light's path the exposure modes tha t allow for far more
when you press the shutter release. allowing creative photography. Follow our gUide and
hght to reach the sensor and create an experiment with apertures and shutter
ex~ image. The exposure's duration is speeds - after all. it's not like yet/II be
determined by the shutter speed. There is an wasting any film! Before you know it. you'll
obvious relationship between the aperture soon be creating imaginative Images rather
and the shutler speed in determining the than just shooting snaps.
UNDERSTANDING SHUITER SPE EDS

Exposure settings are made by changinlo: either the aperture Of the The I!lOJq!jn9.
shutter speed. The increments at which you char"lge these settings Irs worth mer"ltioning the ISO
are normally refe rred to as ·stops·. When you change a setting by a rat ing. Basically. this indicates the
·stop'. you are either doublir"lg or halving the exposure. So toc sensor 's sensitivity to light. A low
instance. changir"lg from 1/5OOsec to 11250sec doubles the duration setting such as ISO 100 indicates
of the exposure. As well as full stops. you can also vary exposure in less sensillvity while a higher ISO
112 or 113 stops depending on the camera model you use. The seitlns, for instance 800. similarly
diagram below sha>Ys shutter speeds from one second to 1I4OOOsec. represents an increase sensitivity.
We'1I expialr"l which ISO rating is
best for certain situations later
but Irs worth noting now
that the ISO you
UNDERSTANDING APERTURE SETTINGS
set will determine
the comblr"latlal
The illustration below shows the iris at one-stop increments. ie each
of apertures
step from lett to right halves the amount of light passing through and shutter
the lens. The maXImum aperture setllng refers to the iris wide speeds available
open (in this Instance U2.8) and the minimum apertlKe is the iris at particular light
at its smallest setllng (1/22 in this case). An expianatial of where levels. 11 you're
the Ittiumber derives from would require an extensive scientific starting out.
expianatial. The key to you understanding apertures IS to learn how settIng a low ISO
tkoumbers correlates With the Size of the aperture. rating (ISO 100-
)00000000
200) is best In
bright conditials
and a mid-setting
(e.s. ISO 4(0) foc
FoIl \-~ l' t~' ,"" I"' " .. ~ "
seneral use.

042/ BASIC TECHNIQUES -
---
UnderstandingyourDSLR's metering system

Before 1ookll"€ at how you CCIllnfluence the exposure. rt's best to lJIlders1:znd how your CGmera's metering works. Here
we've covered the essentials you need to know in order to pick the best metenng mode fO' different shooting rondrtions
DIGITAL SlRS BOAST III!ry sophisticated exposure systems and offer a
choice of metering patterns ~ each wor\!ing out the exposure in a
different W<rJ to suit varying IIghling conditions. A camera's exposure
system works on the assumption that the area of the scene that is being
metered is a mid'tone, or 18% grey to be exact: the average il all dark,
lights and mid,tones were ml~ed together, It's the basisoi all melering
systelT15 aodworks surprisinsly well. Irs important to be aware of this
when you're taking pictures (even if you don't fully understand it)as it
helps you know when you may have problems with exposure.
While this system is fine in the majority of shooti ng situations, it can
lead to If)correct exposures when the scene or subject is COIls i dera~y
lighter or darker in tone than 18% grey, For e~mple, very dark subjects.
like a black building. can 1001 the metering system into thinking that the
general scene is much darker than it really IS and, as a result. wil l
overexposed the image. Similarly, very lightsublects, such as a snow
scene, can foo l the camera into underexpos ing them - making them
appear darker than they are - as the light meter will take a reading
designed to render them as a mid,tone.lt's in these trickie r lighting
situations, where the popular multi-zone pattern lila! provides the
correct exposure for around 90 percent of shots struggles as it tries to
meter the entire scene. It's in cases like this where using the other
patterns such as partial and spot are useful as they offer more control.
As a camera is trying to render an image grey, irs your job to ensure
you compensate to keep the tones true to life. To do this you have to
either overexpose the camera's reading to give a lighter result than the
camera wants. or underexpose to give a darker result than the camera
wants. So wllIl the black building, the camera's exposure reading will
lead to overexposure, which will lighten the blllldmg 10 grey. so you need
10 reduce the exposure to keep it black. Wrth the snow scene irs giving
less exposure than is necessary, which will make the snow appear grey,
so you need to add exposure to make the snow look white. If you're still a
little unsure. cIon'l worry. ...men you start shooting light and dark objects
and then try to override the camera 's readings. you'lI soon get to grips
with it. By followlrt our expert adVice you should also increase the
chances d keeping any exposure error.; to a minimum.
Multi-zone ~
In lheory. ~u could takecvcry picture usin!,: muiti-zone meterin!,: alld
never have a Dad exposure. Well almost ... The multi·zone pattern is the
newest and most sophisticated type of metering pattern and the one
most photosraphers stick to lor the majority of their shots. While every
manufacturer has thei r own types of multi-zone meter, each with vary ing
numbers and shapesol zones. all work in much the same way. Basically.
theentlfe image area is divided intoa number 01 zones and when
activated. individua l meter readings are taken from each one of them.
The camera's mere-processor then evaluates all Ihese individual
readings and uses comp lex algorithms to calculate lIle fina l exposure.
To improve accuracy. many cameras also boast a library of tens of
thousands of images taken in various lighting conditions, which are
compared in a micro-second wllll the new scene to produce the
exposure value. This system has proven highly reliable and gets the
exposure correct in over 90 pe!'Cent 01 shooting situations. It's not
perlect however, With unusualty light (ea: a snow scene or white wall) or
very dark (ea: a black door) subjects being incorrectly exposed.
Multi-zone meters can also have trouble with very high'COfrtrast scenes.
such as a backlit subject. This is why there are other metering patterns
available. as well as a choice of exposure overrides.
Reoognising the multi-zone pattern loon
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Getting Started in Digtlai SLR Phologrophy BASICTECHNIQUES/ 043
- -- -
Exposure: The main problems

As menbrned earlier, rrultl+ zone meterl~ is reliable. but there are Situabons that can cause It prOOIems. Here we
htghbght the most rorrrron scera-ios to be aware of and haN yoJ can prevent and solve any exposure eJT(X'"
, 4. ~,( ..
y. -
BACKlIT SUBJECT The stl"O<1i b;Jdc.Iighting willlead to YOLi. camera's

meier undemlposinl the 5tlbjed by betwft.n l'h .... d two stops..
SokJtion: II the subject is a mid-tone, set 10 spot meter and \I5e AE-l od<
on tile subjed.1I not. s.imply set +1.,.. to +2EV Hpo5III'e compensation.
e
~
LIGH"nR THAN AVIIlAGE SCENE The camera's meter is unaware thai
the subject has light tones /If1d wm underexpo$l! the scene.
Solution: To ensure that the ~ght tOf1e5 appeat a<XUl"/lte. deliberately
"dd to the eXpo$IJre by $oetting beI~n +1 to +2EV exposure compe!1Slltion.
Cen~weighted. average
Despite the arrival 01 newer and more sophisticated patterns, thIS
veleran stIli has its place on dIgItal SlRs. thIS is theoldest metering
pattern and was the number one choice until the multi-zone pattern
was introduced. As its name suggests. it lakes an average reading from
theenhreframe. WIth shght emphasIs given to thecenlral area. While
relatIvely l.IIlsophisticated. its past popularity means it is still included
in all cameras, as rrooy ~~ienced photographers feel comfortable
using th,s pattern, i'tsalso a good choice when using A£·lcx;k ,
Recogrus1l1g the cenbe-welghted lOOn

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DARtl:VI THAN AVERAGE SCENE The camera is unaware that the
subject Is darker than average and 50 will overexpose the scene.
Solution: The camera will give thoe 5Cene more exPOWIl' than is required,
50 to eounten<:11h1s. set between -1 to -2EV exposure compensation.
o
~ and llQ!!ial meteriQg.
ThIS is a great pattern when you want 10 take a reitding from a specific
area 01 the frame - but it must be used WIth care.
While multi-zone metering takes measurements from the entire
image area, spot and parti". metering ooncenlrateson theoentral area
01 the frame (you can see the measuring circle at the centre I:A the
viewfinder screen), ThIS allows you 10 precisely control where the
eJlpo5Ure reading for the shot is taken from. as only the area 01 the
!Tame within the measunng circle is used to determine the exposure.
Spot and partIal metering is a great way to ensure you get the proper
exposure when yoI....re shooting in difficult lighting conditlOOS.
Spot and partial areYery simIlar in how theywork. The main
dIfference IS spot offef's a very precise measuring circle (usually around
Ii]
3%01 the image area), while partial meier.; usually measure lhecentral R£MEMBER It's vlla t llIal you
9% of the frame . The more precise spot meter is found on most OSlRs. po<ilhon Ihe spol/p.artlal mele. "",. a
whIle partial;s less common, and a handful oIcameras boast both. mid lone II> gellhe torre<:1 expowre
You must take great care when using spot or partial metering. Always spot mele. off a dane SlIbJe<:1 and
take a read ing from a mid·tone and not a light ordark subject. you'U OVI'rexp"'" ,I and vlce-ve......
othelWise you WIll produce an incorrect exposure.

044 / BASIC TECHNIQUCS --
Getting startedm Digital SLR Photography
---
Exposure compensation
ThIS IS the most OOITJI'T'I('tlly used ovemde CJ'ld allONS yuu to
make adjustments to Increase or decrease the exposure
ONCE YOU ARE aw<We 01 hew metering systems wor1<. and have
®P: gained a little experience using }WI" OSLR the times when the
exposure system is likely to make mistakes become easier 10
predict and compensate lor. The simplest way 10 !7.'erride your camera 's
metered eo;posure is to use exposure compensation, which allows you 10
dial in a set e;.cposure increment to increase (+) or de<:rease (-) the
exposure. For instance, a subjectlhalls signllicantly lighler than a
mid-lone. like a briCe's while wedding dress. is likely to be
underexposed by your camera. so you need to select positive (+)
compensalion.llthe subject is muth darller than a mld·tooe.like a
black dog, it is likely to be rendered overexposed. Therefore. apply
negative (-) compensat ion. Apply ingexposure compensation is quite
straightforward and with experience you'lI be able to judge how much is
needed. All digital SLRs have a dedicated exposure com pensation
button to make it a quick and easy process in eithe r automalic or
semi-automatic exposure modes. The compensation you sel is often
shown as + or - EV (Exposure Value). II you add a hal f-slop of exposure
il will display as +lI2EV. while a 113 stop reduction is shown as -1I3EV.
Hcmdoes ~ compensation "WOIk.?

Exposure compensation functions differently depending on the
mode you use. In aperture-priority the compensation isapplied by
changing the shutter speed. but when using shutter-priority. II'S
the aperture thaI's adlusted. In program mode. the camera
automatically decides between the aperture .:nctror shutler speed
depending on !he hghllevels so 10 minimise camera shake.
EXPOSURE COMPENSATION This 1$ /I

typical example of wilen 11 subjed deceives a
metering system. When pItotographing the
white iUlt, the camer.a attempted to record
its bright, white plumage itS a mid-tone and
tile ~sult WitS unde~xposed.1 se lected a
positive compensation value of +lEV and
the subsequent imallt Is cor~ctly exposed.
Your DSLR"s exposure

compensation facility is
useful in any situation when
you wish to makea picture
brighter/hghter Of darker
Ihan the exposure set bylhe
camera. While exposure
compensationlsdes'gnedfor ~ rrt'l ~ '].1\.",
correct,vepurposes,lhe
effect can be used Cfeallvely.
fC)
•
n~ fn.:1\IJ
\ :2
lI'sextremelyeasytouse:try .,.••\,_".\_:1: I "1' -\ - '~
applying .... and '-' settIngs ~., - - - - !:..---;::;;" ,..1.9'
on subjects withdiiferent ~ CJ*.!ItI m @~
tonesandseetheellectilhas.
Here-shew lodo il:
Ii
~---=\ ~r '. \.
:::----r ,-'-\ I ,\
I) Ptess and hold in your QITIer1I's tl<pOSIIfe tomperl$3Don button
(normally indicated by • +/-Icon). 2) Rotate the.,Pl'i dial to sele<.:t the
level ofcompensatlon you want. A negative value means yoo'~
dec~aslng the eqlO5ll~, . poSitive value rnearl$ ~u'~ Increasing it.
3)The e~posu~ compensation scale is displayed In the ClIme<1'I'S
viewfinder or control panel. orboth. 4) The level of compensation you set
w~1 apply 10 alt IIIlbsequent imagK unless you reset it to 0+/- EV.

_ Getting Started in Digttal SLR Photogrophy_ BASICTECHNIQUES/ 045
Auto ExposureLock(A&-L)
This useful function allO'NS you to 'lock' al exposure reacllng from a subtect ootslde your fooJs area, VoIhen the main
focal JX)Int IS rot a md-tone ard can fool the canera 's multi-zone metering system Into giVing an lnaa::urate exposure
PRACTICALLY EVERY DSlR has an AE-L bt.rtton. whICh
is normally found on Ihe top right at the camera's rear,
or near the LCD monitor. AE-L is an abbreviation lor
Auto uposure lock. It is designed to lock the current exposure setting
so that it doesI1', change when you recompose your image - even if the
Incoming light levels change. AE·L can be used in any exposure mode.
although it is pointless il you are shootlllf! in manual mOOe.
When you press the shurter button down halfway, you engage the AF
to focus and the meteringsyslem to take a reading . Tholl 's ideal most 01
the time, but what about when you wa nt to focus and meterfrOl11
different subjects or parts of the scene? That's where AE-Lock comes in,
This l.ISelul feature allows you to l ake an expos ure reading
independently of where you locus, which is ideal if your subject is very
dark or light orposltioned in a bright or dim area o/ the scerle.
AE-L is most COInlTlOl1ly used with the spot or centre·weighted
metering pattern in order to ·Iock· the reading taken from a specific area
of the frame. This is particu larly useful in tricky lighting cond itions that
ca ll fool your melerinll system -like backlit objects orsubjects with
very dark or lillht backgrounds. For instance. if you are shooting a scene
containing a brillht lillht source in part of the frame. your camera·s
multl'zone meter could be fooled by this light area inlo thinking that the
scefle is brighter than it actually is and wi ll underexpose the result. To
achie....e the correct exposure, you want to take a meter reading that
excludes the hght region. This is possible by taking a spot..partial meter
readinll from the subject itself or an area of the scene thai is a mid-tone
and locking the result WIth the AE-Lockbutton, before recomposing the
shot and taking the picture.l./slng the same principle. AE-L is useful
when shootJng subjects that are positioned otf-centre. AE-Lock IS also
useful when you want to shoot a series of images using exactly the same
exposure settings. For E!)((Imple. if you wish to stitch together several
shots to create a panorama. It is important that the shooting parameters
employed for each frame are conSIstent - usmg the AE·Lock button at
the start of the sequence is the answer.
Your camera's AE-lock button is an essential erposul"!' aid when 5hooIina

subjects with very datil 01" ~ght bad(grounds that CiIf1 easily fooI!fOU'" CilITIl'f3'S
multi-zone mderina; into __ ot underexposift.ln this instance. the very dark
backdrop fooled the ~ Into thinkinathe $CI!ne was darbr than it actually
wa$. As a result, it set a shutter ~d longer than was I"!'quired and $0 the
subject Is ~xposed.ln a-rderto achieYe the Got"I'eCt exposure fot the f\owef",
a spot meter readina was taken from the &teen leaves of the plant below the
flower. This rudina was then Ioo;.ked U$ln& the AE-Lock button. The image was
recomposed Ind the Image taken. The result is perfectly exposed.
Using AE-I.ocI£
The AE·L button. combined
wi th spot or cent re-weighted
meterrng, is one of the most
accurate forms of achieving
the correct e~posure settrngs
for any gi....en subject.
I) Select your CiIIT1et'll'S spot
(ot partial) meter.
2)Oired theeamet'll $Othatthe
melerin& t i.de Is positioned
__ the area ot subject that you
wish to mete-r from.
3) Press the shutter release
button 10 adiv3te your DSLR
and release it.
4)AetlvateAE-Lotk by
pressini the button. N~e! on
some models you have to keep
it decItess-ed. $0 consult your
I'5et"'s manual. The letters 'AE-L'
~ diSCllaY in the 'llewfinder to
indicate the lode Is .ctivated.
5) Mo....e the earner.J and
recompose the Imaee 15 you
want. Your exposure settlnp
wWI not tha~, ~n if the
inc:omina light levels alter as a
result of chanl!;ln& compo$ltion.
6) Fully depress the shutte<
L~"::·:·~
~ oo~",,~.__________~~~~~==~::::~~~~~~::::~~ ____________________~~~~~~~~~ "
---
Histograms: An aid to checking exposure

One of the most useful tools available to digital SLR photograrters IS the hlStogran, but rt is also one of the least
urderst<X>d.1-Iere we explain VoIhat function it JYOJides and how}(>lJ can use rt to check exposure on location
IN BASIC TERMS, a histosram IS atwo-dimensional graph, otten resembling a range 01 mountam
peaks that represents an image's tonal range. While, at first glance. histogra ms may appe¥ qUite
complex and confUSIng, they are actually VefY simple to read. They are an essential aid for digital
SLR photographers strivmg to achieve conSIstently correct exposures in-ea-nera and are a more
accurate method 01 assessing exposure than looking at images you've taken on the LCD monitor.
Therefore. if you are not already in the habit 01 regularly reviewing your images· histogram, it is
time you did $0. With the help of thiS 8U1de. you wil l soon teel confident assessin(! histograms. as
we rxNef all the key areas of histograms in an easy to understand. jargon·tree language.
WHAT IS A HISTOGRAM? A histogram is a visual representation of an image's tonal ran8e. The
horizontal axis indicates the picture'sexten t from pure black to pure white. Pure black is
represented byO (far left), while pure white IS indicated by 255 (far ri8ht). The vertical axis
illustrates exactl y how many pixels have that particular value. Therefore. by simply looking at a
histogram. a photographer can tell if an image is made up of mostly light. dark or mid-tones.
Hislogramscome in all shapes and si~es. Althoogh their appearance is greatlydicl ated by the
coloor and tone of the subject itself, for general SCClles, a histogram with a large number of pi xels
(or a sharp peak) grouped at either edge is all indication of poor exposure. For example, a
histogram with a large number of black pixe ls (grooped tothe left) often signifies underexposure.
Consequently. subiec1 detail will be obscured in the shadow areas. A large number of pixels
grouped to the right of the histogram normally indicates an image wh~h is overexposed. The
image'S highlights will burn out (O!' 'clip') and this detail is irretrievable. A graph With a narrow
peak in the middle and no (or few) black or white ~xels indicates an image lacking contrast and
$0 the result may look flat and lifeless.
SO WHAT SHOULD A HISTOGRAM LOOK LlKE? This is tricky one to answer. Despite what
some people may say. there is no such thillgas the 'perfect histogram'. It Slmplytellsushow a
picture is exposed. allowing photographers to decide whether - and how - to adjust exposure
settings. Therefore. a histogram of a light scene will be VefY different to one with predommantly
black tones or one With a mix of both. Howevet. generally speaking. a histogram should show a
good spread of tones across the horizontal axiS. With the majority of pixels positioned near to the
middle (l00). Normally. it is desirable to avoid peaks to the right-hand side of the graph. as this
is usually an indication of 'burnt our (overexposed) highlights. resulting In lost det8!1. When
assesslllg a histogfllm, it is important to consider the brightness of the subject Itsel1. for
example. a scene or subject boasting a large percentage of light or dark tones -like snow or a
Silhouette - Will naturally have an affect on theoveralilook of the resUlting graph. Therefore.
whilst it is possible to ma~ recommendations. it is impossible to generalize about what is and
isn·t a good histogram. Whist an even spread of pixels throughout the greyscale is often
considered desirable you Will also need to use)«lr own discretion.
HOW DO I CHECK A PICTURE'S HISTOGRAM? Most digital SLRsalk)w you loview the
histogram on the LCD monitor during playback. To do this. press the playback button to view the
image and then cycle through the additional photo imo screens until the histogram is displayed,
II's worth maklllg this your default settin(!. so that you can quickly access the histogram and assess
exposure immediately after taking the picture. Using the histogram is a far more reliable method of
assessing e~posure than looking at images on the LCD monitor, particularly when trying to ~iew
images as light that reflects off the LCD can be deceptive. A good rule, when interpreting
histograms. is to strive to get a reasonable spread covering at least twothirds of the graph and UNDERSTANDING HISTOGRAMS The following
a...oiding sharp peaks towardeilher the far edges of the graph. Wh ile this might be fine in theory. in three Images are al correctly exposed, yet their
practise iI's rare ly thai simple. Creative photographers may shoot silhouettes or high-key images, histograms differ greatly. The left and right
histograms are similar to those 01 under- and
which give histograms with pixels skewed toward the far left (black) or tar right (white). Equally. overexposed images. with peak'S towards the
images of a scene or subject possessing a large percentage of light or dark tones will have a extremes. but all three are correctly exposed. It's
hist08fOO1weighted tooneedge oIthe graph. In instances like this. the histogram isn·t irdicating important to learn how intetprel an accurate
an iocorrectly·exposed image. It is simply representative clihe style of image or subject matte~ histognom In relation to the $Ubjecl matter.
•
PEAKSTOTHE PEAKSTOTHE
LErT The tOM!!! RIGHT An
~ skewed to
left due to the
t'- seen.
OYeriy-fii'!'
iIves . h~to&ram
dat1c backdrop, skewed to the
but the lma&<! rigtrt, but this
isconectly Image is conectIJ
exposed.
~-.

--
Getting Started in Di91lai SLR Phologrophy
- ----
BASICTECHNIQUES/
- ---
047
Advanced Technique ElgxJsingJo the Jjght

'Exposing tothe right' is fast becoming a widely-accepted
approach to he lp maximise Image quality - although it on l ~ Y !!!p'!I'!!!~
applies if you shoot in Raw. With this techni que you
effectively push e~posure settings as close to
overexposure as possible without clipping the highlights.
The result isa histogram wi th the majority of pixels 10
the right - hence the term 'expose lelhe right'.
The logk of this approach can only be understooxl
once you appreciate that CGO and CMOS sensors count
hght photons in a linear fashion. Linear capture has
important implicalionson exposure. Most digital SlRs
record a 12-M ,mage capable of recording 4.096 lonal
Va/uesOlief six stops. However. while you might automatically
think thai each Vstop of !heslx-slop range would fect'll'd an significantly Increased as a result - partlcularty to mid·tonesand
equal amount of the tonal value total. this is not so. The level shadows. ThiS is because, when you open upthe shadow areas
corresponds exactly to the number 01 photons captured. so in dunng Rawconverslon,ln order to lighten an image, you have to
reality. each stop records half the light of the previous one. for spread the 64 levels in the darkest stop over a wider tonal range. So,
example, half of the levels are devoted to the brightest stop (2,048), while irs important not to oYerexpose images so the highlights
half of the remainder (L024 levels) are devoted to the next stop etc, blow, 'eJcPOSlng to the right' is a logical approach toex.posure. The
As a result, the last 01 the si. stops only boasts 64 levels, At l inrt, melhocl needs applying With care. and relies heavily on using the
this might seem confusing and the relevancy not obvious, However, histogram toavoid 'cllpping', Image Quality, When using th is
in simple terms, what it means is if you do not properly use the right approach you may notice that images appear light and washed out
side of the histogram, which represents the majority of tonal values, on the lCO mOlliter. Don't worry - colour and contrast can be
you are wasting up 10 half the available encoding levels. So il you quickly restored during Raw conversion, 'Exposing to tne right' is an
deliberalely underexpose to ensure detail is reta"led in the advanoed technique that many experienced photographers are still
highlights - a common practice among many digital photographers getting used to, so don't worry if you lind it confusing. Master our
- you are potentially losing a large percentage of data. Noise can be basic techniques and once you're confident, give tnis one a try.

,
048/ BASIC TECHNIQUES --

Gettmgstarted m Digital SLR- Photogrophy
--
Shoot stunning sunsets

Ross Hoddinott provides expert advice on
how to procluce periectly exposed sunset shots
WHO CAN RESIST reachll18lor their rnudllighter than It actually is. As a
cameta when po-esenled wrth a colourful result your camern wil l automatically select a
SUlset? One of nature's most shorter exposure lime (faster shutter speed)
and the scene will be too daf1I (underexposed).
Lens ftarecan alsobeatl issue.
Reg¥dless of the metering mode you employ,
the issue with extreme brightness will persist.
., This is because the sun's intensity will always be
beyoodthe sensor's dynamic range.ifs3n
exposure problem that 15 Impossible to avoid
in-camera: even if you attach a graduated NO
fi lter to lessen the sun's Intensity. the rest of the
,. sky will be recorded asartificiallydark.
E)(Cluding the sun from the frame is the only
i
," realistic answer. but this rather defeats the
object of shooting the su nset. Instead. it is better
I to simply wait until the sun is just about to
disappear behind the horizon. By then. its
intensity is greatly reduced and your camera will
, be able to captu re the scene's full range of
pholos;rap/lers make when shooti"l! sunsets is brightnesses. Also, the colours in thesky Will
to take pictures ...nile the son is slill too high and now increase in intensity and grow even more
bright in the sky. Unless the sun is heavily spectacular. The sun's afterglow is often even
diffused by cloud or haZe. il s inlens.ty Will be too more impressive. so don', make the common
strong lor your camera's sensor 10 reco'd. mistake of pac\ong up and going home as soon
Cooseq..Iently, the sun (end the area of as the sun vanishes behind the hor,ZOll.
brightness alOlrod it) will otten be grossly Presuming that you have a sturdy tripod. you
overexposed. or 'blown out', This intense can continuetoshoot for another IOcr 20
brightness WIll also fool you" DSLR's metering minutes before the sky's colours finally fade. 51111
system makJll! it think the CPJeI"aIi scene is unsure? ().Jr step I7y" step guide shows you how.
~ Wispy cloud and atmospheric hale is a ~ TO(OfT1pensate. t switched to spol

good s.lgn thallhel'l! might be a coIourlul sunsel. metering mode. whicl1 bases its reading on Just a
A coastal """tlon Is often bf)st for sunsets. as the small portion of the frame, typically two or three
sea and wet beach wlll l'l!fI~ Its light and eoIour. percent I pointed the spot mcteringcirde at an
To the naked eye, th is scene looked "'n'<>stie. but area of sky towards the edge of the "·ame. so it
~ OSlR was unable 10 capture the huge range of wasn't affected diredly by the w n'S brightnC$S.
bn!{'1tnn.s. lts mulli-rone meier was fooled by the This &aYe a better overalt Upo5l.Il"l', but the MIn
sun 5 intensity and the iKe<Ie is underexpo$ed. and sutTOunding area are overexposed.
~ The two ~IOIIS Images proved the range ~ AlIlMxJgh a DSlR's Auto WB setting is ~ The sky oftenlook'!i most imPfl'$$ive after
01bri&f1tneu ls beyond the sensor's dynamic quite aa:urate in II\iIny shooting ';tuations.it the SIIn has disappeared. The afterglow can last lor
range . • woold rttedlo w;1il "ntllthe sun was lower slMxJldn't be relied upon. It is important to match up to hall an hour. teYtaling rich, warm coloors-
In the sky and lessinlcnse. Ten minutes later, the the relevant WB preset to the appropriate ~l!htin8 50 don't leaYe a location too soon. Note that
$lJn was low and diffused enougtlto continue, but con ditions. Therefore. I se lected my camera"'s e~pos ure times will &row progressively tonger 1$
Auto White Balanee hasn't captured the colours Cloudy preset to mimic the conditions. The re$Utt the sky gels darller and e~posures lI\iIy be seconds
accurately and has created a eool coloor cast. is warmer and farmore authentic. In length, 50 make Sllre you take a tripod with you.

GettingStcuted In Digital SLR Photography BASIC TECHNIQUES/ 049
- - - -
When shootina: sun5eb, the tight

win often be quite dim, so it's
difficult to assess the exposure
by looking at the rMe'ftd ima~
00 the camera's LCD monitor.
The i~'s histogram is a far
mote reliable W;tot to check. If the
bias of pixel$ is left of centre, the
image is untlerexpo5l'd. Apply
positive exposure compensation
10 lengthen exposure time
until yo.. hl$togram is evenly
distributed. The re5Ult is a
perfectly elCposed sunset.
WhIle Balance and sunsets

Coku temperature has a huge impact on the look
and leel of)"Olll" exposures. To keep the colours
laithful to the original scene. it is important to
manually select the White Balance preset that most
tlosely matthes the prevailing lighting tonditions.
Don't sirf1lly rely on the automatit setting. For
eX¥l1Ple. select your tamer.l's cloudy preset when
it is 0Yert3St. White Balilnce can abo be used
8$ a lorm of in-camera filtration. By deliberately
mismatching tile W8 setlins to the scene. you can
either intefltionally warm up or coot down the image.
For example, selectins tlle Sh3CIe preset will add
exira warmth to sunsets. something that is often
desirable. The followinS sequence illu$trates the
effect of White Balance presets on a sunset scene.

050/ BASIC TECHNIQUFS Getting Startedm DigItal Sill Photography
----------
Exposingbacklitsubjecls
Paul Stefan shows how a spot meter, reflector and fill-in flash are all tools to help you perfectly expose a backlit subject
SHOOTING A BACKLIT subject ( i,e, with behind them (so you 're s hoot ing towards them around the su bject. which should result in a
I?l ...
~
the sun be hind tl1em) IS not someth in g I
dotoo often, as it certa inly comes w ith
its chal lenges. If you 're not prepa red for
it. your resu lts can often be qu ite unpred ictable
and , more often than not. your subject will be
and t he sunor light source), your camera is like ly
to get the exposure wrong and usually
underexpose the subject.
This happens becau se the camera 's
mult i·zone exposure system wi ll evaluate the
pe rfectly exposed person every t ime (assum ing
your subject has Caucasian sk in - if not. take a
spot meter reading offcloth ing. grass or any area
of m id·totle in the same lighting conditions).
Wh ile this isan easy and quick method. it
underexposed and look rather flat. This tutorial ove rall scene, G i ~en that you are pointing the doesn't corne w ithout issues. For example. if the
for beginners willl1elp you 10 understand the camera towards the light source. it wi ll always surround ing scene is also important for the shot.
re latively stra ightforward steps you can take to look to expose the shot for a bright scene. you may find that it turns out to be overexposed
end up with great resul ts. causing the darker areas - in this case the if irs lighter than your subject. One wiYf around
Let"s beg in with why letting the camera make person - to be underexposed. this wou ld be to take the meie r reading from an
the dec isions for you is not the best option. Irs Tak ing rTIOfe control ovcryour camera will in'between subject and then use you r camera's
often so easy to st ick your camera on Full Aula greatly imprwe the image and ena ble you to get flash to fi ll the foreground in with light.giving a
mode and let it dec ide Iheexposure, For portraits the exposure you real ly want. One of the easiest more ba lanced exposure across the whole scene.
in which the light is shining on the su bject·s face. ways for beginners todo this is to set you r DSlR Equally. a reflector w ill also help this. as it w ill
or off slightly tothe side. us ing Automode to aperture-priority and use tl1e spot meter along bounce nalu ral light back towards your subject
sometimes works just fine. as t he exposure with AE Lock to fix the light reading. With this and have a similar fill· in effect. If YOU're feeling
levels may not be too ex:treme, However. it you method. you take a spot reading from the really adventurous. why not try a mix:ture. using
pos ition your subject so that the light source is person's face. regardless of Ihe light cond itions both flash and a reflector.
l) TAKEASHOTwmlDSLRSETTOAUrO 2) USESPOTME'l'ERlNGAHDAREFLEC'I'OR
I was keen for my portrait to ha\le a picturesque backdrop. so I chose a The Autoshot wasn't a disaster, but itcoukl have certainly been improved with
5Outh-facing hillside near my home, with a view looking out to Robin Hood's the use of spot metering. By switching my DSLR to apertu re-priority and
Stride and Cratcliffe in the Peak District . My first shot was to see how the setting the metering mode to spot, I was then able to meter from Emily's face
camera's Auto mode handled the exposure of my subject with the sun directly and lock the reading using AE-Lock. 1did this by looking through the Viewfinder
behind and above her. With this set-up. I was shooting towards the sun. which and placing the central circle over her face and pressing AE-lock to ensure a
would certainly challenge the camera's multi-zone metering system. perfect exposure. I then focused on her face, recomposed and took Ihe shot.
The result from my DSlR Spot metering has improved

wasn't too bad. The face of the scene greatly, but to
my subject. rrty eldest make it even bettcr, I placed
daughter Emily, wasn't a portable reflector just out
completely underexposed of shot, perched on a stick,
but could definaelydo with to throw some of that lovely
some improvement. This wann sunli&ht bact< onto
wou ld have been mud! Emily's face, giving the shot
worse if the sun was lower added dep.th. This really
and in direct view of the made a difference, revealing
shot. other DSLRs may not so much more detai l and
have coped as well as my depth, both in her face and
Canon EoS SO Mkll either. in her clothes.

GettingstartedlnDig>talSLRPhotogrophy BASICTECHNIQUES/ 051
,- - -- - --

Shooting a scenewilh lots of sky
Ross Hoddinott explains how to use ND grad filters to achieve a perfect
exJXlSUre in a scene in which the sky is far brighter than the foreground
INCWOlflK> LOTS OF sky can add problems with expc&.Ire regardless of...mat
dram<! ¥ld impact to your landscapes, you do. Spot meter from the sky and the
particularly in stormy condihons foreground witl be underexposed. In contrast.
or when there is an amazlll8 cloud if you take a spot meter reading from a mid-
~;:rt~~. Placing the ~IS on the sky tone in the foreground (like grass). the land will
~ the foreground can prove very now be IXXTectly exposed. but the sky washed
effective. However, ach~ng a correct exposure out. It's a no win situation. ~fferent metenng
can be tricky as typically, the sky is brighter patterns. Of using exposure compensation. will
than the land. The difference can be neglilo::ible. not ~ve the problem o f shooting unevenly ht
but it can amount to sevef<l1 slops. which will ~ndscapes. Don·t panic. though - the problem
cause exposure pl"obIems. II your multi·zone is relatively easy to correct. Firstl y, you can take
metering system ~ases its reooing for the sky, two identical images - one e~posed for the
the exposure will be shorter. underexposing the foreground " nd OIle for t he brighter sky - and
foreground, but if you correct ly meter fOf the merge t hem OIl your complJler. However, most
land. the longer exposure will blowout the sky. landscape photographers prefer to correct the
When shooting a scene with more sky than problem in'camera using Neutral Density (NO)
foreground, mulli·zorPe meterms (such as graduated f ilters. These fi lters are half·clear and
Evaluative or Matrix) can struggle. Metering half'coated with" trilllsit ional zone where they
systems try to reoord 5(Jbiects as a mid-tone. meet. The neut ral density coat ing IS designed
so will assess the scene and typically pl"oouce to absorb light. so by positioning it in the filter
an Image in which nothinS is quite exposed hojder so that the coated area covers the sky.
correctly. the sky is slightly overexposed. you can balance the e~posure and achieve a
and the land slightly underexposed. Eyen if correct exposure throughout the scene with one
you SWItch meterill8 modes. problems will frane and without the hassle 01 having to blend
criSe. For example. 'spot'. the most accurate images. Graduated NDs are B\iailable in different
Iorm 01 metering. calculates exposure from a densities to suit different hghllng condltions-
orcle coYerNlg just two to lIYee percent d the " O.3ND equals a one-stop ClCposuI"e reWction.
frame. By poinllng the spot metering sensor O.6ND a \wQ-stop and o.9ND equates to three
allhe part of the scene you wish to base stops. To show you how to sotve the problem
your exposure from. you'll get a very precise 01 shooting an ~Iy-lit scene. boasting a
reading. However. in Situations like this - when large sky. I headed out to the rugged beauty 01
the scene's range 01 bnghtness exceeds the Roughtor on Bodlnn moor WIth my Lee Filters
sensor's dynamic range - you will encounter lOOmm NO graduate set.
~ It was a $tonny evening when I visited Roughior. so I decided to ~ In order to p.eYf!nt hlghligtlts in the sky from burning oul. I decided to
include mOfe sky than foreground. I settled on a simple composition. using take a spot meter readina from tile sky. I switclled my OSLR to spot metering
tile granite ou tcrops as foreground Interes!:.1 set my Nikon 03OOto and took a reading lrom a briKht re,lon of the $kyo This gave me a shutter
aperture·prlority. selecting an aperture of VI6 for a deep depth-of-field speed of 1I80sec. llocked thrs settlng b)l pressing the AE-l button. and tool<
and the Cilmera selto a shutter spe-ed of 1I4Osec. However. the result is poor. another shot. The bright ~ ns of sky were now correctly exposed. but as a
Tile foreground underexposed and the hlghtlghts in tile sky washed out resull of usinga shorter exposure. the rest of the scene is now even darker.

ii!i!illill!&J we ate used to seeing a sky that is brigt1ter llIan the land, $0
smoothine out any dilference between them gives an unnalurnl result. Thi s
means it's best 10 use an ND grad with a density of around a slop less than
the ac tual difference In brightn ess. For clGlmple, if th e difference between
sky and land Is four stops, use a three-slop Krad (O.9ND). il it's th l'l!'e slOp$.
II'5C a two-stop grad ( O.6ND) and 50 on. In this case I replaced my thl'l'e-$top
filter with II two-1ltop filter. and the result looks much more natural.
~ The Kene'$ rangt! 01 brightness was too great lor my DSLR's dynamic ~ lIlhe sky is bri8hler Ilia" tile land, you can balance the exposure by
"'n&e To show this. 1look another shot, this lime correctly metering for th e positioni", the iJ1Iduated ZOII<! 01an NO grad lilter over the lighter sky, In this
ioregroond. 1spot metered from the granite, giving me an exposure time of Instance, the difference In exposure between tIM! land (1I10sec) and sky
1I10sec - agaIn at f/ 16. The det,,;. in the rock wMgood but, lI5anticipaled, the lI8()se.c) amou nted to three stops. So, I positioned a three-slop graduated NO
longer expoSIJre blew out the sky. ruining the image. I could h~ merged tl>ese 1ilter in my camera', filter system, carefully aligning the transit ional zone wilh
the IIorizon. However. lhe result looks a lillie too even and unnatural .
two eXpOSUrH in PholO$hop. bull wanted to a 'perfe.:I' exposure in-camera.

The basic principles
of apertures
What IS an aperture? HaN do you control it? What
does It actually do? All thesequestlOlls and more
are answered In an easy to follow. jargon-free style
WHAT IS AN APERTURE ?
An aperture is the iris within a lens that cootrols the amount of light
allowed to pass from the lront to the rear of the lens. A wide aperture
allows lots of hgh! through. while a narrow aperture restricts the
amount of light. The various aperture settings appear as Vnumbers,
which you'll see on your LCD monitor and in the viewfinder. There's a
long-winded and boring scientific explanation forllnumbers, but let's
keep il simple and stick tathe fact that they indicate the size 01 the
aperture. A low l!humber. such as 1/4. indicates a wide aperture whi le a
high Vnumber like 1/22 indicates a small aperture.
WHAT DOES THE APERTURE 00 AND HOW 00 I CONTROL IT?

You can compare the function of an aperture to I he pupil of your eye. In
low light you r pupil widens to allow more light to reach the retina, while
in bright light It const ri cts to limit the amount of light passing through.
When left to function automatically, a DSLR works in a similar w<Yj,
selecting the aperture size (anc! corresponding shutter speed)that is
required to give the correct exposure, I! you 're complelely new 10 digi tal
SLR photography. it's understandable that you m<Yj have left the
camera set to Program or Full Auto mode. leaving the camera to control
the aperture selection, But if you have a little faith in what you're
reading here, believe us when we say that rTlOVIng the dial from P toA
(or Av) <W'ld trying out aperture-pnority mcxle wi ll allow you to lake a big
step forward In you!" photography. and the major improvements you'lI
make will belar easier to achieve than you think.
Settmg aperture-priority AE (A or Av) moves the camera into a
seml·aulomatlc mode, You'll decide the aperture and the camera will
automatICally select the shutter speed that is required, 5oyou-ve no
complicated calculations to make as the camera will still lake care of
working out the correct exposure. However, you'll havethe major
benefit of being able to influence how the image looks depending on
yourchoiceofthe apertUfe, How? You'll lind out soon enough! 50. we
can see that the prmClple job 01 an aperture is to determine how much
light you allow through at any given time. And how we change the
aperture 15 edremelyeasy· select A or Av on your camera and you're
in control.
The Important thing we now have tograsp is how the aperture we
choose affects \wQ very important aspects of the image: the exposure
and the amount of depth-ol -fie ld within a scene. We'l l see how shortly.
,Jhe d!m.t!J,,,f-tield pjeVieycbutton

To ensure the viewfinder is at its brightest · to assist viewing and
focusing, DSLRs are designed to automatical ly set the lens's
fastest (maximum) aperture, As a result, what you see through the
viewfinder isn't normally a true representation 01 the depth-ol-field
that Will actually be achieved. The depth'o( -field preview button
wor1<s by stopping the lens down to the selected aperture
(f1stop). When you do this. the scene wit! darken in the viewfinder.
The sm~ler the aperture. the darker the preview, but you will be
able to assess whethe!' the selected fmumber prOVIdes sufficient
depth-oHield, II not. adjust the aperture accordingly. Wh ilst this
function can take a while to get used to, it can prove highly useful.
However. It may be helpful to reduce apertures gradually. stop by
stop. so that changes In depth-oHield are more obvious. It is worth
no\lng that not all cameras have thl$ facihty,lfyoursdoesn't,
assess the depth-of-field by shooting a test shot and reviewing the
image on yourcamera's LCD monitor instead,

Aperturesandexposure
Knowing how aperture settings affect the exposure is
oneaf the first things you need to get to grips with
EVERY EXPOSURE YOU make Is determioed by three key variables:
aperture, shutter speed aocIlSO rating. When you take a picture in
aperture-prtority mode. the ISO rating remains 'fixed' unless you change
it yourself. in othef words the ISO IS not influenced by the aperture
setting you select. However, that'snol true of the shutter speed, which
automatically increases or decreases to provide the correct exposure for
the apert1.Jre thai you select. You can see for}OOf'Self by setting Av (or A)
on your cao:nera and mlaMg the input dial to change the aperture.
As you open up the aperture to a wide setting. you allow more light
thrOl.Jgh. so the camera reacts by grving a faster shutter speed, while
closing the aperture so it restricts the light means the camera sets a
sk7wer sl1utterspeed.II's importoo t to experiment aOO understand
this oalance as it isa fundamenta l part afexposures. Knowing how it
works will help you shoot more creatively.
In average lightmg conditions, you'll find that)":lu can choose most
apertures and take pictures Without any problems. But in low Of bright
light. the camera's choice of shutter speed can present you with some
problems. Understanding how the aperture setting cont rols the
amount of ligh t passing through the lens will help you overcomethem.
lopertwes and l"""UglJl CQ!ldi!if>ns lopertwes and brtglJlW nditions

When you're shooting indoors or in low light, you will be working with a Bnght lighting cond itions are much easier toWOfk in than low light. as
limited amount of available light and need to take the appropriate you have far more optionS in terms of what 1Iperture settings you can
action. Assl.n1 ing you're nO' using flash. the key thing 10 do is to have an use. Choose 1In aperture that gives the results you want but ensure the
ex~re that doesn't suffer from camera shake. sIlutterspeed remains fast enough toallOid camera sh1lke.
The two best ways to do this are as fo llows:
TOO BRtGHT WARNING! It's uncommon
I) SET A WI DE APERTURE AND INCREASETt£ you 'll ever have this happen. but you may
ISO RATING Select Ihe widest aperture to gi...e see the shutterspeed flash ing when
the fastest possible shutter speed. If irs still too shooting in bright light. This mdicates that
skJw. increase the ISO rating until you have a fast the camera has se1«:ted the top shutter
enough shutter speed. This is the best approad'l speed but irs still not fast enough togive a
if harl<tloIding the camera. but using the correct e:.cposure for the aperture you've chosen. This is often because
method below will gi...e higher quality results. you've left the ISO ratmg at a very high settmg while shooting indoors.
This portnolt WlIS taken In ~ don -.d~1ons, so lower thiS andJbr use a sma!\e!" aperture.
requirirc" aptrIure 0I 11l.2 _ ISO BOO to &hoe.
"'-P result. Note ' - ~ the c1fptlt-ol.{"~
1s • ..:I the drcJp-oII olin iIIwpness.
LOW LI GHT-LEVEL WARNING! You may

someltmes see the shutter speed flashing
in the viewfinder or on the LCD when
shooting in low light. This indicates that the
camera has selected the slowest shutter
speed in its range but stili can·t give the
correct exposure. because an even longer ex~re than it's capable
of setting is required, The two WCtJS around this are to select a wider
aperture and~ increase the ISO until the flash ing stops.

_ Getting Started in Di91lai SLR Phol""""'-""------_ BASIC TECHNIQlill5/ 057

Aperturescmddepth-of-fteld
For real creative oontrol. practise using djfferent aperture
settings and see how sharpness d1anges within the scene
THE RELATIONSHIP BETWEEN apertures and depth-of.field is quite possibly
the most important thing for you to get to gnps with in photography. Thankful ly.
It'S very easy to t.nderstand: here's a quiCk explanation. Depth-d-field relates 10
the area in front of and behind the point of focus thai appears sharp. The
depth-ol-field In a scene is determined by a nlffiber of factors. including the
focal length d the lens you use and how far WNaY the subject is. but most
importantly by !he choice 01 aperture you decide to lISe. So if you set the lens to
the maximum aperture (i.e. its widest setting) you m inimise the amount of
depth-oHield. Set the lens 10 progressively smaller apertures to increase
deplh-of-lield and appare!11 sharpness throughout the frame. with the minimum
(smallest) aperture giving the most amount of depth-of-field,
With some images. you'll see everything from the nearest blade of grass to the
distarlt mountains in focus. A lens can only focus at acertain distance, 50 getting
a deep depth-of-field and sharpness maintained throughout a scene comes
down loseleding the right small aperture.
You can see the affect oj using a wide aperture in images that have a shallow
depth·oj·fi eld. whe re there isonly a single point in the scenethafs sharp and the
rest of it thrown out of focus. The choice of aperture yoo'lI use wil l really depend
on what you'retrying to show in your imagesand therea re rlO hard and fast
rules. although there are some generalisations that can be made. FO!" Instance.
larxlscape phoiograptJers often want the entire scene to appear sharp. so will
usually opt for a small aperture. while portrait phol08raphers want 10 isolate the
subfect from the background. so opt for a wide aperture. so that the subject 's
sharp asainst a blurred backdrop.
As you can see. knowing how to use apertures can have a majO!" effect on the
way a scene is recorded. SO trying out different aperture settings lor different
scenarios can really help to improve your creatIVe skills. As you'lI see fn;m the
IfTIB8eS in thIS guide. Simply by practising with different apertures. you'll increase
your undefstanding of how some apertures suit certain subjects.
Depth-of-field
for thiS Ctlfnpanson set. !he lens
(28·7Omm set to 7Omm) was
focused on the girl's face. The only
thing that was changed was the
aperture setting. In full stops from
fl2.8 to 1122. Note how the railings
behind the subject become
progressively sharper as the
aperture is closed down.
For any given aperture, you' ll find that both of the following will
affect the amount of depth-oj·field that appears in a scene.
LENS CHOICE Wide·angles give more pereived depth'of'field
than a telephoto at the same aperture setting. So f/4 with a
28mm lens gives more depth·oj·field than V4 at 200mm!
SUBJECT-TO-CAMERA DISTANCE The d05ef the subject is
to the camera. the less depth-d-lield the image will have.
A telephoto lelli produced very shallow depth-of-liekl even when

an aperture 01 flS was Ll$ed. Exposure: 1I3S0se.: at 1/8 (ISO 200).

Apertures and 'sharJ;)ness'
We've already assessed how choosing a small
aperture increases depth-of·field, which
boosts sharpness ttroughout the scene. Irs
also worth notlflg how apertures can affect
sharpness in two other ways. ..
OPTIMUM LENS SHARPNESS
Every lens has an optmlOm senll'8 to give
the very sharpest results and in the maJOrity
01 Instances. this is between 118 and 1/13.
DiffRACTION While a small aperture gives
ITlOfe depth-o(-field. it can also lead to inferior
optICal quality. so the benefit 01 one is
cancel~ OJ! by the other. thiS usuall y
happens when V160r smal~ is used. The
effect varies from lens to lens and is only
really noticeable in very large prints.

---
m
~rture-priorHy& '"
landscapes
Landscape specialist Lee Frost sh:Jv.Is why
aperture-priorIty is the most practical
exposure mode to use 'Nhen shooting scenics
ONE Of THE FUNDAMENTALS d successful landscape
photography is being able to control and assess depth~f-field,
to ensure that the image is sharp from front'lo-back.
Aperture-priority mode helps you to achieve this. not only
by forcil'll you to think about which apertlJre to set, but also by
mailing sure that once it is set, lhat aperturewoo't change if
light levels fluctuate or~ attach filters tothe lens. If the
exposure has to be adjusted when shooting in aperture-priority
mode, the camera does it by changing the shutter speed, so
the aperture remams constant. This is vitally important
because achieving e~tens i ve depth-of-field is not just about
aperture selection, but also focusing distance, and a ca reful
balancing act between the two is requi red to ensure the best
possible resu lts. You cou ld take every picture attl22, willl the
lens set 10 in/inity, and most wide-angle shots would end up
with front-to-back sharpness. Unfortunately, this simple
apprO<lCh doesn't always work - so you're not going to get the
best results. Wide-angles and zooms tend to give their worst
optical performance....nen at mmilll.lm apertlXe and their best
mid-range around 1/8 to V13, so ideally you should shoot as
close to these settings as you can to achieve optimum optical
quality, and locus the lens at a distance that ma~imises
depth-of-field at that aperture.
My fawunte technIQue is based aI'OlIld somellling knovm
as hypel10cal fOCUSIng. wlllch involves focusing on a point lID
knowo as the hyperfocal distance, where deplll-d-field is
maxlllll5ed lor the aperture in use. Lenses used to feature a
hyperfocal distance scale on the barrel but virtually none do
today. There is an equation lor calculating hyperlocaI distance
lor any lens <nd aperture, so in true Blue Pefef" fashion, I did
iust that and created a hyperfocal distance chart, which you
can copy and refer to when you're on location.
The distances in metres (m) represent the hyperfocal
distances for each focal length and aperture. If 'f'JU focus your
lens on that distance and set the corresponding aperture,
depth~f-field will extend from half the hyperfocal distance to
infit'llty. So, if you're shooting at 24mmand till. focus on a
point l.5m fPlay anddepth-ct-field will eJCtend from Q.15m
(half the hyperfocal distanoe)to infinity - which is more than
enough depth-o/-field in most situations.
Aperture-pdodty and mulU-zone ~g

Before finalty 'going digital' back in the spring of 2008, I'd
spent 20 years shooting w ~ h lilm cameras that had no internal
metering, so I used a handheld spotmeter to determine correct
exposure. which then had to be manually set on the camera,
Thankfulty, those days are long gone, Digital SLRs hal'e
lantastic integral metering systems that are capable of
producing perfectly elCP()Sed images in all bullIle most
demanding situations. so I can't see the point in making my tife
more complicated than it needs to be. These days my digital
SLR is set to aperture-priority mode and multi-zone metering
and generally stays that way_ C«nbined with the feedback
provided by the carneta's preview image and the image
histogram, I've got alii need to ensure I get perfect exposures
in any shooting situation. The same applies 10 you.
~~~!QlstanceOlart,.lor!ocal~ensths Ir_om 16m1!lIo~

16mm 20mm 24mrn 28mm 35mm SOmm 70mm locnm mnn
10m 1.4m 20m 28m 8.5m 17m 35m 140m
'"
un O.15m 10m 1.5m 2.Om
'2m
30m 63m 123m 25m 100m
Vl6 O.5m O.7m 1.Om 1.4m 2.1m 4.3m 8.5m lZSm 10m
fI22 U35m O.5m O.7m l.Om 1.5m 11m 62m 12.5m 50m
V32 025m O.35m O.5m O.7m 1.Om 22m 4.2m 8.5m 35m

062 / BASIC TECHNIQUE5 Getting Slartedm Di9'tal SLR Photogrophy
riority:
Shootingnature
Ross Hoddinott explains how this shooting
mode helps him capture great nature shots
WHEN PHOTOGRAPHING NATURE. one oft~ keys to success
is being able to select t he most appropriate exposure settings
with speed and efficierlCY, For example, when shooting flighty
birds or insects, you can't afford to waste valua ble time by
pressing too many buttons and tw'iddl ing dials, otherwise. you r
subject might move Of scuny away before you've had time to
releiJ5e tl1ecamera's shutter. For this reason. whichever
exposure mode you select is vitally important.
Nature photography often illllOlves usi ng spec ialist optics ,
suc h as a long telephoto or macro lens. At such high levels oj
magnificat iOll, deplh'oH ie ld is often limited, wh ich arguably,
makes aperture selection more important when shooting
nature than with any other type of subject. When you
photograph nature using one of )"XIr DSLR's fu lly automatic
modes. )"XI are allowing the camera tod ictate theamount of
depth·oHield for you , Therefore. the results can bevery
differentlo what you were aiming for. Toavoid disappointment.
don 't rely on a p!'ogram mode, Instead, take control of you r
settings. Ape rture'p!'iority is the best cho ice in the majority of
shooting situations, regardless of whether you are a beginner or t1mJ I noti ced
an experi enced pro. II allows you to manually select the most this tiny mushroom
growing on a tree
appropriatefAlumberforthe subject. For example, if you stump and th ought
requ ire a large depth·of-field to maximise back·to·froot it wou ld make a nice
sharpness. which is useful when shooting flower close· ups. for close-up, I liked the
instance, set a small aperture of f/16 or 1/22 , In cootrast. if you moss growing
requ ire a shallOW depth-ol·/ield. to throw distracting foreground nearby, so I chose
an anwe from which
and background vegetat ion oul of focus. or to draw attention to I could inetude it in
your point of focus, optfor a larger aperture, likef/4 orfl5.6, the frame. With my
Aperture'p!'iority allows nature photographers the level of DSLR on a tripod, I
control they require. Even in si tuations where a fast shutter composed the shot
speed is needed to freezefOlst OlCtion, such as when and, with l he help of
a Plamp, positioned
photographing a bird in flight. aperture-p!'iority remains a highly a small refl edor
useful mode. Th is is because when you select the widest nearby to illuminate
aperture. you're also setting the fastest shutter speed available. itsgjlls.
~ I wanted to take a picture where the fungus ~ Still using the full auto mode, I adjusted ~ I decided to try the close- up mode and
and rno5S were both sharp. Set tofull auto, my the fows 50 that the AF Io<;ked on to the cap 01 the found the camera could still only 'guess' at the
DSlR chose the ma~imum aperture to give the mushroom, but now Ihe cl ump of moss was effect I was trying to achieve. It opted for a small
fastest availabieshutlerspeed. The resulting completely out of locu5. ln facl , at such a large aperture lo generale a la rge depth-ol-field, While
deplh-of-field proved far too shallow. When focused apertute, even the stem of the fungus wasn't sharp. 11M! mushroom and moss are sharp, too much of the
on the moss, the fungus behind is badly OIIt 01 low5. It p-roved that I needed to change the mode. backgro und is showing, which is distracting.

_ Getting Started in Digtlal SLR Phologrophy_ BASICTECHNIQUES/ 063

064 / BASICTECHNIQUES --
--
Further advice to controlling depth~f-fteld

As well as expialnulgVoJhat depth-of-field is. 'Ne'll nIl
shoN ycu hoN to rontrollt for creative results
WHAT IS OEPTH-Qf·nELO?
thiS is the term that descnbes the extent at the..-ea in an image
!hat appears sharp. thiS area is behind and in Iron! 0I1he actual
point 01 focus and how much depth.of·lieId is In the image
depends on oertaln factors (explan'led in the panel below).
Depth.of·lieJd can be literally millimetres or extend across an
entire landscape and learning how to control and manipulate it is a
vital step on your road to taking better pictures.
For general photography. depth·of·liekl extends one-third in
m
Iront of the point of focus and two·thirds behind. II is important to
remember this, especially when sI100ling landscapes. We 'll cover ""
Ihis in moredetaillater. particularly when explaining hypertocal
focusing. With macro photOllraphy, howel'e!; the depth-ol·field in
front of the point of focus is equal tothe amount behind.
-
HOW MUCH OEPTH·Of· fIELO
001 NEEO?
There are no rules to how much
deplh·of-lield you need 10
makea picture work. as
photography is so SUbjective.
Hov.oever. photographers vmo
specialise in sI10011n8 certain
subjects tend to have distinct
preferences as to the
amount at depth-o/'/ield
required. For instance.
- -
landscape. commercial
and scientific
-""""'...-"
lend to use broad depth-of-field.
so !hat as much at the scene as possible
appears sI1arp. whereas portrail ~raphers lend 10
favour a sI1a1low depth-of-fieJd. making the subject stands out
frOrll a nicely blurred backjl'Ol¥id.
In other words. while !here is no hard and fast rule !hat says you
must 81m for shallow depth-of·field when shooting subject 'X. aod
broad depIh·of-fieid when shooting subied 'V'. some types of
scene or subject are better SUited 10 a shallow depth-of·field. while
others look best with everything in sharp focus, Irs worth aiming to
conform 10 these tried and tested methods to start with. then once
you'ye gained a little more experience, start experimenting. The
main consideration to make is how you want you r subject to relate
to the rest of the scene - do you want it to stand oot from the
background, do you need enough depth-of'field to keep a certain
area in focuS, or do you want the entire scene to appear sharp?
What faclolS aff.ctdepth:Qf-fi~'1

Oepth-of-liekl isn't controlled by a single setting or dial on your
camera. but It is Influenced by three main factors. Learning what
these are and UfI(IeBtanding how they WOftI together will allow
you to set up your shots to prodJce the efIeds you want
1) APERTURE SETTING The aperture you selecl will have a
major affect on depth-at·field. Using aperture' priority. set a
wideaperture(i.e. use a lowthlumber, like tf4)and the
deplh-of·field will be shallower than if you had set a smaller
aperture (such as tfl6), Changing apertures is lhe easiest ~
to vary the amount d depth-o/·field In the scene.
2) SHOOTING OISTANCE Thedistanoe between subject and

camera. or shooting distance. also has a miljOf inlluenoe on
depltl-of·field. for any given aperture. the closer you are to
yoursubJect.1he less the depltl-of·fiekllhere will be In other
wOfds, if you take a picture at a subject frOrll two metres <fflaj
at lIS. the image Will have lessdepth-of·lield that shooting the
same subject from ten metres aw~ with the lens still at fIB. According to these three factors. to get the maximum depth-ol·field. you'd use
the Widest possible lens set to the smallest aperture and shooI lrOrll a distance:
3) f OCAL LENGTH Of LEN S The Iongerthe focallength of a and to get the least depth-of·field, you'd use the most powerful focal length
lens. the ~s depth-o/·field it gives at a given aperture. For available to you. setting the lens to its widest aperture and shooting at the
instance, if you set flSon your 18-55mm killensand take a minimum focusing distance. Of course. going to these three extremes is rarely
picture of a subject at both extremes of the leos, you'll see that practical, but byfoHowlng one or two of the above th ree factors. you will have a
the shot at 18mm has more depth·of·field than at 55mm. verygood degree of contr~ CNer the depth·ol·field in your shots.

_ Getting Started in Digtlal SLR Phologrophy_ BASICTECHNIQUIS/ 065
Some ~ses are specifically

designed to give the user
more oonlrol over locus and
depth-of-field. TiIVshifl
(perspectIVe control) lenses
allow users to adlust the
aogle 01 the ~ plane.
creating very shall(1N {and highly
oontroIlable)~h-ol·fieid. They are
COfml()Oly used in abstract artistic and
architectul3l phoIOfIraphy. A cheaper
alternatIVe is a Lensbab'J. Sta-ting at
around £50. the effect is reminiscent of the
bellO'NS camera. as they allow users to
locus by moving the bendy ~ns barrel,
to pICk out a 'sweet spot' (a rea 10 be in
focus). For details on the Lensbabies
range. VIsit: WWW,intr02020,CQ.uk

OM/ BASIC TECHN'IQUES --
--
Using depth-of-field in yourporbaits

By altenng your Shooting distance. being creative with how you focus and thinking
about yuur Choice of aperture. you can learn to really make:your pxtralts stand out
THERE ARE FEW. if ¥rio more rewarding
feelill/S in photography than capturing
a portrait !hat not only pleases you. but
has the subject ewer the moon with how
!hey look in the shot. Most people have
had their picture taken. bullew get !he
d1<noe to have their po-tralt shot.
There IS a subtle difference to the two
- one isa QUid< snap. wittllitt\e
attenl10n gr<ento the technical
aspects oIthe image With the
exception of some basic
composition, the other has more
CO"lsidef'alion given to how the l inal
resu lt should look,
II's often said that a good portrait
captures a little bit ofthe
personality of a subiect and thaI's
true. But what it also does is
recofd the sitter in aw&j lhat's
different to other pICtures that they have had
takenollhernselves. By using a c:oopleol ~ mple
tecmiques based around depth-of-field and
focusing. you can cleIiver really distinctive
portraits. as we'll discover shortly.
The general rule lor portraits is that you focus
on the ~ and set a wide aperture (usually
around t/5.6) to throw the backgl'OlTod out 01
focus, while keeping the face sharp. ThIS 'f1S.6
•
rule'lsonethat Isusedsua:essfullyby many •
lifestyle photographers who like to worX fast. •
preferring 10 ooncenlrale on inler.!cllng WIth the •
subject and rrWlimse having tochange settmgs.
If you w1l1t to include more 01 !he erMronment in
the scene. a smaller aperture (usually coupled with
a WIder lens) is required to keep the back8round, as
well as the subject. in locus.
While ambient light is often ideal. you should also
consider using a studIO-flash kit. As well as allowing
•
•
· -
SHOOTING DISTANCE
Both shots were tllken lISinlil: the $&II1 e lens lind
lIpef'Iure. but depth-of-field WII5 ~ltered by chaniinlil:
you to control lighting direction. you can also adiust l he shooting distallCe. The shorter distllnce gives less
its intensity to provide the correct lighting levels you depth-of-field. which blurs the window blinds.
need to use whicheYef aperture you want.
A technique tnat works really well is 10 capture a the frame is tlYownoutof focus . Theresull isa YCf'J
portrait where the zone 01 sharpness is extremely 'soft' image that. with some thought grveoto lighting,
shallow. The easiest way to do this is to follow all the can Iook romamic if lit by diffused light or morearty
'tricks' that are requ ired to gIVe an image the mosl and striking if strOfll directional light is used. When
shallow ooplh-(lf-field possible. namely using II using this te<;hnique. be sure to focus on the
telezoom set to the maximum aperture with a relatively appropriate part of the face, usuall y an eye. but also try
short shooting distance. The result of tI1 is is a tight crop the mouth. 100. It's certainly worth giving it a go witha
of the face ...mere, bar a small focused area. much of friend or family member and seeing how yoo get on,

__ Getting Started in Di91'ai SLR Pho'OIl""'-""------ _ BASICTECHNIQUES/ 067
By shoot" this rtrait it!

112.8. depth~-~ limited
10 tile sOO;ect's face. with llet
body - ' the b;K;kdrop "'_ina;
beautifuly out of b;us..

Ob8/ BASIC TECHNIQUES --
---
Control depth-of-fteld inclose-ups

By reducing the distance between subject and camera, you Increase the Impact
caused by depth-of-fleld. Here, we give you a few key tips to better oontrol
OEPTH-OF·FIELD 1$ one of the most important creatille
elements of close-up photography. The lack of distance
between the subject and the C3!T1efa·s sensor means the
<Yea that appears shwp Will be VfYY IImrted. Depending on
how ~ set ~r shot up. it could be just mere mlilirnetres.
eYeI1 when USif"l/ a small aperture! Fe.- thts reason, macro
photography req..llre5 very accurate focusing. eYeI1 being
fractionally off with}OJr locus could result in an
out-ot-focus result. A good knowledge of apertures is the
single most important factor. as the !/humber ~ choose
Will have the greatest infll!eOCe on the amount of
depth-ot-field in your image. But macro photography
brings with it its own unique chal lenges and rules.
One ootable difference between macro and other
types of photography is how depth·of-field is evenly
distributed in Iront 01 and behind the pomt of focus. In
other words. the amount of the scene th at appears to be
sharp will be equal both in front of and pointo! foc us. In
other areas of photography. the distribution is V3 in front
and 213 behind the ~nt of focus.
It is important to have an idea of how much
depth·ol-field best suits yoo r subject. For arty. abstract
close·ups. or shots in wtllch yoo only want one specific
point to appear in focus, such as on a flower, shallow
depth·ol·field is best. keeping only a small part of a petal or
stamen in 10Cl.lS- For this. ~ would use the widest aperture
avallableonyour lens. II. however. ~ were s.hooIing an
insect, such as a dragonlly. and want to keep the whole
subject sharp. you would use a small aper\ll"e, such as tI22..
The aperture is not the only ~ thai ~ can influence
deplh-of.lield: the position of ~r OSLR·s sensor is also crucial. The local plane runs ABOVE: These
parallel to the sensor, so If you want to keep your subject sharp. your subject must be shols show how
square on to the camera. By rotahng or lIItif"l/ the camera (and sensor plane) you can the depth-ol-rleld
e.n beve-y
reduce deplh-Qf·lield further. as the subject witl move out of the focused area quicker. limited when
(To line up, use the back of your camera or 1he-9- symbol on the top-plate as a gUIde. as shootlnlj: It dose
il is parallel With the sensor!) Finally. the other way to have a major affect on <;1In~with l
depth·of·field is by using selectille f0CU5. as de;cribed below. macro lens.

_ Getting Started in Digttal SLR Photogrophy_ BASIC TECHNIQUES/ 069

The basic principles
of shutter speeds
So. what are shutter speeds? How are they controlled
and W'hat do they do? Read on for the answers to
these and other shutter speed-related queries
WHAT ARESHUTTERSPEEDS?
The shutter speed is the prec:isely-callbrnted lengthollime that ol C<lmet"a's
shutter remains open to enable the correct amount 0/ light to pass through
the lens to expose the sensor. The majority 01 images taken require speeds
cA just a fraction of a seconcI. although shutter times can potentially run to
secoods, mlflutes or, in the case of some specialised fOfffiS of photography,
even hours. The shutter speed dictates how motion is recorded. A fast
shutter speed will freeze subJect movement - perlect ly suspendingaclion
and recording firledetai l. Setting a slow shutter Wi ll ~u r movement -
helping to create a visual feeling of motion ander'lergy.
Digital SLRs have a wide range of shutter speeds. typically from 30
seconds to speeds of, or exceedins, a staggeringly fast V4OOOsec. Most
digital SLRs also have a 'Bulb' setting. whidl allows the shutter to be
opened 101" as long a yoo depress the shutter release button.
HOW ARE THEY CONTRQLL£D AND WHAT DO THEY 001
Combmed wi th any given lens aperture, the shutter speed is designed to
allow suffiCient light to reach the Image sensor to produce a correctly
e>;posed image. If the shutter speed is too last, notenough light will reach
the sensor. SO the resuillfig shot Will be too dark, i.e. undere>;posed. In
contrast. i1 the shutter speed is too slow. 100 much light will strike the
sensor, resultirqJ in an image Ihat is too bright. i.e. cwerexposed.
If you ¥e usinS your disltal SLR in one IX its automated e~post.re
modes. the shutter speed - along With the co-responding aperture - will be
set automatically. While thiS is the easiest option. it doesn"t give you any
control CHef the wa-; your subject is recorded. After al l. while your camera
may be hlshly sophistICated, It is nol able 10 precllctthe effect you W(lnt to
achieve. Therefore. if you haven't already. It IS time to grasp (XlIltroi of you""
carTlef3 by selecting shutter-priority (5 or Tv) mode.
Shutter-priorlty is a setT\I·automatic mode that allows you to manually
select the shutter speed, while the camera sets a corresponding flstop to
achieve the a correct e>;p050re. Therefore. it really isn't as compIe>; or
daunting as you might imagine and there are no tricky calculations to
make. Instead. this mode allows you to concentrate on selecting a shutter
speed that will suit the subject you are about to photograph. This choice
will greatly dictate the kloiI of your final shot. Influencing the appearance of
the subJ!!CI's molion ... as we Will disrover r:Ner the following pages.
Choa;ing fille"
II shooting 100S
e>;posures in low liSht.
there will olten bequite
a difference in
brightness between the
foreground. which alter
the sun sets. will have
nodired light on it. and
the sky. which will be III
from below. A
Gr.:Iduated Neutral
Density filter will ensure
that this (XlIltrast stays
Wlthlllthe dynamic
range ofyourcamera's
sensor. II shooting along
the coast. With dins to
one side. angle the grad
so that It doesn't cut
into the cliffs too much.
Another useful filter is
the poIariser. Not only
Will it reduce the glare
off arrj wet foreground
roclls. but it will cut out up to two stops ollight
(elalctly how much deperds on how much
poIansation you use) ena~ing you 10 eJCtend
e>;posuretimes.

072 / BASIC TECHNIQUES --
---
Shutter speeds & exposure

You've made a posItive step by selecting your camera's
shutter-pnonty exposure mode: but before you can
begm setting shutter speeds with confidence, you must
understand the affect It has on your exposure
EXPOSURE IS lNFWENCED by three variables; shutterspeed,lens

aperture and ISO sensitivity. The camera will not alter the ISO sensitiVity
in shutter·priorlty mode (5 or Tv) - only you can do this, by adjusting it
manually. However. the iMop Will alter, depending on the shutter speed
you select. This is because shutter speeds and apertures have a reciprocal
relationship -If you increase one. there must be an equal and opposi te
adjustment in the other to maintain the correct exposure.
To help you to understand this relatiOflshlp. grab yoorcamera. switch it
loshutter·priority mode. ar"ld adjust the shutterspeed by rotat ir"lg the
ir"lput orcommarn:t dial. You will root ice how the lA-lUmber ch ilr"lge5 ir"l
response to the shutter speed yoo select. Thissimple exercise wi ll help
you to appreciate the way exposure wor ks. For example. if you set il fast
shutter speed. the aperture Will be larger{a low flnumber. such as 1/4 wi ll
be selected) 10 allow more light 10 pass Ihroogh; if)lOu select a slow
shutter speed. the aperture Will be smaller. SO)lOU will have a higher
f!stop, such as 1116, which will restrict the light reaching the sensor.
The maximum and minimum shutter speeds you can select will be
strOfigly dependent on ambient light. Too much or too little can limit your
options. meaning that youwill haVe toadapt or compromise. This gUide
will serve you as a starting block, and give you a basic ur"lderst<mdir"lg of
shutter speeds. how the exposure 01 your shots will be ilfleeted by them
and how 10 overcome any diflicu~ies you might ellCOUnter. It is not as
daunting as it sounds. so be brave and give rt a I/O! Here we·ve included
some advice about coping when faced With eJrtreme lightlr"lg cooditoons.
Not e!lQl!9h light Too much light

Whether you are shootir"€ indoors or out. low light levels can preseIll In brlSht hght. shutter times will be fast. Many entry· level digital SlRs
problems for photogmphers. Sh.stt.er speeds grow longer" in response to have a maximum shutter speed 01 V4OOOsec; while more advanced
the dull conditions and. if you are shooting handheld, the risk of camera models are uplo~. To be honest. it is very unlikely you win
shake IS greatly Increased - particularly at speeds of IJ6Ose<.: and ever need to use thiS speed and - unless you are using your camera at
longer. So what is the solution? ahigh ISO rating 01 800 or aboveonaverysoony day - it israreto
You rTlIght presume that the best thing to do is select the fastest reach these speeds in everyday ~tography.
shutter speed that the light levels will allow: but this is root always the In bright conditions, photographer.; h(P,'C moreopbons. You can
best option. By doir"€ so. you are also effectively settlllg the larges1 select a fasl shutter speed while also enjOYing a wide depth-d·field,
aperture (smallest f.hw..mber) - remember they have a redprocal due to the corresponding aperture being smaller than if there were
rela\Jonshlp. This will resun in a very shanow depth-ol·field that may less light. This is extremely useful when you wish to shoot rapid
not be suffiCient to record enough 01 yDIS subJect in acceptable focus. action, such as in stxrts and Wildlife. which require a fast shutter to
Therefore. it is often better to use a tripod to support 'tWI" set-up ireezel1"lCM!fl1el1t. However, believe rt ornot. it is possible to have 100
instead. as this Will allQw you to employ longer shutter speeds 10 create much light. For example. when you wish to blur a subject's I"1""IO.feITIert
a wider depth-ol·fleld. while also etominating the risk 01 shake. to create a sense 01 motion. This isn't possible using a fast shutter
~. if the subtect isn"t static and you wish 10 freeze ils speed. so you Will want to reduce shutter time. In shutter-priority
ITlOYeI1lent - or you ha\o'C to shoot handheld - you will indeed need to mode, it is qUick and easy to select the slowest shutter speed available
prioritise a fast shJtter. Therefore. opt for the fastest shutter speed by rotating the input dial. Also. ensure the lowest ISO rating is selected
available to you. II this still isn"t quick enougtJ to freeze movemern.. - typically lOOor 200.11 shutter time is slililoofast 10 create the effect
setect a higher ISO sensitivity of 400 or above. Doifll so will generate a you desire. you will need to reduce the light entering the lens. The best
faster shutter speed - although noise will increase as a result. way to do this is by using something called a Neutral Density filter,
Alternatively. consider using a bJrst oillash to provide more light. which restricts the light passing through it.

Getting started In Dig>tal SLR Photogrophy BASIC TECHNIQUES/ 073
,- - -- - --

Using fast shutter speeds
As we have already seen, shutter times play a crucial role
In the making of an Image. Varying the shutter speed!
aperture equatJon can greatly affect the way the subtect IS
recmled - parUOJlarly rT'OV"lg subjects
WHEN SHOOTING POPULAR subjects suc:h as sports, action. birds and
mammals, phot08ra~ will often wanllo suspend movement
mkh3cboo. freezing it in sharp detail. To capture this sort 01 image
SUiXleSSfufly. your exposure will requireafastshutterspeed.
Vou'IIIiOO that the speed reqUired will be relative to the subjecfs
I11O\Ien'lenl (speed and direction will each have an affect) and also the focal
length of the lens being used. For example, a man running parallel with the
viewfinder WIll be moving more slowly across the frame than, say, a
travelling car. The refore, the slov;esl sI1utterspeed needed to 'freeze' the
runner wil l be slower than that foI' the vehicle, but faster than if the man
were simply wal king. If t he runner IS jogging directly toward you they wil l
be crossing less of the sensor plane and therefore wi ll require a slower
minimum shutter speed to be rendered sharper than if they were runni ng
parallel across the frame. In other wordS. you need a laster shutter speed il
the subject moves across the lrame than if rl'IOYing towards/away from you.
USing a longer !ocallength or a telephoto lens means that the subject
fi lls moreolthe image space. and therefore mo...es faster within thelrame
than it would II you were usmg a shorterfocal length or wide·angle lens.
The minimum shutter speed required to freeze subject movement will
be greatly dictated by the factOfS mentioned above. so there is no hard and
last rule regarding the speed you must select. A degree of trial and errOl' is
often required 10 achieve the correct speed. However. in practice. a good
slartj~ point is to set a shutter ol1lSOO-1I1000sec. A speed in this region
normally pl'oYeS sufficient to suspend the motion 01 most moving subjects.
To capture a moment. such as those above and rifl:ht. il ls impor1anlto set a

fast sllutler speed to keep the SUbjKts sharp. USlnll: continuous shooting
mode will also Increase your chances of ~ttin g the best possible result
Shutler speeds brmoving subjects

This quicl\·re!erence table provides a starting point for wllich shutter
speeds to try when shootlog a number cJ different types 01 moving
subjects. Try these to begin With. then experiment with other speeds.
and study how different the subtect appears when it has been
captured WIth slower or faster settings.
-,
Subj~et
_Iu
Car(~h)
t.r(70mph)
Re1:ommend~
Sub~eI mII"'"g
towardsumerll
11125·1I2<lO=
11250-lI5OOsec
V250-1I5OOsec
11250·lI5OOsec
shutter speeds
Subjed
3tn:!SS
ITIO'ilng
frame
lI25O-lI5OO~
1I250·l/5OO$ec
lI25O-1I5OO>o<
lI5OO·lI1000sec
Cyclist V200-1Il5Osec Vl50-1J5OOsec
Galloplll8hor$e 11250·lI500sec: USOO·1I1000sec
Fast motorsports lI5OO-1I75Osec 1I1QOO·l/2OOOsec

Shutler speeds
inl~
When shootmg landscapes, you WIll
sometimes have to cIecide between a
Ioni or short exposure. A fast shutter
speed can freeze mallon, while a longer
exposure might be used to include
plants in the foreground. blowmg in the
breeze 0( to aeate a 'Silky' effect in
running wedC\'. With last moving
subjects .a 'long' expos,ure might be
anything slower than lI25Osec, so you
should shoot a series of exposures at
variOUS shutter SPeeds and use the LCD
ffiOO,tor to review the resu lts.
The shots on the right illustrate the effect
thai stlulter speeds ean haw. on I
lamtscape sllol. With movina; s ubjt'cts.,
shutler speeds ean make a big difference.

076/ BASIC TECHNIQ~ -
---
Using slower shutter speeds

While you'll usually select faster shutter speeds to ensure your pictures are shake-free, for truly creative results.
yuu'li want to master the use of slow stutter speeds, which oould range from a fraction of a second to minutes!
Creative blurring
You can gr.oe the appearance of motion Iyt 5electing a slow
shutter speed. Atlirst. this might seem like a strange idea.
but combined with the nght subject. the results can be
stnking and help to emphaSise movement in a shot This
type 01 intentional blur is eorrmon practice in scenic
photography. often used to reoord flovo'Iflg wateras a milky
wash. to add atmosphere. Slur can suit aillypes of subjects.
SllCh as a bustling crowd. crops or flowers swaying in the
breeze. a flock of birds in Ih!!ht or moving vehicles.
Toachievethis effect. atri pod is essential. Slur isachieved
usin!! very slow shLltterspeeds. sowithout asupport, you
risk adding)"OUr own Il"lO'IIement to the subject's. As a result.
the whole scene will be blurred - not just the subject. The
shLltter speed required to create blur is relat ive to the
sLlbject's Il"lO'IIement. but a good starting point is l!"i!secor
slower. For more prOJ1O(Jnced dramatic effects, a shutter
speed of several seconds may be required. Achievingthe
best result can prO\'e a fine balarx:e - too little blur. and it
woo', look intentional: too much. and the subject may
Deccme unrecognisable; so to achieve your desired effect.
you Will need to experiment with different shutter speeds.
Panning a moving subject

'Pannin!!' is a technique where the photographer shoots a moving subject
whilst rncrving the camera In tandem with the subject's ITlCIYement durin!!
~p:lSUre. The result is a sharp subject with a blurred background - suggesting
a feeling of mollon and action. It is a well used technique among sports and
Wildlife photographers to help create dynamic action shots.. Panning requires
a relatively slow shUtter speed - typically in the region of lJ3Osec. Track the
ffIOVIng Slbject through the viewfinder .:rd continue to smoothly 'pan' the
c:amera after you depress the $huller release bullon. FOI" best results. try to
position yourself SO thai you are parallel to the path of}9Jl" subject - this will
also simplrty focusing - .:rd keep you- mo-.-ement constant from start to finish.
ensuring that the motion bI.... in the background of the image remains smooth.
A steady hand and practice is reqUired. but the results will reward your pabence.
HOW TO PAN; When panninlif:. make SUn! that YOII ~ a firm, comfortable !~P on
the camer.!. Keep the came ... moving smoothly at the $arne speed as the SU;?ect.
and use continuous shooting mode. It takes pr;tclice. but it is worth the effort .

_ Getting Started in Digttal SLR Photogrophy_ BASIC TECHNIQUES/ 077
Usine ill $low s.hutter 5~ has kepi

the o;ommlllers that were $lallonary
in the Ken! static, whereas anythina;
moving has laken on illthoslly
appearance due to motTon blur.

078/ BASIC TECHNIQUES Getting startedm Di91ta1 S!.R Photogrophy
Movement RivelSandsbeams
Ross Hoddinott provides scrne expert advice and tricks of the trade to help you
use slow shutter speeds to transform fast moving water into stunning milky trails
TRADITIONALLY, WATER IScone of the most popular subjects among photographers. Picturesque rillers,
streams. waterfa lls and weirs will soon have snappers reaching for their digital SLR. However, the look and
fee l 01 the final imagewlli be llreatly dictated bylhe shutter speed selected.
When shooting runmng water, )IOU have the ability 10 convey either a sense of action Of motion - the choice
is yours. FO( example, a fast shutter speed of l/5OOsec Ofquicker, will freeze the water's movement-
suspending every last tiny droplet. Thiseffectively creates a feeling of action. Select a Slow shutter speed of
one second or longer and gushir'l8 waler will be reduced loan atmospheric. milky blur. This effect eives the
impression 01 movement and. combi ned with Ihe right scene, the resu lts can be stunning. In lact. employing
a lengthy e.>eposure 10 blur water is a popular and well usedtechnique today and. while some would argue the
effect can look a littlecllcM, it is an approach many of the top professionals regularly employ.
BlUrring water is a relatively easy thing to do - try it for you rself. Any shutter speed exceed ing l.I3Osec will
~ur rapid water !TlOYeITIeflt. However, to create the atmospheric. ethereal blur most photographers desire, an
exposure 01 one second or more is normally requi red. To generate such a lengthy exposure. employ a smaU
aperture of fm or V32 and your camera·s lowest ISO sensitivity - this will also help maximise back·to-front
sharpness and image quality respectively. It is also best to shoot on an overcast day. By doing so. shutter
times will be significantly lengthened and IIgtltll"ig will be less cootrasty. benefiting the end result. If the
conditions are bright. you may find that the only waj to create a sufficiently long exposure is to attach a
Neutral DeoSity (NO) lilter - designed l o reducethe amourrt of light entering the lens (see right). Even inOOIl.
wercast light an NO lilter can proYe a handy tool. creating artificially long exposures of up to 30 seconds
- producing even more dramatic and eerie results. One final word of advice: to avoid camefl} shake, always
use a sturdy tnpod and release the shutter using the self·timer or a remote release.
ABOV E & OPPOSITE: When uPlg ~ long expo$lJ~ 10 detiberately blur w~te r mOl/ement, il'slmpllftant to ~Iso Incillde static objects. For example. willi
a river scene, incl ude ~ bollkle. or bridge to ham e$$ the composition. OUlerwise. t he w~ter will be indistingu isha ble. When I spotted this p/lologenlc
nIO$sy boulder - with water rapidly CIIscading a.oond it - I decided that ratherthan Include It as pa rt of a wide-angle I/iew, I'd make it my l ocal point.
I Wilsn·t sure what exposure length I would need to create the desired effect, so I began by using a relatively fasl exposure of l /25Ose(:. Then, in
subsequent shol s, I reduce d the shutter speed in one·slop increments. A lengthy lour-second exposure created JU$tthe rig ht effect.

_ Getting Started in Digtlai SLR Phologrophy_ BASICTECHNIQUES/ 079

080/ BASICTECHNIQUES Gethng startedm Di91ta1 SLR Photography
Using movement in lanclscapes

Ross Hodchnott has a closer lad< at how to get the best from slow shutter speeds
DO YOU EVER feel that )WI' landscape images sometimes appear static and lileless? It is a ccmmon
compIa.nt. but one that is easily remedied l:1t takJ~ creative conlrol t:Nef exposure. While landscape
photosraphers are often taught to priontise bad'ito-front image sharpness. as we have mentioned before. a
degree 01 subject blur Wlthin the scene can prove a po.o.oerful VlSIJaI tool. It can create a genuine sense 01
motIOn that. when combined with a 5I.Irtable scene. can be v«y attractive. Landscapes are probably one of
the best subjects to use II you want to expemnent with. and explore. the potential 01 slow shutter speeds.
The range 01 material to shoot is endless and the wind can enharK;e any movement you try to capture,
So, instead 01 attempting to freeze the movement of a crop of golden barley. swaying buttercups or
wind-blown trees. why not go to the opposite extreme and shoot to capture the ir fTlOYefTleI1t. The results can
bestunning. However. creating jusl lhe right effect can be tricky. Too much motion, and detail can grow
indistinguishable: too little, and it will rlOtlooll intentional. II is a fine balancing act. Thereare noset rules
regarding the shutler spwd you should select: it will vary depending on the landscape, strength of Ihe wind
and the effect you wish to achieve. E~pe rimentation is important. Brackel exposures by one'stop increments
and chec k images on your LCD monitor to help discover the best effect.
Use a polariser
II youdon'l own a Neutral Density
IiIter, then use a poIariser instead.
While not all polarising lilters are
totally neutral, they have a 'filter
lactor' of two stops - equMllentto a
O.6ND. Therefore, they can be used
asa makeshift NDwith the added
benefit that reflective glare Wlil also
be reduced, This Wlil saturate colour
and give your shot more impact.
ABOVE & OPPOSITE: This field 01 oilseed rape made II brlgtrt and coloutfut landscape. I composed my silo! and the n took II s.equence 01 Images
employing progressively longer ~utter speeds. The fll'$tlmage. shot at U2SOsec, lias perfectly frozen the m()\/erne nt of the lIowers in the Slimmer
breeze. Subseqllent images, etll125sec and 1160sec, look very 5imilar. However, once exposllre time lenglllens beyond IIJOsec, subject movement
grows mcrell$lngty noticeable end a t slluller speeds of Olle second and more, the lIowers lire rendered liS a yellow haze, While tile effect isn't
unplellSllnl, in this instance, I prefer th e resu lt achieved IlSing a shullerspeed of 112 second,

_ Getting Started in Digttal SLR Photogrophy_ BASIC TECHNIQUES/ OBI

---
Shoot dayUght portraits

The creative scope for rompositlOl1 and the use of
daylight IS vast. But while there are no rules, we offer
some gUidelines that are sure to Iffipr~ your portraits
POOTRAITURf 15 ONE of the most popular subjects for photographers
but also one that newcomers 10 DSlR photography struggle with.
That's tIlderstandable as nol only do you have to lake control of a ll your
camera's settmgs. you also need to be able to I'.'Q(k with your subject
and know how to manipulate the IIghling. In this section of the guide,
Daniel Lezano covers all the basics you need to know to help you
develop \'OIJf portrait photography skills, using nothing more than
amb~nt daylight as yoorsource of illumination. We'll also be showing
you the best camera settings to use and recommending essenti al gear
to ensure that no matter the condi tions. you'll be able tocreate
stunnmg portraits with ease.
LandsoapeorUQrtghtDnTKrt?
II's n(llural to tlilihe camera uprisht when you're shooting a portrait as it
allows you to fill the frame with lhesubject's head and shoulders Of'
entire body. It's ~so a good format to adopt when you're trying to exclude
as much Of the background as possib~ to coocentrate attention on the
subject. Because this orientation is used so otten when ~ing peop~ ,
the upl'ight format is often termed the portraitlormat. Shooting portraits
with the camera held horizontal to pl'oduce a landscape·format shot
often allows for more creative compositions. For one. it allcms you to
pIaoe the subject off-oentre to Include some of the backdrop in the frame.
It also alla.<lS you to crop tightly into the face. which can add drama and
i~ to the scene. Both options are worth trying while looking iITough
the viewfinder to see which works beslilin doubt shoot both ways!
We cropped the same ima&e into a landscape and portrait formal Wltic;h do
you ~Jer1 Chooslna the orientation of your picture is a key decision you
need to make each time you compose as can make or break your shot.
Viewpoint Breaking the rules New angles to hy

II'S natural when taking a picture to USE A WlDE-ANGLE
stand and shoot from )<'OUI' normal Set your standard lOOI11 lo
eye-level height. However. while wide-al1l1le(or use an ullol
there is nothmg wrong with this, wide-aniliezoom) and shod
shooting from a normal viewpoint
portraits with aditference.
IS a little unimaginative. It's not the
Because they oompletcly
most fl attefll1S ansle either. You'll
distort perspective, it's
fil1d that by 5I100til111 from sllghlly
above your subject's eye level, possible to shoot very
you'll create a more dyl1amic unusual portrait images,
image. Experiment by shootmll where the pari 01 the
from a much hillher or lower subject closest to the lens
viewpoint to )'Our stlbject and see appears much larger th.:W'l
how the results turn out. the parts 01 the body Ihal
are further away.
EYECONTACT
We harp on about you
makinllstlre boIh eyesare
in locus With the subject
Icdung at !he camera, yet
tI1ereare manystunning
examples where the
stlbject·s looking away«
their eyes eYe obscured.
A Iadl of eye contact C¥I
add intrigue to your
portrait or give it a
candid feel. sodon" be
afraid 01 having your
subject 100II awat from
""'~~
A wide-angie lens distorts proporlions.
Shooting a subject from IIalfway up some steps provides a very Try h3Vlng a subJecllean In towards the camera
high viewpoint and an unusual il nd quirky result. Give it a go! for a more intCf'e$tini:, fun take on a portrait shoL

Getting SIarted m Di9'tal SLR Photogrophy BASIC TECHNIQUES/ 083
Shooting images at an angle can add

energy to the scene as it displaces the
balance of the subject. Give it a try.
whether shoot ing wit h the camera in
an upright or landscape format. and
see how it can inject Irte into the image.

084/ BASICTECHNIQUES -
---
Controlling daylight situations

If )'Xire develOPlng)Wr skills as a portra" protographer. then )W'II need a!PJd understanding of how to
control daylight, Over the next feY.' pages. we'll sh:::f.N yoo scrne basic techniques that can make malor
Improvements to yoor daylight portraits. whether shooting In sunlight shade or overcast comibons
A COMMON MISCONCEPTION with many newcomers to

photography is that bright sunshine is the best light to take
portraits in, The truth is that irs actually one of the worst: It's
potential ly a very unflattering light to work with, unless you know
how to control it. If your subject's facing into the sun, it's likely
that they are heavily squinting, which won't look great in the
photos' Also, the directional light won't be making t he most of
their features, wi th strong highlights and deep shadows.
However, if you know how to manipulate and control sunlight, it
opens up the options for you to shoot in virtually any outdoor
location in the knowledge that you'll capture great resul ts,
Use a diffuser
StICk. a diffuser between the sun and your subject and you'll
mstantly cut off the direct light and get better results. Oiffusers
play their pa1 when shooting in strong, directionallighl, such as
bright sunshine. They're basICally a large sheet 01 diffusing
material fitted to a frame (normally lightweight aluminium
tubong), Placing the diffuser between the light sa.m:e and the
sub/tCt cuts down the light's intensIty, while also diffusing it to
give a sdter, more pleasing effect. They're usually quile large and
come in various diffusiOn strengths, WIth Lastolite and California
SunbolXlce beIng two at the more popul;,y br<n:ls.
The diffUSIng material can be replaoed and comes in differeot
thIcknesses, which determines the eKtent of the diffusiOn.
Face~SUll
11 you haven't got a diffuser. therl try
lacing the subject away from the sun.
This way, theI r face wi ll be in shade,
and often the sun captures attractive
highlights in the hair, If yOlir subject
has long haIr, use it to provide a light
shield to prevent sunlight hIlling
their face, as we've dooe here.
DlrKl sunlight Is I very harsh Iype of tight ....d extremely unflattering If a diffuser Is unavailable, then have your subject face away from
for portraits.. As OIIr $tI of uamples show, the simple use of a diffuser the iWn. Adopting I hlgh t r vlewpoinland having l toe subjecl tilt her
reduces ttoe harSh contrast, making an Immediate improvement, toead down slighlly helps make the most 01 the iWnlighl on her hair,

_ Getting Started in Digttal SLR Photogrophy_ BASIC TECHNIQUES/ OSS

---
Cloudy
conditions
Dull weather daysca1 SO'Tletlrnes
be the best tor portrait pI"otography.
We shoot)OJ how to make the
most from minimal light USIng a
reflector zrld dash of creatIVIty
If YOU WERE planning to shoot landscapes
and looked out the Wloclow to find the sky
filled with grey cloud cover, you'd not be
happy. However, for the portrait
photographer, a grey blanket of cloud is
viewed as Mother Nature's own diffuser,
Overcast condit ions take away much of the
pain of shooting outdoors as there is no need
to worry about strong sunlight However,
that 's not to say that because there's no
direct light, there is no way for you to
manipulate light. E~en on the dullest of days,
using a white or metallic reflector can bouoc;e
light back on tothe subject. Aoci because you
have flO directioo!lllightto contend with, you
have almost total freedom to position your
subject where you like as there's no sun to
contend With. Bear in mmd that because the
light source isdiffused light from above,
you'll find it better to keep the reflector belovt
the sublect and angled to point upwards,
Molle the rellector towards and away from
the subject to achieve the intensity 01
reflectance that you require, Also, chi.41ge its
position aocl angle to help ·shape' the light
that bathes your subject's face,
The follo"'","g step'by'step was taken on a
day when the sky was totally covered by a
blanket of grey cloud, We photographed Ruby
in her garden, sal in front of a brown
playhouse, which provided a dark, neutral
backdrop for minimal distractions, She wore
alight pink top that added colour into the
scene withOlit being over' powering,
This is Ruby photographed without any Instead we opt for the use 01 a sitvet'
1 form of lighting control used , The shot's

OK, but shadows under the eyes and on
the lower parts 01 her cheeks and chin aren't
2 reflector, The Lastolite Trillector is a
versatile accessory that uses three
separate panels so that you can control the
particularly attractive, Titling her head up angle of reflectance, It's placed on the
would remove many of them but then the grouocl, qUite close to Ruby and below my
pose would be quite awkward, We'll aim to eye level, so thaI I'm shooting over the top of
get arouocl the problem by using reflectOl1i. it. As you carl see, ils effect is obvious-
We try a white reflector but the dull light shadows are removed and the effect is more
mearls it has minimal effect. flatte ring than before.

_ Getting Started in Digtlal SLR Phologrophy_ BASICTECHNIQUES/ 087

---
Shooting in shade
Uke clouds. shady places are a natural diffuser
and 'HIli make shooting portraits a whole lot easier
WHILE SHADY CONDITIONS are a::.sociated with flat cool light.
the opposite is often true and taking portraits in shade offef'S
great OpportlJrlIIles for portrait photography. The lack of direct
light means that you've not got anyharsh highlights or deep
shad<rNs to contend with. Instead. the subject IS usually bathed
in a \'ery soft light that flattef"3 their features - in many ways
much like in overcast conditions.
One thing you may not realise is that you can manipulate the
light to Qui te an elC1eot in shade, The key thing toremember is
that the light reaching your subject is determined by the
reflective surfaces in the scerlC around your subject. So havea
look at different locations and see how your subject looks close
towhi le surfoces. brick wal ls. metal shutters etc. Bear in mind
that dark or black surfaces can also be used - you'll find thai
rather than bounce light onto your subjecl"s skin. they have a
nega\lve refledance that can help reveal the shape and
contours of your sublecl"s face . You' ll find lIlat all surfaces
produce their own type of effect and that moving the subject
closer or further away vanes its intensity.
On days when the sun is shining in particular. you'lI not only
have the adVantage of making lIle most of shade's
non-directional and flattenng light. you'lI also have the option
to bounce light from sun·lit areas into the scene. So look tor
locations where you can position the sublect in shade but close
to areas In direct sunlight. You can then think about using
reflectors to bounce light in to add e)(\ra Iliummatlon,
You should also consider how your subject IS positioned
against the backdrop_ On a wnlly day, if you place your subject
with their back to the sonhght, because you're exposrng for the
shaded subject, the brighter back8round will be grossly
overexposed. resulting in aclean, bright backdrop. The oliler
major advantage cA shooting in shade on a sunlly day
compared to overcast conditions is that light levels are higher.
whICh allows for morecontrol and manipulation. We headed for
a favourite portrait location that offers e~cellent potential flY
shoot1ng in shade on a sunny day, An old priOl)' offered the
perfect setting for our shoot, providing an interesting and
attractive backdrop forourshoot, We asked Hay~y to wear a
bright. summery outfit in keeping with the bright, warm
cond itions and placed her in the shade otthe priOl)"s side.
Our first shot was taken wililout any We place a gold reflector to Hay1eys We swapped the gold reflector for a
l form of light1ng control. As}ml can see,

she rece ives Quite a strong side-light
from sunlight being bounced into the area by
2 left and the effect is instantly apparent,
Her face receives warmth from the
reflected gold ligh t. which fi lls in shadows on
3 silvel'" one and the result is better - the
shadows are filled in and Hayley's skin
tones look better without the gold effect.
natural reflectors in the scene (in particularly the left side of her face. But the reflector is However, th e tones on Hayley's face rema in
a brick wa ll afou nd 30 feet away). It too close to her (the building's wall prevents QUite even, which doesn't reveal the shape of
produces a pleasant enough result thai us fl)(1II ing it further away) so its effect her face as much as we'd like to. It's time to
many people would be happy with. doesn't extend to her shoulders and arms. swap the silver for the white.,

White Reflector
This yields the best results so far. The while
4 reflector lacks the efficiency of the silver and gold.

in other words it reflects less light. While this isn·t
always preferable. in this Situation, with the reflectOl"
lilerally just out of frame, it"s perfect. While the shadows
have been lilled in on the left side of Hayley's face.lhe
bnghtness difference compared to the right side helps
accentuate her contours arxl reveal her natural beauty.

Quite Simply. the IlefSabhty 0/ the Tamron The TanYO(I'5 Impre$SIYe zoom ratio allows
AF 18-27Omm V3.S-6.3 Oi II VC Aspherical photosrophers to quICkly react to SI.Ibject
IS U'lnvalled. It represents a t.echnoIoiical ch.arves. without havrli to S'tNItch lenses.
breakthough - It is the WOt\d's first digital SlR Will1 a SI~1e twist of the zoom nre. )OU CMI
lens thai. delivers a remarkable 15x zoom ratio. dramatally alter the look. leel and emphasis of
Designed exclusIVely lor oonstrnef d gltal the phaIo. Not only IS this type of 'one Ieos does
SLR tamef3S wllI1 an APS<: SIze sensor. its aI' cooyemenl but It allows ~ to
35mm equivaleft focal length Is an IITiPfes5l'o'e 'o\OI'k quICkly, By ~ lens less frequently,
28-419mm. With such a hIihlY useful, UeXlbie you also Imlt the amount of dlSt and dirt that
focal ~, It IS IUIted k) any can erter the camera and settle on the sensor.
wbtect - from 'Mde·rrtIfV v and I:crIYeq The 18-27Cnvn zoom lens
architecture. to frame Il1lrng WIldlife
ifna8eS. sports and actIOn. It IS the pertect
gener.1I purpose lens for ~ use.
also ctelroom hrgh resoIubon and o::rntrast
perlormanc:e. With a rrnwmum ~
drst.anee of lUSt O,49m - CNer its entn r;:rrge
- the lens boasts an I~ ITIaXIITIlm
reproduction ratio d 1:3.5 at its Iort!: end:
I meanlnt you can $hOOt eye catchl~ cIose-
i ups too. Despite its range and lTIaWlilrcation.
"
~~~~]~~~~~;' ;"""::";"Iy
: ~
belfl8
It IS so IOlmm
cxrnpoct. In addition
in Ienith and to its versatility,
hahtweiaht. By
It is the perfect corJl)amon when out taking
II phOtographs - wha\eYef the subtect.

· .

ON' .,;AI
ID SAM E
30 0 •
000 TU RE S
OLD PIC EAK MY
T'
OLYMPUS Olympus E-P1. Not an SLR.

Not a Compact. It's a PEN.

Getting Started m Di9'tal SLR Photogrophy
-----------
CHOOSING & USING TIlE BEST DSLR KIT / 093
ESSENTIAL DSLR KIT

Expert advice on what gear to choose for your DSLR and how to get the best from it

094 / CHOOSING & USING TIlE BESTDSIR KIT- Getting startedm Digltal SLR Photogrophy
---
An introduction to lenses
Your ch::ltc:e of lens IS Just as - If not more important - thGr1 'y(lUf choice of 00dy for Inf luenang Image quality. There are
'" rnar>j types and toea lengths available that we've tned to d~ an; oonfusoon by breaking the optims down for ;00
EVERY LENS HAS II designated focal length and while there's a long and SOmm is termed II wide-angie. and II more narrow ~Ie of view is
tedious scoentlfic elIpianatlon for It. from a practical point 01 view. all you tenned a telephoto. But within the telephoto and wide-angle focal range
need know is that it refers to the field-of-view thai the lens 00YefS.. To put !Ire ~r bogger extremes: the ultra wide-angle, lish-eye. superzoom and
it in context. our viSlOll has an angle of View that relates most closely to a macro lens - each SUiting diff~t needs and styles of photographers.
43mn lens. although in photography the standard lens has been OYer the next few pages. we aim to explain the differences and arm you
rounded up to SOmm, Anything that gives a wider field of view than a with knowledge for the ~t time you shop!
WI~1es ~1!!12IOOI11S
A long-time f!l'.'OUrite with I,mdscape photographers. the wide-angle In recent years , superzooms offering a range 01 lOx and more have
lens allows you to fililhe frame with a scene and use its vast tJecome increasingly popular, Film SLR usen; have had the choke
deplh-of-lield capabilities to keep the foreground to the background o1the 2S-2000vn and 28-3QOmm for a number of years, with the
in lorus, Wh ile prime lenses like the 2Omm, 24mm and 28mm were 18-200mm being re leased to tempt digital SLR users. All three
once favou rite optics, the arrival ol the highly-versatile ultra typesol superzoomscan be used with digital SLRs, but we'd
wide-angle zoom has seen fi~ed lenses recormnend you goforthe lS-200mm, as the others have a limi ted
lall off in popularity. Fordigital SLR wide-angle capability (effectively around 42mm) and at the
phot08raphers, the likeso1 the telephoto end, you run the serious risk of
lQ-22mm,ll-lBmm and 12-24mm eamera shake.
allow you to compose wide-angie The current generation of
scenes and capture hlgh-quality superzooms offers good image
results. Characteristics cA these quality, but not to the same
lenses inducie a wkle field-cf-view, standard as you'd get usi"ll two
~ated perspective with separate zoom lenses to coYer
dlstortKln cA straight lines, and an thiS range, although it has to be
incredibiedepth-oHield, Wide-angles said that used with care. very good
allow you to include plenty 01 results are possible,
foreground interest in the frame too Shake reduction systems are
and are frequently used lor now also appearing on
architectural phot08raphy when tl)'lng superzooms. which makes them
to get a whole blJllding at close range even rTIOf'C appealing_If you want
in frame. but also lor interiors and to travel light then an 18-2OQmm
reportage photography when distortion is definitely a good buy, but if
cA faclalleatures IS favourable. quality is your ultimate goal,
you'd be better off using two
zooms that cover this range, such as
an 18-7Omm and 7O-2OOmm,
~ zooms
These lenses, more commonly called
teleZooms, are one cA the most
versatile and makea great second lens Maco
to the standard zoom supplied with If you're serious about close-up
your DSLR. ll's ideal for portrait photography, you can 't beat a
photography, for shooting distant specialist macro lens,ltsclose
subjects such as wildlife, action or focus and high magnification
ca lldids andean also be used to isolate ratio makes it ideal for shoollng
small areas of a larger subject, such as very small subjects, Popular
architectural detail on a building, or in a macro lenses ra nge from
landscape. Telezoom have stacks of 60mm to l8Omm, with
potential so. if you don't own one, we'd lOOmm being the most
suggest you seriously consider one. common focalleogth. As well
as being great lor close-ups,
they are i<lealfor shooting
portlaiture too,
Slandard :oooms
Don't neglect your standard zoom, The
hlXJ'ble 18-55rrm is ideal for subjects
from I~ to portraits and IS a
great lens to start learmng Wlttl_lt's
fair to say. however, the klt lens
supplied with the camera body aren't
the oHhe highest quality, You'll find a
number cA fI2,Sienses COYerIng a
Similar-range and as well as offering a
faster rTIalIlmum aperture, these
incorporate higher quality optICS,
Another option is to go lor a standard
zoom covering a wider lange, such as
a 24-105mm, These lenses are also
better quality and extend further into
the telephoto end,

-
--
CHOOSING & USING TIlE BEST- DSill KIT 1095
The focallenglh IS traditionally stated In 35rml

terms. as the 35mm film Ionnal has long been
the most poplAar. and Ifs a trend that IS set to
cont"....le for Ql.llte a while yet. HoweYer. the arrwal
of digital SLfu with sensors thai are smaller tlul
a 35mm film frame has led to confUSIOl1 about
focal lengths. because a smalter sensor cffccll\'Cly
crops the Image and II'1CfeaSe$ the focal ~h of
a lens. This IS confusmg at first. but }«I'n soon
get to gnps WIth It The moslll1portant thing yQ.J
need to know ,'::> how much your sensor lI"Creases
focal length by. You most likely have wI'1.lrs called
an APS-C sensor In}o':>Ur DSLR. wtHeh results In an
Increase of 1.5x (16x on a Canon) of the effective
focal lengUl cl lhe lens used W1 \h your DSLR. Use
OU" rufcreooo gUIde below to see how much the
foca l lel1gth needs roolt lpjy lng by For example. If
you have all 18-55mm zoom and the factor IS J.5x,
the effcchve focal length will be 27·82mm.
Effect of smaller sensors

The magllrhcatoon 01 the smaHer sensors proVIdes an ~
fOf teK1photo W()(\<., but Isn'\ sl.JCh hot news for wl(le-angle
shooters. So while sports. WlkMc and ca'ldId photographers wiI
benefit from the extra pulling power. those who prefer shoolq
wide VIstas win find thallne magnd.caIKlflIS a real pain.
However. WKie-angle lovers shouldn', be too downhearted.
as lenses offering much Wider scope have been released 5IIlCe
the days of him to help )QU capture Wlde-r<lll!lng landscapes.
In this guide. we ca.oer the different types of lenses. poInq
out the tradrtlonal faVOUrites. but also Informing you when
there are better optlOllS, ThIS should eost.re you buy the fJ6flI
type aliens and avoid ~SNe mIStakes..
What you need to remember IS thai. because of the
magmflC3l1on factor. v.t1at m.ght have been a good choICe
for the film SLR photographer. ISnt always the best optIOn
for the OSlR photographer. wtuch IS a faclihat some shop
staff at non-specialist outlets we've encoullered have
failed 10 grasp. So use our guide. and VISIt speaallst photo
(!cam. to ensure you get the best possible ad\llCe.
EFFECTIVE FOCAL LENGTH MAGNIFICATION FACTOR

The following chart shows how much the focal U~ the multiplication foctor to work out the
length of a lens is increased on vanous cameras effective focal length of a lens used on your SlR
C<imer;l bnmd/models Multiplication factor Slated local Magn'fltiltlon Efleetlv! focal
length faclClf length
Cinon
10[)' 200. 300. 400. 5O[)' 3OOD. 1.61 10·22mm 1.51 15·33mm
3500.4000. 450D. 5000 1.61 16-35mm
EOS·lDwies 1.31 17·35mm 15. 25·53mm
EOS 5D & EOS· JOS series Ix 1.6. 21·56mm
Fu 'him 18·55rrrn 1.5. 27·82mm
51.52.53 & 55 Pro
Ol02 sefle$. 04QA(tx, 050,

1.51
1.51
.,.- 1.61
1.5.
I."
29·88mm
27·105mm
zg·lJ2rrrn
07Q,t, 080. 090. 0100. 0200. 24-105mm 1.5. l6.158mm
03OCl.'i. 03000. 05000 1.61 38·168mm
0700and03sefies lJ: 28·9Omm 1.5. 42·135mm
01 rn US & PillaSOn't 1.61 45·144nvn
55 """'""
15. 8>3OOmm
L6. 88-32Omm
7O·2OOmm 15. lO5·lOOmm
L6. IJ2·32Qmm
10-3"""'" 15. lO5·45Omm
SI rna L6. IJ2·480mm
SD9, SOlD L7I 18·200mm 1.51 27·3OQmm
1.61 zg·32Omm
~ 100. 200& 300 series 1.51 28·300fml 1.5. 42·45Qmm
AJpha 850, 900 11 1.61 45·480mm

096/ CHOOSING & USING TIlE BEST DSLR KIT
--
---
The effect of focal length onyour images

The local length has a major effect on howthe scene is captured, as $hown by the set below. taken from the same position. We've
stated the actual focal length of the lenses. They were used on a Canon EOS400D, so multiply by 1.6x for the effective focal length.
The~olview
It's fairly obvious that adjustmg local lengths
leads to a cI'l¥Ige In an I~'S (lillie of View.
Wide·~le lenses pI'O'OOe a Yef'J WIde field of
view. aod thus making S<.tljects appear
smaller in the frame, wnile. as you rT1()'Je up
the telephoto scale, the field of vfew narrows
and tile subject starts to appear larger in the
frame and more isolated from the
surrounchngscene. All images were taken
from the same spot.

Pe~
What many photographers don'! realise is
your choice aliens can have iI drastic effect
on perspective. When shooting a subject,
hem you relate ,t to the background can be
radically altered by the type of lens you
use. Take an Image wIth a wide-angle and
you increase the depth of the scene and
strengthen perspectIVe. lJ5e a telephoto
and perspectIve is reduced and the scene
is compressed sothat it has far less depth.
To show changes in perspective. we shot
a series 01 images at focal lengths from
IOmm to 400mm. ensunng thai the main
subject appeared al a coostan! size in each
image. ThiS was achieved by adjusting the
camera 'lo-subject distance - shooting
from close-up with a wide-angle and
moving further away as the telephoto
sett ing increased. As you can see the
difference in perspective is enormous-
bear this in mind when placing subjects
against a backdrop.
De!l!!:!:Of-field
When you foeos Or'l a 5Ubjec:t. M MM in froot 3J'Id behind the focused point also appears
sharp and this area is termed depth-of-field. The choice of aperture has a maiO!'" effect on
depth-of·field, with wicIe apertures Pfoviding a shallow depth-ol-lield and a small
apertures allowlnslar more oj the scene to be recorded in sharp focus_ However, two oU~
factors affect depth-oj-field - the camera-to-subject distance and the focal length of the
lens in use, As yoo'li discover when you use a variety of lenses, you get far more
depth-oj-field With wide-ansles than with telephotos. So with an 18·2QOmm 200111 set to
fl8. thedepth-of-field at 18mm far exceeds that at 200mm. Therefore, as wel l as
conside rinS how focal length affects perspective. you should also consider how you can
use it to limit or increase depU,-of-field, The shots below were all taken at fl8 from the
same spot. Note how depth-of-field appears to reduce as you 200m In .

098/ CHOOSING & USING TIlE BESTDSLR KIT
--
Getting startedm DigItal SLR Photogrophy
---
Types of wide-angles ~~
There are three main types of wide-angie lenses I) Petal hood UltrawKle-angies
available. each offering their own pros and cons. come Sl..Pphed With a dedlC<l1cd
hood to <MJid Vignetting and flare.
Here we cover the VirtUes of each 2) Large. concave front element
The front element normaUy has a
Ultra wide-angle zooms prorrment et.ne.Ie.3llll1& It exposed
thiS group 0/ lenses has become increasingly popular. That's no surprise 10 c1Jst and scratches. so t<Wlc ca-e
as the range they COoler offers incredible versatility in such a small aod to keep It Clean.
inexpensive lens. In fact. the ultra wlde·angle zoom is arguably one of the 3) Milnual locus ring Norrml1y
best value lenses you could own. Thefe are a variety of focal lengths IOWJrds the front of the IeflS and
available. with those around 1l·22mm being the most suitable for DSLRs reasonably wuje. You'lI J<l(eiy need
WItt1 an APS·C Slzedsensor.ln tnrth , all rxNef'.J very similar range. 10 use It, as wtde-anglc lenses have
a lthollgtl lhere are oneortwoexceplions looole . The Pentax IO-17mm excellent autofocus.
fish-eye offers a l8QO angle 01 v;ew at its widest end, so in asenseyou're 4) Zoom ring These are normally
gett ing a fish·eye and uttra-wlde zoom ~Ied into one. It's also worth found towards the back of the barrel.
noting that unlike most ultra-wide zooms, the Sigma 12·24mm can be Most are WIde With a grooved
used 0f1 ful l-frame arK! APS·C SLRs. Finally, wh ile the J6-35mm lens is surface to allow you to grip It easily
popular with film and ful l-frame DSl Rusers. the 24-53mm range it covers 5) Focus distance Many lenses have
with APS-C sensors is quil e limited, so we'd suggest you avoid it the focus distance scale marked on
the barrel. 'Nhll€ someot the more
Fixed wide-angles Fish-eye lenses I..Pmarket models h<Ne a focus
dlstancewlnOOw
Small,ligtrtweightand The fish'eye offers the most 6) Hypcrfocal scate (see inset) This
compact, with high quality extreme/ield of view. There
scale allows you to estimate hoW
optICS, these are very desirable are two types -the cirwlar
much of the scene Will appro'" stap
lenses that are available in and the lull·/rame lish-eye.
thanks 10 the choice of aperture.
various iocaIlengtilS and have both producing very
been designed to offer the different results. Cirwlar 7) Internal Iocusingsystem Ifyou're
ultimate in wide·angles for DSLR fish-~ lenses. when used
planr'W"lg to use IIRers, lenses With an
photographers. They start with the on a lull-fra-ne DSLR. proIIide ~ images WIth a In\emal focuslrtl; system eifer the
ultra wide-qle 14nvn, which is particularly SUited 1&1' afllie of view. They distort perspective, benefit that the front of the tens
especially when the Sl.tlject is close. and with doesn't rotate when forusIng, so you
to ard1itectural phoIQgraphy, when tlj'lrtl; to lill the
frame wrth a building from a short distance dose-fotUSlng capabilities, are perfect for comical dolfl have to keep readjusting them.
Wide·angles from 20rrm to 28mm are ideal for portraits.. The full-frame fish·eye (also known as a
landscape photography and are also used by travel diagonal lish-eye) offers a l8O"field of view and
photographers. However, their use wrth DSLRs can capture incredibly Wide vistas. They're very
sportJng an APS-C sensor is limited. especially as a specialist very ~Sl\le and have limited use. so
standard kit lens coYef'$ this range. hire one from a pro dealer before you buy.
Why use a wide-angle?

Everwanted to photograpn a subiect or a scene and found that youcan 'l fit it all in the lrame? Then you
need awide-angle lens. With a field ofviewthat extends far wider th an the human f!!te, it's the perfect
optic for capturing wide vistas or cramming large objects in the frame. Using such a lerlS comes at the
price of characteristics like exaggerated perspective arod distortion, but krlOwing what to expect and r.ow
to use it creati...ely allows yoototake shots that aren't possible with any other type oj lens.
Unde~focxIllen~Wide-an91§
The foeallength stated on a lens re lales to SLRs using 35mm film and lull-frame sensors. If your
DSLR has an APS-C-sized sensor-{most have), then you'reeffectivelycroppm& the image and
increa~ngthe foeallength 01the lens. The chart below ~ popular wide-ang les and how the
effective toeallengths changes when used wi th DSLRs,
' / II , .'" ,I, _ _ _ _ _ _ __
, , , I , , ~ x _ ArK: ( " ,\ ,X/l"', ·
- - • II . 1.3~ - -).-5-, - - - -1.-' -' - - -2 ; -
&ron &nm IJ>nm 12~m 13mm 16nYn
14mm 14mm 1_ 2lmm 22mm 28mm
l5mn 15<rm 1_ Z>cm 23mm 30rrm
20mm 20mm 26mm JOmm 32mm 40mm
24mm 24~ 3lmm 36mm 38mm 4Smm
28mm 28mm 36mm 42mm 45mm 56mm
1(H7mm 1l).17mm i3·22mm 15-25mm 16-27mm 20-,.,."
1O-2Omm I().ZQmm L3-26mm lS-3Omm 16-32mm 2().4Omm
1()'22mm II).22mm 13·29mm 15-33rrrn 1&35mm 21).44mn
1l-l8mm IHSmm 14·23mm 16-27mm 18-29mm 22·36mm
12·24mm 12-24rrm 16-31mm 18-36rrw'n 19-38mm 24·48mm
16-35mm 16·35mm 21· 45mm 24-53mm 26-56mm 32-7Omm
17·35mm \7-35rrm 22·45rrm 25-53mm 27-56mm 34·7Qmm
17·4Omm 17·4Omm 22-52mm 25-60mm 27·56mm 34·8Qmm

_ Getting Started in Di91lai SLR Phol""""'-""------_ CHOOSING & USING TIlEBESfDSLR KIT 1099

IOO/ CHOOSING & USING TIlE BEST DSill KIT- Getting startedm Digltal SLR Photogrophy
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Types of telephoto lenses

A telephoto lens IS a wise Investment and a good addition to your gadget bag. However. there are a number of
different types of 'tele' available, each with their own advantages, drawbacks and of oourse. pnce tags!
Why use a telephotoltelezoom? Have you ever found yourself too far where It IS ImpractICal to get nearer the subtecl-Ior example. timid or
ifflayfrom a subject !otalle a good, frame·filling picture? It IS often dangerous wildlife or sportll1g events. However. while the effect can be
frustratmg. but. the solution may be as simple as using a lens with a conSidered Similar to ITIOVing closer to the subject. it is not the same.
longer focal length. Telephoto lensesare designed to magnify distant Perspective and depth-o(·lield are altered through the use of long focal
subjects, bnnglng them Within photographic range WIthout the need for lengths, but providing you know how thiS will affect the scene or subject
you to physICally get closer lothe subject. This is ideal in situations you are shooilng. this can be used to your advantage.
Short telezoom
A fixed lens sillll/Y can', match the versatility 01 a zoom. Ashort leleroom
has a local rarwe of around 5Q.2OOnwn. They are available in a variety of
ditlerent ra~. for example 5O-l5Omm. 55-2OOmm and 7O-2OOmn.
They allow you to choose from a Wldevariety of local lengths al a traction
oIlhe cost cI buying individual 'pmnes' c:overing the same range. They
allow lor preose fTaming Without the need to alter shooting position.
HoweYer, a zoom's image quality isn't generally as high as a fixed lens and
bodget Ielezooms tend to be slow. Many have a variable maximum
aperture (ea V4-5.6) because the lens is a slop (or more) slower as the
Iorl! eod of the zoom's range. AIIhough budget models teod to suffer from
some lens aberratiOns. modern zooms offer increasingly good image
qJality and the best short telezooms are good ~ for use by pros.
Short telezooms are well suited to a wide varfety of subjects. including
candicts, nattJ"e, scer.k:s,actlOfl. andstill-Irfes. ln fact. rt isene of the most
uselul focal ranges available.
WHICH SHORT TELEZOOM1 There is a huge amount of lenses to
choose from in this zoom category. However. if you are on a limited
budget. cooslder the Sigma 55·2OOnvn V4-5.6 DC or Tamron
55-200mm 1/4·5.60i II. as both e.>ccellent value at under £100.
Super-telezooms Fixed telephoto

For an even greater A prime telephoto lens has a
magnilicatiootry a fixed focallell8th. While some
super-telezooms; 7o-3OOmm might coosider thiS a drawback,
and 8O-4OOmm are the most they are often IfIVOlIfed by
popular super-telezoom local professional photographers. as
ranges. but they cw-e available they are optically superior to a
with an even more powerful zoom. They cw-e available in two opticns: short
range. For example. Sigma and long telephoto. A lens under 200mm is
offer both a 170-SOOnvn and 3OO-8OOmm telezoom. However. this considered as a 'short' telephoto and is normally light and ccmpoct:. so
degree of magnification Is only required by a very small percentage of can be used handheld. Also. most boast a small filter thread size, making
photographers - ofteo those that shoot wildlife or sports. For the it cheaper to buy attactwnents. Short telephotos in the region of 85mm to
majority, a 7(}-3()()nm zoom will be more than adequate. as this is equal 135mm are ideal for portraiture. allowing phoI0grapher5 to wor1I from a
to a lO5-45Omm lens 00 a DSLR with an APS-C size sensor. distance that isn·t uncomfortably dose 10 the Sliter. This focal length is
Super·telezooms <We ideally suited to shooting birds and maranals also SUited 10 iSOIatll1g details in scenics. A focal length upwards of
and for taking frame·filling sports shots from distance. Do bear in mind 200mm is deemed a 'long' telephoto and are generally bigger and
that many super·telezooms have a relahvely slcm maximum aperture of heavier, makillt the use of a tl1pod essential. Other than pro models. they
VS.6 at their longest end. which can be restrictive when shooting in Icm also hlM! a slower maximum aperture. While those with fast maximum
light. Also. be aware that autofocus can prove a little slow and noisy 00 apertures of 112.8 or V4 afe best, they can cost thousands; so ooly pros
budget models. However, when you consider you can buy a 70-300mm and those with deep pockets can justify the price. Fast prime telephotos
for as little as £130. a super-telezoom is a great investment if you want to are bulky andJ-oeao,.y, but lor wildlife and action photographers. their
try your hand at actioo photography. qualitycan·t be surpassed.
WHICH SUPER TREZOOM?The Sigma 7Q-3OOmm V4-5.6 APO macro WHK;H PRIME LENS? For general day·to·day photography. a 200mm IS
DG is a good lens. With close·focusing abolity and a reasonable price tag a gOlXl, versatile focal length. Consider the Canon EF 200nrn f/2 .8 Ql'
of £160. The Canon EFIOO·3OOmmI/4.5 USM oostsaround f229. Nikonl8Ommll2.8 D IF ED. both priced at just under £500.

Getting Started In Di91taJ 5LR Photogrophy CHOOSING & USING TIlE BEST DSill KIT / 101
Anatomy of a telephoto
1) FRONT ElEMENT Fast telepholoswill have a large
diameter front element and jilter thread size. To prevent
scratches and dirt. oonsider uSlIlg a IN or Skylight filter
for adcIed protection.
2) MANUAL FOCUS RING These are normally towards
the front of the lens and are quile wide and grooved tor
gnp. It IS well worth focusing manually when you want
added preclSlOll.
J) FOCUS DISTANCE Many lenses have the focusing
distance scale marked on the lens's barrel, while
some of the hlgher-spec models have a focusing
distance window.
4) TRIPOD COLlAR Many 'long' te lephotos aredesigned with a
mount thai features a tripod bush at its base, known as a tripod collar.
This allows the lens to be attached 10 the tripod directly. providing better
balance and stability. Many are rotiltable, <llkming users to switch easily and
Quickly between horizontal and vertical shooting formats.
5) FOCUS LIMITER Some telephoto lenses have a focus limiter switch to
prevent the lens from focus 'hunting across its entire focus range. II a lens
is str~ l ing to focus, it will 'hun!' - going bock and forth from infinity to
the mmmlUm locus, To prevent this. the limiter switch restricts the focal
range that the au tofocussyslem will use
6) IMAGESTABllISAnoN (not shown) Camera shake isa major proolem with
telezooms. so many boast an integral stab1 lisation system to reduce the risk of blur,
7) INTERNAl FOCUSING (IF) SYSTEM (not shown) If you 're plaming to use filters - particularly a
pojariser - a telephoto boasting an internal focusing sy.;tem is benelicialso the leos doesn·t rotate.
U~focal lengths:Telephota;
The focalltfl[th of a lens - referred to in nYl1 - relates to a 35mm film SLR or digital SLR ernpIo>f1ng a
full·frame image sensor. Therelore. If ',06 DSLR has an APS·C SiZed sensor - as the majority do-then
you are effectiYety cropping the image and increasing the focalleogth of the lens. Our table lists below
the most popular telephotos and how the effective focal lengths change with different sensor SIzes.
200mm
200mm 300mm 320rrm 4O<>nm
300mm 300mm 390mm 450mm 480mm 600mm
4O<>nm 400mn 520mm 600mm 640mm 800mm
500mm 500mm 650mm 750mm BOOmm l000mm
55·2QOmm 55·2QOmm T2.-26Omm 83 300mm 88·32Omm n D-400mm
70·300mm 70·300mm 91-390mm 105·450mm 112-480mm 140·600mm
1OD-3()Qmm lClO-3OOmm 130·39Qmm 150-45Orrm 16D-32Omm 2ClO-6OOmm
8O-400mm 8O-400mm l04-520mm 120-6OQmm 12S-640mm 160-S00mm

Oh deer.
J~SSOPS
A./vKc for life
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CHOOSING & USING TIlE BEST
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DSLR KIT / 103
Equipment for close-ups

Many standard zooms boast a useful reproduction ratio of around 1:4-
quarter hfe-slze. This IS Ideal to get you started. but If you want to get
even nearer to your subjects. you may need to Invest in a close-up
attachment or dedicated macro lens. Here. we look at the most popular
and widely used options and cover the merits at each
6. 6. 6.
Close-up filters Extension tube Macro lens
Close-up filters sael'< 10 the fille!" thread of Extension tubes.are hollow rings that frt A macro lens is optimised for close focusing.
~r lens and work like a magnifying glass. between the 0IfT)er.I and lens. They.....ork t1t Vv'hile they are highly corrected to give their
OepencIing on the brand and Size. they can increasing the distance between the sensor and best results at da.e range. they cao also be lor
oost as little as tID! They are oormally 01 a lens, allowing the camera to kX:us closet' than general use ¥Id are popular among portrait
SIngle elemeflt construction and available in rJOmlal and increase magmflcation, They lack photographe~ At its minimum focusing
progressio.oe stJ~hs. stated in dioptres. + l any optics and so do not affect the image QUality distance. a dedicated macro lens Wlil normally
+2. +3and .. 4 are the most popular,althougha of the lens they're coupled With. makllll the produce 1:1 reproduction. They are available in
two-eIement +10 dioptre is also CNailabie. The image QUality superior to cIose--up litters. They a range of focal length: short macro lenses. In
higher the numbel: the nearer the lens can can be piXdlased individually or in a set of three the region of 50mm 10 7Omm. are lightweight
focus and the highe!" the magnification. lengths: 12mm, 25mm and 36mm. Their I~I of and compact, making them easy to use
Although they can be used in combination. magnification is calculated h'I dividing the handheld. However. at lheir maximum
image quality will degrade if you attach more alTlOU1l 01 elcten5lOl1 t1t the local length of the magnification, they cIoo't have a generous
than two at one t,me. Close-up fillers do not lens being used. for example. 25mm of working distance Therefore. this focalleogth is
affect oormal camera functions. so are easy to extension used with a SOmm stardard lens not the best if you wish to photograph subjects
use and well SUited to swing beginners a taste results in a 1:2 reproduction - or half life--size. which are easily disturbed, such as butterflies.
of close-up photography. Despite their modest To achieve 1:1 life-size, t he extension would need Generally speaking. focal lengths upwards of
price. they can produce excellef1t results ood to equal the focallenglh of the lens attached. 90mm are a better choice. They prOllkle a
being sosmall and lightweight can easily be Therefore, they are most effective when greater subJecHo·camera distance and make
used handheld without affecting stability. combined with relati...elyshort focal lengths. it easier to isolate)'OUr subject.

I04/ CHOOSING & USING TIlE BESTDSill KIT
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---
Inboductiontoftash
Using flash isn't as difficult as ycxJ might think. It's just
a matter of knowing what to do. 'Nhen to do it and hcJ.N
WEVE ALL BEEN disappointed when using a flash has failed tOcapWfe
the arrbenoe of a soene. This usually happens when we shoot in auto mode
with no real thought as to what we are doing or why. What we hope you'll
discover in Il1Is section of the guide is thallhe secret to good flash
photosraphy lies In USIng the full range of your camero's exposure modes.
and thinking carefully about how light from the flash - and from otheI"
SO\.neS - affects the final result
The result of a lIash-ht PIcture wi ll change depending 00 v.toether you are
usmg aperture·priorlty or program exposure mode, or whether you have auto
or sk)w·sync flash set. for example. This is because. by changing modes, you
are altering settings suc:h as shutter speed, wh ich in tum affects the amount
of ambienllighl that reaches the sensor. Additionally, flash modes can
command lheflashtofire at the beginning orend cf.theexposure, Either
option chaf'lges how rfIO',I ing objects will appear In the final photograph.
Wh ile all this may seem compl icated. il iSll'!. The beauty of digital SLR
photosraphy IS that you are free to experiment (and learn from you r
mistakes), and we recommend you do th is wh ile following our advice.
Take inspiration , try it out yourself. and adapt it wilh yoLIrown ideas.
Before long yoIil l be lISins flash aSB!1 everyday part of your photography-
rather than being afraid of it - no matter what yoorsubject matter.
Common flash modes YQu'll find on DSLRs

The way your DSLR and flash work together is governed by the flash
mode that you use. Here are the most common flash modes that you'll
find on your digital SLR and dedicated hotshoe-mounl ed flashguns.
~ When hghtleYels fall. your DSLRwili activate the built-In flash,
It calculates aperture via m metering. but sets a high shutter
speed to avoid camera shake. Convenient. but not very creatwe.
IE!!!!St9It uses a slower shutter speed to record ambient light
properly. Good lor I1IgtIt-tlme portraits where the mood needs to be
recorded too. but watCh for camera shake_
~ Stops a camelO from automaticallyengagins the built-in

fl ash. More useful than you'd think, especially when trying to shoot
low-light sceoeson a tripod.
... " . ". Your DSLR automatica lly calcul ates
the amount of flash needed for an exposure. Use this feature 10
increase or decrease the amount of flash oulput to your liking.
Jargon buster
»GUIDE NUMBER Anumerical measu-e 01 a flashgm's power. The higher
the number, the grealer the power. In manuaillash mode. divide the
Guide r-lumber t7t lhe carnera-to-sub!ect distaoce in meters to calculate the
required aperture lor a deoeflt exposure.
» HIGH-SPEED FLASH The ability to use your flash at faster stutter speeds
lhan the camera's standard sync speed. Very useful when trying 10 work
With 1~I-in flash outdoors in StnlY. higtI-oontrast c:oocitions.
»PAINTING WITH FlASH The pmctice of Iockrng open your camera's
shutter on a loll!; expost¥e, and then finng an dI-camera flash at your
subject InJltlpie lures from different qes.
» TTl Through the lens metering. known as TTl. is the WiJ'I in v.t.ich a
I~ and camera work together to properly expose a scene. The camera
measures f~1Xl output comll~ It-rougt1 the lens and tells it when 10 stop.
» WlRnESS FLASH Finng ¥I exterl'lCll flashgun without cables. usingan
Infrared transmitter or integral flash instead. Thiscan be very useM when
you're skilled enough to use multiple-flash set-ups.
»F\.ASH COVERAGE This relers 10 the area covered t7t the fla~un's
output. YOIil1 normally find focal lengths up to l8rrm provides an even flash
c:a.erage. wider than thiS and the cor~ start 10 darken off. It's worth
checltilll! what yot.r Ilash coverage is il you often st-ool group portraits
irdoors. Some hotshoe-rnounted Ilas~1XlS boast a built-in diffl.lSef panel
thai widens c:a.erage.

Getting Started m Di9'tal SLR Photogmphy CHOOSING & USING TIlE BEST DSLR KIT / 105
---------------
I, FlASH HEAD Can be rotated orflipped to bounce light offwalls

and ceilings. Most zoom to match light coverage lothe lens in use.
2) AF ASSIST Projects an infrared beam to hel p focus in dim light.
3) HOTSHOE The connection between camera and flash. Used to
trigge r the flash and commun icate data for TIL light meteri ng.
4) LCOSCREEN Snows the status of the flashgun. In thiscase the
metering mode, range. zoom settit)€: and f/stopa reall visible. Here,
we can see that the unit is set to TIL exposure mode for an aperture
of 1/10 alld a 24mm lens. giving a rangeol between O.6to3.lm.
5) BUTIONS AND CONTROL WHEEL Used to set advanced
features, like flash exposure contro l. metering mode etc.
6) FOLD-AWAY REFLECTOR AND DIF'FUSER The re1lector can be
used with the gun in bounce mode to direct a small ilrTlOUnt at light
towards the subject, The diffuser is used to disperse light over a
wider area when shooling with ultra wide-angle lenses.
7) POWER AND MODE SWITCH Turns on power to t l1e flasilgun
and, in this case. dictates how the unit beha\oeS when used
off-camera in wireless TIL mode.
Camera sets exposure. but Camera sets~posu re. 00t Camera sets exposure. but
raises shutter raises srKltterspeed to 0l'I0id raises shutter speed to avoid raises shutter speed to 0l'I0id
camera shake. unless camera s.hilke. unless camera s.hilke. unless camerashake.ooless
sboY· sync mode is set slow· sync mode is set. slow· sync mode is seI. slow·sync mode is set.
BackgJOlJJld may be dark. BackgrOUMrmy beda rk. Backg rolXld maybedark. BackgJ1)UM may be dark.
User picks aperture: camera liser picks the aperhJre aM Usersets aperture aM User picks aperture aM l.iserpidsapertureaM
cak:~ates flash exposure the camer3 selects flash camera sets srotterspeed to camera selects Iiash exposure camera selects flash exposure
accordingly. Shutter speed is exposure aO;rH"dingly. Shutter OOfredly expose acOOfdi ngly. Shutter<,peed aa;ord~ly. Shutterspeed
picke!:l to render ambient speed is ~miled to preYe!1l backgrotnl, up to the limited to pteYe!1t camera li iMed to preYenl camera
light correctly. Be aware c( camera shake, lIlIess maxmum sync speed. Risk shake, lllIess sIow-sync mOOe shake, uriess sIow-sync mode
camera s.hilke. sIow-syllC mOOe is selected. 01 Cilmera s.hilke in low light. is also sele<:ted. is also selected.
User picks shutter speed oM User picks shutter speed and User picks srotter speed and User picks shutter speed ond User picks silrtterspeed and
camera picks corresponding Cilmera picks correspondi ng camera pickscoriespondiog camera picks corresponding Cilmera picks correspondio:lg
aperture for ambient light. aper1 ureto~pose ambient aperture to expose arrtMent aperture to expose ambient aperture to~pose ambient
then calculates flash output light correctly. tr.en ~ght property. tr.en light correctly. then light correctly. then
accortlirrg to thisaperture . Cillculates flashootput calculates flash output cak~ates flash output cabJlates flashoutput
acc<mling to this aperture. accordi ng to this apertu re. according to this ilperture. aa:ordingto this aperture.
Allects both amtlient and Alleds both ambierlt and Allects ambierltlight AIIects both amllient and
flashaposure. flash exposure. exposure only. flash exposure.
Allects flash ~posu re only. Affects flash exposureonly. Affects flash exposure only. AIIects flash e;q>oSure only.

TaldnJllrnur
contr
first steps with
gflashexposures
As mentioned earlier. often the best way to use flash IS to balance the
flash exposure with ambient light. That way. the flash ensures the
subject IS well lit. while the background is exposed by ambient light.
The way to do this IS simple - expose for the scene as normal. but pop
up the Integral flash (or attach a flashgun) and let the camera handle
the flash exposure. This method is often termed slow-sync flash.
SlowoSync flash
This mode involves using flash wi th a shutter speed/aperture
combination that correctly exposes the general scene. The flash takes care of
the main subject and the longer exposure t ime allows ambient light to reveal
background detail. How you set slow-sync mode depends on the DSLR you
use. With Canon. use aperture -priority (Av), with Penlax select shutter-priority
(Tv): with Nikon and Olympus. press the flash mode button. select slow-sync
and use it with aperture-priQ(l ty (A) or shutter-priQ(ily (5). You·1 1find many
D5lRs employ slow-sync when you set Night-Portrait mode. The slow shutter
speed means a tripod (or other support) is recommended.

Rear-curtain ~
Rear-curtaln sync is also known as
second-curtain synchronisation and it's
well worth noting what it does. Normally,
when you take a shot using flash. the
flashgtn fires ngh! at the start of the
exposure (known as first-clJiain sync) and this is fine
for most uses. HO'Never', If YOllre shooting a moving
subject. especially with a slow shutter speed, you'll
find that first-curtain sync Isn't always the best
chOICe. That is because the flash freezes the subject
al the start of the exposure and their movement after
the flash has fired may be recorded by ambient light
as an unusual streak ahead of their starting posit ion.
HoweVY. by USing rear-curtain sync, this streak is
betiind the subject. which appears far more natural.
The difference belw ~ n first- and second-

curtain syncllronlsallon Is most obvious
looklna at th e IIghlltails of Ihe candles.

I
~. 000.0
Manfro tto 790 XDB Camera

Dust Aid Range Tripod + 056 Junior Head Metz 58 AF-7
Cokin Filters
GorillaPod SLR Mini Tripod Backgrounds The original square filter system
Crooked Imaging stock a huge selection of camera accessories, flash guns, lenses,
fi lters, tripods and tripod heads, batteries, bags, memory cards and straps ... Everything
you need to get started with your DSLR, and all supplied by the major brands!
Not sure what you need? We are experienced photographers and can help and advise
on all the products that we stock. Crooked Imaging is a family run business based in
Higham, Kent and offer a frie ndly, personal service.
Tel: 01474 824632 / w w w , c roo ked i mag i n 9 _co. u k

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-
DSLR KIT/ 109
How to use bounce flash Bounce flash with

built-in reflector
THE MAIN PROBLEM with usill! your camera's built-in flash (apat frem
its relallvely lOW pov.oer) IS thai it fires its output directly at the subject. so Many flashguns now ha\le a buill-in
you are always gOUlg to get II portrait illuminated by relatively harsh light. reflector. which directs a small amount d
winch is not flattering at all! There are ways around this.though, such as light towards the subject. ....mile letting
USing a flash diffuser. but the best solution IS to use a hotshoe-mounted the majority bounce off the ceiling. In tum.
flashgun and bounce the flash off a wall CI" reilir@. Mosl flashguns offer thiS helps reduce red·eye end offen; a softer.
Itws option, With some rotating side-to-side as well as flipping up and more O!\.elligtrt rompared With direct flash.
down , Exposure control is automali<: too. makir'€ the whole process Be aware that a bounce flash from aI:IoYe can
produce shadows under the eyes. so it's worth
very easy. Ne-.<ertheless. there are a few lips to ensure you use this
pomting the head to bounce off a wall as thiS
techniQlIewel1.
can create softer. more flattering shadows.
It's best 10 picII a surface 10 bounce off that is neutral in colour - white
is Ihe most rellectJVe surface (and also the most corrmon ceiling colour) ,
but you'll find a cream wall OJ( ceiling can illuminate )'OUr subject with a ceiling·bounce<l flash can otten exhibit shadows under the eyes - which
warmer cast. Also remember that you don', always have to bounce light is not a good look! Toget around this. check if )lOUr flashgu n hasa built-in
upwards onto the ceiling. If you are shooting portraits. a sideways bounce reflector that bounces some of the light towards the su bject wh ile
means that yoorsubject will be ht from the side. which can produce allowing the majority of it to bounce off the ce iling. If it hasn·t youcan
flattering results by casting soft shadows across the face. lake the DI Y approach and blilid a make"shift reflector. To do this. stICk a
Shadows aren't always a good thing though. Portraits taken with small piece ofwhite card in ploc:etodothe same job.
1J1·:tt=:Mf',W 111;,.,1. 11 H@_

The eame<a'S TTL A mlJ'eh better result.
flash metering has With the tblht being
done I good lob bounced 011 the
with the flash c:ei~n&. the flash ~
eXpOS4Jre, !MIt the more dllf\lSed . The
quality 01 the ~atrt result 15 a softer
lrom the dired flash effect It!at 15 fat
is too Iws/I, whId!
is not it flatterinll
lo0Io; IIII' our sub;eel
-,.......,
better than the harsh
direct flash.
4) Baunco RalIhoti
acoloursurlace
The flashgun's !MIilt-in AlWilYS try to use
reflector sends some awhlte (otcream)
01 the light directly wrfatewhen
towards the subje<;t, bouncing IIM h as
wtllle letting ttle the light picks up
majority of the flash the tone oIa
bounce off the ceiling. coIol>I'I!d waRand
The technique gives will'l!S~ in pictures
the best of both worlds. with a horrible cast.

1I0/ CHOOSING & USING TIlE BEST DSLR KIT - Getting startedm Digltal SLR Photogrophy
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Balancing flash with ambient dayUght

WE'VE SEEN HOW fill-in flash works. WIth a weak burst 01 flash ferTlOYlflg reduce the amount 01 ambient light contributing 10 the exposure by setting
shadows in daylight, but what about golflg the other way and using flash in a negative value to expclSlI"e compensation. On CalOI'I OSLRs this is all you
daylight as the main SOl.IIt:e of illt.minalion. while reWcing the level 01 need to do. as EC doesn't affect flash. On Nikon DSLRs it does though, so
ambterlt light ThIs tectvlIQue is otten ~ lor portraits. where lighting up a you push the flash pCIW(:f back up by applying ...1 stop to FEe. This will
subject and setting it against a dar1l background can add drama. There are (\ar1(en (underexpose) the bad<ground. bulleave the subject, which is lit by
a few wafS 01 achieving it easily wJth )Wr digital SlR flash, unaltered. Alternatively. try usmg your camera's manual mode: meter
The easiest way 01 balancing daylight and flash is to use your DSLR's the scene and dial in the required aperture and shutter speed. The flash will
Exposure Compensation (EC)w.th Flash Exposure Compensation (FEe). output lor this aperture correctly, thris to the TIL flash metering, so all
Different brands of camera do this in slightl~ different ways. so it pays 10 you need to do to darken the background is use a faster shuttw speed (but
consult}<lUl" cao:nera's manual, but the general principles are the same. you are limited how high you can go by the flash sync speed). Your
With )<IUr flashgun SWitched on (or your built-in flash popped up), vIeWfinder exposure scale telling you the extent of the underexposure.
Adding drama by using flash in ggyjight

For a pet portrait with a differer.ce, M<rtty Graham decided to photograph
Jerry, hiS two-year old English Springer Spaniel, using flash balanced with
daylight. With acombination of e>: posurecompensalion arld flash
exposure compensation, iI's possible to adjuslthe brightness of Ihe
daylight-l it backgrourld and flash-litloregrourld tola l l~ independentl~ of
each other. Although Matty used his flas/l off-camera. this isa technique
that wor ks just as well with on'cao:nera flash, or with your DSLR's pop-up
flash unit. Juggling daylight exposure, llas/l exposure and a fidgety dog
was always gOing to be a cha llenge. M<rtty mounted his Canon [oS 400 on
a tripod and tripped it with a remote control. standing to one side wi th his
flash so he could attract Jerry's attention and get her to look the right way.
Having the flas/l coming in frem an angle would provide some good
sculptural lighting thai would give a feeling of depth. too. m'lIl l pul my Canon ros 400 ~ Setti~upmySpndlite
and Sij:ma 18-55mm 112.8 on a SBOEXII flash IS easy; set it toSlowe
tripod and positi~ them low mode a nd lhe ETTL nash metering
down for a dr.tmalic viewpoint. I'm lakes <:are d l l'M! rest. TIM! camera Is
I~"i my nash with a wireless set 10 manual ex~ mode and
inlfired trarrsmffier and liring lhe I'm setting a reading for the
camera with a wired remole eonlrol. background d Ul2Ssec: ill fI ll.
~ Using spol metering. I took an e xposure reading from lhe brightest

part of the KeRe (the $I(y) and locked this in, again using manual mode:
1/2SOse<: al fI ll. This is a full slop darke r, btJllhe fl ashgun will still expose
fot fIll so Ihe foreground should stay the same.

112/ CHOOSING & USING TIIE BESI' DSill KIT - Getting startedm Digltal SLR Photogrophy
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Painting with flash

PAINTING WITH FlASH is the prctCticeot Iockinga camera's shutter open lor a long eJCposurewhlle
someone selectively illuminates parts 01 the scene by repeatedly firing a handheld (hotshoe)
flashgun ~8 the Test button. It's a techn~ that ideally suits shooting buildings at night
Painting with flash is a vety flexible and creative technique. You can fire the flash as rmny times
as you like. from any angle. Coloured gels or filters can also be attached to the flashgun, to change:
the cow of the projected light to add ITO'e interest. Night scenes of church graveyards are popular
subjects 10r this technique, WIth the photographer lighting the church and headstones with
different-coloured gels over a long exposure. resulting in an unu5Uill. rnJlti-co!oured image.
It's worth arriving at the scene at dusk andgetting set up while there isstill enough light to allow
you to pre·fOOJs 00 your subject and see what you're doing . You'll need 10 fOOI..Int )OUr DSLR on a
sturdy tripod and fire each exposure USing a remote release or your DSlR's self-tnner, The former
has the advantage of rec!ucing the risk 01 camera shake whil e also giving you time to get into position
with your flashgun, Use aperture-priority or manual mode and choose an exposvre 0/ at ~t ten
secood!i to begin w ith. Depending on your initial resu lts. you may want to increase the exposure
time. If yoo can. take a friend aloog too. to help fire the shutter erto run around during
the e~posure.l iring the flashgun! The key thing to remember is that you must not point the flash
head towards the camera. If you do. a hotspot wi ll be recordedoo the image, potenti ally ruining
it. II 'salso importall t to keep moving when in front of the lens, or you 'll be recorded as a ghostly
figure. Ensure you lake plenty of spare batteries. too. as the power wil l soon start to depletedl.le to
lhe higtl number offlasl1 bursts you'll fire,
There is lots of trial and error involved wilh this technique, but it's worth setting Ihe flash 10
manual at 112. V 4 0r lI8power, toaHow you to fire off more bursts indifferent positrons around the
scene. Leave it at full power and you 'll get less flash bursts due to lOllger recy<:lrng times. Theone
thing about painting with flash is thai it IS very hit·and·miss and no twoexposures will ever be the
same. With practice, you 'll be a~e to work out lhe exposure time you should sel and lhe
appro.lrnat.e number 01 flashes to fire fer each frame. Daniel Lezano headed down to Rutland Water
to paint with flash using a canon EOS 40D and Canon Speedlrte 430[X II.
~ I'm L/$Ing aperture-priority mode and setting the apertu rt! to fll 6, I1I!'l'r:fI I'YI! alrt!&dy sellhe flashilun 10 manual and seletted 114 power. This
whit h give5 an expos urt! time of lSseconds. 1sel a delay of 20 se«lnds via rt!tluo;es the recYtllng lime, allowrng me 10 move around and fire mort! flash
a rt!mole rt!lease 10 give me time to gel In position with my flashgun, bursts than I could iflhe flasha;un was sel to full power,
~ Here)lOU can see me firing lhe flash. ~ By m""ing around durlna; 11M! exposure, ~ A longer e~posurt! of 20 5e<;Onds ornoans
iI)IOU don't move around durin, the e~posurt!, I'm 110 longer visible. I focL/$ most of my flnll mote lime and mort! flash bursts to illuminate a
you can expect to see YOUl'$etf appear as a bursts toward the ceiling 01 the semi--e;'I'Cular wider area of the building. BoJt I'm careless with
gIIoslly blur within the scene. area at the front of tIM! building. my aim, resulllna; In flash hotspots.

114 / CHOOSING & USING TIlE BESf DSill KIT
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Studioflash outfits
While newccmers rnayflnd stuchoflash Intimidating. the
truth IS USing rt 1511 1as diffICUlt as yoJ m~(trllnk
ALTHOUGH THERE ARE various studio/lash kits available. ranging in
price ffom under £200 10 thousands. the fact is most 01 them have OJery
sllTIIlar teall/res and allloUow basic: principles of operatiOO. A
studiollash head is designed to lire a burst of flash at a given power
sett1!l8 - the elrtra functions and acoessories are all geared to allo.v the
photographer more control d the flash output learning hI.m to oontrol
a studioflash system can talle years of experience to master. but
thankfully. setting to grips with the essentials is relatively easy. Much
like USing ambient ligt1t.lhe key factor behind success is learning how to
control it so your sublect is Iii the way you'd like il to be. The big
difference between studio and ambient light is the level of control you
h<llle - you 3re able to fine-tur1e the lighting's intensity arKJ direction, as
well as the natLlre of the li ght fCiliing on the subject - far more t han you
cou ld ever achieve with ml\urallight. This makes it an incredibly
versatile formol lighting, but. obviously. one that does need time to use
properly. Here we cover the basic work ings of a studioflash system arxl
how the various attachments. such as soltboxes and brollies, can be
used to control how your subject is lit .
.Ana!Q!m>' of a studioflctsh head

This Illustration is based on the rear of an Interfit head, but most brands
will have a silTlllar set·uP. with easy to use and well-labelled controls.
1·,4·,'IIItiii)
You 'll normally fi rxl controls on the
rear of the head, bul some models
have them on the side, 100.
1) SYNC SOCKU Most sludioll;tl;h
ouUits ate $IIpplled with a sync lead.
which connec:ts your eamera to your
lIash lleotd, to allow the flash 10 lite
when)'O&l ~s tile shutter button.
2) SLAVE COL This sensor detects
any lIash output. so if your o;;omera Is
connec:ted to one NI!Irt in • multiple
5eI-uP. its output wTI11rigget the
~e uM on othe< ~li:hls. makinli:
them fite losetlle,.
3) POWER SlTTINGS A key Ilffittiltiii)
function rA studioflash heacls Is
beinli: able 10 otdjust the ~r Removing the lighting attactvnent
output Ba5.lc heads have fixed Will usually reveal two bulbs. each
_...
settinp ea 110 power, ~ power etc. with different uses.
while most itdY.....:ed heads have 5) MQDElUNG LAMP This
stepless variable sell inp. tungsten bulb remains switched on,
4) STATUS UGKTSIBE£PS Many to .11_ you 10 compose the image.
lleads tIave lights that Indicate wilen tows on the $IIbjec:t and predict the
.... ...... ... MIfi:iMl IIM1leffecl
; I

IJghting accessories
Your studloflash system IS only as gJOd as the lighting attachments and accessones
FLASH HEADS ARE designed to produce 11 high·power burst of light. bu1 As well as lightmg attachments. other accessories
it's the lighting attac:hmenllhat you have fitted to it that dictates the can play a big part in the quality of your final results.. or just
effect of the light reaching the subject. If you've ever looked into buying make the process a lot easier. For II1Stanoe. 11 flashmeter is useful to
11 studioflash system. you'll no doubt have seen varicus types 01 identify the correct aperture you need to set 'fOlJf camera to for a perfect
attachments available. each having their own Wily of affecting the exposure and a remote trigger is also handy. Which background you use
intenSIty and nature fA hght. While most basic kits are often supplied also affects the final unage: there are 11 variety available. from plain to
with II brolly or two and 'spills', there area huge number of optional coloured patterns. to paper rolls that fit on frames and collapsible
accessories available and getting to know which are best suited to your backdrops. A rellectorshould not also be overlooked either. it bounces
needs is important. In our COIl1pi'ehensive comparison set below, we light back onlo the subject or background as an alternative to USing an
have used the most typical types of attachments available for most additlonal lignl. Silver is the most efficient white provides a softer and
studio kits loglve you an Idea of howeacl1 affects the light. more natural effect wtlile a black reflector can accentuate cheekbones l
~ A
rea' favourite.
as it provides a
very diffllSed
effect that's
Ideal/or
lI attenn &
portnlils. The
larger tile
sofIbox.lhe
.otter the liaht
il prodllcn.
The maloritY
are $quare.but
5OI'JIeare
rectarIJI""'r
and thin (also
ca.edstnp
ti&llb).
l!&iIiillili
Beaut)' dishes
are otten 1IWd. Otten suPl)/ied
is yOII may withthellash
expecl, lor lIead. tlley help
'''~fand
'beauty
di rect fight in a
eoncentnlted
make-up 5hots. beam.Wil h
They give o/Ia portnlits.
very lIarsh liaht they're use/ul
in the centre. lor ligfllina
whiell enhances backgrounds.
mak ...... up.but but quite
also hi&hliahts harsh when
Ilaws 01'1 a aimed ata
subjed's skin. subJecl's /ace.
iiff=
These provi6e
a sott-edged
circle of II&ht
.. nd ;lre a
"""'M to ..
altemillive
$lloot They act
in .. similar way
to .. spotliJtll,
butpnMde ..
wider anale
~
are ....... bble
witll various
si~es of &rids.

116/ CHOOSING & USING TIlE BEST DSill KIT
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Studio set-Up: One light

To get tognps with studiO lighting. try 3S1mple set-up With
one fight: here are frve techniques to get yo.J started
If you want to learn how to control your lighting. you're best off starting
with lust ooe light. One light is lTlOfe than sufficient to produce some
stuOOlng results and many great photographel5 still use a single head
for their wor1I. After all, ~ we only have a single light source - the
sun. thIS set-up is very easy to control and the smallest adiustmenllo
the light on you' subject has a clear effect. This forces you to line-tune
the light's angle and diffusioo method. And while you'll only have one
source of illumination. you can also use reflectors in your set-up to
bounce light and l ill in any shOOO'NS.
The set 01 images below sho'Ns what happens wt1eo you position your
single light at different heights and angles - as you can see, irs crucial
that you learn the cIos and don'ls 01 how to set up your single slud ioflash
head to avoid some o/the unllattering results shown below.
As mentioned earlier, you need to set your DSLR to manual mode and
set it to its flash sync speed { if you don 't know it, I.ISe 1/125sec as a safe
bel or. refertothe user's manual}. The aperture is determined by t he
meter reading you take, which is easytodo with a one light set-up. With
the sync lead from the light attached , hold the meter in front of the
subject·s face (lnd press the button to lire the flash (lnd t(l ke a reading
By adjusting the poYIef setting on the flash head you can effectively
change the aperture you WQ(k with too. Add power to set a smaller ONE LIGHT AlI\o'lKl need to i<!t started 1$ your DSlR and a single flash head,
aperture and reduce power touse (I wider aperture. With a bit of pqctlce, you w~1 soon lind your5e'If gelling greatl'llSlJlts!
OJ' 'I,,.I,,I.I.!..,. i With the I1jl.l.ft1tftffl PI..:lng

light positioned hiah aboYe t he fiRfotlower than tile
the model 's head, you ~ a model's head, pointing
more naturaHooklng " ght, upwarcls will etadlcate any
thOtlgh shadows can unsightly shaclows under the
bKome harsh under the nose and chin. for best
nose and chin. for the best results get the model to look
results. gclthe model to down towarcls the light.
look toward s the light. You which, as you can SH also
could also ask her to hotd a makes catchlight. appear In
reflector to lill the shaclows. the subj.ect's eyes.
ih',' ,f fiitf!f.d Place " One • re11ectot

tile light to either the lell or By holding a reflector close
right side of your model's in to tile lace, on tile
face for a strong, directional opposite side from tile light,
Ngh!, which wiM k~ half of you will be able to even LIP
the face in shaclow. To any harsh shadow$, mIlCh
irK;rease \'OIlr chances 01 like L1sing iI second llead.
capturing the catchllghts in The closer you place it to the
~our SLlbject's eyes. It 1$ model, the stronger the
Important to make !llJre lhe reflection will be.. (ThoLIgh It
light is far enough forward. helps 10 have an nslstanl !)

_ Getting Started in Digttal SLR Photogrophy_ CHOOSING & USING mE BEST DSLR KIT / 117

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DSill KIT 1119
DIGITALSLR
ACCESSORIES
Over the following pages, the experts at Digital SLR Photography highlight
camera accessories that represent the best value for money
The secret to the success of digital SLRs is undoubtedly the extensive range of accessories available to help you make the
most of your photography. At the heart of a DSLR system lies essential gear such as lenses and flashguns. as well as useful
accessories such as tripods, bags and filters. Because camera shops are packed with so much kit. it can leave you
confused as to wha t products are the best value. Over the next few pages, we bring you a selection of the most highly rated
accessories from the leading brands. but first, here is SQme useful buying advice to help you make the right choice.
Gaclgel bags and phoIo bac:kpacks Tllpods

'1'00 should protect your DSLR outfi t by keeping it stored in a Quality Buy the best tripod you can afford: you need one that offersexcellenl
photo bag. There are twomam types available. the gadget bag and the stability. Tripods come in various sizes and while some are supplied
backpack. The former has easy access. so you can get to your gear ..... Ith a head, with othefs the head is optional. Aluminium tripods are
more Quickly. while the backpack evenly distributes the weight across !deal lor studio-based worII but If you plan on u~ng it outdoors. look to
your back. making it a better choice il you plan to carry your gear for Invest in a carbon·fibre model as they're lightweight but just as sturdy.
long periods of lime. The/ollowing factors are worth COOSIdering:
COM rORT: Ensure the bag has thick straps to improve comfort and try
the bag out before purchase to ensure you're happy with how It leels...
Features
CAPACITY: Has the bag enough room not only for your current outfit 1) HEAD Thefearevarious
but for any additions 10 the near future? Buy a bag that has more space tnpod heads aVclIlable. but
than you currently need, but don·t buyonethal's too largeas if you fill Ihfee·way pan and tilt is the
it. it will be too ileaII)' to carry comfortably. most poputar for general use.
PROTECTION: Check the bag's padding and ensure the internal Sometripods comewrth
dividers are well padded and adjustable. Are there enough pockets and Interchangeable heads. When
compartments 10/" your needS. and is there a weatherproo1 cover to choosing a tripod, attach }'OIX
OSLR securely and ensure the
protect the contents from the elements?
head is free Irom movement.
2) QUICK RELEASE PlATE
Theseal lowyou tOQuick ly
Features attach and detach your OSLR
1) STRAPS Clleck to see if the stra ps to and from the tripod.
are adjustable. padded and wide. to 3) LEG LOCKS Most tripods
stop them from cutt ing into your feature 'clip' locks to secure
shoulder. Also look 10/" waist straps. the heiShl. wh ich are easy to
2) PADDING Some bags have use and provide a firm srasp.
pressure padson the back. which 4) LEG SECTlONSTnpods
r
take a lot of the strain out of 10IlI! with three leg sections or less
journeys and spread the weight of the tend to be the most sturdy: the
gear over a larger area. more sections you have. the
3) STORAGE/CAPACITY less stablethey can beccme.
Too much empty space will 5) SPIRIT lEVELS useful fO/"
unbalance the bag, which is bad for landscape photography in
}'OIX back. LOCItI for a bagwith particular. many tripods
adjustable dividers... feature built-in spirit levels.
4) WEATHERPROOflNGlRAlN but if not. }'OIX local photo
COVER Most bags are weather- store should sell one that slots
resistant or weatherproof. and others on to your hc:W1oe.
ha\IC all·weather covers included. 6) BAG HOOt( Sometnpods
Makes sure ZIPS are also hidden Of at have a hook on the central
least weather-reststant. coli.Km to h¥lg a bag from.
5) LAPTOPCOMPARTMENT Usmgabag's weight can add
Make sure the laptop CXlIl1P<rlment IS stability to the tripod, which is
big enough for your computet". as they useful in Wlndyc:onditlOflS.
do vary in size. 7) TRlPODFUT Sp!kesare
6) ACCESSORY CUPS Some bags good lor grip outdoors but can
allow you to attach further bags. scratch llooring. Rubber feet
tripods and monopods. but some are offer good grip irxioors and
only compatible with the outside and are the best
manufacturer's own clip systems. choice for general use.

Che.ter 9 BrIdge Street Row
Tel, 012 ..... 32C!1531
c:toe.Wrfleid 1a 5ol.Ch Street
Tel: 0124$ 21188t
CheItetoh..... 10-12 The Promenade
Tel : 01242 51M!111
CoIdtHter 12 8d l.ale
Tel : 01208 573444
Detby 17 Sader Gete
Tel : 01332 348&44
ElIeter 17,( Fore Street
Tel : 01382 270024
f'---" 135 West SIreeI
TeI,01328 23$441
M¥N;:....ter 37 Pari<er SI.

Tel: 01151 23e 5818
NorwIch 12Trnba" Hil
Tel: 011503 1512537
NottIngham 7 Pelham Streel
TeI:Oll!1N1748e
PIIIgnton 71 ~Road
Tel: 01803 553077
~ 10F~~Gate
Tel: 017!12 H48N
Portsmowth Gasc.ades Centre
Tel: 023 82839833
Reeding 7 Stalion Road
TeI : 01188582140
s.a.bul")' 6 o..een Street
Tel : 01722 33!1438
Southemptod 10 Hi\tI Street
Tel: 023 8022 1!107
SoutMmpton 11 CMe Centre ReI
Tel, 023 8033 1720
Taunton 6 Ncwth Street
Tel : 01823 2S8lI55
Wlndoeet ... IS The~
Tel, 01"2 81M1203
Wofont..- 8 Pl.wrcl StreeI
Tel : 01005 22314
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_ _ I'OU" _ _ IQr~"
_~.IiI*W~

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CHOOSING & USING TIIE BESf
-
DSLR KIT / 121
Our selection of great value lenses

We've tested many lenses over the years. so we have selected a few we think are worth considering. We've
focused on a selection of SIX lenses from Independent brands that offer great value and high quality optics
SIgma 10-2Ommf/4-5.6EXOCHSM Tanuon 10-24mmf/3.54.5DiIIID

www.lntr02020co,uk
MAIN SPECIFICATIONS MAIN SPEClnCATIONS

· Lens oonslruction: 14 ~ements 11'1 ten groups • Lens construction: 12 elements In nne gr(4)S
• Aperture range: 1/4-5.6 101122 • Aperture mnge: 113.5-4.5 tofl22
• Filterlhread: 77mm • Filterthread: 77rrm
• Oimensions: 83.5 x 81mm • Dimensions: 83.2 x 86.5mm
• Weight' 470g • Weig ht. 4068
• Fittings: Canefi. Nikon, Ptnta~, SIgma and Sorry • Fittings: Cano!1. Nlkul. PeIlt~x and Scriy
This ultra-wide zoom 15 a rea l favou ri te with landscape lovers Tamron's U-l8rnm has proved popular tor years. but this addition,
thanks to its compact design and sharp opti cs. Like all Sigma EX With its very Wide focal length range. IS even more versatile. It's
lenses, Irs well constructed and It feels solid. The barrel sports compact and lightweight With good handling and an internal
manual focus ring and the optICS deliver high sharpness fOCUSing system that will p~ filter users. Optical quality is good,
throughOut the range Wlth slight evidence of chromatic aberratloo thankS to the inclUSion of asphencal and low dispersion elements.
TamronAF55-200mm f/4-5.6 IDDiII TamronAF 18-27Ommf/35-6.3 Di lIve

wwwlntro202D.CO.uk
MAIN SPECIFICATIONS MAIN SPECIFICATIONS

· lens construction: 13e1ements In rre groI.4)S · lens construction: 18 elements In 13 groc.v.;
• AperUn range: 114-5.6 to V32 • Apertlo'"e range: V35-6.3 to fI22
• Filler thread: 52rrm • Filtedhread: 72rrm
• Dimensions: 71.6x83rrm • Dimensions: 79.6xlOlrrrn
• Weight 300g • Weight: 550g
canon
• Frttings: and N,kon-,,---_ _ _---,_--Cc--'-= ____- • Fittings: CMon.:nd NIkon
NOfmaily sharpness fa lls ott as you zoom through the focal lengths, The Tamron IB-27Omm boasts an Incredible 15x zoom range. gIVIng
but thi s lens retains good sharpness tlYoughout lis wide zoom ring an effect ive foca l length of 2B-419mm. making this suitable for
ISvery easy to use. The aulofocus turns In a good performance- almost every type of subject. The addition of Image stabilisation
it's not t he qUickest or qUietest but is accurate and performs well in gives it a four-stop benefit. so it can be used handheld in low-light
low light It's light and compact and Isa great budget telezoom. OOndl\ionS or at longer focal lengths. With a reduced rISk of shake.
TanuonSP AF 6Ommf/2 DiIILMacro SIgma 120400mmf/41Xi.6DGOSHSM

www,lntro202D.co.uk
MAIN SPECIFICATIONS MAIN SPECtFlCATIONS

· lensconstructioo: 14 elements 11 teo~ · Lens coostruction: 21 elements
• Aperhxe range: V2 to V22 In 15 groc.v.;
• Filler thread: 55mm • Aperture range: fl4.5-5.6 to fI32
• Dimension$: 73X&:lrrm · Filter thread: 77nm
• Weight 400g • Dimensions: 92Jc203mm • WeIght t640g
• Fittings: CMon, Nlkon and Sony • Fittings: CiYIon, NIkon. PMtax. s.gmaiY'd Sony
Desigred for exCluSive use WIth DSLRs With APS-C sensors. Despite Its focal length. this higtl ratio zoom is relatively compact
this hghtwelghllens holds an ace card In the form of its maximum and Includes an Op\ical Stablhser (OS). a rear focusing system and
aperture of 112. whICh gives a couple of ~g advantages over Its HyperSoniC Molor (HSM) for qUiet. high-speed focusing. Its
rtvals. As well as a brighter viewfinder Image, it creates a very minimum fOCUSil"@distance is l 5Ocmwithamagniflcatlonofl:42
shallO'W deplh-of.fl eld - highly desirable by macro photographers. - something that IS sure to appeal to nature photographers

122/ CHOOSlNG & USING TIlE BEST DSill KIT- Getting startedm Digltal SLR Photogrophy
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G1ottos SlikPro
MIL9351Bcmd 340DX
MH5211Head
• Length{cIosed): 64an • Length (closed): 49cm • Length (closed): 57cm

• Number of leg sections: tmle • Number 01 leg sections: lOIS • Height (legs extended): 146cm
• Height (legsexteoded): l59cm • Height (legs extended): 147cm ,Number of leg sections: ttree
• Type" Head: IITee-way pan .;nd tJIt • Typeof Head: fuee-waypanard tilt 'M a~lmLm load: 5iI8
• Weight: 2100g • Weight: 1580g , Weight: 22508
OUITIT
£180
This att ract ive tnpod is very sturdy fO( its This is one of the smallest tripods we've This aluminium tnpod is lightweight but
price, with solid aluminium legs and included and comes supplied fitted With its legs are very sturdy. The fl ip locks are
foam Insulators to keep a users' hands a head, Its aluminium, magnesium and secure, and there are Var l-p05ll1on locks
from sticking to the tnpod on cold days. titanium alloy body makes it light and to keep the legs stable at different
The three-way head is easily controlled by deceptively solid. The legs have foam settings. The central column can be
two levers. and features three spirit levels insulation and the locks are plastiC but positioned hori zontally for macro shots.
in addition to the one on the legs. so strong The head is a three-way pan and without remO\llng It from the legs, making
there's no excuse for wonky horizons! tilt. with two levers for easy control. There the process fast and easy. The lack of
This tnpod has a lockable rotati onal is also a panning lock, and a lockable parning handles may not be to
central column. whICh can be rerTlO'lled central column for added versatility The everyone's taste. but the head is so
and re-Inserled horizontally or inverted, Iripod is sturdy With three leg sectlOOS versatile - able to pan, till and swivel in
whICh IS ideal for doing macro extended. but struggles to reman stili in iust about any dlrechon - that it more
photography. The tripod comes with its Windy conditions when ali four sectlOf\S than rnal<es up for it. SPirit levels can be
own tool kit and a hidden bag hook are used. DesIgned for looc!s up to 3kg, It found on the head and central colulTVl
underneath the central column. should cope With most DSLR outfits. brace. and there's a bag hook on the legs
Veldlct Veldlct Veldlct

A good SIZf.'d. hl !o: hly adjustable tripod A nlCc tripod that offers good stability Reasonably light. strong and With
that would be Ideal for macro and and would prove to be a!lood chOice some great features A better chOice
landseJpI.' photography for travel and outdoor use for outdoor usc than the Glottos
~ Build ***** Build *****

Featu~ ***** 5~~___ **** ~atures *****
St.:lbih **** Stabill ***** Stabjll *****
Value ****
Rating ***** Rating ***** Rating *****

Getting Started m Di9'tal SLR Photogmphy
---------------
CHOOSING & USING 1HE BEST DSLR KIT / 123
Trlpod:VeIbonShel]XI 435 Trlpod: Gtotk>sMT8246B

Guide ce: £180 Guide :£190
• Length (closed): 53cm - l ength (closed): 65.5cm - length (closed): 51cm

• Height (legs extended): 161cm - Height(fegs extended): 178.5on - Height (legs extended): 14&rn
• Numberof leg secUons: l!'roe - Numberof leg sections: three - Numberof leg sections: lOll"
• Maximum load: 3kg - Maximum load: ?kg - Maximum load: 3kg
• Weight: 1488g - Weight: 315Dg - Weight: 1375g
0'"'" oumr 0'"'"

£220 £245 £260
15"111 .11;,1.,'
This alum inium tripod is also very light. The build quality of this die-cast This tripod is exceptionally light lor its
but is sturdy for its size and weight The aluminium tripod is excellent It is very size. yet very sturdy. however the
legs have strong fl ip locks, and an sturdy and very reassu ring , It features the maximum load may prove restrictive for
interesti ng. sliding m ulti-angle leg lock. same dual positioning central co lumn as those with heavy OUtfitS. The rubber ised
which allows users to set the angle of the the 190XPROB, as we ll as a splnt level. twiSt locks are secure With the three -
leg very quick ly. The centra l co lumn can bag hook and foam leg grips. The legs px;itlon angle locks ensuring the legs
be spilt for macro pmtography, and is each have a four-position lock, which don't SliP, which is reassuring to those
revers ible tor low level work. The makes it versatile and secure. You 'll either using expensive kit. The ce ntral co lumn is
three-way pan and tilt head IS versatile, love or hate the ball gnp head, but we reversible for low level, macro shots, and
and can be easily adjusted into Just about found it quick and easy to adjust , getting hasa bag hook The ball-and-socket head
any position. The three spirit levels are your camera into the r ight posit ion with is also very secure, and is easy to
also very easy to see from all angles, and the m inimum of fuss. Not having to manoeuvre into just about any position
wou ld be very useful to landscape tighten levers saves time, and reduces the It has a variable frict ion control, allowing
photographers and those to whom r isk of knock ing the head out of place, the user to make precision ad justments
preciSion IS Important. though It also has its own spirit level quickly and easily
Verdict Verdict Verdict

A good chOICe lor travel. but not Ideal An excelienttnpod that would SUft all Value and versatili ty make thiS a great
for use In strong Winds, or for those but those who demand the weighty chOice for most types of photography
uSing a heavy DSlR OUtfit benefit of carbon fibre Ocllllltely a best buy
""wn.
BUild
_____________*****
_*__*__*__
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_ _ _ _ _ _ _*
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Stabll **** Stabll ***** Stablll *****
Value **** Value ***** Value *****
Rating **** Rating ***** Rating *****

--- ....... looa~
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Getting Started in Digttal SLR Photogrophy_ CHOOSING & USING TIlE BEST DSLR KIT / 125
Useful accessories
As you\/e no doubt already discovered. there is no
shortage of optIOnS available for those looking to
expand their digital SLR system. Here we rover a vanety
of accessc:rles that you should ronsider
I ) MEMORY CARDS The pnceotmemorycards has fallen to such a
low that there is little excuse for nol having a small collection of them
in your kit bag. We recommeod thai you ifllleSt in two to six 4GB
cards, and that you ensure they're from a reputable brand like Lexar
()( SanOisllio minimise the risk of any faults.
2) PERSONAL STORAGE DEVICE If you plan to travel for any longer
than a weekend , you'll need some form of image back-up. A laptop's
the Ideal choice if you want 10 Phol05hop your images whi le away, but
for most. a personal storage devk:e is a better optioo. Choose a model
with a large LCD monitor so you can review and edit images. The
Jobo Giga Vu Evolution and Extreme models are excellent, but our
favourite is IheSOGB Epson P·6000,
3) LENS HOOD As well as preventing flare from the sun. which can
ruin picture Quality, a lens hood also prQ\lides suitable protection lor
your lens in the rain. SO leave It litted at all times. Watch out for
vignetting on ultra wide'angle lenses.
4) REMOTE RELEASES Long exposures mean camera shake is a real
problem, Using an electronic remote release helps minimise camera
movement when lirmg the shutter. The type you'lI need depends on
the OSLR you own, so checK your instruction book or the
manufacturer's website. Prices start at around £20.
5) CLEANING KIT Keepoocor even two lens cloths in your gadget
bag. As well as being perfect for cleanmg dirt marks and dust lrom
your lens surfaoes, they're also ideal to Wipe iPIaY raindrops, Two
cloths allow you to use one just for moisture and heavy soiling.
6) HOTSHOE SPIRIT LEVa Avoidlnguneven horizons is relatively
easj, Use a tripod With an mtegral spirit level or slipacheap and
cheerful SPIrit level onto your hotshoe. Alternahvely, buy a $eculine
Action level (WNW.intr02020.00.\AI) and use its colour LEOs and
audible beeps to help you straighlen up yoI.Il" camera.
7) SPARE BATTERIES Mal<esureyou takeyourcha~ <maywith
you and charge your batteres the night before. If you can. carry a
spare set with you. II your OSLR uses a lithiulll'ion cell. as well as the
branded battery. there are various options too. Ask your dealer or
check the classified and dealer ads in Digital SLR Photography
magaZIne for details. II your DSLR uses AA batteries. you'll find
rechargeables from the likes of Energiler are superb, as is the new
range of Eneloop batteries from Sanyo (www.intro2020.00.uk).
8) SENSOR CLEANING KIT Your DSLR's anti-dust system isn·t
always effective, so irs worth considering buying a sensor dust
cleaning system. Kits oome in basic set·ups. with swabs and clea ning
flu id, to Oelkin sophisticated Sensorscope system (www.delkin.com) .
9) AOOBE PHOTOSHOP ELEMENTS 8 Adobe's Photoshop package
is the undisputed king of image manipulation software and Elements
is its cut·price yet powerful sibling. Buy it!
10) FILTER SYSTEM Ownmg a decent filter system opens up many
creative possibilities, so look to add filters to your kit bag as early as
possible. While screw·in fillers area good choice. you 'll find slot-in
systems (square lilters in a holder screwed onto your lens) offer the
best value. Cokin IS the number one brand (www.intr02020.co.uk).
U) EXTERNAL HARD DISK You should always bacJo. upyour digital
files onto an external hard disk (as well as on to DVD) m case your
computer hard disk crashes. With ITS hard disks costing under £100,
it's an Iflexpensive route lor archiving your images.
12) LCD MONITOR SHAOE Your OSLR's LCD monitor can be hard to
View in bnght conditions, but an LCD shade makes all the differenoe.
while also protectmg the screen v.t-oen closed.
13) IMAGE RECOVERY SOnwARE Recovery software is a must lor
digital SlR photosraphers. as it can help retrieve 'lost' images from
faulty memory cards. Image Recall's Don't Panic. for PC and Mac. is
as good as it gets (WNW.imagerecali.com).
14) CARD READER The fastest and easiest methexl tOlransfer
images to acomputer is touse a card reader. Multi·card readers. such
as the Lexar Dual·Slot shcMtn here, represent the best value.
15) INKJET PRINTER The process of home prinbng is easier. faster
and cheaper-than ever. With so many printers on the mar'Ket, the
choice is tough. A3 printers give the most flexibility, as an 1\3+ print is
more than bill enough to hang on a wall, by A4 printer are better value.

126/ CHOOSING & USING TIlE BEST DSLR KIT Getting Startedm Dig,tal SLR Photogrophy
----------
Lowepro Tanuac Crumpler

Vertex 200 Expedition 7x Big Cheese
'MVW.daymen,cQ,uk W,VW Intro202o.CQ,uk www, lntro2020.co.uk
A high-end photo backpack for the Expedition by name. expedition by nature. Crumpler bags always lead the W<1j In
landscape photographer who lugs lots of Like the Lowepro PhotoTrekker the terms of good looks. and the Big Cheese
kit over large d ista nces, or the sports Tamrac Expedit ion 7x is aimed at the is no exception. It's available in four colour
photographer. shooting in a variety of photographer transporting a lot of kit combinations and manages not 10 look
locations. You can get two DSLRs in there, In the main. the design of the Tamrac is like a camera bag, without being overly
with lenses attached, and a further ' Ive very similar to the Lowepro: a main loud either. A good chOice for the urban
lenses and a couple oj accessories. compartment is accessed by unzipping shooter. albeit the wealthy one: this is not
Also present IS a laptop compartment, the whole of the front section, which then one of the cheaper opt ions.
for t hose that like to ed it the ir hinges back. Inside are sturdy padded Build quality is excellent ard attenti on
photographs away from home. Two diViders that can be rearranged to SUit to detail is Impressive. A Single main
massive accessory JX)Ckets on the front your outfit On the inside of the lid are compartment contains all of your gear.
of the bag give ample room for fi lters, three accessory pockets for filters etc, and this is accessed through the rear of
memory cards and spare batteries. A and the outside of the bag sports two the bag by unzipping the back. You can
removable tn pod mount is Included and more. for memory cards and batteries. also access some of this chamber more
this is sturdy enough to cope with These have Tamrac's useful red flag easily through a qUlck·access zip opening
fu ll-sized, heavyweight camera supPJrts. system for Indicating which card and on the front At the back of thiS bag IS also
The bag IS constructed. from tough batteries have been used and which a roomy laptop compartment and a
nyloo and the main zips are we ll haven't. Tripod straps are also present. selection of pockets.
protected against water. The whole bag Unlike the Lowepro PhotoTrekker. the There's enough space in the Big
can be encased in a rain cover that IS Tamrac also has space for a laptop. which Cheese for two DSLR bodies and half a
stowed in its own pocket when not in use, is good If you need to edit your Images in dozen lenses. as well as a laptop and a
Even when fu lly loaded, the Vertex 200 the field. It's comfy to carry too, thanks to few other accessories. It's a comfy bag to
is easy to carry, thanks to its adjustable the padding In the straps. Thars lust as carry, though less convenient to sling over
straps and a padded back support. There we ll as the Expedition is a heavy bag. Just one arm. Landscapers should note
is really very little to dislike about thiS bag. even when irs completely empty. that the Big Cheese lacks a tripod strap.
BUild ***** BUild ***** &uld *****

Fe~~_____________~**** £~~!!J~ --.E~tu~
Performance
Value for
******
**** ~~
Valueformon
*****
***** Perfonnance
Valueformon
****
** * *
Rating ***** Rating ***** Rating ****

Getting Started m Di9'tal SLR Photogmphy
---------------
CHOOSING & USING THE BEST DSLR KIT / 127
GADGET BAGS
Lowepro Photo Cnun~ Lowepro

TrekkerAWn Co. Gigolo 9500 Classified 250AW
www,daymen.co.uk www lntro2020.CQ,uk www, daymen _co.uk
This m ight be one of the most expensive The Company Gigolo is Crumpler's take A discreet camera bag with room for lots
bags we have on lest. but you do get an on the photo-briefcase and iI's a radical of camera gear as well as a laptop. or
awful lot fo r your money The interior of departure from the norm, boasting a A4-slzed papers, Good for those of us
the Photo Trekker AW II is vast - big funky clamshell-type design. There are who shoot In multiple locations and need
enough lor three DSLR bodies, an six sizes in the range, with the 9500 on to transport kit between them
extensive medium-format OUtfit or even a test here being the largest. The Intenor of the bag is very deep, so
large-formal camera. If you are a serious The bag is desigl1ed with two zippered you can double-up on storage by stacking
landscape photographer and you want to compartments, one for your photo gear IIem5 on top of each other. The bag's
take every bit of your kit away with you. and documents and the other to hold a depth also makes it very 5uitable for
then this is the bag to do It m. laptop, Open the main sedon and you 'll cameras With long lenses, for instance
Fully loaded. the PholoTrekker could find a large area w ith movable padded Nikon's 24-70mm 1/2.8 and 70·200mm
weigh a ton . but thanks to the design of compartments to safely store your fl2.8 opbcs A padded secllon proVides
the straps and back padding. the bag is camera gear (we managed three 5torage for a l Sin laptop too
comfortab le to carry. The interior of the entry-level DSLRs with standard zooms One of the advantages of a shoulder
bag is carved up mto over a dozen and three further lenses), with room to bag IS that you don't have to put it down
separate spaces with padded, adjustable spare for a flashgun and fi lters. A divider to get your camera out of it and the
dividers, and the Inside of the top has separates this area from another sechon Cla55il ied 2S0AW provides astable
three large, transparent accessory with pockets where you can store platform fo r t he street photographer,
pockets for filters and the like documents and a fair number of items, Leather IS used to good effect
At the front of the bag, there is a huge such as photo acceSSOries, pens, throughout the bag and the grab handles
accessory pocket and Lowepro has even memory cards, maps and so on. and shoulder strap are very well
included a second small day sack, which The shape, padding and tough Chicken designed. A luggage sleeve means thai
can be used separa tely or attached to the lex Supreme fabric gives an excellent you can attach the Classi fied 251JAW to
exterior of the PhotoTrekker to expand irs degree of protection for your outfit and a the handles 01 a wheelie case, The bag is
storage capabilit ies even further. weatherproof cover is Included hand-luggage friendly too,
BUild
______________
Fen~
*****
*_*___
*~~
BUild
*_~***
Fea1ures_ _ _ _ _ _ _
***** BUild
_ _ _ _ _ _ _*
.£eatu_res
*****
_.:!.:!.:!:!..
Performance ***** Perlormance * ** * Performance * * * **
Va lueformon **** Valueformon ***** Valueform *****
Rating ***** Rating ***** Rating *****

--
-
DSill KIT / 129
Top picks: nashgunsandstudloflashldts

Photograp/""o/ IS Simply the manlpJlabon of Itght. But, sornebrnes. natural hWlt Just doesn't prtJlllde the effect you want
so we've selected OlJ'"top tVv'O flashguns and studio krts to help shed somelight on whld1 prcducts offer great value
Niss1n Speecllite Di622 Sigma EF-530 DG Super

wwwkerlro.CQ,l,.lk;0I793615836 www.Slgma·.maglng·uk.com:01707329999
MAIN SPECIFICATIONS
• Guide Number: 2S (ISO lOO.m)
• F1as/1 coverage: 16·7Qmm (24-105mm)
• Recyctlng time: fOU"to SIXsecords
• Boonce facil ity: Yes (0 1090") iI"
• Swivel laeility: Yes (010 27fY» iii :
• TIl..: Yes
• AF a$$ist beam: Yes • AF assist beam: Yes
• Strobellash: No • Strobe nash: Yes
• Wireless flash: Yes • Wireless flash: Yes
The NISSln D1622 has excel~1 bulk! quality lor a flash unit that Sigma not only makes great value lenses. It also boasts a couple of
costs arOlXld flOO. il'sas good as models costing twice its price. excellent flashguns. wilh this being its top model. This model is
This flastwun also has some rewarding features that set It apart available In Canon. Nlkon. Pentax. Sigma and SonyverslOns and IS
from many other flas/"0JnS at this pnce range. These include packed Wlth stacks of fealures In fact, it will take you QUite a while
secood'rurtarn sync. slave flash and a standby mode that kicks In to read the Ef-531Js Instrucllon manualloget tognps with them
alter two minutes of non-use to save your battery power. It also all! One Interesting feature IS Ihe High Speed Sync. whichalJo.Ns
Includes a flash stand and a ddfuser tor coverage as wide as 16mm you to fire the lTIIt at stutter speeds al::Jaye your camefa'susual
and a 1I1I'ln reflector There IS no LCD panel on the rear, Instead a flash sync speed The unit can also be used asa master or a slave
senes of LEOs Indicate pclYIer and a Single button handles the unit and offers a Wlde-argie flash diffuser panel The Unit IS also
modes, The Nlssln 01622 ftasll:pJn IS<N<lllable for canon and Nlkon easy to use with the buttons spaced out and a bnght and clear LCD
DSLRs and COI'lSIdenng the Quality of features and the reasonable monitor The battery compartment slider. hcmever. could bea
pnce. offers a decent cut ·pnce alternative to branded models, potenhal weak spot after sustained use. An excellent flashgun,
Interfit EX150 MKII outfit EIincluom D-lite 2 outfit

www lnterfltphotographlC.com v,ww.flashcentre.com: 0207 8375649
[@Y:f"'elif..!4if·g,J
ti ·UMr.t!4;U"'·;·]
MAIN SPECIFICATIONS MAIN SPECIFICAnONS
• No. 01 heads: D; 150Ws • No. 0/ heads: D; l50Ws
• Power: 19-1SOWs • Power: 19-15O'Ns
• Guide number{ISO 100, m): 22 • Guidemmw{ISO 100, m):22
• Modellinslamp: Ful (lOOW)l()tf • Modellinslamp: Full (lOOW)IOff
• Fittins: EX type • Fitlir"E:: EX type
• Trigger voltage: 5v • Trigger Voltage: 5v
KIT INCLUDES KIT INCLUDES
D; flash heads. D; stards. D; S)"T"C leads. 2M power leads. Ix whte broIly. KIt ncllXIes: 2M flash heads. 2M sblds. 2x power leads. 2x soItbox
D; spill kills. b sottbo:o:. Ix eM) (onemedll.monesmal). Ix bght bag. Ix st<n:lbag
Replocll"g the successful EX150 kit. the Mark II version has some This IS wittout doubt one of the best k1l:s for beglf"l"lers. The heads
impressIVe new featl.J'es. The heads are a decent size. with a strong are compact but stU'dy. ard far from light on features. The Uf'IIts are
polycarbonate tulld and are compatible with the fullinierilt range fan-cooled. have digital power control and use the standafd
of accessorIeS Though lhere IS no slorage bag with this kit. the box ElmChrom rTIOlI'lt. making them compatlble wdh the full range of
II comes in IS sll.J'dy and adequate for holding it. The modelling accessones, The power control alloYls you to choose VlO·stop
lamps give a decent amount of light and the flash pa.ver (lIS to Increments bet'N€en 12-200Ws. and although slower than a
full·pa.ver) is very respectable. and when channelled by the spill stepless dial. It does allow IJI'eclsion. Using the kit is a pleasure.
kills, can add 50 percent to the GUide Number, lJgf1t terrrpemture IS thanks mostly to ItS bright modelling lamps. These can be set to
a liltleon the cool side. sa using Raw or a manual reading is min or max levels. or proporhonaliy with the power. The recycle
advISed ThIS is a great kit for the money and a good choICe for the time, at lust O.7sec. is fast enough to cope with mcxJel shoots and
amateur II may not be as extensive as some. but the build Quality ful l-power IS cooflrmed Wlth a beep each time. Coverage is good
of the eqUipment more than makes up for II and thanks to lhe dll31saltboxes. the lighllng looks very nattral,


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Meet our digital photcgraphy experts

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Press the shutter release

The exposure mode

The integraillash is very

tliiti "" ",):1

With most DSlRs. you

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1M ! ~ : I i , ·1: i, ... :.:t rW· ,II,::,".:-I

ffi1 :';" '" Ilti FOCUS PONT SE1.ECItIR

14, I't'lEMOllVCARD SlDT r.ETERlNG ""TTERNSSELECTtMI

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u . ,~rture- ' 'tyAE

YOII 'II normally find the eXpoSUre

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At /I mid-aperture selling. most 01 Set the !em to Its smallest apetlure

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Shutter-priority AE Is ofte n ... belled

HOW SHUTIER SPEEDS DEPICT MOV£MENT IN YOUR IMAGES

A ~ l3$t shutter speed Choosinl a mid-setti"l A slow shutter ~

EMPHASISE MOVEMENT BY PANNING THE CAMERA

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Cyclist 1I200·1I250sec Ia5<>~

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HOW AUlOFOCUS SYSTEMS

Usi na; multi-point AF allows you to quickly

InsideAP. Main types ofAFsensoj§

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When 10 switch to single-}X)intAF

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j) SingieffiotAE Focus Lock

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Auto AF mode Is useful when

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Understanding ISO ratings

~II , , ) ..) " ".

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ISO and general photogJaphy ISO speed

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ISO rotings and

ISO rotings and

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WHITE BALANCE BRACKETING Some cameras allow you to

SETTING THE WRONG WHITE BALANCE! You'll find that setting

custom -made disc that IS

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Image quality ...

ID The Raw file has often been described as

~ The JPEG (Joint Photographic Experts